There’s a lot that goes into creating a proper and successful climax. It’s where all the hard work of the set-up of the film is supposed to pay off in a narratively satisfying way. They can be happy, sad or exciting, offering catharsis for the characters and the audience. When it comes to science fiction, the best film climaxes have offered everything from epic battles to intimate character revelations. They’re vast and varied, but they all payoff their movies perfectly.

Sci-fi cinema offers up endless possibilities for climaxes, since they, with the proper budget, can realize all kinds of interstellar or futuristic circumstances to properly peak with. The best sci-fi movie climaxes aren’t always the biggest. Some are much smaller, but no less impactful or appropriate than those that bring the noise. From the biggest to smallest, across space and time, these are the best sci-fi movie climaxes, ranked.

10

‘Ghostbusters’ (1984)

Image via Columbia Pictures

Ghostbusters isn’t often identified with the sci-fi genre, even though half of the fun of the film is the scientific mumbo-jumbo explanations of the supernatural that are breathlessly delivered by Dan Aykroyd and deadpanned by Harold Ramis as Bill Murray looks on exasperated. The film is, first and foremost, a comedy, though, and its climax is the most perfect marriage of the two genres. There may be more profound or exhilarating sci-fi climaxes than the one in Ghostbusters, but they don’t have a marshmallow kaiju stomping around New York City.

In a moment that would be repeated to lesser effect in later films in the franchise, the ghostbusters are asked to choose the form of their adversary by the villainous Gozer during their rooftop confrontation. All the busters are able to clear their minds except for Ayroyd’s sweet, innocent Ray, who conjures a ten-story tall Stay Puft Marshmallow Man. It’s an instantly iconic image, one which the first sequel tried to recreate with the Statue of Liberty and the 2016 reboot replaced it with a giant version of the no-ghost logo of the franchise come to life/death. The original is still the best, and the climactic roasting of the monster, and subsequent rain of his gooey marshmallow remains is something every kid who came up with this movie in rotation remembers fondly.

9

‘Logan’ (2017)

Image via 20th Century Studios

The vast majority of superhero movies could be considered sci-fi films, and that goes double for the X-Men franchise. Marvel’s favorite mutants have had some solid climaxes throughout their cinematic run. The original used the Statue of Liberty as the setting for a solid action scene, X2 set the stage for a Phoenix Saga that never properly paid off, and X-Men: Days of Future Past featured a battle across two timelines. Those, and many other superhero climaxes, are effective, but they can’t beat the best from Logan. Even though Jackman came back to play the character for the feature-length fan-service masquerading as a film event, Deadpool and Wolverine, his climactic sacrifice in Logan was the perfect swan song.

As a far more grounded and gritty action film than any of the previous X-Men or solo Wolverine movies, Logan’s neo-Western aesthetic means its final action scene is suitably less explosive. Logan faces off against government mercenaries, protecting a group of mutant children, including his own daughter. He also must confront a clone of himself, stripped entirely of his humanity and reduced to the single emotion of rage. It’s a dynamic sequence that offers the perfect summation of the film’s themes, makes good use of the film’s R-rating, pays off a prophecy set up in the prior film, and gives Jackman a climax deserving of the character he defined on the big screen.

8

‘Akira’ (1988)

Image via Funimation

An influence on many superhero films and the action and sci-fi genres in general, Akira is Katsuhiro Otomo’s cyberpunk animated masterpiece, adapted from his own manga, and it has an explosive, body-horror-filled climax. Set in the future city Neo-Tokyo, the movie revolves around the central relationship between biker gang leader Kaneda, and his childhood best friend Tetsuo, who discovers he has telekinetic abilities and becomes a superpowered threat to the entire city. That threat, and their relationship, comes to a head in a destructive action sequence set in the Olympic Stadium.

As Kaneda and Tetsuo face off, the latter uses his immense powers to mutate into a massive fleshy monstrosity. It’s a grotesque animation, but one which perfectly illustrates the character’s desire to feel powerful, totally consuming him and turning him into something devoid of humanity. It’s only through the re-emergence of the titular Akira, a missing boy with similarly endless powers, who creates a singularity to draw Tetsuo in, and in doing so gives Kaneda a psychic window into his friend’s memories. It’s an emotionally potent and visually spectacular climax.

7

‘The Prestige’ (2006)

Image via Walt Disney Studios Motion Pictures

The climax of Christopher Nolan’s stealth sci-fi film The Prestige comes in the form of a twist. Appropriately, for a film about dueling magicians, the climax feels the cinematic equivalent of a magic trick. It’s something that’s been right in front of the audience’s face the entire time, but which Nolan is able to gracefully misdirect from until the final reveal. It’s vastly different from the more haunting, supernatural and horror-focused ending of the novel, but which works perfectly for the film.

In the film, the rivalry between Hugh Jackman’s Robert Angier and Christian Bale’s Alfred Borden leads both men to develop similar tricks of supposed teleportation. Angier’s is accomplished through a machine built by Nikola Tesla that creates a clone of him every time with the original dying in order to maintain the integrity of the trick. The death of one such clone sees Borden framed for murder and put to death, until he returns to confront Angier, revealing that Borden was a set of twins who lived a single life. It’s a mind-bending climax that puts into stark terms the depths of obsession that both men have sunk into, and it’s the best trick Nolan has ever pulled.

6

‘Close Encounters of the Third Kind’ (1977)

Though it’s been subject to a re-edit, and reconsideration for its larger character implications by many viewers, Steven Spielberg’s Close Encounters of the Third Kind remains a wondrous sci-fi fable, and its climactic scene of first contact is visually and aurally spectacular. Set, and partially shot, at the Devil’s Tower in Wyoming, the climax features all the majesty and emotion viewers have been primed for throughout the film’s runtime. The musical call and response between the humans and the aliens as a form of universal communication is one of the most indelible moments in all sci-fi history and, paired with the gorgeous visual effects, make it one of the iconic sci-fi climaxes.

The climax is also an emotional one for the protagonist, Roy, played by Richard Dreyfuss, who has become obsessed with the aliens after having a close encounter with a UFO. Roy has his faith validated when he is invited on board the alien mothership and leaves with the alien. It’s the moment some have taken issue with, given that Roy leaves his wife and child behind, and which Spielberg himself has said he would have written differently if he’d had children at the time. Even if that robs the character of any empathy one might feel toward him, the climax is so overwhelming at that point, visually, aurally and emotionally, that, like Roy, it’s hard to care about anything else.

5

‘Arrival’ (2016)

Image via Paramount Pictures

Arrival is similarly driven by the need to communicate with aliens, with the crux of its plot revolving around humanity’s interpretation of their language. That task is given to linguist Louise Banks, played by Amy Adams, who has been haunted throughout the film by apparent memories of her deceased daughter. In the film’s climax, Louise is able to save humanity from itself by solving the alien language, which is also the alien’s greatest weapon. Understanding the alien language allows humans to perceive time non-linearly.

This perception is what gives the film its emotional climax. Louise is able to see her own future, and the daughter she will subsequently have and later lose to disease. It’s a heartbreaking realization that drives the rest of the film until it’s equally emotional ending, where Louise decides not to try and alter her future and face the joy and tragedy it will inevitably deliver her. Arrival is a sci-fi film grounded in human experience, and its climax isn’t one of visual spectacle but emotional.

4

‘Aliens’ (1986)

Image via 20th Century Studios

Reconciling the confluence of loss and love is a great climax, but so is a woman using a power loader to bitchslap the mother of all monsters. James Cameron’s Aliens took the claustrophobic horror of Alien and supercharged it with some superior firepower, making an action sci-fi horror sequel that’s been just as influential as its predecessor. The climactic battle between Sigourney Weaver’s Ripley and the Queen Alien is an all-time sci-fi fight, combining a variety of practical effects seamlessly in a way that holds up against most modern sci-fi movies.

Every sci-fi fan loves the iconic moment when Ripley confronts the Queen as she terrorizes the young Newt, played by Carrie Henn, and defiantly delivers her iconic line telling the bitch to get away from her, but what makes that moment, and subsequent fight, so powerful is how it succinctly defines Ripley’s character arc. For all the action and acid-blood spilling, Aliens is a story of motherhood at its core. Ripley has lost everything when she meets young Newt, and their surrogate bond is the heart of the film. It’s cool to watch Ripley kick some alien ass, but it’s even more satisfying because she’s doing it to save her daughter.

3

‘Blade Runner’ (1982)

Image via Warner Bros.

Blade Runner is one of the most influential sci-fi films ever made, not only for its noirish cyberpunk visuals that determined the measure by which all future cinematic dystopic cities would be judged, but also for its simple exploration of what it means to be human. That theme is best exemplified in the film’s climax, where Harrison Ford’s Rick Deckard faces off against Rutger Hauer’s replicant Roy Batty. It’s a one-sided physical confrontation that ends with a haunting and beautiful monologue from Hauer.

Deckard has been chasing Batty the entire film, intent on retiring him as he does for all rogue replicants. Batty has been driven by his desire for more life, a privilege denied to all replicants who have a built-in limited lifespan. These two antagonists share a final moment in the rain together, as Batty saves Deckard from falling and then delivers his death soliloquy, lamenting that all his memories will be lost. It’s the most emotional moment in a movie that is often more technically impressive than it is emotionally stirring, which makes it an even more affecting climax and solidifies Blade Runner as a sci-fi masterpiece.

2

‘2001: A Space Odyssey’ (1968)

Image via MGM

2001: A Space Odyssey is another film often associated as being more cerebral and visually engaging than emotionally, but that has never prevented its surreal Star Gate sequence from being one of the most enthralling in the totality of sci-fi cinema. It’s as dynamic a sequence as director Stanley Kubrick has ever created, and which filmmakers as talented as James Cameron, Christopher Nolan, and Brian De Palma have attempted to recapture the effect of to varying degrees of success, but it has never been bettered. It’s the kind of climax that can only be accomplished in film and science fiction.

The narrative of the film is driven by the discovery of alien monoliths, which have been shown to have some form of influence over human evolution. In the climax of the film, astronaut Dave Bowman, played by Keir Dullea, comes into contact with one of these monoliths orbiting Jupiter. It takes Dave through a Star Gate in a psychedelic sequence of visuals suggesting he has entered into a liminal space and time. The sequence culminates with Dave watching his own body rapidly age, in a setting Kubrick once described as a kind of human zoo, and becoming reborn as the Star Child. It’s a staggering wordless sequence that allows the audience to viscerally experience it rather than try to plainly explain itself.

1

‘The Empire Strikes Back’ (1980)

Image via Lucasfilm

People have puzzled and pondered over the subjective climax of 2001: A Space Odyssey for decades and how it engaged with them cerebrally, but it still ranks second to one of the most consequential moments in sci-fi film history that comes as an absolute emotional gut punch. The Empire Strikes Back is a superior film to its predecessor in every way, and while the climactic destruction of the Death Star is as crowd-pleasing as film moments get, there’s something far more powerful in the lightsaber duel between Darth Vader and Luke Skywalker and the revelation that ends it.

There have been more elaborate lightsaber fights and better choreographed ones, but few instill the fear that one feels watching Mark Hamill as Luke take on an opponent with abilities far beyond his own. The entire fight feels as though Vader is toying with Luke, for reasons that aren’t readily apparent other than the movie needs a climactic fight. When all pretenses are dropped, and Luke is at his most vulnerable, Vader reveals he is Luke’s father. That single moment sent reverberations through pop culture and fandoms worldwide. The franchise since hasn’t come close to matching that climax and sci-fi films everywhere defer to its supremacy.

Blake Lively’s courtroom war with Justin Baldoni may officially be settled, but the legal drama surrounding “It Ends With Us” is far from over. 

Just days after both sides reached a surprise agreement, the actress was hit with another setback when a judge rejected her latest request tied to legal fees and damages. 

The ruling comes as tensions continue to boil between the two camps, with Baldoni’s attorneys celebrating the settlement as a major win while Lively’s team insists the actress succeeded in exposing retaliation tactics against her.

Blake Lively suffered another courtroom disappointment on Monday after a judge denied her request to submit additional briefs and evidence connected to her legal fees fight with Justin Baldoni.

According to TMZ, the actress had hoped to provide further arguments before the court finalized any ruling tied to damages or attorney costs following the pair’s recent settlement.

The legal development arrived only days after Lively and Baldoni ended their nearly two-year battle connected to “It Ends With Us.”

Despite the settlement, Lively is still aggressively pursuing compensation tied to Baldoni’s failed $400 million defamation lawsuit against her.

The actress claims she should be awarded legal fees because Baldoni’s countersuit was retaliatory and ultimately dismissed. 

Lively is also requesting “compensatory damages tripled, and punitive damages,” according to court filings.

Her legal team had already filed motions earlier in the case but wanted permission to present even more supporting material before the judge shut the request down. The filing itself landed in New York court just three days after the settlement agreement became official.

Lively Continues Pushing For Legal Fees From Baldoni

Blake Lively’s attorneys have remained firm in arguing that the “It Ends With Us” director should face financial penalties for filing the defamation suit against her.

Michael Gottlieb, one of the Hollywood star’s lawyers, argued the court should impose “severe and mandatory penalties against any party who files unsuccessful retaliatory defamation actions against sexual harassment and retaliation complainants.”

He also argued that Lively’s original allegations were protected under California law because they were made through the California Civil Rights Department.

Judge Lewis Liman, who handled both cases, previously sided with Lively on that argument and dismissed Baldoni’s defamation suit last year.

Gottlieb pointed specifically to California Civil Code Section 47.1, saying the law exists to ensure people can “share their experiences with courts, agencies, the press, and others without fear of suit.”

The attorney also requested permission to submit a five-page brief explaining exactly how Lively should receive the money she seeks.

The legislation itself was passed in 2023 following the MeToo movement and remains relatively new within the court system. Meanwhile, Baldoni’s lawyers strongly rejected the idea that their client should pay Lively anything extra.

Blake Lively And Justin Baldoni Continue Trading Public Shots

Even after settling, Lively and Baldoni’s camps are still publicly attacking each other over who truly won the case.

Baldoni’s attorneys called the “Gossip Girl” actress’s effort to recover legal fees “draconian” and argued the director had every right to defend himself in court.

They also accused Lively of attempting to make herself “immune from any culpability for her wrongful acts.” Bryan Freedman, Baldoni’s attorney, described the settlement as a “win and total victory” for his side.

“The court had already dismissed 10 of Ms Lively’s 13 claims, including every sexual harassment claim, every defamation claim, and all claims against the individual defendants,” Freedman said per the Daily Mail, adding, “Ms Lively voluntarily dismissed the rest.”

He also claimed the actress settled because she feared losing at trial, noting, “In our view, they settled because they knew they were going to lose in court.”

Freedman added that the only remaining issue involves “a pending request for fees based on a very narrow issue.”

Lively’s Team Calls Settlement A ‘Resounding Victory’

Despite the fierce statements from Justin Baldoni’s side, Blake Lively’s attorneys painted a very different picture of the outcome. 

As reported by The Blast, her lawyers insisted the settlement represented a major success for the actress and her wider mission.

In a statement, her attorneys called the agreement a “resounding victory” for Lively. “By agreeing to this settlement, and waiving their right to appeal, Justin Baldoni and every individual defendant now face personal liability for abusing the legal system to silence and intimidate Ms Lively,” the statement said.

The legal team also argued the settlement destroyed claims that Lively fabricated her allegations, stating, “And by admitting that Ms Lively’s concerns ‘deserved to be heard’ the defendants have ended once and for all the fiction that Ms Lively ‘fabricated’ claims of sexual harassment and retaliation.”

The statement continued, emphasizing Lively’s broader goal throughout the legal war. “From day one Blake Lively’s mission was clear: expose and hold accountable those who weaponize smear campaigns and retaliatory lawsuits to intimidate and silence survivors. That mission continues,” it read.

Blake Lively Walks Away Without Financial Settlement

One of the biggest surprises surrounding the settlement is that Lively reportedly received no direct financial payout.

Earlier this week, reports revealed that no money changed hands despite Lively previously claiming the controversy had devastated both her reputation and business ventures.

The actress alleged in court filings that she lost as much as $40.5 million after being labeled a “mean girl” and a “bully.” 

She also claimed she missed out on up to $87.8 million in acting and endorsement opportunities.

According to filings, another $143.5 million was allegedly lost due to reduced profits from her haircare and alcohol brands.

Justin Baldoni’s legal team dismissed those numbers as “pie in the sky” estimates and argued Lively’s damaged reputation stemmed from her own actions.

Below Deck Down Under just lost Mike Durrant — and it doesn’t look like the cast exits stop there.

During the sneak peek for the Monday, May 18, episode of the hit Bravo series, Captain Jason Chambers appears to be fed up with Jenna Woudberg‘s love triangle with Ben Robinson and Eddy Hounsell. The trio are at odds before Jason steps in to fix the ongoing conflict aboard the Katina.

“I have a second stew that created a s***storm,” he tells Daisy Kelliher. “Something has got to change.”

Jenna is then asked to “speak” with Jason and her future on the show remains unclear. Her potential exit would come after Mike was fired for not contributing enough in the interior, which allowed Barbie Pascual to return to the franchise.

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“It was a long time coming and a lot of my behavior was unacceptable,” Mike exclusively told Us Weekly earlier this month about his departure. “I feel like this was probably just the icing on the cake. When I had back chatted to Daisy — especially since she is someone who is a superior — and I never meant it in a disrespectful manner.”

Mike said he knew there “wasn’t any chance of winning the job back.”

“I was out of luck. For me, I was actually more disappointed. I hadn’t just let myself down, I had also let everyone else down. I was actually upset about how things went down,” he continued. “I was just having fun and I didn’t mean any harm by it and I was just enjoying the ride. Then it reality hit — and the crew were a man down when they obviously had to put the extra effort in.”

The deckhand and stew went on to defend the comment he made to Alesia Harris about not doing anything wrong.

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“We had this banter where we would go back and forth with each other. I would wind Alesia up. I wasn’t playing dumb,” he clarified. “I knew deep down that I had made a mistake — as well as various other mistakes. Looking back now, I hold accountability of what I did and for me it’s more I have to learn from that. I have to learn where I went wrong and not let anyone down again. Now is just learning from those mistakes and moving forward — and understanding where I went wrong.”

At the time, Mike wanted to clarify a misconception viewers may have about him, saying, “I had obviously seen a lot of comments about me having issues with the women onboard. Something I wanted to clear up is if it had been a male chief stew and male stews, I would have been exactly the same. It was more about the department rather than about who I was working with. I didn’t enjoy working in that department and I was 90 percent working in that department.”

Below Deck Down Under airs on Bravo Mondays at 8 p.m. ET. New episodes stream the next day on Peacock.

Former Real Housewives of New Jersey star Dina Manzo and her husband, David Cantin, took steps to get a divorce before seemingly reconciling.

According to California court documents exclusively obtained by Us Weekly, Manzo, 54, secretly filed for a legal separation from Cantin in March 2025 after nearly eight years of marriage.

In her filing, she stated the pair tied the knot in June 2017 and split the same day she filed for separation on March 4, 2025.

Cantin filed his own paperwork for divorce six days later, on March 10, 2025, in Florida. In his petition for divorce, Cantin claimed they married on June 28, 2018, in Malibu, California, and the marriage was “irretrievably broken.”

Related: Former ‘RHONJ’ Stars: Where Are They Now?

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He alleged that his wife had been permanently residing in Florida since 2021 and they last lived together as husband and wife in the Sunshine State.

At the time of his filing, Cantin asked the court to equitably distribute their marital assets with an unequal distribution in his favor, citing the “duration of the marriage and [his] extraordinary contributions to the acquisition, enhancement and production of income or the improvement of both the marital assets and the non-marital assets.”

He also asked that the court award his attorneys’ fees and costs to the “extent the wife engages in unnecessary… or vexatious litigation.”

In her own separate filing in California, Manzo also cited irreconcilable differences and requested spousal support and attorneys’ fees, but did not want him to be awarded spousal support. She stated in docs that she would address any assets and debts at a later date.

In April 2025, both parties decided to halt the cases “in an effort to resolve all issues in a dignified, private and cooperative manner” and “attempt to reach a mutually agreed upon resolution of all issues,” without the court’s involvement, according to docs.

Nearly one year after they filed for divorce and separation, respectively, court documents obtained by Us reveal both Manzo and Cantin requested that their petitions be dismissed just over a month ago on March 27.

Us Weekly has reached out to Manzo’s team for comment. Cantin’s lawyer told Us, “We do not comment about our clients or cases.”

And just one day after voluntarily dismissing their court cases, Manzo shared happy memories from a tropical — and romantic — getaway with Cantin.

“D&D 2.0 ❤️ {paradise edition},” she wrote via Instagram on March 28.

Just weeks earlier, Manzo also praised “my husband” for setting “the birthday bar dangerously high this year” after she appeared to receive a special Studio 54-themed birthday party on March 7.

Fans met Dina when she helped launch The Real Housewives of New Jersey in 2009 with Teresa Giudice, Jacqueline Laurita, Caroline Manzo and Danielle Staub.

She stepped away from the show after season 2 and made brief appearances in season 4 before returning full-time for season 6. Although she was asked to continue with the show, Dina chose to step away for good and enjoy a more private life in California. (The reality star didn’t publicly confirm her 2017 wedding to Cantin until two years later.)

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“Of course, they asked me back,” Dina recalled to Fox 411 in May 2016. “I thought about it for a minute, and I thought, ‘How am I supposed to do this? I don’t live there.’ …  I’m kind of the person that if it’s not comfortable and it doesn’t fit who I am, I walk. You have to be happy and if it doesn’t sit well with your soul, you have to listen to that.”

As for Cantin, he never appeared on Bravo but found himself in the headlines when Dina’s ex-husband, Thomas Manzo, was convicted of hiring a “reputed mobster” in 2015 to assault her then-boyfriend.

After Thomas was found guilty in June 2024, Dina shared a photo of herself raising her hands up to the sky while the sunshine rained down on a large monument.

There’s a very specific kind of swimsuit that just reads expensive — the kind you’d spot at a Hamptons beach club, paired with oversized sunglasses and a chilled drink in hand. It’s polished, flattering and never over-the-top. The best part? You don’t need a country club membership (or a designer budget) to get the look.

Below, we found 13 slimming swimsuits that channel that effortless Hamptons rich mom energy without trying too hard. Think: mornings at the beach, long lunches in linen pants and afternoons spent lounging poolside. They flatter, smooth and elevate your entire summer wardrobe — and start at just $21.

Hamptons Rich Mom-Inspired Swimsuits

1. Our Favorite: Adjustable tie straps on the top and a classic blue-and-white stripe pattern make this striped bikini set the closest thing to a customizable fit at this price point.

2. Coastal Elegant: The fabric of this gathered one-piece softens the midsection while the deep neckline elongates the upper body for a more sculpted look. Paired with gold hoops and a woven tote, it practically begs for a beach club lunch.

3. Resort Ready: The wrap silhouette on this blue floral one-piece cinches at the waist while skimming over the midsection. Tummy control panels do the smoothing without the squeeze of heavy shapewear.

4. Minimalist Muse: With its barely-there detailing and streamlined fit, this ruched one-piece swimsuit leans into that quiet, polished aesthetic. It hugs the body just enough to shape without ever feeling restrictive.

5. Top-Rated: Crisp white, deep V-neck, hidden tummy control. This white one-piece swimsuit has earned thousands of shopper raves for fitting like something three times the price.

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6. Figure-Flattering Floral: The vibrant floral print adds a playful touch while subtly camouflaging through the midsection. The ruched waist and ruffle neckline create shape and softness in all the right places.

7. Coastal Classic: Side cutouts plus a high-waisted bottom give this blue striped one-piece the look of a two-piece with the coverage of a full suit. Tummy control lining smooths everything in between.

8. Rich-Looking: It reads like something from a high-end resort boutique, but it’s under $40. Wear this color-block swimsuit poolside with a wide straw hat and oversized tortoise sunglasses.

9. Floral Find: The high-waisted bottom on this blue floral bikini hits at the natural waist, covering the midsection while showing just enough skin. The top has classic triangle coverage with tie straps.

10. Nautical Stripes: Classic navy stripes, plunging V-neck, hidden tummy control panels. The vertical lines on this striped V-neck swimsuit elongate the torso while the structured cups add lift.

11. Gorgeous Gingham: Imagine a Hamptons farmers’ market run after a swim. This black gingham two-piece reads more sundress than swimsuit under a denim jacket, with the skirted bottom doing the heavy lifting.

12. Expensive-Looking: Tie the sarong at the hip for a beach club lunch, then drop it for the water. The tropical print monokini has a deep V that’s secured enough for actual swimming, not just posing.

13. Flirty and Fun: Ruffled hems on the top and high-waisted bottom add movement and softness to this ruffle hem bikini. The ruffles also break up the silhouette in flattering places along the bust and hip.

Related: 15 Stylish, Tummy-Control Swimsuits Instantly Smooth the Midsection

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Terry Crews has gone viral after an old clip showed him opening up about how he was allegedly abandoned by Hollywood. The actor claimed the cold treatment came after he spoke out about being reportedly assaulted by his former agent.

Internet users have since shared mixed reactions online, with many calling for him to be protected at all costs, while others insisted he should have made Hollywood pay for how he was treated.

The renewed attention also comes as Terry recently opened up about how he and his wife, Rebecca, endured years of her battle with Parkinson’s disease before he stumbled upon a post about a cutting-edge treatment.

An old clip of Terry’s appearance on the “Soul Boom” podcast with Rainn Wilson is making the rounds online. In the clip, the “Norbit” actor reflected on the backlash he faced after going public with allegations that his former agent, Adam Venit, assaulted him.

Terry recalled that people initially struggled to believe him because of his size and pressed him about what he was trying to achieve by speaking out. He went on to say that while he stood his ground, the decision cost him financially, as the checks stopped coming in.

Terry revealed that he reported the said assault to the agency and was told it was being handled. However, according to him, the only thing he received afterward was silence.

Terry Claimed He Was ‘Abandoned’ By Hollywood

Things remained the same until about a year later, when Terry teased what had been going on in a tweet. Shortly afterward, he received a call from the agency looking to iron out the situation. However, the matter had seemingly escalated by then, as many others had also come forward to share similar stories.

Terry explained that the agency still would not take action against the “predator in [the] hallway.”  However, he noted during the interview that his vulnerability resulted in him being pushed out by Hollywood, as many industry bigwigs allegedly turned away from him.

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“Abusers protect each other in Hollywood,” he said.

Terry Crews’ Viral Clip Sparks Mixed Reactions

Internet users have taken to social media to share mixed reactions to the resurfaced clip, with many praising Terry for being vulnerable, while others were less sympathetic to his plight.

“Can you believe the man is violated and they want Him to shut up!!!!! That’s just sick,” one X user wrote, while another added, “Wow, they tried to act like his case wasn’t successful. I’m glad other people also confessed, and he won the case.”

Others had a more critical take.

“If you’re assaulted in front of your family and a room full of white people, you should have beaten his -ss in front of all those witnesses in self-defense and sued him for millions of dollars!!!” one user penned.

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Terry And Rebecca Open Up About Health Scare

Terry and his wife, Rebecca, recently opened up about the storms and trials they’ve had to endure in their home, particularly with her Parkinson’s diagnosis in 2015.

In an interview with PEOPLE Magazine, they spoke about the ordeal of dealing with the health scare. Rebecca recalled reaching a breaking point after going three days without sleep. Terry later walked in to show her a post about a groundbreaking, noninvasive treatment known as focused ultrasound, which he believed could help her.

“I’d been reading about this and researching it for ten years,” he recalled. It turned out he was right, and she was able to start getting better.

Terry’s Daughter Narrates Incident With ‘Creepy’ Actor

Meanwhile, Terry and Rebecca’s daughter Azriél took to social media earlier this year to narrate how a “creepy” actor hit on her when she was just 16. At the time, she explained that she met the famous star at a “pre-wedding yacht party” but refused to mention his name.

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“He was very well aware of my age,” she recalled in the clip. “He was friendly at first, and I was a fan of his work, so I was actually really excited to meet him.”

Azriél said the actor later sat beside her at the ceremony despite seats being unassigned, which she described as her “first official red flag.” She claimed he then touched her back, smiled “creepily” at her, and made an uncomfortable remark while pressing his knee against hers.

The latest American Idol winner has been revealed.

During the Monday, May 11, season 24 finale, host Ryan Seacrest announced that Hannah Harper received the most votes from viewers. Jordan McCullough was revealed to be the runner-up, with Keyla Richardson coming in third place.

“After a nationwide vote and an incredible season, the winner of American Idol 2026 is Hannah Harper,” Seacrest announced in the finale’s climactic moment.

The Idol finale started off with the final three each singing a track in honor of guest mentor Alicia Keys. Harper performed Keys’ 2007 hit “No One,” while Richardson covered 2009’s “Un-Thinkable (I’m Ready)” and McCullough took on the 2003 song “If I Ain’t Got You.”

Related: Carrie Underwood Details Life on Family Farm: ‘I’m Covered in Poop’

Carrie Underwood/Instagram Carrie Underwood is sharing the good, the bad and the ugly of life on a farm. “My goal is to just do as much as I can myself,” Underwood, 43, exclusively told Us Weekly at American Idol’s Taylor Swift night on Monday, April 27. “I love it. It’s a challenge, and it’s frustrating, […]

“Your voice sound beautiful and tender and like a lullaby,” judge Luke Bryan told Harper. “Your voice is like walking in the outdoors. It’s like walking through a beautiful garden. You’re true artist.”

The second round was a salute to each finalist’s hometown, with Harper opting for the original track “Married Into This Town.”

“Congratulations on songwriting, congratulations about being that authentic person,” judge Lionel Richie told her.

The hometown round continued with Richardson’s rendition of “I Love The Lord” and McCullough’s version of “Dear God.” At the conclusion of the second round, Seacrest revealed that Keyla finished in third place overall.

The stage was set for a dramatic showdown between the final two, as each got a chance to perform their potential winner’s single — Harper’s “String Cheese” and McCullough’s “Goodness of God.” When the votes were totaled, Harper was revealed as the 2026 Idol winner.

Harper, 25, is a stay-at-home mom of three from Willow Springs, Missouri. The singer has captivated American Idol fans since she auditioned with an original song titled “String Cheese,” which explores postpartum depression.

McCullough, 27, is a worship director at Zeal Church in Murfreesboro, Tennessee, which is less than an hour away from Nashville. He previously auditioned for The Voice in 2019 but did not receive any chair turns.

Richardson, 29, is a gospel singer born and raised in Pensacola, Florida. Her single “So Good” became her first No. 1 on Billboard‘s Gospel Airplay chart in 2021.

After making the Top 5 during the April 27 episode, Harper and Richardson exclusively told Us Weekly that they were grateful to be able to share their faith with America throughout the season.

“We both have grown up in church and had the opportunity to share our testimony, and it was nice to be able to have it on this platform,” Harper said. “It was an honor.”

Related: ‘American Idol’ Winners: Where Are Fantasia Barrino and More Now?

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American Idol paved the way for reality competition shows to help everyday people achieve their dreams of music stardom. The series premiered in 2002 on Fox with a star-studded judging panel consisting of Simon Cowell, Paula Abdul and Randy Jackson. American Idol‘s freshman season introduced Kelly Clarkson, who would become the show’s first breakout star. […]

Richardson added, “I grew up in the church. I know so many songs, so it was kind of hard to pick, but I wanted to pick something everyone could relate to. I wanted everyone to worship with me. That’s my heart right there. That’s where I find myself in worship a lot of times. When they said ‘songs of faith,’ that was right up my alley.”

The musician continued, “I’m glad that we can be open about our faith. I’m glad that everybody is OK with it, and we’re OK with it. … I love God, and that’s who I love.”

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Harper, McCullough and Richardson were voted into the Top 3 during last week’s semi-finals.

Monday night’s three-hour season finale saw Keys serve as a guest judge alongside Carrie Underwood, Richie and Bryan. The evening was also filled with musical performances from Brad Paisley, Blues Traveler, Cameron Whitcomb, Clay Aiken, En Vogue, Gin Blossoms, Jason Mraz, Lee Ann Womack, Nelly, Shinedown, Tori Kelly and more.

Braden Rumfelt and Chris Tungseth, who were eliminated in the Top 5, also returned to perform.

Sports movies love a comeback, and honestly, so do moviegoers. There’s something very hard to resist about a broken fighter getting one last shot, a trainer barking from the sidelines, and a final showdown where the emotional stakes are doing as much heavy lifting as the punches. Add mixed martial arts into the mix, and you’ve got the kind of bruising underdog story that feels designed to leave everyone sweaty, stressed, and quietly rooting for one more round.

Beast, the new MMA action drama starring Russell Crowe (Gladiator) and Daniel MacPherson (Foundation), has debuted with a strong score on Rotten Tomatoes. The film currently holds an 80% critics’ score, alongside a 78% audience score on the Popcornmeter, making it one of the better-received MMA dramas in a genre that has not exactly been overloaded with modern classics. Aside from films like Warrior and The Smashing Machine, the world of MMA has remained surprisingly underused on screen.

Directed by Tyler Atkins and written by Crowe and David Frigerio, Beast follows Patton James, a former MMA champion who has spent years away from the cage, but when his younger brother is put in danger, Patton is pulled back into the fight world and reunites with the trainer who once helped make him a legend. From there, he commits to one final showdown against the reigning champion, because apparently retirement in sports dramas is just a plot device before the big battle scene.

The cast includes Crowe as Sammy, MacPherson as Patton James, Luke Hemsworth (Westworld, The Terminal List: Dark Wolf) as Gabriel Stone, Mojean Aria (The Correspondent, See) as Malon, Kelly Gale (Plane, The Enforcer) as Luciana, George Burgess (Land of Bad, Locusts) as Neal, Saphira Moran (It Will Find You, Beast) as Nadine James, and Bren Foster (Life After Fighting, Deep Blue Sea 3) as Xavier Grau.

Is ‘Beast’ Worth Watching?

The appeal seems to be that Beast knows exactly what kind of movie it is. This is a classic underdog sports drama, and early reviews suggest it is not trying to reinvent the cage. RogerEbert.com awarded the film 3 out of 4 stars, hailing it as a sports movie that understands the formula and delivering on it. Other reviews have highlighted the fight scenes, with critics pointing to the physicality of the action and the impact of the blows inside the cage, with MacPherson’s performance carrying much of the emotional and physical weight.

Beast is now available on digital. Stay tuned at Collider for more.

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Release Date

April 10, 2026

Director

Tyler Atkins

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