Helen Mirren is throwing her support behind Tom Hardy after rumors swirled that he was fired from their show MobLand.

In an interview with Variety published on Thursday, June 11, Mirren, 80, was asked whether she would continue to work with Hardy, 48, following the drama.

“Absolutely. In a f***ing heartbeat,” the Oscar-winning actress responded.

Mirren continued to rave about the Inception star, praising his acting skills and claiming that she was fine with an actor going through their own methods to achieve great results on camera.

“I love Tom, I think he’s the most amazing actor,” she told the outlet. “Different actors have different processes. I’ve learnt over the years that some people get to things faster. As long as what’s on the screen is fantastic, I’m totally chilled with however someone gets there. Tom is a very special person. I think he’s absolutely remarkable. My support of him is genuine and heartfelt.”

Last month, Hardy’s alleged behavior made headlines after multiple outlets reported the actor was fired from the Paramount+ show for its potential third season due his behavior. (MobLand season 3 has yet to be officially confirmed. Season 2 is expected to air later this year.)

According to a Puck report in May, Hardy was allegedly fired from MobLand after filming wrapped on season 2. The outlet alleged that Hardy was late to set, asked to give notes on the script and attempted to change dialogue.

A source also told The Hollywood Reporter the same month that Hardy “refused to come out of his trailer for hours at a time.”

Variety, meanwhile, reported that Hardy “was not fired.” A source close to production told the publication that “the door is not closed for season 3 and things are being worked through creatively.”

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Related: 7 Shows to Watch If You Like Tom Hardy’s MobLand

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Paramount+ has had a lot of success with shows about antiheroes on the wrong side of the law. That trend continues this month with the debut of MobLand, a new crime series starring Tom Hardy, Pierce Brosnan and Helen Mirren. Harry Da Souza (Hardy) is thrust into a mob war between two of London’s rival […]

Neither Hardy nor Paramount have addressed the allegations. Us previously reached out to representatives for Hardy, Paramount+ and MobLand producer 101 Studios for comment.

Following the reports, Mirren appeared to weigh in on the drama via an Instagram Story post shared on May 28. Alongside a photo of Hardy, she wrote, “Love you now and always, Helen.”

In MobLand, Hardy portrays Harry Da Souza, a fixer for the Harrigan crime family in London. Mirren, Pierce Brosnan, Paddy Considine and Anson Boon also star as members of the Harrigan family. Filmmaker Guy Ritchie serves as the series’ executive producer and director. Hardy also serves as an executive producer.

By Chris Snellgrove
| Published 6 seconds ago

It’s been a pretty weird year for David Harbour. On one hand, he’s celebrated some major career milestones, like wrapping up Stranger Things and bringing his oddball MCU character back for Avengers: Doomsday. On the other hand, he’s been involved in some very notable celebrity scandals. The first was when the Daily Mail ran a story claiming that his Stranger Things costar Millie Bobby Brown had filmed a harassment and bullying campaign against him. The second was when his ex-wife, Lilly Allen, released an album all about their nasty breakup, one which included salacious details about Harbour’s love life.

For a long time, Harbour said nothing about Allen’s album or the pseudo-allegations she makes against him (which she freely admits may not all be true) in its songs. Now, he recently opened up about many of the biggest stresses of the past year, including watching his emotionally wrenching breakup turn into a highly public sex scandal. For the most part, the Stranger Things star kept it classy and only emphasized one point: that he remembers things very, very differently than his ex-wife does.

When The TV Lawman Marries A Rebel

Grab your popcorn and buckle up, because you’re going to need some context for this insane tale. It all starts with David Harbour marrying Lilly Allen. They were such an unpredictable pairing (he’s a gruff movie star and she’s a free-spirited singer) that the internet soon fell in love with this power couple. Those online fans were understandably disappointed when these celebs got divorced in February 2025. Normally, that would be the end of it, and everyone would find a new celeb pairing to obsess over. But Allen ended up releasing an album called West End Girl that seemingly spilled all kinds of tea about her topsy-turvy relationship with Harbour.

The singer never said the album was explicitly about Harbour, and in one interview, she said of the lyrics that “I don’t think I could say it’s all true.” Nonetheless, the lyrics seemed very much directed at her ex-husband: Allen sang about breaking up with a spouse who was jealous of her growing success as an actor and wasn’t ready for a long-term commitment. In the album, she claims that this husband kept an entirely separate apartment dubbed “the P*ssy Palace” where he could have affairs with other women. Since the husband was a thinly veiled stand-in for Harbour, the lyrics (which included salacious details about preferred sex toys) amounted to musical allegations against the Stranger Things star.

Everything Blows Up

For a very long time, Harbour said nothing about West End Girl; meanwhile, Allen went viral for wearing receipts from gifts Harbour allegedly bought affair partners. Recently, the Stranger Things veteran spoke about the album for the first time in an interview with Variety. “It was weird,” he said at first. He then demurred about what Allen said about him: “I do believe that it is the privilege of every artist to use their experience to create art, and so I respect her for doing that.” He explained that he didn’t want to discuss things in much detail because “In spite of the fact that a lot of people don’t allow me a private life — I value it. And I also value the lives of the people that I interact with privately. I just won’t speak about that.”

When the interviewer offered one last chance for David Harbour to push back against Lily Allen’s lyrical claims, the Stranger Things star continued to demur by noting that “stories are complex…and that’s why I say I respect her creation of art to channel her experience.” He then finished his thoughts by saying what countless jilted ex-boyfriends and ex-husbands have said about their partner’s allegedly hellish time in the relationship. “It wasn’t my experience.”

The No-Win Scenario For Celebrity Break-Ups

Fans hoping for something a little more salacious (like a comment about the aforementioned sex toy) are likely to be disappointed that Harbour didn’t spill more of the dirty deets. However, there’s almost nothing he could say here that wouldn’t damage his career. If he tries to defend himself too loudly, he would almost certainly be labeled misogynistic, abusive, uncaring, and so on. Which is, ironically enough, exactly what would happen if he took a different tack and claimed that all of Allen’s lyrics were correct. 

Harbour effectively chose the only path left to him, which was to be slightly defensive but non-committal enough to ensure one thing: that those Marvel checks just keep on coming, baby!

There are a lot of television shows that simply could not be made today. Even though they may have been super popular at the time they aired, we’ve (hopefully) evolved as a society. Many of the themes that seemed acceptable then just wouldn’t be today. Looking back on sitcoms like Three’s Company and Bosom Buddies, they now feel troubling with obvious themes of homophobia and transphobia. Some shows have characters that perpetuate tired tropes, such as the annoying, nagging wife, featured in series like Everybody Loves Raymond and Married… With Children. There’s one more example of a sitcom that could never be produced in today’s climate, and it’s pretty shocking that we once thought it had an acceptable premise.

What Is ‘My Boys’ About?

My Boys was a TBS sitcom that aired on the cable network from 2006 to 2010. The four-season show centers around PJ Franklin (Jordana Spiro), a female sportswriter for the Chicago Sun-Times, who is desperately trying to find love. The problem is that PJ is just “one of the boys,” and loves sports, playing poker, and drinking beer. She can be brutally honest and a bit blunt, qualities that turn off her potential suitors. PJ is surrounded by guys, and these lovable doofuses are like family to her. She does have one best friend who’s a woman. Stephanie Layne (Kellee Stewart) does her best to advise PJ on dating, but she can’t quite work her magic enough to help PJ find Mr. Right. Viewers seemed to enjoy watching PJ and her best buds, but TBS eventually decided to cancel the show after 49 episodes, leading to My Boys becoming a forgotten sitcom of the early 2000s.

‘My Boys’ Could Never Be Made Today

There are some episodes of classic sitcoms that feel a little cringey upon rewatching (like Monica in a fat-suit on Friends), but the entire premise of My Boys wouldn’t sit right with today’s audiences. PJ is a successful woman who’s working at her dream job. But the whole gist of the show is that she’s too boyish to find a boyfriend. The series spends way too much time focusing on PJ needing to land a man than any other aspect of her life. Instead of capitalizing on PJ’s unique personality, the series instead plays for laughs that she’s too masculine. The writing could have focused on PJ as a fully well-rounded person, but instead zeroes in on how weird she is to be surrounded by men. Even PJ’s best friend wants to change her, and is constantly giving her advice on how to act more feminine. The male characters aren’t really written any better though, since they’re portraying common stereotypes of commitment-phobic playboys and harried husbands. Basically, these characters could be dropped into any sitcom from this time period and feel right at home.

It’s not that there aren’t some redeeming qualities in the series. It does have a fantastic cast, with Jim Gaffigan, Reid Scott, and Jamie Kaler as part of PJ’s gang. Other notable actors like Nia Vardalos, Kyle Howard, Johnny Galecki, and Rachael Harris all pop up over the course of four seasons. There are plenty of silly laughs and a sweet theme of found family. It’s clear that My Boys was trying to capture the magic of a group of supportive pals, found in the uber-popular Friends. But the series would be impossible to make in the present day because of how outdated the premise is. High-quality writing in television shows today doesn’t show women changing themselves just to land a man, and most successful shows are celebrating women who are thriving in their careers. PJ would be a wonderful female protagonist in a show written in 2026, but she definitely wouldn’t be portrayed as flawed or less-than. Of course, even a sitcom today would depict the trials of dating, but PJ wouldn’t be denigrated as a mere tomboy who’s far less interesting than her male friends.

Spiro would go on to an impressive career, with roles in The Mob Doctor, Blindspot, and Ozark, and Gaffigan is a major comedy star now, so it’s not like My Boys didn’t have some importance. The sitcom is still fun to watch, mainly because we can see how far we’ve come as a society in the last 20 years. Viewing the series is like a nostalgic trip to several decades past, but it’s also easy to see that there’s no way this forgotten show would have been greenlit today.

My Boys is available to stream on Prime Video in the U.S.

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My Boys

Release Date

2006 – 2010-00-00

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Network

TBS

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Directors

Barnet Kellman, Arlene Sanford, David Trainer, Arvin Brown, Fred Savage, Matthew Diamond

Writers

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Cindy Caponera

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• 
• 

  Eddie McClintock

  Uncredited

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• 
• 

  Jordana Spiro

  Bobby Newman

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Taylor Swift was supported by fiancé Travis Kelce, her parents, Andrea and Scott Swift, and future mother-in-law Donna Kelce on a very important night in her career.

While the pop star, 36, walked the red carpet solo, the foursome were all seated together at the Marriott Marquis Hotel in New York City on Thursday, June 10, to witness Taylor being inducted into the Songwriters Hall of Fame, per footage shared online. The NFL star apparently was taking time away from his Kansas City Chiefs mandatory minicamp to celebrate his fiancée’s big moment.

Taylor was honored for her contributions to music alongside Gene Simmons and Paul Stanley of Kiss, Kenny Loggins, Alanis Morissette and Christopher “Tricky” Stewart, among others, making her the youngest-ever female inductee, beaten only by Stevie Wonder, who was inducted at age 32.

“Please don’t cheer when I say her name. Wait until the end,” HOF CEO Linda Moran joked during the gala. “[Taylor] is the youngest female to be inducted [in the Hall of Fame].”

Donna and the Swifts have shown up together to support their kids many times throughout Taylor and Travis’ three-year relationship. (The couple announced their engagement in August 2025 and are rumored to tie the knot in New York City later this year.)

This isn’t the first time Andrea and Donna have spent time together publicly while cheering on their kids. The pair have hung out together while supporting Travis’ Kansas City Chiefs and even took a trip together to the Sundance Film Festival in January

Meanwhile, Taylor is in the middle of a whirlwind week, which started with the musician getting Tom Hanks and Tim Allen to sign her vintage Toy Story VHS on the red carpet at the world premiere of Toy Story 5 in Los Angeles on Tuesday, June 9.

Taylor — who recorded the sentimental track “I Knew It, I Knew You” for the Toy Story 5 soundtrack — rocked a Western patchwork dress as she walked the red carpet solo. (Travis was unable to attend the event with her because it was the first day of Chiefs mandatory minicamp at the University of Kansas Health System Training Complex in Kansas City, Missouri.)

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On Wednesday, Taylor was joined by pals Mariska Hargitay, Alana and Este Haim courtside at Madison Square Garden to watch the New York Knicks score an epic comeback win over the San Antonio Spurs during Game 4 of the 2026 NBA Finals.

Related: Taylor Swift Set to Make History With Songwriters Hall of Fame Induction

Taylor Swift is becoming a member of the Songwriters Hall of Fame’s 2026 class. The organization announced on the Wednesday, January 21, episode of CBS Mornings that Swift, 36 — alongside Walter Afanasieff, Terry Britten and Graham Lyle, Paul Stanley and Gene Simmons of Kiss, Kenny Loggins, Alanis Morissette and Christopher “Tricky” Stewart — will […]

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After the Knicks’ big win, the musician also hugged it out with Kylie Jenner, who was sitting courtside with her boyfriend and Knicks superfan, Timothée Chalamet.

This huge week for Swifties continues on Friday, June 11, when Taylor takes part in ABC’s 20/20 special Toy Story: 30 Years and Beyond, in which she shares exclusive insight on writing “I Knew It, I Knew You” for Toy Story 5.

Ashley Judd is living her best life at 58.

Taking to Instagram on Thursday, June 11, Judd shared a video of herself splashing about in the water as she embraced her midlife era.

The post was titled, “We Don’t Care Club: Baltic Sea Edition.” The caption was a nod to the “We Do Not Care Club,” the social media movement created by Melani Sanders, which encourages women to lean into their later years.

“This installment is a healing tonic for a grave condition that often plagues adults and the overly serious: ‘Know-It-All-itis,’ ” Judd wrote in the caption.

Related: Ashley Judd Shows Off Curves in Bathing Suit to Talk About Menopause

Ashley Judd is no longer caring what others think and embracing her inner child as she experiences postmenopause. Judd, 57, took to Instagram on Tuesday, July 22, to share a video of herself splashing around in the Baltic Sea while showing off her curves in a green one-piece swimsuit. “Hi, I’m Ashley and I’m a […]

The actress also made jokes as she frolicked in the sea. “The good news is when it’s shallow you don’t get as much sand in your crotch,” she quipped.

At another point in the video, Judd picked up seaweed, which she called “salad” before shaping it into a crown and describing herself as a “lady of the sea.”

Followers praised Judd’s enthusiastic spirit in the comments section.

“Physical beauty is obvious, you are so radiant and natural, however it’s your childlike happy spirit that is shining! A real mermaid! 🧜‍♀️ Fierce and gentle and of the sea. 🌊” wrote one follower.

Another added, “You are a ray of sunshine in a dark place.”

Judd has previously uploaded videos as part of the “We Don’t Care Club” movement.

“Hi, I’m Ashley and I’m a member of the We Don’t Care Club,” she declared in a July 2025 post. “Sometimes when I wear a swimsuit, I get a little chafing, like right down there, so I put on cornstarch. Good trick if you don’t know it already.”

After showing off a non-stinging type of jellyfish in her hands, Judd placed the sea creature back into the water and said she was “picking my crotch and I don’t care.”

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When Ashley Judd shattered her leg on an excursion in the Democratic Republic of the Congo in 2021, doctors told her she may never move her foot again — so she set out to prove them wrong. Judd, 56, took to social media on Monday, May 13, to post a video via Instagram displaying just […]

She told fans about her “MSU Club,” or “Make Stuff Up Club,” and said that as a “postmenopausal woman, I don’t care if you don’t like the MSU Club.”

In a June 2025 Instagram post, Judd candidly opened up about being “post-menopausal since 2018.”

“And super comfortable with that. Peri, menopause, and post-menopause is human biology and medically accurate,” she wrote. “Sex education is essential. I am rejoicing in @justbeingmelani un muzzling of peri/post/menopausal expression and her inviting in all kinds of women to liberate their ‘I don’t cares!’ We are enough, we do enough, it is enough. It is okay, we are okay. It is human biology. Fact and true. To all my menopausal ladies out there, what are your don’t cares?!”

By Chris Snellgrove
| Published 23 seconds ago

While some of his movies could have been better (looking at you, Spectre!), James Bond still has the greatest action franchise in the entire world. From the very beginning, this secret agent established himself as the ultimate man’s man: he always dresses to impress, he knows how to win big at cards, and he’s gifted at seducing the most beautiful woman in the room with a single, well-placed pickup line. When he’s not doing those things, though, he’s saving the world, one memorable shootout and iconic driving sequence at a time.

Now, 007 finds himself at a creative crossroads. Daniel Craig decided to hang up the tux, and nobody has yet been officially cast to take his place as James Bond. Beyond that, Amazon has not officially announced which talented creator will bring the next Bond film to life. Ironically, though, the man they’d kill to hire is someone they can no longer afford: Steven Spielberg, who recently revealed that his offer to direct a Bond film decades ago was rejected. While it would have been cool to see the world’s greatest director take on 007, the blunt truth is that Spielberg would have almost certainly run this franchise into the ground.

Close Encounters Of The Bond Kind 

Recently, Steven Spielberg has been making the rounds to help promote his latest film, Disclosure Day. During an appearance on The Rest Is Entertainment podcast, he revealed something startling: not only had he volunteered to direct a James Bond film, but his offers had been rejected on multiple occasions. He first approached 007 franchise producer Cubby Broccoli after Jaws became a blockbuster hit. “I’d always wanted to make a James Bond film from the day I saw Dr. No, so I called Cubby after Jaws and volunteered,” Spielberg said. “I said, ‘If you need a director, I would love to direct one.’ And he said no.”

A few years later, Broccoli approached Spielberg with a very specific request: he wanted to use the famous five-note melody from Close Encounters of the Third Kind in Moonraker, Bond’s one and only sci-fi adventure. The director responded to Broccoli by saying, “I’ll give you permission to use the five notes if you let me direct a Bond film.” His offer was refused yet again, and while Spielberg let the producer use those notes, he is seemingly still baffled by the constant rejection: “He never explained why he wasn’t letting me into the Bond family.”

Setting A Franchise On Fire

To hear Spielberg tell it, this is an all’s well that ends well story. When he griped about not getting to direct a 007 film to George Lucas, the Star Wars creator invited Spielberg to collaborate on a new character: “Indiana Smith,” who would later be renamed to Indiana Jones. The Jones films helped cement Spielberg’s reputation as the greatest director in the world, and if he were asked to direct a Bond film today, he says his flat response would be, “You can’t afford me.” For all of the director’s sour grapes, though, I’m glad Broccoli rejected his offers because Spielberg would have been terrible for the James Bond franchise.

Why do I think Spielberg would have been a terrible Bond director? For one thing, he is a very visual director in ways that aren’t really suited to the 007 franchise. Think about some of his most iconic shots: the first emergence of the shark in Jaws, the Tyrannosaurus rex chase in Jurassic Park, and so on. These shots were great at establishing these creatures as larger-than-life threats, especially to the puny humans just trying to survive. That doesn’t really work for Bond, though, who is designed as a larger-than-life, borderline superhuman who fights dimwitted bad guys. Basically, in a 007 film, Bond is the dinosaur everyone else is running away from.

The One Hero Spielberg Can’t Handle

As Spielberg himself implies, the closest he came to directing James Bond was directing four of the Indiana Jones films. While those movies are amazing, they also reveal why Spielberg’s style doesn’t work for 007. Spielberg’s action hero is flawed and funny, while Bond is meant to be cool, collected, and (mostly) serious. Plus, the Indy films are built around setpiece-driven action scenes like the rolling boulder in Raiders of the Lost Ark, cutting the bridge in Temple of Doom, etc. That makes for a great spectacle, but it doesn’t exactly build character. Bond’s action is more grounded and more centered on the character, which is crucial for a borderline mythic action hero.

Finally, all of Spielberg’s best creative gears would be wasted on James Bond. There’s no focus on family (found or otherwise) in 007, but this is a staple in movies like E.T. the Extra-Terrestrial, Catch Me If You Can, and especially The Fabelmans. There are no otherworldly things to inspire a sense of wonder in a James Bond movie, but this is the driving force of Spielberg films like Close Encounters of the Third Kind and Jurassic Park. Heck, even the Bond music is so well-established that there’s no chance of Spielberg teaming up with John Williams to deliver fresh music and coordinated visuals, like with the flying bike in E.T.

None of this is meant to dunk on Steven Spielberg. Once more, for the cheap seats, he’s the greatest director in the entire world. But he gained that status by mastering a visual storytelling style that is best suited to certain characters and narratives. Characters out of their depth, heroes fighting monsters, broken people discovering that family matters the most? These are just a few of the things that Spielberg handles best. But Bond is never out of his depth, he only fights humans, and he doesn’t have a family. In short, it’s true Amazon can’t afford Spielberg, but James Bond can’t afford to have this iconic director run this franchise into the ground.

You don’t have to start an amazing sci-fi movie with an absolutely amazing or technically dazzling shot, as something like Jurassic Park shows. That movie has a great opening scene, but the first shot of the movie isn’t particularly memorable. It’s some trees rustling. It’s fine. But it’s “shoot her!” and the rest of the scene – especially the way it teases and doesn’t clearly show any dinosaurs – that makes it a great opening.

So, the following examples are all here just because of the opening shots. Some of these only last a few seconds, while others last a couple of minutes. They all convey some kind of information right away in a visually striking or otherwise thought-provoking way, and sure, they’re usually part of great opening scenes. But what really matters are great opening shots from sci-fi movies, and below are some of the very best of all time.

10

‘Akira’ (1988)

Image via Toho

One of the best anime films of all time, Akira is about the dystopian world of… well, 2019. But an alternate 2019, seeing as Akira starts with a shot of the Tokyo of 1988 being blown up with an atomic bomb. It’s also not the only cyberpunk movie of the 1980s that has a memorable opening shot and a 2019 setting (more on that other movie about “blades” and “running” in a bit).

It’s funny that Akira did accurately predict the Olympics being held in Tokyo in 2020, even if technically, the “2020” Olympics got held in 2021, because of the COVID-19 pandemic. Sticking with that opening shot, though, it’s a memorable image and an important one for setting the scene, explaining why Tokyo becomes Neo-Tokyo, and also foreshadowing more widespread destruction that eventually happens much later in the film.

9

‘Back to the Future’ (1985)

Image via Universal Pictures

There’s a lot going on during the opening scene of Back to the Future, and much of it’s conveyed within one shot that shows a variety of things in a single room. There is a cut at one point, from a can of dog food being opened to the contents of that can being dropped into a bowl (and some of it getting on the floor), but even then, there’s about two minutes’ worth of information conveyed in the single shot before that cut.

Plenty of things shown here feel a little odd, at first, but they’re all set-ups that eventually get great payoffs, and they do ultimately help Back to the Future feel as satisfying and crowd-pleasing as it ultimately does. The lack of music during this opening shot has always felt like a bit of an odd creative choice, but the visuals here do a lot, and there’s definite creativity in how much is shown and coordinated in a single opening shot.

8

‘Star Wars: Episode III – Revenge of the Sith’ (2005)

It’s worth including more than one Star Wars movie here, since they typically start memorably. If you count the opening crawl as part of any opening shot, they’re always iconic, with the main theme and the serial-style yellow text always feeling exciting and setting the mood well, even if the movie to follow is less than great. Thankfully, most of Star Wars: Episode III – Revenge of the Sith is pretty great, and the opening shot is especially memorable.

Now, it’s not the very best part of the whole movie, and though it’s presented as one long take, that is easier to do when everything’s computer-generated, compared to, say, the intricacies of doing a massive battle scene initially presented as one long unbroken take lasting more than a minute. It’s still exciting and quite spectacular, in any event, being enough of a wow moment to potentially stop you from realizing the battle Obi-Wan and Anakin dramatically swoop into should be visible sooner.

7

‘Children of Men’ (2006)

Image via Universal Pictures

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This is a slightly tricky example, because there is one long shot that makes up the first scene in Children of Men, but a cut to a TV screen people are watching does technically interrupt it. Technically, the third shot of the movie is the one that feels the most impactful and memorable, though it could be the second shot if they did film the whole thing in one take, but then inserted the brief cut to the screen to better showcase what the people in that shot are seeing.

If you can only count the first shot as the one shot, it still conveys a good deal of information, and that sense of “maybe the first and third shots are still the one shot” means Children of Men can still sneak in here. It’s a dark, distressing, and undeniably intense way to kick off a dark, sometimes distressing, and ultimately very intense movie.

6

‘Mad Max: Fury Road’ (2015)

Image via Warner Bros. Pictures

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Compared to much of the movie that follows, the opening shot of Mad Max: Fury Road is rather calm, at least visually. It’s a still and not frenetic shot (the frenetic stuff comes a bit later, and lasts for almost the whole film), only having some chaos on the audio side of things, as Max delivers some voiceover narration that speaks to how psychologically wrecked he is, and then the viewer temporarily hears the voices in his head.

And then his madness (he is “Mad” Max, after all) is further illustrated when he steps on a lizard and then eats it, all with his back to the camera. Also, the lizard has two heads. The shot is notable for lasting more than a few seconds, compared to all the rapid editing that follows, and it’s a perfect calm (relatively speaking) before the storm sort of moment. It’s also beautiful to look at, with the vivid colors and landscape recalling the sorts of visuals you’d more expect to see in an old-school Western.

Image via Warner Bros.

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Back to the Future is not the only sci-fi movie Robert Zemeckis directed that has a great – and admirably ambitious – opening shot, since he also did Contact. Back to the Future is the better movie overall, but Contact has an even more exceptional opening shot, and one you can also potentially compare to the opening shot of Revenge of the Sith, what with this being a lengthy shot of space done with advanced special effects.

For the time, this was the longest single shot done with digital FX, lasting about three minutes and flying through space, showing Earth, then the solar system, then the Milky Way galaxy, and then countless other galaxies in the whole universe. It still looks good when watched today, and the way it drives home the size of space right at the start of the movie (with that proving important for the narrative, eventually) in such a way is undeniably impressive. There are plenty of other inventive uses of special effects throughout Contact, but that’s to be expected, when Zemeckis is in the director’s chair, since he’s always seemed drawn – sometimes to a fault – toward showing viewers things they might not have ever seen before.

4

‘2001: A Space Odyssey’ (1968)

Image via Metro-Goldwyn-Mayer

Stanley Kubrick was an all-time great director in general, but especially when it came to memorably opening and closing his movies. Regarding 2001: A Space Odyssey, it might technically have a bolder ending shot, but the opening shot also does a great deal in terms of delivering spectacle right away. There’s the moon, and then the Earth is seen over the moon, and then the sun rises slowly over the Earth.

Call it simple if you want, but it is awe-inspiring in motion, especially with the music swelling alongside the visuals so perfectly. It’s only a small taste of things to come, regarding just how impressive the special effects later in the film end up being, but this opening shot of 2001: A Space Odyssey does convey, remarkably well, that you’re in for something grand and ambitious.

3

‘Blade Runner’ (1982)

Image via Warner Bros.

Like Akira, Blade Runner is set in 2019, and it also opens with a pretty stunning shot of a city (no atomic bomb going off here, though). This is purely to set the stage for the movie’s setting and also the overall feel, with the information you get from the opening minute or two, regarding the plot and the overall conflict, coming from some opening text that isn’t necessarily the first shot.

Well, opening text maybe is, but by that logic, the final shot of most movies is just the end credits: text against a black screen (which is what you get most of the time). So, the opening shot of Blade Runner, for present purposes, is that dreary-looking – yet also visually stunning – cityscape, which creates a great first impression, not to mention a fitting one, considering the moody and atmospheric sci-fi film that follows.

2

‘A Clockwork Orange’ (1971)

Image via Warner Bros.

The opening shot of A Clockwork Orange technically isn’t as awe-inspiring as the opening shot from the previously mentioned Kubrick film here, 2001: A Space Odyssey, but it might be even better. It’s a long shot that slowly pulls back, showcasing the Korova Milk Bar with an initial focus on Alex, the film’s protagonist, but all throughout, he doesn’t stop staring directly into the camera.

He’s not the only character to do one of those “Kubrick stares,” but this might be the best of all the Kubrick stares, especially thanks to the voiceover, which gets you into the head of Alex, even if that’s not a place you necessarily want to be. He lays out what he’s about to do, who he’s with, and then you also see the kind of place he likes to frequent. You get introduced to the slang used throughout, and then the music used in this opening shot is also instantly striking, not to mention uniquely eerie.

1

‘Star Wars’ (1977)

Image via Twentieth Century-Fox

For as cool and maximalist as the opening battle in Star Wars: Episode III – Revenge of the Sith was, it’s still Star Wars (1977) that has the most iconic opening shot. It’s also very easy to put at #1 here, as it might well be the best opening shot from any movie, regardless of genre, doing a great deal to perfectly establish the conflict that’ll play out across the film right away, not to mention also doing the same by way of establishing the most significant conflict of the entire series.

After the opening crawl, there is a small ship with the good guys on it, and then an absolutely massive spacecraft with the bad guys on it, pursuing the first ship, with the shot framed in a way that really emphasizes the immense size of the second ship, setting the Rebels up as instant underdogs. The only film made up until that point that made space look as impressive was 2001: A Space Odyssey, and that was also going for a very different thing overall. The opening shot in Star Wars makes the film get off to a speedy and exciting start, with the music and sound design also doing so much for the overall spectacle offered here.

Three years after James Gunn and Peter Safran took the reins of the new DCU, things are mostly firing on all cylinders. Superman proved to be the exact cinematic start the new franchise needed last year, introducing David Corenswet‘s Clark Kent to solid reviews and an inspiring $618.7 million. There have since been a few deviations from the original plan for the universe’s first chapter, Gods and Monsters, laid out back in 2023 to capitalize on the success and work around other projects still developing. The next two years, for instance, will see the release of two projects not among the ten titles originally announced — the Mike Flanagan-penned Clayface movie in October and the Lex Luthor and Superman team-up, Man of Tomorrow, premiering next summer — alongside Supergirl and Lanterns this summer.

A few of those first ten titles are on pause at the moment, like the Authority movie, but there are two still being hammered out that concern what Gunn considers some of DC’s “diamond characters.” The Brave and the Bold, which will introduce the DCU’s Batman, brought aboard a new screenwriter in Christina Hodson earlier this year, but it’s clear that Andy Muschietti‘s take on the Dark Knight is still a ways off. Back in April, meanwhile, he replied on Threads that the Themyscira-set Wonder Woman prequel series, Paradise Lost, was in “extreme development,” confirming both it and the Booster Gold series are still happening despite a lack of updates. Adding even more smoke to that fire is that the head writers have seemingly been found, per the Writers Guild of America website.

Kira Snyder and Janet Lin are both currently listed as attached to Paradise Lost, though their exact titles, whether it be showrunners or something else, are yet unknown. There has yet to be an official confirmation from Gunn about their involvement either, but it’s a fairly definitive indication that they’re helping in some capacity to make the series happen. Both bring solid resumes to the DCU, with Snyder previously writing and producing for The Handmaid’s Tale and For All Mankind, and Lin having worked on the first season of Bridgerton. This project would be a unique one for them, approaching the idyllic Amazonian nation from a historical perspective before Diana ever wielded her Lasso of Truth. Safran previously likened it to Game of Thrones, explaining how it would explore “all the darkness and drama and political intrigue behind this society of only women,” and answer any questions about Themyscira’s existence.

Wonder Woman Is a Massive Part of Gunn’s DCU Plans

Paradise Lost is just one small piece of the puzzle for Wonder Woman and her world within the DCU. A feature centering on the Amazing Amazon is also in the works, bringing back Supergirl scribe Ana Nogueira to pen the screenplay. Gunn has made it clear that casting wouldn’t begin until writing was finalized, so it’ll be a while before Diana returns to the big screen. Whenever Wonder Woman does finally make her grand entrance, though, the groundwork is laid for her arrival thanks to Gunn’s first animated series in the franchise, Creature Commandos, which introduced the rogue Amazonian sorceress Circe (Anya Chalotra), one of her greatest adversaries. Notably, the DCU head also previously mentioned wanting to make a Wonder Woman animated show, too, but there are no indications that any such project is coming at this time.

Paradise Lost remains in development. Stay tuned here at Collider for more on the show’s future and what’s to come for Wonder Woman under the DCU as we learn more.

Tori Spelling and Dean McDermott came together to celebrate daughter Stella as she graduates from high school.

According to photos obtained by People, the exes sat next to each other as they watched Stella, 18, receive her diploma on Thursday, June 11. Spelling, 53, and McDermott, 59, were also all smiles as they posed for photos with their daughter.

One day before Stella’s graduation, both Spelling and McDermott paid tribute to their eldest daughter in honor of her birthday.

“My baby is 18 today … She will always be my Buggy. In this one lifetime so far we have loved, lived, lost, and learned. It’s been a true honor so far to watch you @stella_mcdermott08 grow and evolve and inspire all around you,” Spelling wrote via Instagram on Wednesday, June 10, alongside a clip of her and Stella at the beach. “You are kind and courageous. You are strong and soft. I’m so proud to be your mom and we are true proof that moms and daughters can be best friends. I love you with all my heart and soul and can’t wait to see the amazing future you have. There’s nothing you can’t do. I watch that daily. My beautiful Buggy xo 💋.”

McDermott, for his part, posted a series of throwback pics of Stella over the years.

“I can’t believe my little Lady Bug is 18 today,” he captioned the Wednesday post. “Such a beautiful human inside and out. So proud of you. You’ll always be my Buggy. Happy Birthday. I love you kiddo.”

Spelling and McDermott wed in 2006. In addition to Stella, the couple share daughter Hattie, 14, and sons Liam, 19, Finn, 13, and Beau, 9. McDermott is also father to son Jack, 27, whom he shares with ex Mary Jo Eustace.

In 2023, Spelling separated from McDermott after 17 years of marriage. Two years later, Us Weekly confirmed that their divorce was finalized.

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Related: Why Tori Spelling and Dean McDermott Decided Divorce is ‘Best for Everyone’

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Tori Spelling and Dean McDermott have weathered many storms during their marriage — and Spelling’s recent divorce filing hasn’t appeared to sour their relationship. “Tori and Dean are still cordial,” a source exclusively tells Us Weekly after Spelling, 50, filed for divorce on Friday, March 29. Spelling and McDermott, 57, have “been together so long […]

“While we had our ups and downs and problems throughout our marriage, we had no problems throughout the divorce,” the Beverly Hills, 90210 star said during an episode of her “MisSpelling” podcast after her and McDermott’s divorce was finalized. “Which I think is a testament to the two of us and wanting to really step up and be there for the five humans we chose to create out of love.”

While Spelling and McDermott’s romantic relationship didn’t work out, the pair have had a strong coparenting dynamic.

“We’re great coparents,” McDermott exclusively told Us in November 2025 of his “fantastic” connection with Spelling. “We’re a united front. It’s all about the kids.”

By Chris Snellgrove
| Published 1 second ago

For better or for worse, we are living in the golden age of TV revivals. Some of the most beloved shows from the ‘90s just keep coming back, often to the delight of older fans. Frasier, for example, brought Kelsey Grammar back for a new show; it streamed on Paramount+, which also hosted the Star Trek: The Next Generation reboot, Picard. Beloved children’s sitcom Full House was brought back as Fuller House, and even the pioneering gay sitcom Will & Grace was rebooted for the enjoyment of a newer, more progressive generation. Amid all these revivals, some of us have been asking the same question for years: where the heck is Home Improvement?

Home Improvement was one of the most popular television series for almost the entirety of the ‘90s. With that kind of popularity, a reboot or revival seemed inevitable, and leading man Tim Allen has frequently discussed how much he’d love to make one happen. Recently, he was asked during an interview if there were any updates, and he offered a surprising response. He claimed that it would only make sense for a revival to focus on his onscreen sons, but “there are some personality problems right now with the boys.” This seems to mostly be an allusion to Zachery Ty Bryan, who is currently serving one of multiple scheduled stints in jail!

The Greatest TV Dad Is Back (Well, He Wants To Be)

Recently, Tim Allen gave an interview to Us Weekly, where he was asked about the status of a possible Home Improvement revival. “They keep talking about how it could move forward, but they get stuck [because] there are some personality problems right now with the boys,” he said. “They’ve got their own issues. I always thought it would be cool if it was a story about them. That’s a little challenging right now, to put it mildly.” It’s a good idea, really, one which worked for another ‘90s sitcom revival. When Fuller House came back, all of its primary dramas revolved around the grown-up versions of the child characters from Full House. 

So, what does Allen mean when he says “the boys” have “personality problems?” In Home Improvement, his character had three sons, played by Zachery Ty Bryan, Jonathan Taylor Thomas, and Taran Noah Smith. Of these former child stars, Smith has stopped acting altogether; in fact, the last thing he did was voicework for a 1999 episode of Batman Beyond. Meanwhile, former teen heartthrob Jonathan Taylor Thomas is still interested in making art, but he prefers to write and direct these days. Because of that, it would be difficult to get either of them to come back for a Home Improvement revival.

Child Star Breaks Bad

The one who presents the biggest issue, though, is Zachery Ty Bryan. In 2020, he was arrested for allegedly strangling his girlfriend. He has also been repeatedly arrested for domestic violence and is currently spending 16 months in a California prison for a felony DUI violation. Once he gets out, he will then serve a 19-month prison sentence in Oregon for probation violations connected to one of those domestic violence arrests. Overall, his story is a sad one for all of us who enjoyed watching him on Home Improvement back in the ’90s. But Tim Allen isn’t wrong: it’s hard to star in a TV show when you can’t stay out of jail! 

Once upon a time, Tim Allen was the ultimate TV dad, and he’s in a pretty tough position now. He knows that Home Improvement is still popular; audiences love the conceit of that show so much that he was able to create two successful spiritual sequels (Last Man Standing and Shifting Gears). Now, he has the perfect idea to bring Home Improvement back, but it just can’t happen because producers would have to recast all of his onscreen children. As much as I empathize with Allen, though, it’s surreally funny to see him throw all of those actors under the bus and blame them for his revival never getting a green light.

Undeniably funny, weirdly jerky behavior that makes you cringe and laugh at the same time? This felt less like watching a major Hollywood star and more like watching his onscreen alter ego. We may never get more Home Improvement, but thanks to Allen’s interviews, one thing is clear: Tim “The Tool Man” Taylor never left!