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In the world of television, there are very few creators who can outmatch Taylor Sheridan. Thanks to the success of Yellowstone, Sheridan’s built a veritable empire of TV shows for Paramount. He’s also wrangled a collection of talented actors to star in them, including Kevin Costner, Sylvester Stallone, and Harrison Ford. Long before he climbed to the top of the Paramount mountain, Sheridan racked up a collection of supporting roles on various television shows. One of those series was on a popular 2000’s-era neo-noir series, and it features Sheridan playing a character that’s the complete opposite of the rugged, salt-of-the-earth cowboy types he often writes about or portrays in his current shows.
That series is none other than Veronica Mars. The Rob Thomas-created series stars Kristen Bell as the titular private eye, who juggles solving crimes in her hometown of Neptune with completing high school. Equal parts dark and witty, Veronica Mars was a major success during its original run, outlasting the end of its parent network, UPN, and even returning for both a movie and a revival series. It also saw a number of iconic guest stars during that run, including Tessa Thompson and Amanda Seyfried. That raises the question:What exactly is Taylor Sheridan’s role in Veronica Mars?
Taylor Sheridan makes his first appearance in Veronica Mars during the Season 2 episode “Ahoy Mateys” as Danny Boyd, the cousin of criminal Liam Fitzpatrick (Rodney Rowland). Veronica first encounters Danny when she’s investigating a mystery involving a school bus that plunged into the Pacific Ocean. Danny isn’t the sharpest tool in the shed, as he unwittingly shows Veronica around his cousin’s headquarters and winds up being taken down by her signature taser shortly after. It’s a far cry from Sheridan’s clean-cut role as David Hale in Sons of Anarchy, but it showcases that the man has some serious range.
Danny would wind up playing a key role in Season 2 of Veronica Mars, since he has a connection to a plastic surgeon whom Veronica suspects is involved in the bus crash. Said surgeon almost put Veronica’s on-again, off-again boyfriend Logan Echolls (Jason Dohring) behind bars, making Danny’s help all the more necessary. Sheridan would reprise his role in two more episodes of Season 3, though his last appearance in the episode “Debasement Tapes” was overshadowed by none other than Paul Rudd. Despite a brief run, Sheridan managed to be one of Veronica Mars’ most memorable guest stars.
Shortly after his stint on Veronica Mars, Taylor Sheridan would board Sons of Anarchy. However, he quit after that show’s third season to pursue writing, as he felt he wasn’t paid enough for his roles. Sheridan further elaborated on his decision during a 2021 interview with Deadline, saying he knew the time was right to shift gears to writing and creating his own shows.
“It wasn’t so much over money. It was so much more than that’s how the business saw me… And I decided right there that I didn’t want to be 11 on the call sheet for the rest of my life.”
True to his word, Sheridan immediately pivoted to writing scripts for movies and television, beginning with the crime thriller Sicario and then launching the Yellowstone universe, which continues to this day with the spin-offs Y: Marshals and Dutton Ranch. He’s still managed to play key roles in those series, particularly in Yellowstone as horse trainer Travis Wheatley. Travis is the complete opposite of Danny Boyd, as he’s muscular, confident, and impresses every woman he comes into contact with. Some Yellowstone fans tend to see Travis as little more than Sheridan’s self-insert, since the series’ penultimate episode, which features him prominently, is the lowest-rated episode of Yellowstone‘s run.
Taylor Sheridan is about to undergo another seismic career shift, as he’s departing Paramount for a robust deal at Universal Pictures. Fans of his work should remember that his short-lived stint on Veronica Mars helped pave the path to his current superstardom.
March 14, 2014
107 minutes
Roomies, B2K is officially back in their music bag! Omarion, J-Boog, Raz-B, and Lil’ Fizz just dropped ‘Mileage,’ marking the group’s first single and music video together in more than two decades. While fans are hyped to see the group release new music together again, Pretty Ricky’s Spectacular Smith entered the chat with a few thoughts. Now, social media is debating whether he’s throwing shade or just being petty.
B2K’s new ‘Mileage’ track focuses on embracing fresh starts and leaving the baggage from past relationships in the rearview. The group is doing just that as they step into a new chapter, bringing their signature harmonies together for a more grown and refreshed sound.
Once The Shade Room shared a lil’ teaser clip of the single, Spectacular Smith slid into the comment section with a reaction of his own. He came through with some jokey jokes, calling out Fizz before doubling back with another comment claiming B2K was the reason he couldn’t hop on his recent Southwest flight because the agent was a super fan of the group. As TSR previously reported, Spectacular had a little tiff with a Southwest Airlines agent who allegedly stopped him from boarding his flight over his carry-on items. “Didn’t I tell y’all take that damn Fizzle Pop Verzuz off. 😂🧹🧹🧹” Spectacular added, “Sent that Southwest agent to not let me on my flight. 👀 I know he was y’all super fan. 😂🧹”
More reactions kept rolling into The Shade Room’s comment section, with plenty of fans showing love for B2K’s new single. Plenty of Roomies said they were happy to see the group put their differences aside and bring back those classic R&B vibes.
Instagram user @mskelly_d wrote, “This is all we ever wanted, for y’all to get back as a group.❤️🤞🏽🔥”
Instagram user @rr_romee wrote, “This song is a vibe 🔥🔥”
While Instagram user @dominiquechinn wrote, “The way men able to work things out has to be studied, women so different with that. It’s nice they are able to put the differences to the side and give the world some new music.”
Then Instagram user @candaceeee4 wrote, “They look gooooood 😍..but ima have to try and listen in the car cause idk!”
Another Instagram user @_pettyking wrote, “They might’ve lost the Verzuz 👀🤭 But THIS is a winning song! 🎵”
Instagram user @chantellel0ve wrote, “Fizz still fine as my 7th grade brain remembers. 😂😍”
Then another Instagram user @anjleigh wrote, “Finally J-Boog has a part ❤️🔥”
While another Instagram user @flos_agri wrote, “🔥🔥🔥🔥 it’s actually a really good song.”
Finally, Instagram user @love260 wrote, “Just add @chrisbrownofficial as a feature and we litt 😍”
B2K previously had the internet buzzing when they linked up with Pretty Ricky for a Verzuz battle in June. The guys went track for track, running through their biggest hits and giving fans a full dose of nostalgia. The Verzuz also delivered plenty of viral moments, with the groups playfully taking shots at each other and bringing fans onstage for a full VIP experience. Swipe below to see what went down.
What Do You Think Roomies?
In Archer, even Sterling Archer’s (H. Jon Benjamin) biggest enemies refer to him as “The World’s Most Dangerous Spy.” To his co-workers at ISIS — the spy agency, not the terrorist group — he’s simply the alcoholic, womanizing secret agent who’s practically a nepo baby because his mother runs the agency. Premiering in 2009, Archer was a stylish, sophisticated breakthrough between long-running animated series like The Simpsons and South Park. While its cartoonish aesthetic might suggest otherwise, the series still stands as one of television’s sharpest adult comedies three years after its series finale.
Rather than centering on a dysfunctional family, Archer follows an equally dysfunctional spy agency. Unlike the prestigious CIA or FBI, ISIS is underfunded, over-the-top, and staffed by spectacularly unqualified employees, with Archer serving as its poster boy. Packed with obvious homages to the spies of yesteryear, Archer gives audiences the bad boy of espionage — not because its hero has gone rogue, but because it’s almost unfathomable that someone so immature can also be such a well-oiled killing machine.
Archer has every espionage trope in the book: the suave 007 persona, expensive cars, and a Cold War-like rivalry with the KGB. The catch, however, is that Archer is no James Bond. He’s a childish, narcissistic operative with a severe Peter Pan complex and glaring mommy issues. In today’s climate, he’s a walking red flag, displaying the kind of politically incorrect behavior that would never fly today — think the early seasons of It’s Always Sunny in Philadelphia, only even cruder and occasionally bordering on illegal. Somehow, despite all his flaws, Archer is an exceptional field agent. Alongside his reluctant partner — and on-again, off-again lover — Lana Kane (Aisha Tyler), Archer bumbles through missions like it’s child’s play, fighting off everyone from cyborg assassins to Chinese triads.
Archer isn’t the only eccentric character in the show. Ironically, he works for his emotionally detached mother, Malory Archer (Jessica Walter), who runs ISIS. Since Malory rarely spent time raising him, the two have a deeply complicated relationship, one built on constant insults and petty jabs. Archer’s abrasive behavior also affects the rest of ISIS’s equally maladjusted staff, including the insecure accountant Cyril Figgis (Chris Parnell), the masochistic office assistant Cheryl Tunt (Judy Greer), the borderline intrusive head of HR Pam Poovey (Amber Nash), the mad scientist Dr. Algernop Krieger (Lucky Yates), and bomb specialist Ray Gillette (Adam Reed).
The first four seasons of Archer follow an episodic mission-of-the-week format, usually tied together by an overarching storyline revolving around Archer’s messy personal relationships, whether with Lana, Malory, or someone outside ISIS. Each episode throws the show’s titular character into a hyper-specific mission built around familiar espionage clichés, only with an unmistakably indecent twist. These escapades range from hunting down a mole inside the agency — where Archer somehow gets an erection during a gun standoff — to protecting the 16-year-old daughter of a German billionaire who has the hots for him.
By the middle of its run, Archer began shaking up its formula by parodying some of Hollywood’s beloved works. The Miami Vice-inspired fifth season follows ISI after its dissolution by the FBI, forcing the team to sell counterfeit cocaine to stay afloat. Season 7 borrows from Magnum, P.I. as ISIS relocates to Los Angeles and opens a boutique private investigation agency in Hollywood. After Archer falls into a coma following the Season 7 finale, the series conceived what is now referred to as the “coma dream” trilogy: the 1940s noir-inspired Archer: Dreamland, the Tales of the Gold Monkey-inspired South Pacific adventure Archer: Danger Island, and the Alien-inspired sci-fi romp Archer 1999.
Archer’s proneness for utter disrespect might make him a difficult character to root for, but what makes him so endearing to watch is that everyone else at ISIS is more than willing to knock him down a peg. He might be excellent on the field, but when it comes to his cognitive abilities and emotional quotient, he’s nothing but weaponized incompetence, giving his co-workers more reason to push back against his nonsense. Because Archer’s carelessness constantly gets him into messes during missions, almost every episode sees him swallow his pride and ask his teammates for help, much to their amusement.
While Archer keeps the momentum going with its offensive jokes, explosive missions, and bureaucratic side plots, it also knows when to take itself seriously. Archer may be rude, but he’s not heartless. Much of his hypermasculine bravado is a defense mechanism, and whenever his teammates are in real danger or he loses someone he loves, those walls come down. Throughout the series, expect surprising sacrifices, unexpected deaths, and a farewell nobody saw coming. While 145 episodes may seem like one too many for a spy series — after all, there are only so many missions audiences can follow — Archer gives classic espionage an eccentric edge, taking cues from the spy television of its heyday while reinventing the genre for modern audiences.
2009 – 2023-00-00
Casey Willis, Matt Thompson, Justin Wagner, Pierre Cerrato, Adam Reed, Megan Johnson, Chi Duong Sato, Omaka Schultz, Kim Feigenbaum, Stephen Slesinski, Marcus Rosentrater
Mark Ganek, Matt Roller, Asha Michelle Wilson, Mike Arnold, Shane Kosakowski, Shana Gohd, Brittany Ann Miller, Alison Zeidman, Miles Woods, Mehar Sethi
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Even if you’re not going all out for Summerween, there are a handful of spooky movies worth adding to your queue. On top of the entertainment factor, many classics include serious summer fashion inspiration — and The Witches of Eastwick leads the pack. While we still dream of that overalls outfit worn by Cher, another look that lives in our mind rent-free is Susan Sarandon’s polka-dot one-piece — a style that, surprisingly, is still sitting on Amazon for under $50.
Of course, it wasn’t technically Sarandon who wore the adorable fit — it was her character, Jane Spofford, who paired the skirted design with a bold white visor, frilly socks and sneakers for a heated tennis match. Still, the modern version of this ‘tennis swimsuit’ doesn’t require you to pick up a racket. The style will look just as sweet lounging by the pool or at the beach. It’s even a great go-to for family parties where you don’t want to show too much.
Get the Holipick Tummy Control One Piece Swim Dress for $40 on Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
The Holipick Tummy Control One Piece Swim Dress nails Sarandon’s on-screen look, and comes with the added benefit of ruched, spandex-blend fabric, which holds you in like shapewear while flattering the midsection. Aside from padding that stays in place, the straps are removable, saving you from tan lines. The chic skirt layer is also much appreciated, letting you wear the piece from the sand to a boardwalk lunch, no coverup required.
Of course, Jane’s iconic suit featured a black and white polka-dot pattern, so fans of the film will surely want to select that option when shopping this lookalike. Still, that’s not the only one worth buying — the same style comes in plain black, hot pink and even a playful tie-dye print. Even better, sizing extends beyond the usual large, going from XXS straight through to 22 plus.
Over 100 shoppers have purchased the polka-dot version over the past month, and reviewers are thrilled with the fit, noting that the design is perfect for all ages.
“I love this swim dress! Good quality and true to size,” one person wrote. “As a 59-year-old woman, I find it difficult to find something appropriate without being matronly. I am 5’3, 130 lbs, and in reasonably good shape. I wanted something cute that would let me move without constantly adjusting my suit. This is it! Whether you’re 29 or 59, this suit is adorable!”
“Great fit and fabric,” another shopper said. “Bought this for a cruise. In my 40s. Love the coverage and I’m always a sucker for polka dots. It holds up nice even when the straps aren’t used. I’m 5’2, 130ish lbs. Got a M.”
Fun fact: Sarandon herself was 40 years old when The Witches of Eastwick was released, confirming that this cute suit is not just reserved for trendy 20-somethings!
Plenty of movie outfits have remained relevant over the years, and this swimsuit look deserves some love — and a spot in your 2026 summer wardrobe. Grab the forever-cute, witch-approved style and make your next waterside hang even more magical.
Get the Holipick Tummy Control One Piece Swim Dress for $40 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more swim dresses here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
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Christopher Nolan has done it again.
Universal Pictures’ The Odyssey has stormed into theaters with a massive worldwide debut, earning $264.1 million globally during its opening weekend. The epic adaptation of Homer’s classic poem collected $124.5 million domesticallyand another $139.6 million internationally, making it the biggest global opening of Nolan’s career.
The impressive debut surpasses the global opening weekends of Nolan’s previous films, including The Dark Knight, The Dark Knight Rises, Inception, Interstellar, and even the Oscar-winning Oppenheimer. While The Dark Knight films still posted larger domestic openings, The Odyssey now stands as Nolan’s strongest worldwide launch to date.
Produced on a reported $250 million budget, The Odyssey was already one of the most anticipated films of 2026. Universal heavily leaned into Nolan’s reputation for delivering large-scale cinematic experiences, and audiences responded in force. Premium large-format screenings, especially IMAX 70mm presentations, sold out across the globe, with some North American theaters even adding overnight showtimes to meet demand.
The Odyssey [credit: Universal Pictures]
The film has also been embraced by moviegoers, earning an “A” CinemaScore and an audience score in the high 90s on Rotten Tomatoes, signaling strong word-of-mouth that could help fuel a lengthy theatrical run.
Starring Matt Damon as Odysseus, the film follows the legendary king of Ithaca on his perilous journey home after the Trojan War. The ensemble cast also includes Tom Holland, Anne Hathaway, Zendaya, Robert Pattinson, Lupita Nyong’o, Charlize Theron, Jon Bernthal, Benny Safdie, John Leguizamo, Elliot Page, Himesh Patel, Mia Goth, and Samantha Morton.
Following the critical and commercial success of Oppenheimer, expectations for Nolan’s next project were exceptionally high. Based on its opening weekend performance, The Odyssey appears well on its way to becoming another landmark achievement for the acclaimed filmmaker and could ultimately challenge the highest-grossing films of his career if its momentum continues in the weeks ahead.
A horror movie with substance is a pretty great thing. Take a look at The Substance… maybe? That one is almost mindless, to be honest, with how in-your-face it is, with its satire and what it’s ultimately trying to say, but it is saying a lot. And there are other classic horror movies, naturally, that are about more than just being scary, including the likes of Get Out, The Exorcist, and Hereditary.
For those that aren’t too complicated and are all about delivering scares, or maybe entertainment value, in the case of the ones that are more comedy/horror hybrids, you’ve got a few below. These work as great mindless horror movies, and are the kind you can watch and appreciate with your brain more or less switched off. That’s not to say they’re all completely lacking substance, if you want to dig in, but social commentary and deeper messages don’t really feel like they’re focused on, for the movies below.
Of all the Dario Argento movies out there, Phenomena is easily one of his more underrated efforts. Yes, Suspiria might be easier to recommend, and something like Deep Red feels more important within the bounds of the horror genre and its history… but Phenomena is really fun. It’s kind of goofy, though it never becomes an outright comedy, so its more bombastic elements end up feeling more endearing than tongue-in-cheek or anything like a horror parody.
It’s about a young girl who can communicate with insects, and then there are ways that ability ultimately allows her to assist in an investigation to catch a killer at large. It’s quintessentially one of those “you just have to roll with it” kind of movies, but if you’re in the mood for something more than a little strange, Phenomena delivers. Also, if you’ve liked any other Argento-directed movies and have overlooked this one, remedy that as soon as you can!
Most Friday the 13th movies work as mindless horror films, and that’s okay some of the time, because some of them can be fairly entertaining. You’ve got an almost unstoppable killer, and then a group of (usually young) people who have to try (and usually fail) to survive that killer. It’s not like Friday the 13th: The Final Chapter really goes beyond this sort of simple story, but it executes all the recognizable and expected conventions of the series the best.
There are some decently fun characters/victims, the violent special effects are done well, it’s a frequently entertaining movie, and it being framed as a finale does give it a tiny bit more oomph than most Friday the 13th movies. Of course, it was not genuinely “The Final Chapter,” but it did end up being the best chapter, and perhaps the only Friday the 13th movie that’s an actually essential watch.
All the Terrifier movies are mindless, truth be told, though the second and third ones are a good kind of mindless. The first Terrifier might well be too narrative-free and thrown-together. It’s barely got a story or a reason to watch, beyond Art the Clown having an undeniable presence as a villain, and the violence being consistently grisly and over-the-top. Terrifier 2 and 3, make no mistake, are also very focused on Art the Clown doing his Art the Clown thing, and showcasing grisly sights.
Terrifier 3 has more by way of a reason to care, because there was a bare minimum kind of story in Terrifier 2, and it’s continued well in Terrifier 3 (the whole aftermath of it all). It’s still a very blunt and straightforward affair, and Terrifier 3 is not the kind of thing you can watch unless you, at the very least, don’t mind very in-your-face on-screen violence, but at least it and Terrifier 2 feel more or less like actual movies. Also, Terrifier 3 stands out for being perhaps the grisliest Christmas movie ever made, too.
House is about people going to a house, and then weird things happen to them. It is the set-up for a great many horror stories out there, sure, but very few of them play out with quite the same atmosphere and tone as can be found in House. Most of it’s incredibly silly, though the way it feels a lot like a fever dream can make certain parts perhaps a little eerie.
It’s subjective. Some might watch House and find not one second of it actually frightening, and that’s of course valid, but more than that, it’s also understandable. House is essential, as far as comedy-horror movies go, and it’s so well-regarded and widely discussed as a cult classic that it might well have graduated beyond “cult” status, instead now just existing as a flat-out classic comedy/horror film.
Honestly, any of the Sam Raimi-directed Evil Dead movies could’ve gone here. The first is straightforward and generally a bit more frightening than you might expect a low-budget movie made well over 40 years ago to be. The third, Army of Darkness, is, admittedly, barely a horror movie. Evil Dead II exists rather ideally between those two extremes, and works as both a horror movie and a rather goofy comedy.
The narrative here kind of remixes a lot of what went on in 1981’s The Evil Dead, though with a few new elements to ensure it never runs the risk of feeling like a retread. Even when things are familiar, the goofiness gives it all a whole new flavor. You can find some of it creepy, and then find the rest of it hilarious. Emotionally/viscerally, Evil Dead II is a great and varied ride, and finding deeper meaning here would require some stretching of the sort that would make Mister Fantastic blush.
If you’re talking about mindless horror movies, and you don’t mention anything zombie-related, can you really/honestly say you’re talking about mindless horror movies? It’s more than fitting to talk about something like The Return of the Living Dead here, since zombies themselves are kind of brainless/mindless foes, a lot of the time, and surviving them can be a rather simple affair, at least as far as what the characters have to do is concerned.
Maybe you get some Cold War/nuclear weapons-related paranoia explored in The Return of the Living Dead, but it largely exists to be a zombie-related romp.
The original Dawn of the Dead has a fair bit by way of social commentary, of course, and maybe you get some Cold War/nuclear weapons-related paranoia explored in The Return of the Living Dead, but it largely exists to be a zombie-related romp. Like Evil Dead II, it rides the line between horror and comedy quite well, and it’s certainly an entertaining watch if you like yourself some B-grade (or maybe B-plus-grade? Since it is good) horror.
There are certainly Godzilla movies that are more frightening (or at least more intense) than Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, but Godzilla himself is frightening enough here that you can still consider this something of a horror film. He’s unforgiving and driven by vengeful spirits here, with this Godzilla film also having a fantastical/supernatural spin by making Mothra and King Ghidorah legendary/mythical figures.
You get a bit of science fiction here, but less than you usually do with the Godzilla series. Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack is ambitious with the genres it tackles, and is a highlight for the series. It unpacks a little by way of substance, by making the Godzilla series have some ties to folk tale sort of things, and through it exploring certain traumas around World War II that linger, yet it’s also extremely entertaining and approachable (at least as much as the recent Godzilla Minus One, though that one did ultimately have more crossover appeal, internationally speaking).
Sam Raimi was mentioned before, as someone who made a fair few great horror movies before moving on to bigger (and maybe not entirely better, aside from Spider-Man 2) things later on. The same can be said for Peter Jackson, whose low-budget horror movies mostly come from his first few years as a feature film director, all before he became legendary to most by helming The Lord of the Rings (2001– 2003).
Of his smaller horror movies, the best is Dead Alive, which is called that in America, but referred to sometimes as Braindead in other parts of the world. If your brain is genuinely dead, then you can’t experience it, sadly. But if you’re more, uh, braintired, then Dead Alive/Braindead is very much worth watching. It is a broadly funny, kind of silly, and very much over-the-top zombie movie that quite gleefully doesn’t try to be much more than sheer entertainment for 103 minutes, which it thankfully very much succeeds at doing.
The least scary movie here would have to be Gremlins. It would be a bit intense if you watched it when you were a kid, and it is pretty dark how it feels so much like a family movie before things go off the rails. Though if you watch it when you’re an adult, you won’t be too alarmed by it going off the rails. Gremlins is more successful as a comedy than it is a horror movie, because it feels more into being silly.
There is Gremlins 2: The New Batch as well, which feels even less worthy of being called a horror movie. So, Gremlins is being snuck onto here, even with it only just being a little horror-related. It’s a fantastic monster movie where the monsters are much tinier than what you’ll find in the majority of monster movies out there, and it works so well as a Christmas film, too (even more so than the previously-mentioned Terrifier 3).
There is another epic-length movie Quentin Tarantino was involved with that’s also kind of two movies in one (Kill Bill), and that whole bloody affair is probably better than Grindhouse, but also, it’s not a horror movie. Grindhouse more or less is, even if Planet Terror (directed by Robert Rodriguez) has more by way of horror elements than Death Proof, which is Quentin Tarantino’s segment.
Death Proof is more of a thriller, and then it’s got one fantastic action sequence near the end, though the central villain there does feel like he’s out of a horror movie. Planet Terror sees Rodriguez doing a tongue-in-cheek and ludicrously gory zombie film (of sorts), and it’s pretty glorious. There are also fake trailers for “horror movies” that didn’t exist, included in the overall cut of Grindhouse, with a bunch of those movies ultimately actually getting made: Machete (2010), Hobo with a Shotgun (2011), and Thanksgiving (2023).
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If you’re bored with your sundresses lately, we hear you. But that doesn’t mean you’re itching for a new one. Thankfully, fashion girls in Cannes, London and Greece found the perfect summer alternative, and it’s much more original than another basic frock.
These flowy jumpsuits are just as breezy as dresses, and right now, they’re even trendier. Whether you’re searching for a casual beach outfit or something to wear to the office, you’ll find it below. Our favorites from Nordstrom, Quince and more scream ‘European rich mom,’ yet start at just $8!
1. Our Favorite: Everything about this wide-leg jumpsuit is swoon-worthy, including the ruffle sleeves, waist-cinching tie and roomy pockets.
2. Mediterranean Maven: If you’ve been to Greece, you’ve seen this printed jumpsuit style. People will think you spend summers in Santorini.
3. Flower Girl: A delicate floral print and an ultra-wide-leg silhouette give this billowy outfit such boutique vibes.
4. Designer Vibes: Luxe and stylish, this vintage jumpsuit could totally be Zimmermann. We adore the printed hems.
5. Cute Quince: Fabric snobs rave about this 100% cotton jumpsuit. Breathability aside, it’s also petite-friendly!
6. Dreamy and Drapey: Instead of loungewear, opt for this soft, stretchy outfit that feels like wearing nothing at all.
7. Playful Pick: This striped jumpsuit channels Southampton and Seville at the same time, featuring a chic smocked waist and darling front bow.
8. Puff-Sleeve Princess: Fake an hourglass figure with this puff-sleeve jumpsuit. It creates volume up top while snatching down below.
9. Wedding Guest: Whether you’re attending a ceremony or strolling the beach, this mock-neck number makes you appear incredibly polished.
10. Athleisure Alert: Athleisure gets a new definition with this spandex-blend jumpsuit. It looks like a dream and feels even better.
11. Sassy Stripes: Unlock your inner yacht wife in this baggy striped style that requires only sandals to be complete.
12. Model Status: This dressy jumpsuit is designed with lengthening tiered legs, so you might not even need heels.
13. Hopeful Romantic: Petal & Pup is always romantic, but this floral find takes it up a notch. Plus, it stays put without a strap in sight.
14. Everyday Outfit: When in doubt, opt for this easy everyday outfit that stuns with sneakers and sandals alike.
15. Not Over Overalls: We’re not talking about denim. This overalls-style jumpsuit channels the same retro flair without the stiffness.
16. Super Sophisticated: Pale stripes, a cute tie waist and a slightly tailored silhouette are just a few highlights of this on-sale outfit.
17. Red Trend: This relaxed-fitting jumpsuit is the best way to nail the red trend that’s taken over this summer. At only $8, what’s not to love?
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Welcome to summer with our biggest sale of the year. This summer’s chicest dresses, tops and swimsuits are all over 30% + free shipping. Inventory is limited so hurry before they’re gone.
The heist movie genre is one of cinema’s most undeniable pleasures. There’s something deeply satisfying about watching a crew of professionals (or lovable amateurs) execute an elaborate, impossible plan against equally impossible odds. The genre offers a unique medley: the tension of the setup, the precision of the execution, the inevitability of the double-cross, and the catharsis of the escape. Some of the best heist movies out there have that inevitable and beloved “gathering the crew” montage—arguably the best part of any heist movie.
For every Ocean’s Eleven or Heat that becomes a cultural touchstone, there’s a plethora of heist films that slipped through the cracks and remained in the “forgotten gems” category; although they likely didn’t get the blockbuster marketing push, time has been kind to them, and they remain underrated. From the first frame to the last, the forgotten heist movies that are perfect from start to finish deliver the tension, the twists, and the catharsis that they promise.
Jason Statham built a career on being the most reliably entertaining action star working today, but The Bank Job is a reminder that he can do more than throw punches; he can carry a real thriller. Directed by Roger Donaldson and loosely based on the real 1971 Baker Street robbery, the film is set in London and follows Terry Leather, a small-time used-car dealer and petty crook who’s offered what sounds like a simple job: tunnel into a bank vault and empty out the safety deposit boxes inside.
Terry, of course, quickly learns that nothing about this job is simple. The boxes in the bank turn out to hold secrets tied to British intelligence and the royal family, secrets powerful people are willing to kill to protect, and the film spends its runtime escalating from a straightforward heist into a genuine conspiracy. Statham gives one of his most restrained performances here, anchoring the chaos with a working-class charm that never crosses the line into camp, and Donaldson’s sharp, grimy-glamorous period cinematography keeps the whole thing feeling dangerous. It’s the type of tight thriller that explains why Statham became a star in the first place; it’s also the most popular title on this list, making it easy to overlook how good it is.
Bill Murray has one directing credit to his name, and almost nobody talks about it, which is a genuine shame given how much Quick Change still feels relevant and rewatchable (though Geena Davis’ account may not deem it as such). Murray also stars in the film, playing Grimm, a New Yorker who’s had enough of the city and decides to rob a midtown Manhattan bank while dressed as a clown, alongside his girlfriend Phyllis (Davis) and best friend Loomis (Randy Quaid). The premise sounds like a singular, sketch-worthy gimmick, but the film uses it as a launchpad into even bigger, widespread chaos.
Quick Change stands out among similar movies of its class by making the robbery the easy part of the story. The real ordeal is getting out of New York City afterward, as the trio gets tangled in bureaucratic nonsense, rotten luck, and the sheer chaos of the five boroughs just trying to reach the airport. The film gleefully subverts heist-movie conventions, finding comedy in the most mundane obstacles possible rather than shootouts or double crosses. Murray’s deadpan delivery is razor-sharp, and the supporting cast — Jason Robards, Tony Shalhoub, and Stanley Tucci — is impressive. Quick Change flopped at the box office, grossing about $15.3 million against a $17 million budget, but it’s since become a cult favorite that only gets funnier with each viewing.
Some casts are so stacked they sometimes tend to feel like a marketing gimmick; on paper, The Score looks like exactly that: Robert De Niro, Edward Norton, Angela Bassett, and Marlon Brando are first billing here, and for each of them, the 2000s were a defining era in many ways (for Brando, in particular, this turned out to be a final screen role). Directed by Frank Oz, The Score is a straightforward “one last job” story; De Niro plays Nick Wells, a veteran safecracker who’s ready to retire and run his Montreal jazz club full-time, until his fence, Max (Brando), talks him into one final heist: stealing a priceless scepter locked inside the city’s customs house.
The issue is that Nick has to work with Jackie (Norton), a brash young thief with an inside connection to the building and an agenda nobody else is quite sure about. The film builds its tension almost entirely out of that pairing, with Norton’s unpredictable energy keeping both Nick and the audience off-balance long before the actual robbery starts. Oz wisely lets the performances carry the suspense rather than leaning on flashy set pieces, which makes the film feel more grounded than most heist movies from the same era. Made on a $68 million budget, it grossed around $114 million worldwide, which is a solid if unspectacular return for a film that deserves to be remembered as more than a novelty gathering of cinema legends.
Of everything on this list, Grand Slam is by far the most obscure; it’s an Italian-Spanish-German co-production most audiences today have never heard of, let alone seen, which, if anything, only strengthens its case as a forgotten gem. Edward G. Robinson stars as Professor James Anders, a mild-mannered American teacher living in Rio de Janeiro who, after decades of watching a diamond company from across the street, decides he’s bored enough to plan the perfect crime. He recruits a team of international specialists, played by Janet Leigh, Klaus Kinski, and Robert Hoffmann, to pull off the theft during the chaos of Rio’s Carnival.
The structure of Grand Slam is flawless; the actual robbery unfolds with stunning precision, closer in spirit to the greatest heist film of all time, Rififi, than any particular shootout-heavy caper. The real tension shows up only afterward, in the paranoia and slow-building distrust among a crew that no longer needs each other after a done deal. With a score by Ennio Morricone and location work that makes full use of Rio’s skyline and streets, Grand Slam earns a place alongside the genre’s best. It’s lean, stylish, and proof that a heist movie’s characters matter as much as its vision.
Steven Soderbergh built his reputation on the Ocean’s trilogy, so it’s telling that when he came out of a brief retirement in 2017, he chose to make Logan Lucky, which has fondly been referred to as “Ocean’s 7-Eleven.” Logan Lucky is a heist movie stripped of tailored suits and Vegas glamour and dropped into rural West Virginia instead; Channing Tatum stars as Jimmy Logan, a construction worker who’s just been laid off and decides, almost on a whim, to rob the Charlotte Motor Speedway during a NASCAR race. He recruits his one-armed bartender brother Clyde (Adam Driver), his hairdresser sister Mellie (Riley Keough), and a locked-up, deadpan safe cracker named Joe Bang, played by Daniel Craig in one of the most outstanding performances of his career.
Logan Lucky steers away from the genre’s usual playbook through how it treats the characters it introduces. They’re working-class people with real financial stakes, and the film takes their plan just as seriously as it would a team of George Clooney-style professionals. The heist itself is genuinely clever, the humor is bone-dry, and Soderbergh directs with the same effortless confidence he brought to his glossier work. Made for around $29 million, it earned back roughly $48 million worldwide, a modest return the film’s critical reception never quite matched; Logan Lucky is a joyful movie that actually gets better with repeat viewing.
Before Michael Mann became the filmmaker behind Heat and Collateral, he made his feature debut with Thief, a film that already has his entire visual language fully formed: neon-soaked nights, rain-slick streets, and criminals defined more by their code than by the crimes they commit. Though Thief barely escaped the jaws of time, modern audiences remember it for its influence on later cinematography, particularly in the crime caper genre. James Caan stars as Frank, a professional safecracker in Chicago who wants nothing more than to leave that life behind and build a family. Standing in his way is Leo (Robert Prosky), his mentor and fence, who has no intention of letting his best earner walk away.
Thief is the kind of heist film that’s less interested in the mechanics of a single job than in the crushing weight of the job that forces Frank to stay trapped inside it; retirement from a life of crime is harder than he imagines, as it turns out. Tangerine Dream contributed a stunning synth score that gives the film its hypnotic, almost dreamlike rhythm, and Caan delivers one of the greatest performances of his career, portraying rage beneath a carefully maintained calm. Thief had a quiet release, but its influence far outweighed its financial gains, allowing Mann’s debut to reverberate through crime cinema for decades. It’s moody, aesthetic, and human, and it rewards anyone who sits with it.
John Frankenheimer spent much of his career making sharp, paranoid political thrillers, and Ronin is what happens when that sensibility and his undeniable talent are pointed at the crime caper/heist genre instead. Robert De Niro portrays Sam, leading an ensemble of former intelligence operatives, played by Jean Reno, Stellan Skarsgård, and Sean Bean; Sam and his crew are hired by a mysterious handler named Deirdre (Natascha McElhone) to steal a heavily guarded briefcase. What’s inside is never revealed, and the film is smart enough to know that that very mystery matters more than any answer could.
Ronin, unlike some of the other entries on the list, is primarily about the job itself, depicting the shifting loyalties of people who no longer have a country or cause, as well as the cold professionalism they resort to instead. Its car chases through Nice and Paris are still among the best ever filmed, and David Mamet’s rewrites give the dialogue a bite that most action films of the time lacked. Ronin underperformed significantly at the box office when it was released, but audiences that have seen it gave it overwhelmingly positive reviews (though critics didn’t seem as thrilled). Ronin has aged pretty well, and we could argue for it to be the best forgotten heist film on this list.
September 25, 1998
122 minutes
John Frankenheimer
David Mamet
Christopher Nolan is celebrating the incredible box-office performance of The Odyssey, which delivered the biggest global box-office debut of his career. The film’s success couldn’t have come at a more opportune time for the filmmaker, who suffered two back-to-back setbacks in the last few days. A recent blockbuster overtook two of Nolan’s biggest hits at the worldwide box office, pushing them down the all-time chart. The movie in question had a difficult production that reportedly saw its entire third act being revamped. It then had to brave controversies surrounding the lens with which it viewed its subject, in addition to mixed reviews.
However, audiences were enthralled, pushing it to incredible success over the last few weeks. We’re talking, of course, about the Michael Jackson biopic, Michael, directed by Antoine Fuqua. The film currently holds a 38% score on the aggregator website Rotten Tomatoes, where the consensus reads, “While Jaafar Jackson’s smooth moves bring the King of Pop to uncanny life, this musical biopic mostly plays like a ‘greatest hits’ album that could’ve benefited from including liner notes to give actual insight into the icon.” However, Michael‘s audience score on the aggregator stands at a near-perfect 97%.
The movie has grossed over $370 million domestically so far; it recently emerged as the second film of 2026 to pass the coveted $1 billion mark worldwide, after The Super Mario Galaxy Movie. In doing so, Michael overtook the $975 million lifetime global haul of Nolan’s Best Picture-winning Oppenheimer, thereby becoming the highest-grossing biopic of all time. And now, Michael has surpassed the lifetime global haul of another Nolan blockbuster: The Dark Knight. Released in 2008, the superhero epic broke numerous records of its own and ended its run with $1.08 billion globally. It was subsequently beaten by its sequel, The Dark Knight Rises, and the Aquaman movie starring Jason Momoa for the title of the highest-grossing movie based on a DC character. That said, The Dark Knight remains a classic of the genre, and is widely considered to be one of the best films of the 21st century. Michael is now available to rent or purchase at home. Stay tuned to Collider for more updates.
April 24, 2026
130 minutes
John Logan
Graham King, John Branca, John McClain
By Jonathan Klotz
| Published

Once any show has been on the air for five years, it will start to wobble under its own internal logic, lore, and mythology. Stargate SG-1 was on the air for a decade which means those early Season 1-3 episodes sometimes contradicts what becomes canon later. In the case of Season 1’s “Hathor,” it’s unclear why a Goa’uld Queen needs male DNA to produce more larvae. Later episodes show that it’s not needed, and they can reproduce asexually, but that’s the least of the issues with “Hathor.”

“Hathor” centers around the unearthing of the Egyptian Goddess of Love, Hathor (Suanne Braun), who emerges from a sarcophagus after 3000 years speaking English. Drawn tot he Stargate, she shows up at Cheyenne Mountain and quickly starts bringing the men within the base into her thrall. Starting with Daniel (Michael Shanks), then General Hammond (Don S. Davis), O’Neill (Richard Dean Anderson) is the next to succumb, though Teal’c’s (Christopher Judge) Goa’uld renders him resistant to her power.
That sets up a showdown between the men and the women (all five of them), led by Captain Carter (Amanda Tapping) and Dr. Frasier (Teryl Rothery) in the locker room where Hathor is preparing to use a hot tub to birth a new generation of Goa’uld larvae using Daniel Jackson’s juices. That’s how the show refers to it. It’s as awkward as it sounds.

Stargate SG-1 would eventually mock “Hathor” in the Season 8 episode, “Citizen Joe,” a clip show that highlighted the ridiculousness of those early season episodes. “Hathor” was the first episode in the series where the team didn’t travel through the Stargate, and the only one written by David Bennett Carren and J. Larry Carrol. Hathor herself would come back, two more times, as a much more formidable (and better written) villain particularly in Season 2’s “Out of Mind.”
Ever since Homer introduced the concept of Sirens in The Odyssey, the “beautiful woman mind controls all men” trope is widely used in sci-fi and fantasy shows. Stargate SG-1 had no problem recycling classic tropes and often, doing them incredibly well, from time loops (“Windows of Opportunity”) to “that old man can kick everyone’s ass” (Bra’tac), but “Hathor” was a misfire.
Teryl Rothery wasn’t even able to deliver the line “there’s five women in here and we’re very lonely” while keeping a straight face. The more series re-watches you do, “Hathor” sticks out more and more like one of the worst episodes of the series. Unlike “Emancipation,” which was so bad it caused the writers to re-work Carter’s character, “Hathor” has no silver lining, other than the self-styled goddess having more character, personality, and better lines in her later appearances. Her debut episode could be erased from the timeline, and you’d still know everything about her within minutes of her second appearance.
They can’t all be winners, and with a decade of episodes to get through, Stargate SG-1 was going to have some episodes you don’t have to bother watching.
Taylor Swift and Travis Kelce have found their post-wedding bliss overshadowed by controversy linked to their nuptials held at Madison Square Garden.
According to a report, the newlywed couple is “disheartened” by the negative remarks and alleged “trash talking” from Kelce’s teammates over their guest list and invitations.
This claim comes after Taylor Swift and Travis Kelce attended the wedding of the NFL star’s ex-teammate JuJu Smith-Schuster and his bride, Laura Kruk, with sources saying the event “lifted their spirits.”

Swift and Kelce’s ceremony has proven that even the most popular celebrities still get to deal with the classic headaches that come with wedding planning.
Following months of speculation, the couple finally tied the knot at the famous Madison Square Garden in New York City on Friday, July 3. They also held an intimate rehearsal dinner for close friends and family the day before, but left many upset for refusing to invite them to that event.
According to the Daily Mail, some individuals in Kelce’s “circle” were displeased that they got invited to the Friday main event but not the intimate rehearsal dinner on Thursday.
A few retired athletes have even publicly shared their frustrations after failing to land an invitation to the star-studded wedding, while some of Kelce’s current teammates have reportedly taken the “trash talk” straight to the multiple group chats of Kansas City Chiefs’ players.

Sources close to the couple have now revealed that recent drama involving guest lists and alleged “trash-talking” from corners of their social circles has left the pair feeling disheartened.
“They are typically very good at blocking out the noise, but to have all these nasty stories coming out about his teammates being jealous and trash-talking them is pretty disheartening,” an insider told Star Magazine. “He’s got to go back to that locker room any day now, and that’s bound to be uncomfortable because clearly there’s a lot of jealousy towards him.”
“They’re finding it quite exhausting keeping up with all the rumors and all the mischief that people are making,” the source continued. “Wasting time on that sort of nonsense isn’t pleasant at any time, but especially when they are trying to enjoy their first days as husband and wife.”

Despite the background noise, Swift and Kelce have remained completely aligned and are enjoying their union just fine. Days after they got married, the couple put up a loved-up appearance for Kelce’s former teammate JuJu Smith-Schuster’s wedding to Laura Kruk.
The “Bad Blood” singer dazzled in a pink strapless floor-length gown with floral brocade designs, along with her signature red lipstick, while the Kansas City Chiefs tight end wore a classic suit and tie.
The source who spoke with Star explained that the event helped lift their spirits and kept things in a lighter mood.
“They did have a wonderful time,” they noted, referring to the July 11 wedding. “That really helped to lift their spirits. It was a great reset, and so fun to be able to relive the whole wedding experience without all the pressure of being the bride and groom.”

Meanwhile, it appears the honeymoon season is over for the couple as Kelce prepares to resume the new NFL season, which starts September 9.
According to TMZ, the star tight end was seen working out for the first time since their wedding on Thursday during a training session in Florida.
Kelce was dressed in Nike shorts and a loose vest with sneakers, and held his duffel in one hand and a sports drink in the other.
He’s due to return to the Chiefs’ camp later this month, so the workout season might just be him getting himself in the mood for football again.

The couple has largely kept to themselves in the days following their wedding, only appearing for Kelce’s pal’s wedding about a week ago.
Sources earlier claimed they were considering an “ultra-private” honeymoon with the historic San Ysidro Ranch in Montecito as their preferred location.
“They just don’t want anything getting leaked,” a source told Star Magazine. “They want to be able to enjoy this special time with total privacy.”
“There’s the option to rent out the entire property, which she’d likely want to do for privacy, and that can cost upwards of $500K for a week,” the insider explained.
However, according to the Daily Mail, Swift and Kelce enjoyed a private “mini-moon” at the exclusive Yellowstone Club in Big Sky, Montana. The couple is said to have utilized major security measures, including decoy jets, to maintain privacy during their stay at the luxury mountain resort.
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