Bobby Bones stepped in to defend Morgan Evans after their interview — which mentioned the musician’s ex-wife, Kelsea Ballerini — received backlash from Chase Stokes.

“If you’re gonna come that hard then maybe don’t take it down. Also, nothing bad to say about this person,” Bones, 45, said in an Instagram video on Wednesday, March 4, in response to Stokes’ heated comment.

Bones clarified that he doesn’t “know” Stokes, 33, personally, adding, “I’m sure he’s probably a good guy. Mostly, like, in my heart, I just wonder why certain people can talk about things and other people can’t.”

Stokes called Evans, 40, out after the singer made a rare comment about his divorce from Ballerini, 32, while on “The BobbyCast” podcast, saying in the Tuesday, March 3, episode, “I definitely wasn’t [expecting our divorce], and it took me by surprise. But yeah, that whole time is such a blur. It almost feels like somebody else, just from where I’m sitting now. I just look back and I’m like, ‘Oh, my God.’ … Yeah, it was just kind of a whirlwind, life-changing moment.”

Evans also admitted that he felt mischaracterized in the aftermath of the split.

“In my case, it didn’t feel like it necessarily had a lot to do with me,” Evans added. “I think maybe I was presented, or made out to be, or became an archetype for any guy that had done any woman wrong during that period of time. Like, some of the stuff was just like … ‘What? What are you even talking about?”

He concluded: “It doesn’t not hurt … especially if it was real vicious or something. And then I’d click on whoever said it and just have a look and just be like, ‘Oh, yeah, it’s OK. That looks like somebody going through a tough time.’”

Stokes, for his part, posted a since-deleted comment in response to Evans’ interview, which read, “This is about the most pathetic excuse of masculinity ive ever seen. Get a f***ing life.”

Us Weekly has reached out to Ballerini for comment.

“The only people going ‘you’re less masculine’” are the “people who are maybe insecure in their own masculinity,” Bones added on Wednesday while defending Evans’ ability to speak out about his personal life. “He wrote a record about his life, and part of that record, just a part, a small part of the record, is about a divorce that he went through. The whole record is not that. Most of the record’s not that, because there’s parts about his traveling around the world, his new relationship, which, she’s awesome — like, all these positive things.”

Related: Kelsea Ballerini and Chase Stokes’ Relationship Timeline

Kelsea Ballerini and Chase Stokes navigated many ups and downs in their two-year relationship. The country singer and the Outer Banks star were first linked in January 2023 after they were spotted together at the College Football Playoff National Championship in Los Angeles. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email […]

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Ballerini announced in August 2022 that she and Evans had called it quits after nearly five years of marriage.

“Friends, I’ve always tried my best to share my life with you in a real and vulnerable way, while also protecting layers of my personal life as they unfold,” she wrote via her Instagram Story at the time. “This is now public record so I wanted you to hear from me directly that I am going through a divorce.”

Ballerini concluded: “This deeply difficult decision is the result of a journey of love, growth, and effort that ultimately has come to an end. It’s hard to find the words here … but I feel extremely grateful for the years of marriage to Morgan and hopeful for the next seasons. With very active schedules coming up, please be mindful that we are both fragile, actively healing, and showing up the best we can.”

After their split, Ballerini found love with Stokes, and the duo dated off and on since January 2023 before officially calling it quits last month.

Evans, for his part, has since moved on with fellow country singer Laci Kaye Booth.

By Robert Scucci
| Published 1 hour ago

I’m just going to come out and say it. They really don’t make slashers like they used to. I love a solid elevated horror flick as much as the next person, and Weapons was one of my favorite widely released films last year. But one thing we’re missing from horror these days, aside from the fun meta commentary that the Scream franchise continues to deliver, is camp. Lots of it.

Though I don’t doom scroll on social media, I’ve adopted a far more harmful habit that should have my family worried about my general well being: doom scrolling through Tubi’s catalog and adding everything that looks even vaguely interesting, like 1988’s Destroyer, to my watch list.

Destroyer is a slasher that has a lot of fun with its very simple premise, and it’s so satisfying to watch because the stakes are laid out clear as day. We know who the killer is, the people who encounter him are familiar with his mythos, and they’re all stuck in one place. In this case, it’s a prison being used for a movie shoot. While it’s no Dr. Giggles (1992), Destroyer carries itself with the same kind of manic energy, just without nearly as many surgical puns.

Give ‘Em The Chair! 

Here’s the plot rundown for Destroyer so you know what you’re getting into. Epically jacked serial murderer Ivan Moser (Lyle Alzado) is executed by electric chair. During his execution, a prison riot causes confusion, leaving him only half electrocuted when the power shorts out. The combination of this electric charge, plus his “unusual genetic gift,” leaves him half alive and gives him superhuman strength. Though if I’m weighing in here, the dude is already ripped beyond belief, so I’m not sure where his mortal body ends and his immortal one begins.

Eighteen months later, the now abandoned prison is being used by a film crew as the set for their all-woman prison exploitation movie, Death House Dolls. Though everybody vaguely knows about Ivan’s execution and mysterious disappearance, he’s presumed dead and production continues as planned. Screenwriter David Harris (Clayton Rohner) and stunt woman Susan Malone (Deborah Foreman), who are dating, show up to work as usual. But David is fascinated with the lore surrounding Ivan and wonders how he could incorporate the legend into the film, which rightfully creeps Susan out.

Before you know it, all hell breaks loose when Ivan reveals he’s still living in the prison, and he’s pissed. He’s the kind of killer who isn’t mad at anything specific. He’s just a psycho who loves killing and torturing people. No ulterior motive. No vendetta against “the system.” He laughed while they were executing him, saying in so many words that he’s going to kill again. And here he is doing exactly that.

People run and scream, get torched, and ripped to shreds while Ivan gleefully antagonizes everybody unlucky enough to cross his path.

A Bare-Bones, Low-Budget Slasher That Does It For The Love Of The Game

Though Destroyer is obviously a low-budget slasher, to the point where I couldn’t even find specifics on exactly how much money went into its production, it’s still a solid effort. One aspect that really works to its advantage is that it was actually shot on location in a real abandoned prison, giving it an air of authenticity that most budget slashers can only dream of. Ninety-nine percent of the atmosphere comes from the decaying cell blocks of the former Wyoming State Prison. Even the electric chair scenes were filmed in the prison’s real execution chamber, though it had originally been used as a gas chamber when the facility was still housing inmates.

As for our villain, he’s large and in charge, carrying himself like a pro wrestler. It doesn’t hurt that Lyle Alzado’s intimidating physique comes from his work as a defensive end in the NFL, meaning he’s not Hollywood jacked. He’s a genuine bruiser through and through. His attempts at campy catchphrases leave a bit to be desired, but he still owns the role, and half the fun comes from how corny his delivery is.

Couple his charisma with some pretty gnarly practical gore shots and you’re going to have a great time. Destroyer doesn’t offer anything new to the slasher genre, but it’s an impressive outing compared to other B-movies of the time.

As of this writing, Destroyer is streaming for free on Tubi.

Serving in more ways than one! Whitney Port is bringing back ’90s -inspired tennis fashion in a big way.

The Hills alum sat down with ET to dish on her sporty style and the beauty essentials she relies on for match-day while celebrating her co-designed capsule with Courting.

While tennis has become a major part of the reality star’s fitness regimen, looking cute on and off the court is what always scores points.

“I got more into playing in recent years. … I love that it’s both mental and physical. It forces you to be present, which I find really grounding,” she shares.

Putting a chic spin on vintage sportswear styles is also part of Port’s game.

“We wanted to bring back contrast, bold color, and a bit of experimentation from the ’90s. … It’s about mixing tones and playing with shape,” she notes.

Think classic silhouettes with an edge, from oversized proportions and fold-over waists to a standout Moto Jersey.

“The vibe is elevated sport with personality. … It feels confident and nostalgic,” she adds.

But when it comes to pre-match glam, the podcast host keeps things simple.

“I want to look fresh, not overdone. … I’m very into minimal beauty like glowy skin, brushed brows, and neutral lips.”

Her go-to tennis hairstyle choice is just as effortless.

“I love a sleek low pony or a braid. I’ll use a smoothing cream beforehand and make sure I have good hair ties that actually hold. Sometimes I’ll add a headband if I want to feel a little more styled. The key is keeping it secure so you’re not thinking about it mid-match,” she spills.

As for what’s in her tennis bag, Port says a few must-haves make the cut.

“I always have sunscreen, lip balm, a good water bottle, an extra hair tie, a snack, and a lightweight layer for after.”

Whether she’s hitting the court or rounding out her exercise routine with strength training and Pilates, staying active and positive is always the goal.

“I try to focus on workouts that make me feel strong and energized rather than depleted. At this stage in my life, it’s less about extremes and more about consistency and feeling good in my body,” she explains.

RELATED CONTENT:

Mathew Knowles has clarified the stunning response he gave when he was asked about Tina Knowles‘ contributions to Destiny’s Child.

RELATED: Match Made? Mathew Knowles’ New Photo With Beyoncé’s Step-Mom Has The Internet Buzzing (PHOTO)

Mathew Knowles Clarifies Stunning Response He Gave When Asked About Tina Knowles’ Contributions To Destiny’s Child

On Wednesday, March 4, Page Six published an exclusive interview with Mathew Knowles, and the outlet questioned him about his now-viral sitdown with PIX 11 News anchor Kendis Gibson. Per the outlet, Mathew explained that he doesn’t “do interviews.” Instead, he has “conversations.”

“I didn’t know what he meant by that,” Mathew explained to Page Six, referring to his conversation with Kendis Gibson. “So, I’m saying, well, calmly, ‘What work did she put in?’ That was a question. I don’t know how it became a comment, but it was a question. If someone diminished what Tina does and just say, she did the hair, and then I come back and say, ‘No, she did the styling, isn’t that me giving flowers?”

Additionally, Mathew told the outlet that he’s “baffled” by the public reaction and the clip’s virality.

“You can’t even find a negative comment I’ve ever said about Tina. So, I don’t get it… People try to bait us all the time to be against each other. There was a complete misrepresentation here – and I’m evaluating all legal remedies at this time,” Mathew added, noting that he and Tina have a “wonderful relationship” and he doesn’t refer to her as his ex-wife. “That’s a negative term… I’ve never referred to Tina as my ex. I’m always positive. She’s my former wife, and I give her the respect of that rather than saying ex.”

Social Media Reacts

Social media users reacted to Mathew Knowles’ clarification of his comments about Tina Knowles’ contribution to Destiny’s Child in TSR’s comment section.

More On The Stunning Response Mathew Knowles Gave When Asked About Tina Knowles’ Contributions To Destiny’s Child

As The Shade Room previously reported, earlier this week, a clip from Kendis Gibson’s recent sitdown with Mathew Knowles was released, and a portion showed Mathew’s response after Gibson asked Mathew about Tina’s contributions toward Destiny’s Child.

“You’ve earned your flowers. I said the same thing to Ms. Tina Knowles. You guys put in the work, and obviously the talent was there, with your kids and your grandkids,” Gibson said to Mathew.

In turn, Mathew responded with, “What work did she put in?”

After Gibson noted Tina’s contribution to the girls’ image and the project being a “joint effort,” Mathew called for the end of the interview.

RELATED: Mathew Knowles Explains Why He Ended Interview After Being Told Tina Knowles Contributed To Success Of Destiny’s Child (VIDEO)

Disney movies are often remembered more by their commercial success than by their storyline. When a release fails to meet expectations, it is quietly categorized as a miscalculation, and that label tends to follow it for years. Yet their reception is often shaped by timing. A film may not align with what audiences expect in a given decade. Even if a film doesn’t fit its era’s expectations, it can still be well‑made and meaningful.

With time, it becomes easier to understand what these films were attempting instead of how they were received. Most of the films experimented with darker tones or complex moral framing instead of relying on music or simplicity. In doing so, they unsettled viewers who associated Disney animation with emotional reassurance. Here are some of the films that have shown what the platform was capable of.

‘The Black Cauldron’ (1985)

Image via Buena Vista Distribution

In The Black Cauldron, Taran (Grant Bardsley) is introduced as a pig-keeper who believes heroism is something that can be claimed through ambition alone. When the Horned King (John Hurt) seeks a magical cauldron capable of raising an undead army, Taran attempts to protect the oracular pig Hen Wen. As Taran escapes captivity, he meets Princess Eilonwy (Susan Sheridan) and Fflewddur Fflam (Nigel Hawthorne) and forms an alliance with them.

As events intensify, Taran confronts the consequences of his earlier arrogance. The story reframes heroism as responsibility. When the cauldron demands a sacrifice to stop, Taran understands that courage often means surrendering your pride. The defeat of the Horned King does not come from strength alone, but from collective resolve. The narrative closes by suggesting that growth is often quiet and internal rather than publicly celebrated.

‘The Great Mouse Detective’ (1986)

Image via Walt Disney/Courtesy Everett Collection

The Great Mouse Detective follows Basil (Barrie Ingham), a detective whose confidence in deduction shapes his whole personality. When Olivia Flaversham (Susanne Pollatschek) asks Basil to locate her kidnapped father, Basil traces the crime to Professor Ratigan (Vincent Price), who intends to replace the Queen of Mousedom with a mechanical duplicate to seize political control.

Assisted by Doctor Dawson (Val Bettin), Basil analyzes clues, deciphers coded messages, and reconstructs all events through his observation. The investigation gradually becomes successful as he closes the distance between himself and Professor Ratigan. As Professor’s scheme moves forward, Basil’s pride nearly obstructs his clarity and forces him to reconsider all his previous assumptions. Doctor Dawson helps Basil to regain his composure and forget about his ego while seeking the truth. Eventually, Olivia reunites with her father, and the story tells us that in any circumstance, order is preserved through patience.

‘Atlantis: The Lost Empire’ (2001)

Image via Walt Disney Studios Motion Pictures

In Atlantis: The Lost Empire, Milo Thatch (Michael J. Fox) devotes his life to proving that Atlantis exists, despite being dismissed by academic institutions. When Commander Rourke (James Garner) leads an expedition funded to locate the city, Milo Thatch joins as the linguistic expert. After surviving mechanical dangers and natural barriers, the crew discovers Atlantis beneath the ocean’s surface. There, Milo Thatch meets Princess Kida (Cree Summer), who seeks to understand her civilization’s fading heritage.

As Milo Thatch learns the truth about Atlantis, he realizes that Commander Rourke intends to exploit the city’s energy source. Faced with betrayal, Milo Thatch chooses preservation, and the story gradually shifts to moral accountability. When Princess Kida risks becoming a vessel for the city’s power, Milo Thatch intervenes to protect both her and Atlantis.

‘Treasure Planet’ (2002)

Image via Disney

Treasure Planet centers on Jim Hawkins (Joseph Gordon-Levitt), whose father’s absence shapes the distrust and restlessness he develops over time. When he discovers a map to a hidden fortune, Jim boards a voyage that is commanded by Captain Amelia (Emma Thompson). Among the crew is Long John Silver (Brian Murray), who gradually earns Jim Hawkins’ trust while concealing his own objective. Their expedition soon becomes a space-bound search for treasure, yet the emotional focus remains on Jim Hawkins’ evolving perception of authority.

As the ship approaches its destination, Long John Silver’s hidden alliances surface. Now, Jim must decide whether that betrayal confirms his cynicism towards life or challenges it. The story, in the end, showshow trust can exist even within deception and blur our decisions. In the final confrontation, Jim prevents any catastrophe and chooses integrity over resentment, and Long John Silver departs while acknowledging Jim’s growth. The treasure, however, becomes secondary to the transformation both of them faced that was shaped by mentorship and a clear choice.

‘The Hunchback of Notre Dame’ (1996)

Image via Walt Disney Studios Motion Pictures

In The Hunchback of Notre Dame, Quasimodo (Tom Hulce) lives confined in the cathedral tower under Judge Frollo’s (Tony Jay) authority. Judge Frollo presents isolation as protection in Quasimodo’s life, which shapes his understanding of himself. When he attends the Festival of Fools, he faces severe public humiliation that suddenly confirms how he has been shielded from cruelty all his life. Then, the story introduces Esmeralda (Demi Moore), who confronts both the crowd and Judge Frollo’s rigid morality.

As Judge Frollo’s obsession intensifies, Quasimodo begins to question his obedience towards him. The cathedral turns from a sanctuary into a contested ground. In the end, when Esmeralda faces punishment, Quasimodo finally chooses defiance over submission. The story resolves by allowing Quasimodo to step into public space, suggesting that dignity does not emerge from isolation.

Savannah Guthrie’s ‘TODAY’ Visit
I’m Holding Onto Faith … For My Mom!!!

Published
March 5, 2026
11:10 AM PST

By Jonathan Klotz
| Published 1 hour ago

When people think of the best decade for crime movies, they tend to think of the 70s and The Godfather, Chinatown, Serpico, and countless other classics, but the 90s shouldn’t be overlooked. The Godfather: Part III, Reservoir Dogs, Goodfellas, are all classics, and so is Martin Scorsese’s loving tribute to Las Vegas: Casino. The 1995 crime epic has returned to Netflix in time for another generation to discover the rise and fall and rise of the greatest adult playground. 

Casino Brings Las Vegas’ Sordid History To Life‘

Casino reunites Scorsese with Robert De Niro as Sam “Ace” Rothstein, based on the real Chicago mafia sports book handicapper Frank Rosenthal, who, against all odds, turned the Tangiers Casino into a money-printing success. Goodfellas standout, Joe Pesci, is also back for another round as Ace’s childhood friend turned business partner and mob enforcer, Nicky Santoro. It’s not a spoiler that the success and excess of the budding Vegas nightlife winds up turning the two lifelong friends into bitter rivals. Scorsese made a career out of the hubris of powerful men. This time, there’s a wildcard, Ginger, a former showgirl, now a con artist, played by Sharon Stone at the height of her Hollywood fame. 

Adapting the book, Casino: Love and Honor in Las Vegas by Nicholas Pileggi means the plot moves both incredibly fast, with time jumps and skipping over major life moments, and slow, with long, languid takes of the Tangiers floor or Nicky and Ace standing around looking pensive. Covering 13 years, 1973 to 1986, there’s a lot crammed into the runtime, including a love triangle, multiple betrayals, a kidnapping, and a brief foray into local broadcast television. Casino does more in thirty minutes than most modern films, but it’s also slower and more thoughtful, a tricky balancing act that only an auteur the likes of Scorsese could effectively pull off. 

They Don’t Make Them Like This Anymore

Considered either a spiritual successor to Goodfellas or an inferior attempt at recapturing the magic of the genre-defining film, Casino divided audiences upon its release. Critics thought it was a little too similar, and audiences torn between thinking it was boring or a fascinating look at the Mafia’s role in building Las Vegas. Sharon Stone won a Golden Globe for her work as Ginger and earned an Oscar nomination, yet even today, some viewers find her distracting and the worst part of the film. The Venn diagram between them and those who think Skylar is the worst part of Breaking Bad is a circle. 

Anyone would look inferior to Robert De Niro and Joe Pesci doing what they do best. Casino performed well for an adult-oriented, R-rated crime epic with a $116 million box office haul that was dwarfed by the film’s success on VHS, DVD, and Blu-Ray. 30 years later, and there’s even a growing consensus that it’s better than Goodfellas. It’s not, but with its recent addition to Netflix you can at least fire it up and judge for yourself. 

If you’ve never seen Casino, you’ll still find yourself recognizing camera shots and moments from the film. The Hangover recreated Ace and Nicky’s desert meeting. Then there’s the pen, a brutal moment only topped by The Dark Knight’s pencil trick. In a world with less and less adult dramas being made and Mafia movies having to step aside for streaming series, Casino is a throwback, both to how movies used to be and to how Las Vegas was long before it lost its soul by going corporate. 

Casino is currently streaming on Netflix.