By Joshua Tyler
| Published 34 seconds ago

America was founded on the idea that Americans don’t want to be told what to do. They didn’t just kick the British out and replace them with their own centralized authority. The United States was originally structured to keep power fragmented rather than centralized. It’s why individual states exist.

Independence and freedom from oppressive authority are deep in the American DNA. So, of course, the powers that be made a sci-fi movie to try to rewrite Americans’ default independence code into something more manageable.

This is the story of how The Day the Earth Stood Still screenwashed Americans into surrendering the thing they loved most and replacing it with virtue tolls.

Using Sci-Fi To Send A Message

The Day the Earth Stood Still has one clear goal, and it’s not shy about telling its audience what that is. The movie’s only reason for existing is to convince Americans to give up their autonomy to a higher, collectivist power.  

The film arrived in 1951, the early days of the ramp-up of Cold War paranoia, long before alien invasion movies became blockbuster spectacle. America had entered the atomic age, the Soviet Union had the bomb, and public anxiety over annihilation was everywhere. 

Producer Julian Blaustein wanted to make a science fiction film aimed at adults rather than children, something serious enough to reflect postwar fears rather than exploit them. Up til then, Sci-Fi had largely been dismissed as kid stuff, and he saw it as his mission to change that.

Fox Studios hired director Robert Wise, who had already built a reputation as an efficient craftsman capable of making smart films on controlled budgets. The screenplay was adapted by Edmund H. North from Harry Bates’ short story “Farewell to the Master,” though much of the original material was changed. Shot quickly and relatively cheaply on studio sets and Washington, D.C. locations, the production relied more on atmosphere, music, and ideas than on effects and spectacle. 

Unlike other sci-fi of the time, purpose wasn’t escapism. The filmmakers claimed it was a direct appeal for global collectivism, in the belief that this would somehow stop the United States and Russia from blowing each other up.

As it turns out, that was foolish. Collectivism was never the answer. The answer was always enlightened self-interest in the form of mutually assured destruction. The United States didn’t launch missiles at Russia because the people running the United States didn’t want to die. And the Russians didn’t launch missiles at the United States because they also did not want to die. It’s also probably not true that averting nuclear war through collectivism was the movie’s real goal.

Hands Up Don’t Shoot Klaatu!

The Day the Earth Stood Still begins when an alien spacecraft lands and a guy in a helmet walks out and waves a spiked, dangerous-looking object at soldiers. One of the soldiers does exactly what you’d do if some guy you didn’t know came at you with a sharp object: he shoots him.

We learn soon after that this being named Klaatu not only looks human, he speaks our language and seems to know everything about us. Which means he definitely would have known that waving a sharp, spikey thing at soldiers could be seen as threatening. 

The Day the Earth Stood Still never addresses the fact that Klaatu did everything he could to get shot, and he seemingly did it on purpose. Instead, the movie spends the entirety of its run time framing humanity as violent savages who shoot helpless, peaceful people for no reason at all. Despite the fact that nothing like that happened at all.

This is an Aggressor Inversion. An Aggressor Inversion is a persuasion technique in which an instigator deliberately provokes a defensive reaction, then reframes the defender as the true aggressor by minimizing or erasing the original threat or provocation.

To keep the audience from realizing how ridiculous this is and to make the Aggressor Inversion work, The Day the Earth Stood Still strips away the moral context of what’s happening. It does that by making Klaatu an alien, which means we don’t understand his morality and intentions.

Identification Steering is then used to direct our empathy towards Klaatu by his sympathetic demeanor and the quick reveal that the thing he was holding wasn’t a weapon. The soldiers are portrayed as idiots, and they too act as if they’re to blame. If the soldiers aren’t pushing back against the idea that they’re at fault, why would the audience?

Klaatu quickly recovers from his wounds, and most of the rest of the movie follows him as he wanders Washington, DC, and looks down his nose at humans. He talks calmly and politely and is smarter than everyone else, so people like him and don’t seem to notice his condescension.

The one man with suspicions is a jealous boyfriend who has concerns about his single-mother girlfriend’s Klaatu obsession and her willingness to just drop her kid off with a strange guy she doesn’t know. That boyfriend is soon framed as a villain because he talks bluntly. Later, he’s fully condemned when he confesses he only cares about the people around him and doesn’t care about the world in general.

By the time he makes this confession, the audience has already been led to hate him, which means if you want to be a good person, you’d better make sure you care about the entire world, unlike that jerk who only cares about himself and his girl. That obvious manipulation sets the stage for the movie’s finale, which soon begins establishing a martyrdom framing.

Martyrdom framing is a narrative device in which a character is killed or punished for their beliefs, signaling to the audience that their message must have been true or it wouldn’t have been threatening to powerful interests that harmed them. This was an especially powerful tool back in 1951, since 99% of Americans were devoutly Christian and all in on the idea that the future of humanity depended on a guy who died and was resurrected.

So, Day the Earth Stood Still pulls the same bit. The military shoots Klaatu yet again, even though it makes no real tactical sense for them to kill him. 

He dies, he’s resurrected, and then he makes his final speech demanding submission to a collective. The audience now accepts whatever he says because, well… Christ has risen!!! It’s classic martydom framing. Whether what this Christ figure says makes sense is irrelevant, since viewers are now fully ready to accept it as truth. 

Klaatu’s Speech Is A Technique Used By Hypnotists

After his resurrection, Klaatu gives a speech. That speech is the reason this movie exists. It’s all been leading up to this. So it’s important to read exactly what Klaatu’s selling.

Klaatu’s speech begins:

“The universe grows smaller every day, and the threat of aggression by any group anywhere can no longer be tolerated. There must be security for all or no one is secure. Now this does not mean giving up any freedom, except the freedom to act irresponsibly. Your ancestors knew this when they made laws to govern themselves and hired policemen to enforce them. We, of the other planets, have long accepted this principle. We have an organization for the mutual protection of all planets and for the complete elimination of aggression.” 

After this Klaatu does some explaining about how they’ve created robot policemen. Then he continues explaining what that means for his audience.

“At the first signs of violence they act automatically against the aggressor. The penalty for provoking their action is too terrible to risk. The result is we live in peace without arms or armies, secure in the knowledge that we are free from aggression and war, free to pursue more profitable enterprises. It is no concern of ours how you run your own planet, but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder.” 

He ends his words with this final warning, a full-throated threat.

“Your choice is simple: join us and live in peace, or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you.”

In summary, Klaatu condemns humans for being violent and then says we have to stop being violent or he’s going to get violent. Klaatu’s speech, which is the entire reason this movie exists, is a Confusion Resolution Trap.

A Confusion Resolution Trap is a technique in which a target is first placed in a state of confusion, contradiction, or cognitive uncertainty, and then guided to accept a suggested belief, authority, or solution presented as relief from that confusion.

This isn’t just a screenwashing technique; it’s one of the most basic tricks all hypnotists use to put their subjects in a suggestive state. Hypnotists know that confusion can make people more suggestible. That happens because when someone feels uncertain or mentally overloaded, they naturally look for clarity, direction, or stability. 

In a confused state, the brain often reduces deep analysis in favor of quickly finding a framework that makes sense of the situation. That can make outside suggestions, interpretations, or instructions feel more compelling, especially if they appear confident, simple, or emotionally reassuring. 

One of the most basic ways hypnotists create confusion in a subject is through contradictory statements. Statements exactly like speaking calmly about peace and reason while simultaneously describing an unstoppable system of violent enforcement. That contrast forces the audience to mentally reconcile two conflicting ideas at once: benevolent universal order and absolute coercion.

The result is a kind of cognitive pressure where the listener is nudged toward accepting the proposed system as the only stable resolution to the uncertainty and danger being described. Rather than persuading purely through logic, the speech gains power from the emotional and conceptual instability it creates. When it’s done, suddenly surrendering all your autonomy to a central authority of elites sounds not just sensible but reassuring.

Surrender. Obey! We are all one. We are all the same. Open your borders. Surrender your authority. Or else. 

How The Day The Earth Stood Still Led To Virtue Tolls

The result of this way of thinking is much more deeply and broadly impactful than simply encouraging people to hand over control to the United Nations.

The film explicitly argues humanity must stop thinking tribally or nationally and instead adopt responsibility toward a larger collective order. It treats narrow self-interest of all types as morally immature.

Before Day the Earth Stood Still, charity was immediate and local. It was handled through neighborhood churches, and people’s focus was entirely on helping their own close-at-hand community. After this movie’s influence spread, we began instituting virtue tolls. 

This means that in 2026, if you leave your house, whether it’s to drop your kid off at school, show up at work, or just go to the grocery store, you’ll be asked to pay a toll. A virtue toll.

Virtue toll is a term I just now invented, so that I can avoid using curse words instead. Virtue tolls are incessant requests for charitable giving added to ordinary daily transactions or public interactions. They’re everywhere.

You may think you’re in the Taco Bell drive-through to get a bean burrito, but you’re actually in line for a virtue tollbooth where they’ll shake you down for donations to help African kids who can’t read and stuff, before they’ll let you have any hot sauce. It’d be tolerable if any of these donations actually did any good, but most of these virtue tolls are scams designed to line the pockets of someone who has nothing to do with whatever that charity is about.

Unfortunately, the cute girl working at Starbucks knows nothing of these facts, and if you don’t give her a buck to help Nigerian swans, she’s going to think you’re a jerk. Meanwhile, the street you live on is full of trash and potholes, and the people who are supposed to be doing something about that are attending charity balls to raise money for Haitian refugees.

Americans have become so focused on the big picture, they’ve forgotten the small one. It’s why virtue tolls are never for some small, local organization that might actually help improve your life and the lives of those you love. 

The idea of local-focused charity was based on a concept that aligns well with human motivation and well-being, and the term for it is Enlightened Self-Interest. 

Enlightened Self-Interest is the pursuit of personal advantage through localized actions that strengthen the larger system, group, or conditions one ultimately depends on.

That enlightened self-interest approach to charity meant better communities with cleaner streets, and it also made embezzlement nearly impossible, because if you gave your church money to help Bob get a hotel room and then saw him sleeping on a park bench, the jig would be up.

But who knows if Mr. Beast actually built any of those wells in Africa, and even if he did, whether they make any difference at all. Spoiler alert: they don’t!

Things changed because media like Day the Earth worked to shame people for their tendency toward individualism and localism. It was explicitly created to convince audiences to think bigger, until they weren’t thinking at all.

Robert Wise Apologizes For His Movie With Star Trek

Years later, The Day the Earth Stood Still director Robert Wise would end up in charge of another high-concept sci-fi movie, called Star Trek: The Motion Picture. Star Trek, by the way, is a fictional universe built entirely on the premise that all of humanity is united under one central authority that has somehow eliminated all violence. Exactly like the one Klaatu claimed to belong to.

Though Wise’s film is set in that environment, what happens in The Motion Picture seems almost like an apology for the ideas of The Day the Earth Stood Still. In The Day the Earth Stood Still, an alien shows up, makes threats, and the film ends by advocating for total submission. In The Motion Picture, an alien shows up, makes threats, and mankind stops it not by surrendering but by teaching it about the power and importance of close human connection and intimacy. 

Star Trek: The Motion Picture’s message is that on a localized level, humans are so awesome that everyone should be more like us. Day the Earth Stood Still’s message is that humans are awful and the only way to fix us is if we stop thinking about our communities and our loved ones.

Congratulations, inferior humans, you’ve been Screenwashed.

Warning: Spoilers ahead for House of the Dragon season 3, episode 1.

Poor Rhaenyra Targaryen (Emma D’Arcy) is down another son after the Battle of the Gullet.

During the Sunday, June 21, season 3 premiere of House of the Dragon, brooding Jacaerys Velaryon — played by Harry Collett — met his watery end along with his dragon, Vermax.

The action-packed first episode saw Jace and Baela Targaryen (Bethany Antonia) come to the aid of Lord Corlys Velaryon (Steve Toussaint) and his ship, the Queen Who Never Was (originally called the Sea Snake), after they were ambushed on the Gullet by a fleet of Triarchy pirates led by Sharako Lohar (Abigail Thorn).

Related: The Most Brutal ‘House of the Dragon’ Deaths So Far: Rhaenys and More

HBO Game of Thrones was no stranger to seeing some characters meet pretty gruesome fates, and its prequel, House of the Dragon, is following in a similar vein. The first two seasons of the HBO series have featured many onscreen deaths, from major characters to side players and other citizens of Westeros. Fans of the […]

Near the end of the episode, with Jace distracted by Rhaena Targaryen (Phoebe Campbell) and wayward dragon Sheepstealer joining the fray, the pirates speared the prince’s dragon using a ballista, bringing the beast down into the water. Just as it seemed Jace would survive — managing to free himself from his mount and come up for air — the prince was struck by no less than three arrows and died at sea.

In an interview with Variety on Sunday, Collett reacted to Jace’s final moments, which involved him having to play dead in the water.

“It was really hard to act dead — it’s actually one of the hardest acting I’ve ever done in my life,” he said. “It was really fun, but also really challenging trying to keep my eyes open in the water and staying afloat while also not getting any up my nose. Otherwise, I’d cough, and obviously I’m not dead if I cough. So that was quite challenging.”

Collett, 22, first joined House of the Dragon in the latter half of season 1 as Rhaenyra’s eldest son and heir apparent to the disputed Iron Throne.

The British actor said he always knew his character would only appear in the show for two seasons, but his time on set was extended when the Battle of the Gullet was moved from the end of season 2 to the beginning of season 3.

“I knew my fate already and was taking the days as they come and enjoying myself and just being grateful to be on this show in the first place,” he said. “When I read season 2, normally [showrunner] Ryan [Condal] calls you to tell you what is gonna happen this season. I didn’t get a call, and I was like, ‘Is he just waiting until like we get to the script read?’ But, no, it got skipped in season 2, which I’m very grateful for. It’s great that it gets to be the first episode that people see for this season.”

Thank You!

You have successfully subscribed.

Jace’s death follows the slaying of his younger brother, Lucerys Velaryon (Elliot Grihault), who was also killed alongside his dragon, Arrax, at the end of season 1.

For those keeping score, that means Rhaenyra is now down to just three children, her young sons — Joffrey, Aegon III and Viserys II — with husband/uncle Daemon Targaryen (Matt Smith).

House of the Dragon season 3 airs Sundays on HBO and is available to stream on HBO Max.

By Jason Collins
| Published 23 seconds ago

Some action movies come and go, while others stick around because they get the fundamentals right. Antoine Fuqua’s The Equalizer falls firmly into the latter category. Released in 2014, the film paired Fuqua with Denzel Washington for the first time since Training Day and launched one of the most consistent action franchises of the last decade. Over 10 years later, The Equalizer remains every bit as gripping, brutal, and satisfying as it was when it first hit theaters.

Denzel Launched A Franchise

The Equalizer is one of the defining action movies of the 2010s because it gave birth to two successful sequels and introduced audiences to one of Denzel Washington’s most memorable characters. The film follows Robert McCall, a retired U.S. Marine and former intelligence operative who lives a quiet life in Boston. By day, he works at a big-box home improvement store. By night, he spends his sleepless hours reading books at a local diner. Over time, he befriends Teri (Chloe Grace Moretz), a teenage sex worker who is being exploited by the Russian mob.

Denzel Is A Force Of Nature

After Teri is brutally beaten and hospitalized by her Russian handlers, Robert decides he can no longer stand by and do nothing. He first attempts to resolve the situation peacefully by offering to buy her freedom. When her procurer, Slavi (David Meunier), refuses, Robert calmly locks the office doors, sizes up the room, assesses every available weapon, and shows exactly why he was feared in his previous life. What follows is one of the most memorable scenes in modern action cinema, establishing McCall as a force of nature who delivers justice on behalf of people who can’t protect themselves.

Everything Is A Weapon

Naturally, Robert’s actions attract the attention of some very dangerous people within the Russian mob, setting off a deadly chain of events that escalates throughout the film. One of The Equalizer’s greatest strengths is its creativity. While many action movies rely on flashy choreography and massive explosions, this film turns everyday objects into instruments of destruction. The violence is stylish, methodical, and often shockingly inventive, but beneath the action is a story about redemption, justice, and standing up against abuse and exploitation.

All Three Movies Are Fantastic

The Equalizer was a commercial success, earning more than $190 million worldwide against a budget reported to be between $55 million and $73 million. Its success paved the way for two sequels, both of which performed well with audiences and further expanded Robert McCall’s story. While fans may debate which installment is the strongest, all three films deliver exactly what viewers want from the franchise: Denzel Washington calmly dismantling criminals who underestimate him.

The Equalizer remains one of the strongest action films of its era, blending intense action with a compelling lead performance and a surprising amount of heart. If you’ve somehow missed Robert McCall’s first outing, now is the perfect time to fix that. The Equalizer is currently streaming for free on Tubi.

Rod Stewart‘s health scare on Sunday while on stage in Utah might have been caused by the “South Park” karma.

The animated sitcom, which has been running since 1997, is known for forecasting events in pop culture in an almost prophetic manner.

Hence, when the British music icon struggled for air while performing, fans remembered they had seen a similar moment play out on their screens decades ago.

Stewart made headlines over the weekend when footage showed him performing on stage at Salt Lake City, Utah, when he began struggling.

As The Blast reported, the 81-year-old stopped singing mid-show to beckon to a staff member backstage, who brought an oxygen tank to aid his struggling breath. After taking a few puffs of air, Stewart revealed to concertgoers that he “nearly f-cking fainted.”

Nevertheless, the icon continued performing, assuring them that the “show must go on,” but not without seeking permission to take a less hectic position.

The performer proceeded to sit on the steps, continuing the concert to the encouraging cheers of the audience.

‘South Park’ Saw The Future Of Rod Stewart’s Poor Health

After videos of the incident went viral, fans quickly brought up a 1999 episode of “South Park” that mirrored what went down.

In the episode titled “Are You There God? It’s me, Jesus,” Stewart was invited by Jesus to perform in Las Vegas on New Year’s Eve to usher in a new millennium.

The show depicted the “Have You Ever the Rain?” singer as wheelchair-bound with bowel issues who heavily depended on his nurse. While performing on stage in the episode, Stewart soils himself, and his nurse rushes to attend to him.

“It’s like South Park had access to ‘project looking glass’ this whole time,” one fan wrote on X of the uncanny imitation of art.

“I can’t believe they did this with Rod Stewart nearly 30 years ago on South Park,” another comment read.

“The scary thing is Rod would’ve been in his 50s when this episode was made,” a third fan observed.

The Singer Seen At The World Cup After Canceled Show

Stewart’s health failure in Utah came a week after he faced intense backlash from his fanbase after canceling a sold-out show in California.

On June 12, hours before a throng of fans camped outside to see the London native at the North Island Credit Union Amphitheater, Stewart’s team revealed he would be a no-show due to doctors’ orders.

“On the advice of his doctors and following a diagnosis of an acute upper respiratory infection that has resulted in laryngitis, he is unable to take the stage this evening,” the statement read.

The “Maggie May” singer also issued an apology of his own. However, just a day after the cancellation, Stewart was seen at the Scotland vs Haiti World Cup match with his two sons, Liam and Alastair.

He posted a video on Instagram of the trip to Boston from his private jet, announcing that he had been to seven World Cups.

Fans Tell Stewart ‘Screw You’ After World Cup

It didn’t take long for aggrieved fans to camp in the comments section of the post, blasting Stewart for blatantly disregarding his supporters.

A lot expressed criticism that the knighted entertainer was careless about fans’ feelings, with some speculating he wasn’t sick enough to miss a show.

“My childhood girlfriends and I flew from Arizona and Houston to see the show at Red Rocks. You should have done this earlier. Screw you,” one fan slammed, per The Blast.

Another comment read, “For someone who was sick enough to cancel his show last minute in San Diego yesterday, you sure seem hyped up enough to party with the boys in Boston today.”

However, a rep for the singer explained that the cancellation was out of their control as they had put Stewart on steroids the night before, but it kicked in “too late for the show.”

Rod Stewart Canceled Previous Shows Due To His Health

The California incident isn’t the first time the British singer has complied with his doctors’ advice at the last minute.

As The Blast reported, last month, Stewart axed not one but two shows in Las Vegas after he was due to perform at the Colosseum at Caesars Palace on May 29 and 30.

A statement confirmed the artist was recovering from a sinus infection, causing him to be on vocal rest until June.

The subsequent cancellations are reminiscent of when Stewart terminated six concerts in June 2025, postponing two while shelving the others completely.

We will always celebrate the return of Jason Statham to our screens. This here is a man who knows what we like to see on screen. We love a one man army, someone who will do whatever it takes to save the day, and hopefully smashing up a few blokes while he’s at it. That’s why we’re thrilled that the time is almost upon us for the newest Statham action flick. Yes, Mutiny appears to be the latest in a series of Statham thrillers that are guaranteed to deliver exactly what we’re looking for, and it’s out very soon. So soon, in fact, that we’re getting a new look at the movie.

The new poster for Mutiny has just dropped and, well, it looks pretty much as you’d expect. Statham, at sea, hanging off a freight container. What more would you want, really? We’re guessing the plot of the movie does not involve Statham rearranging entirely legitimate shipping from the Strait of Hormuz. That’s probably a different movie entirely. The synopsis of Mutiny reads:

“In Mutiny, after witnessing his billionaire boss’s murder and being framed for the crime, Cole Reed (Jason Statham) boards a cargo ship on a one-man crusade to avenge his boss’s death only to discover an international conspiracy.”

Mutiny stars Jason Statham (The Beekeeper) as Cole Reed; Annabelle Wallis (Malignant); Jason Wong (The Covenant) as Taran; Roland Møller (Land of Mine) as Marko Madsen, one of the major players; Arnas Fedaravicius (The Last Kingdom); and Adrian Lester (Primary Colors). The movie is directed by Jean-François Richet andwritten by J.P. Davis and Lindsay Michel. Statham produces alongside Marc Butan.

What Else is Jason Statham Making?

Currently, Statham is busy shooting with David Leitch for a new action thriller, Jason Statham Stole My Bike. Yes, that’s the name of the movie, and yes, it’s about exactly what you think. Statham will play himself in the film, which is described as a comedic action blockbuster. Leitch recently told Collider’s Steve Weintraub more:

“No, he’s playing Jason Statham. He’s playing himself. I think that that’s what’s really interesting about it to me. I think it’s different than some of these other meta movies. We’re just really trying to capture something comedic and fun. Obviously, there are some referential things going on. There is a four-quadrant element to it. It’s fun, and it’s family, and it’s a chance for Jason and I to do something we’ve been wanting to do for a long time, and that’s, really, get together and make a story with a heart.”

Mutiny will open in theaters on August 21, 2026.

​​​​​​​

Advertisement

Release Date

August 21, 2026

Advertisement

Runtime

95 Minutes

Director

Advertisement

Jean-François Richet

Advertisement

• 
• 
• 
• 

  Ben Cartwright

  Lieutenant Underwood

  Advertisement

Advertisement

Advertisement

Penn Badgley‘s wife is giving a relatable insight into their long-time marriage.

Domino Kirke recently honored the actor on Father’s Day with a divorce joke while raving about his fantastic qualities as a dad to not one but four amazing children.

Penn Badgley welcomed three kids with Domino Kirke, and he is a stellar stepfather to her oldest son from a previous relationship.

Kirke dropped a lengthy Father’s Day message on Instagram alongside a heartwarming picture of Badgley rocking one of their children to sleep. She began by reflecting on her childhood with “a childlike father,” noting she grew up learning “not to expect much” from men.

“You brace yourself for disappointment over and over. You make excuses for their behavior and convince yourself you don’t deserve much more,” Kirke lamented. Her disappointment in men continued with the father of her first child, as she found it “easier” to parent alone.

Everything changed when she met Badgley, whom she credited with helping her understand that she didn’t have to control everything. Even when her mind tried to convince her that she could handle things alone, Kirke now knows in her bones that she can’t be a parent without Badgley.

The Doting Mom Thanked Her Beau For Standing By Her Side

After 13 years together, Kirke couldn’t help but express gratitude for Badgley supporting her as a parent every step of the way. “I realize we’ve always had a child in tow. Always a child in our bed, even one that wasn’t your own,” she wrote, thanking her doting husband with a divorce joke that read:

“Thank you for riding every wave with me and for not agreeing to a divorce every time I ask for one. Happy Father’s Day, @pennbadgley; we’re the lucky ones.”

Kirke’s words sparked a wave of support from fans, who found her post refreshingly honest. “‘And for not agreeing to a divorce every time I ask for one’ Relatable,” someone commented with a laughing emoji. “Those words! Thank you for sharing,” an IG user added.

Divorce Was Once On The Table For The Lovebirds

Although Kirke’s reference to her divorce was a joke in her Father’s Day tribute, it was a serious matter for her and Badgley in the past. The Blast reported in November 2025 that the “YOU” actor had revealed the couple’s marital troubles in the book “Crushmore: Essays on Love, Loss, and Coming-of-Age.”

Badgley reflected on his marriage to Kirke and how they had considered separating after two miscarriages. He did not share the timeline of these heartbreaking events, but stressed that they nearly broke his union, with the second loss hitting harder than the first.

Advertisement

The TV personality and his wife felt isolated while mourning the losses of children they never got to see, with Badgley recalling how living in a “culture that doesn’t talk much about these things or know how to support those going through it” made it more challenging for them to overcome their grief.

Inside The Couple’s Relationship And Their Four Children

Kirke and Badgley first sparked dating rumors when they were seen in public together in July 2014. Later, reports surfaced that they had begun dating before their outing, with the couple showing off their affection for each other on more occasions.

They legally tied the knot on February 27, 2017, in an intimate courthouse ceremony in Brooklyn and threw a second wedding celebration in June. They welcomed their first child, a son, in August 2020, followed by twin boys in late summer of 2025, per PEOPLE.

As stated, the entertainer took up the role of stepfather to Kirke’s first child from a previous marriage, officially making him a father of four wonderful boys. After welcoming his first son, Badgley confessed in an interview that playing Joe Goldberg on the “YOU” series became harder.

Penn Badgley Raves About His First-Time Experience As A Father

Badgley’s fatherhood confessions continued in a March 2023 appearance on “The Tonight Show,” where he shared his experiences as a first-time dad. He described the journey as a wild yet joyful experience, noting it was challenging but worthwhile.

The actor also shared a funny story, recalling how his then-two-year-old son nearly discovered his role as the serial killer Joe Goldberg in the psychological thriller series. Badgley had been enjoying a sweet moment with the boy on his lap when he accidentally sat on the TV remote.

Advertisement

“It just went right to Netflix on the TV. And my face was right on the TV. And he was like, ‘Daddy!’” Badgley recalled, noting he immediately started panicking because he knew “something really crazy” would pop up. Fortunately, he turned off the TV in time, per E! News.

By Chris Sawin
| Published 34 seconds ago

Written and directed by Michael Sarnoski (Pig, A Quiet Place: Day One), The Death of Robin Hood sees a grayer version of Robin Hood (Hugh Jackman) residing in the country, attempting to forget the lore that surrounds him, which he claims is all false apart from the stealing and killing. In a way, this older version of Robin Hood begs for death. He wants nothing more than his story to finally end, but he has also only known murderous ways for so long that he can’t let them go. So he’s cursed to continue on living a life of infamy, regret, and bloodshed.

During his last real battle, Robin is horribly injured. He’s cared for by Little John (Bill Skarsgard) and his daughter Margaret (Faith Delaney), but his wounds are too severe. Little John leaves Robin at a monastery, where he’s placed in the care of Sister Brigid (Jodie Comer), and while she nurses him back to health, Robin knows that this will be his final resting place.

Front Loads The Violence

The Death of Robin Hood is relentless in its violence, pausing slightly early on to showcase the bond Robin and Little John still share. A young boy has an arrow pierce the back of his skull and emerge through one of his eye sockets. Later, he’s seen walking around speaking gibberish. Robin also mutilates a man’s hand with a knife before shoving a flaming torch down his throat. This is after the opening of the film, which sees Robin stab a woman to death in the snow by piercing the side of her throat and having a meaningful conversation with her as she bleeds out before shoving his blade in her brain.

Speaking of Little John, Bill Skarsgard is unrecognizable with his short hair, scraggly beard, and gravelly voice until he looks directly into the camera. His screen time is short, but impactful. He has a scene where he transitions from rage-fused vengeance with tears streaming down his face in anger to a caring father reassuring his daughter that everything will be alright so quickly.

Equal Parts Brutal And Beautiful

One aspect of The Death of Robin Hood that may not be met with total acclaim is that the film has no further conflict once Robin reaches the monastery. The second half of the film goes in a completely different direction from the first half, which will either make you love the film more or hate it entirely. Tension rises between Robin and Sister Brigid, Robin and The Leper, and Robin and Godwyn (Noah Jupe), but Michael Sarnoski is more interested in having the audience marinate in what could happen rather than experiencing any sort of physical altercation.

The thriller has a deliberate pace that is meant to appreciate what it means to end one’s life as well as how it affects those around you; even the people you’ve just met. Robin is the world’s most notorious outlaw in 1247, the year the film takes place, but he’s been in hiding so long that people have forgotten what he looks like. Robin has these almost intellectual conversations with both Sister Brigid and The Leper (Murray Bartlett), two individuals who are connected to him in ways he doesn’t fully realize. Once Robin heals in the film, his actions are very much those of someone getting their affairs in order before a planned departure.

One of the more intriguing concepts in the film is that it doesn’t feel like Robin Hood is committing suicide here. It’s a welcome death where someone assists him, but it’s executed as more of a release, not just from life but from his own legend. Robin develops a relationship with Margaret over the course of the film, and he has some final words for her that come across as a passing of the torch, but also as a mentor begging his protégé to be better than he ever was; in a just, moral way.

Robin Hood, as a character, has become habitual. He initially kills in the film as a form of self-defense, but he’s also quite good at it. His actions are not in the typical hero-or-villain sense, but those of a man who has simply survived and made a name for himself by doing despicable things for most of his life. Myths began to circulate regarding why he killed and why he stole money, but the lies intertwined with reality so much that it’s become difficult to distinguish what actually occurred and what didn’t.

The Death of Robin Hood is as savage and brutal as it is beautiful. It is truly one of the year’s most moving and powerful films. Its violence and Irish setting are reminiscent of The Northman, and calling the film the “Logan approach to Robin Hood” wouldn’t be an insult. While most films of this nature feature a titular character doing everything in their power to stay alive, The Death of Robin Hood sees a grizzled, barbaric desperado battling his way towards a triumphant end.

THE DEATH OF ROBIN HOOD SCORE

The Death of Robin Hood is now playing in theaters.

Editor’s note: The below contains spoilers for the House of the Dragon Season 3 premiere.

It’s been two years since viewers were last plunged into House of the Dragon‘s increasingly devastating Targaryen civil war, and given that the Dance of the Dragons is only just heating up, it’s beyond evident that only more loss and violence lie ahead. While Rhaenyra (Emma D’Arcy) does intend to take King’s Landing as bloodlessly as possible, Alicent (Olivia Cooke) is in for a surprise when she gets back from their secret meeting at Dragonstone to find that Aegon (Tom Glynn-Carney) has fled and Aemond (Ewan Mitchell) has now assumed control of the Iron Throne in his brother’s absence.

Not one to let her planning with Rhaenyra be ruined, though, Alicent decides to covertly make some moves of her own, including deliberately planting the idea in Aemond’s head to officially seize Harrenhal, effectively sending him away from King’s Landing and clearing the way for Rhaenyra’s peaceful takeover. Of course, the conversation between mother and son takes a very unexpected direction, culminating in a kiss that is far from welcome on Alicent’s side but certainly plays into the running theme of certain Targaryens preferring to keep it in the family.

Why Does Aemond Kiss Alicent in the ‘House of the Dragon’ Season 3 Premiere?

Naturally, when Collider had the opportunity to speak with House of the Dragon‘s cast in support of Season 3’s first two episodes, we had to ask Mitchell and Cooke about the surprising kiss between Aemond and Alicent and what’s really going through the characters’ minds at that moment. Mitchell confirms that Aemond is already thinking of himself as the new authority in the family, even if he has a pretty skewed perception of what everyone’s new role should be, especially his mother’s:

“For Aemond, it’s like he’s very much assumed — in Episode 1, at least — he’s very much assumed his dominance as the king of Team Green, and he wants to act accordingly. Alicent, maybe, is his queen, in a weird kind of way, in his mind. He wants to assume a kind of leadership role of this family, and really take them all under his wing. He’s now the father figure. He’s the daddy, he’s the daddy now. [Laughs] … Aemond, he has such a skewered perception of love — how to show it, show affection, and that’s because he never really had it when he was growing up. And I definitely think the kiss was probably a little too far.”

Watching the scene in question, Alicent’s discomfort is beyond evident, but she’s also in a difficult position where she realizes that she can’t anger or incite her son’s wrath in any way, so she has to tread lightly — even if that means making it seem as though Aemond’s action is being reciprocated. Cooke also clarified to Collider that Alicent’s reaction isn’t just general unease, but the realization that her son’s confused impulse is stemming from her own maternal failings:

“Alicent is… her reaction is somewhere, sort of projected. Her reaction sort of lies where the audience’s reaction is, except that she’s got to stay as neutral as possible because this is a very dangerous, powerful man. She’s not expecting it at all. I think that somewhere, unconsciously, there’s like, ‘OK, you know, another fail as a mother, because now my son wants to fuck me,’ but it’s shocking, and it’s really dangerous — and it’s also, I think, really heartbreaking for Alicent that this man who was once her little boy has turned into this very confused, very dangerous person.”

Of course, there’s no telling whether this moment will have any larger ripple effects on the season, especially with Aemond’s sights now set on taking Harrenhal as both a political and personal effort to establish himself as a bigger player. With Alys Rivers (Gayle Rankin) urging Rhaenyra’s dragonseeds to leave, rather than lie in wait for the Kinslayer, House of the Dragon Season 3 also seems positioned to set up another highly anticipated meeting for fans, but time will only tell what those two characters might make of each other if and when their paths ultimately cross.

New episodes of House of the Dragon Season 3 premiere Sundays on HBO and HBO Max.

Halsey is reigniting her feud with music critic Anthony Fantano nearly a year after he torched her album “The Great Impersonator.” The Grammy-nominated singer took aim at the popular YouTube reviewer Sunday night after social media users resurfaced discussion about Fantano’s harsh assessment of the deeply personal project, which chronicled Halsey’s battle with serious health issues.

Anthony Fantano’s original review of the album was widely criticized by some Halsey fans after he described the project as exhibiting “main character syndrome,” a characterization that clearly still doesn’t sit well with the singer.

Halsey didn’t hold back when responding to the reviewer’s past comments. In one post, she directly referenced both Fantano’s criticism and her own health battle, writing:

“I’m certain my least memorable song will be remembered more fondly and for more time than anything you ever do with your life will be. Everything you say is more ‘whiny’ and ‘edgy’ than I was at any point on that album. But at least I had the excuse of going through chemo.”

For Halsey, the criticism appeared to hit deeper than a simple negative album review because “The Great Impersonator” was heavily inspired by her personal experiences and health struggles.

The Singer Endured Years Of Symptoms Before Receiving Answers

The singer was diagnosed with blood cancer in 2022 and has spoken openly about the physical and emotional toll of her treatment. During an appearance on Benny Blanco‘s “Friends Keep Secrets” podcast, the singer revealed that she spent years struggling with unexplained symptoms before finally receiving a diagnosis.

When asked how long she had been feeling unwell before doctors identified the problem, Halsey offered a startling answer. “Like eight years,” she revealed. “If someone was paying attention, we could have figured this out like eight years ago.”

Today, Halsey continues to undergo chemotherapy treatments to manage her condition. The singer described the aftermath of treatment as leaving her feeling “horrible for a couple of days” and compared the experience to “the worst, the gnarliest hangover you’ve ever had in your life.”

The singer expanded on her frustrations in a second social media post, arguing that Fantano’s critique reflected a larger issue.

“Who cares he gave a bad review? I care that a pay for clicks reaction YouTuber can facade as a pro critic and say it’s ‘main character syndrome’ for an artist to lament her medical suffering on an album (surprise!) about her own life. He’s a raised-by-4chan edgelord bully. Yuck.”

Halsey then explained why she believes the comments resonated beyond her own experience:

“Being a woman dealing with serious health issues often means being afraid of telling the truth about the pain you’re in because you’re afraid of not being believed or seeming attention seeking. He validated that fear to thousands of women.”

The remarks quickly gained attention online, with fans debating whether Fantano’s original review crossed a line given the subject matter explored throughout the album.

Anthony Fantano Responds To The Criticism

Fantano eventually addressed the singer’s comments, appearing to take the exchange in stride. The YouTube personality responded by saying he was flattered to have landed on Halsey’s radar and referred to her as a “queen.” However, the response did little to soften the singer’s stance.

Halsey doubled down on her criticism, once again describing Fantano as a “raised-by-4chan edgelord bully” before ultimately signaling she was finished with the back-and-forth. “That’s all and good luck to this man!”

Fantano’s Review Drew Attention For Its Low Score

Fantano, who operates the popular YouTube channel The Needle Drop and frequently refers to himself as the “internet’s busiest music nerd,” gave The Great Impersonator a “decent 1” out of 10 in his original review. The score became one of the most talked-about aspects of his critique and generated significant debate among fans of both the reviewer and the singer.

The online personality has built a massive following through his music reviews and interviews with major artists. Most recently, he drew attention after interviewing Olivia Rodrigo, with some social media users accusing him of showing favoritism toward certain female artists.

Now, months after the release of “The Great Impersonator,” Fantano’s review is once again making headlines, but this time because Halsey decided to publicly respond.