Star Trek: Starfleet Academy is the newest star in the galaxy of Star Trek shows, and it has attracted its share of controversy. Coming in for a surprising amount of criticism is the preference of Holly Hunter, who plays Chancellor Nahla Ake, to sit in her captain’s chair in an unconventional and decidedly informal fashion. However, Hunter’s castmates and fellow Star Trek alums have been quick to spring to her defense. Last week, fellow Starfleet captain Kate Mulgrew led the charge; now, it’s the turn of her on-screen arch-foe, Paul Giamatti.

Giamatti, who plays space pirate Nus Braka on the series, recently guested on The D-Con Chamber, a podcast hosted by Trek veterans Dominic Keating and Connor Trinneer. The subject of Hunter came up, as Keating described her as “taking on the spirit of a cat,” and Giamatti gave her his full endorsement: “The first time I saw her do it, we went onto the set for the bridge, and she got in the chair like that, I just thought it was great. I’m sure there’s people who were outraged.” As a Trek fan himself, though, he didn’t share the outrage: “I’m an old Star Trek fan, and I thought, ‘That’s great.’ What a great thing that somebody is just gonna be that comfortable in there, and it’s a different kind of command stuff, you know.”

Who Is Nus Braka?

The hybrid offspring of a warlike Klingon and a contentious Tellarite (which Braka has referred to as a “Klingarite”), Nus Braka is a space pirate operating in the aftermath of The Burn, a galaxy-wide disaster that shattered the United Federation of Planets. He is first seen in the opening moments of the series, having masterminded the robbery of a Federation shuttle and the murder of its pilot. Put on trial by Ake alongside his accomplice, Anisha Mir (Tatiana Maslany), both he and Mir were sent to jail, separating the latter from her son, Caleb. A decade later, he’d escaped prison, leading the Venari Ral marauders in strikes against the still-rebuilding Federation. He comes into conflict with the new Starfleet Academy, which is led by Ake, and counts Caleb (Sandro Rosta) as a student as he searches for his lost mother. Recently, an encounter with the hostile Furies led Ake to seek Braka’s assistance…only to be double-crossed by the canny pirate.

Keating and Trinneer starred on Star Trek: Enterprise (2001-2005) as, respectively, Malcolm Reed and Charles “Trip” Tucker; they launched the podcast in 2024 after concluding their previous podcast, The Shuttlepod Show. Previous guests on The D-Con Chamber have included William Shatner, Jonathan Frakes, and Enterprise captain Scott Bakula.

Star Trek: Starfleet Academy is now streaming on Paramount+; episode 7, “Ko’Zeine,” will premiere on Thursday. Stay tuned to Collider for future updates.

Advertisement

Advertisement

Release Date

January 15, 2026

Network

Advertisement

Paramount+

Showrunner

Alex Kurtzman, Noga Landau

Advertisement

Directors

Douglas Aarniokoski

Advertisement

Writers

Alex Taub, Tawny Newsome, Kirsten Beyer, Jane Maggs, Kiley Rossetter

Advertisement

Advertisement

Advertisement

Days of Our Lives 2-week spoilers for February 16 -27, 2026 reveal Chad DiMera (Billy Flynn) makes his exit and Brady Black (Eric Martsolf) gets romantic.

Days of Our Lives Spoilers: Monday, February 16th: Gabi’s Discovery and Romantic Complications

On Monday, February 16th, we’ve got Philip Kiriakis (John-Paul Lavoisier) lifting Gabi Hernandez (Cherie Jimenez) spirits. She now knows that Vivian Alamain (Louise Sorel) kidnapped Stefan DiMera (Brandon Barash) and kept them apart deliberately, forged the divorce papers, and kept him captive until he died. That’s a whole lot for Gabi to deal with. But she and Philip are heading to Miami soon to get steamy on a little getaway.

Plus, Dimitri von Leuschner DiMera (Peter Porte) has now convinced Leo Stark (Greg Rikaart) that he has been set up, and they decide to work together to prove Dimitri’s innocence in the DiMera kidnapping case. Gwen Rizczech (Emily O’Brien) gives Xander Cook (Paul Telfer) some more instruction—more hands-on golf lessons. That’s going to get a lot more handsy very soon.

Brady’s taking it slowly with Sarah Horton (Linsey Godfrey). He’s being cautious. Everything is very complicated, but they do share a kiss after their impromptu Valentine’s Day lunch on Monday. EJ DiMera (Dan Feuerriegel) and Susan Banks (Stacy Haiduk) spend some time together, and we’ll see if EJ tries to dissuade Susan of her theory that Stefano DiMera (Joseph Mascolo) is somehow influencing EJ from beyond the grave.

Also this week, Jada Hunter (Elia Cantu) has a Valentine’s Day date with Theo Carver (Cameron Johnson), but he’s sitting there looking at her and imagining that he’s out with Gabi instead. Terrible, right? Poor Jada. She notices Theo Carver getting lost in thought and wants to know where he went. And if he’s smart, he’s not going to say, “Oh, I was thinking about another woman.” That won’t go well, especially not with Jada. She’s had the worst luck with men.

DOOL Spoilers: Tuesday, February 17th: A Stalker Lurks while Steve and Kayla Celebrate

Tuesday, February 17th, Alex Kiriakis (Robert Scott Wilson) and Stephanie Johnson (Abigail Klein) are honeymooning. Looks like they’re just doing it at their little apartment. Alex is thrilled to be her husband, but what’s creepy is the stalker. Presumably, Owen Kent (Wes Ramsey) is probably listening in on them while they’re talking about their marriage and then getting ready to consummate their marriage. It’s very disturbing, and this could be what provokes the guy to finally take action.

Jack Deveraux (Matthew Ashford) and Jennifer Horton (Melissa Reeves) wish Jeremy Horton (Michael Roark) the best. They’re in town to see off Chad DiMera and the kids, but now Jeremy is supposedly leaving, too. But he won’t get too far. Another stalker incident may be what derails his exit because, as we know, Jeremy is not gone for good until April 29th.

Steve Johnson (Stephen Nichols) and Kayla Brady (Mary Beth Evans) celebrate their Heart’s Day anniversary at the Bistro. And of course, they got married the last time on Valentine’s Day a couple years ago. They did a funny video talking about how Steve was a creep when they first met and that he broke into Kayla Brady’s apartment and ended up watching her change into some kind of negligee.

It was a very funny little thing where they were playing their characters. Check out Peacock’s Instagram account and you can see all the little funny Valentine’s Day videos they put out. There was one with Jada and Shawn-Douglas Brady (Brandon Beemer). There’s one with Alex and Stephanie. There’s a bunch of cute little ones. Abe Carver (James Reynolds) and Paulina Price (Jackee Harry) also have a table at the Bistro toasting and enjoying V-Day.

Billy Flynn’s Emotional Days Exit: Chad DiMera Leaves Salem

And Chad, Thomas DiMera (Cary Christopher), and Charlotte DiMera (Autumn Gendron) leave Salem. This is the final air date for Chad and Thomas. Jack and Jennifer say goodbye to the kids and hug them and Chad. But before he says bye to them and Julie Williams (Susan Seaforth Hayes), we’re going to see Chad saying another goodbye on Days of our Lives.

He goes out to Abigail Deveraux DiMera’s (AnnaLynne McCord) grave, which is still empty, and says that he is going to take a piece of her and Salem with him. Chad puts a pink little Valentine’s Day conversation heart on Abby’s grave and wishes his dead wife a happy Valentine’s Day.

Then at Julie’s house, Chad picks up the wedding photo of him and Abigail and is crying over it. We will see a new Chad and new Thomas in April. No word if we are going to get a new Charlotte.

Also this week, Liam Selejko (Hank Northrop) plants a kiss on Arianna “Ari” Grace Horton (Marissa Reyes). Gabi’s head is going to explode over this. You know, Ari’s got a fake ID. She’s out partying. She was with Bad boy Doug Williams III (Peyton Meyer). And now Liam, who is older, a felon, and has a kid. This is just messy.

Days of Our Lives Wednesday, February 18th: Xander and Gwen Spark while Kristen Battles Brady

Wednesday, February 18th, Xander and Gwen are sparking. She shoves him on her bed and strips him off and they do the deed. I’m guessing it’s going to mean a lot more to her than it does to Xander, though. Cat Greene (AnnaLynne McCord) tries to trigger EJ’s memories, probably about the Italian hospital and their Wuthering Heights bond.

Gabi takes care of Philip. More hot stuff in Miami for these two. And Kristen DiMera (Stacy Haiduk) and Brady talk to Rachel Black (Alice Halsey). If you remember, Dr. Gregory told Brady to stand firm with her and Kristen about his love life being off-limits to their manipulations, but I doubt that Rachel and Kristen are going to take it well or respect his boundaries.

Thursday and Friday Spoilers: Escapes, Espionage, and DiMera Dollars on DOOL

Thursday, February 19th, Sophia Choi (Rachel Boyd) keeps gleefully plotting Holly Jonas (Ashley Puzemis) downfall. Sophia is monitoring the mess she has made on social media and loving every minute of it. Xander’s feelings for Sarah aren’t going to go away, even after he spent the night with ex-Gwen.

Leo and Dimitri activate their plan to prove his innocence in the DiMera kidnappings, and they need to get on a jet plane. And again, Dimitri’s in an ankle monitor. Million-dollar bond? Are they just going to ignore that and let it go off?

Sarah and Brady try and sneak in another smooch, but they may be seen. Rachel or Kristen may spot them. And Gwen updates her gal pal Kristen. They’re catching up and they’re both probably feeling really good about what they’ve got. Gwen had Xander in her bed. Kristen’s living with Brady, but these girls are toasting before their chickens have come home to roost.

Friday, February 20th, EJ DiMera has questions for Rita Lesley (Maggie Carney) about Cat. Is he suspicious? You know, was her poking him about the hospital—did it do something to send his spidey senses tingling? And I wonder if EJ wants to know if Cat is being nosy, asking questions in places she shouldn’t be.

Leo & Dimitri on a Mission

Leo and Dimitri jet to Alamainia to get answers. We’ll see. But Leo and Dimitri are going to find out they’re not welcome in Vivian’s house, and that is made clear. But we don’t expect to see her. Louise Sorel is done for now. Her henchmen are going to be picking it up from here. And I wonder if EJ DiMera might actually lend a hand because he wants Vivian to be punished, not Dimitri.

Rafe Hernandez (Galen Gering) has surprising news for Gabi when she’s back. She may be rolling in DiMera dollars soon. And Ivan Marais (Ivan G’Vera), Madame Vivian’s henchman, makes a call to tie up loose ends. So, Liam may be in danger. And Ivan is plotting with the other henchman, Klaus. He’s the one with the scar on his face. Gabi and Jada chat about how happy they are with their new romances. Things are about to go badly with those.

DOOL February Sweeps Finale: Kidnappings and the Woman in the Tube

February 23rd through the 27th is the last week of sweeps, which ends on Wednesday. Liam needs to watch his back. Vivian and Ivan could be after him now to make sure he stops talking to the cops. Theo’s crush on Gabi could inspire him to break up her and Philip since he’s sitting on a huge secret.

Tate Black (Leo Howard) sees Holly spiraling out, but doesn’t know how to help her stop it. Ari also notices Holly’s behavior and is not a fan. And if Ari pledges the sorority that Holly wanted, that could cause more stress. Stephanie is kidnapped at work soon. And of course, Jeremy is suspected.

EJ soon shows Paulina the woman in the tube. And of course, Rafe’s going to bust into the lab and see the people-sized test tube pretty soon. We’ll see if that happens before sweeps winds up or not.

And one last question: Are we ever going to get an update on Joy Wesley’s (AlexAnn Hopkins) pregnancy? She was carrying Alex’s baby when she left Salem and that baby should be due any day now.

Rhode Island Hockey Shooting
Video Captures Gunshots At Game
… 3 Dead, 3 Injured

Published
February 16, 2026
4:07 PM PST

Quinton Aaron
Awake & Fully Alert…
But Disappointed ‘Wife’ Is Married to Another Man

Published
February 16, 2026
4:17 PM PST

Roommates, Yosohn and Essex, recently showed us that their parents, Ari Fletcher, G Herbo, and Taina Williams, are raising ’em with love! Fans were swooning after the brothers sweetly clocked Taina for calling herself “ugly.”

RELATED: Bride Mode! Taina Williams Gives Fans A Peek At Wedding Plans With G Herbo & Hints At Date (WATCH)

Taina Williams Reacts To Tag-Team Love From Her Son & Stepson

In the video, the blended family seemed to be enjoying an outing. Taina had her son, Essex, on one side while her stepson, Yosohn, was on the other. She was filming a selfie video, running her hands through her hair, when Yosohn suddenly asked her why she was using a filter on her face. She responded, “Cause I’m ugly.” He immediately shut her down, replying, “Don’t say that. You’re beautiful.” With a smile, Taina squealed “aww” and leaned over to hug him. Then, Essex popped his head into the frame and repeated after his big bro, saying, “You’re beautiful,” just as his mom was explaining, “But I need a filter on, I’m a girl.” She thanked Essex, too, before saying they were both blessing her heart. Watch the sweet interaction below. 

Social Media Praises G Herbo’s Son

In The Shade Room’s comment section, the roomies ate UP the sweet words from Yosohn and Essex. This is one of the rare times we’ve seen Essex show his mama love, but his big brother has been warming hearts for a hot lil’ minute when it comes to his mother, Ari Fletcher. She’s previously shared adorable words and gestures from Baby Crash. Nonetheless, both boys got an internet round of applause for their interaction with Mama Williams!

Peep some of the roommate reactions below.

“What a great village of parents! These babies are so sweet and respectful ❤️,” @5timesfre5her wrote.

@__bonitaaa commented, “Aww 🥺 Boys are the sweetest.” 

“A boy mom life is just unexplainable. Love it 💙,” @dominiquechinn added.

“They raising them right he a little gentleman already 🥰❤️,” @love.jeynell wrote.

“Yosohn don’t miss😢❤️ they all raising the sweetest babies,” @thebrwnbone commented.

“All the parents involved are doing such a great job ❤️,” @luvmunchie said.

RELATED: Cupid’s Move! Ari Fletcher Flexes Lavish Valentine’s Day Gift From Moneybagg Yo & The TL Is In Their Feelings (PHOTOS)

By Joshua Tyler
| Updated 23 seconds ago

A Knight of the Seven Kingdoms spent four episodes building up endless amounts of audience goodwill by being exactly the opposite of every previous Game of Thrones show. It positioned itself as a simple story about genuinely good and kind people doing good things in a beautiful, relaxing, perfectly shot and framed pastoral setting. 

And then it threw it all away. 

The show’s fifth episode, titled “In The Name Of The Mother,” is what it’s been building up to all along. A battle in which seven good men face off against the worst villainy that Westeros has to offer. The audience was primed for heroic combat, in which the show’s loveable main character, Duncan the Tall, would finally show us what he’s capable of, presumably with some sort of dazzling display of sword skills taught to him by his beloved deceased master, Sir Alfred Pennyworth. 

We were ready for a half-hour celebration of heroic jousting, fencing, and flashing chain mail. We were ready to leap out of our seats and pump our fists as Duncan the Tall knocked that psychopath out of his armor and won one for the good and kind, the merciful and just, with superior strength and skill. We were ready for him to surprise everyone, to show the world that good can triumph over evil, and that it can happen in a setting where you can actually see what’s going on.

A Franchise Built On Death And Gore Returns To Its Roots

We got none of that. Oh, Duncan won, sort of, but in a way that might as well have been a loss. What we really got is a reminder that while you may have thought you were watching something refreshingly different, this is still Game of Thrones. The franchise that brought you the Red Wedding. The franchise that murdered all the best Starks. The world set you up for the heroic triumph of Daenerys, only to murder her in cold blood at the last minute for no good reason other than some vague handwaving about fascism. 

This is Game of Thrones, the franchise where good people suffer for no reason, where beloved characters lose their heads, where everything is rot and filth and nihilism. That nice, clean show about that lovable knight you’ve been watching up til now? It was all a smokescreen, a bait and switch, so it could drag you right back into that pointless, stinking Game of Thrones hell.

When the trial of seven starts, Ser Duncan is knocked out cold in the first three seconds, allowing the show to avoid the battle and give us a 20-minute flashback (the entire episode is only 34 minutes long) of Duncan’s childhood, in which he lives in garbage and makes money by both murdering and robbing dying soldiers. It culminates in a scene where the camera lingers for nearly a minute, with an almost debauched sense of pleasure, over a little girl who used to be his friend as she very, very slowly bleeds out, spitting and dying and suffering in front of us after having her throat cut. 

It’s All A Smokescreen

With that bit of pointless nihilism over, Ser Duncan wakes up in the middle of the battle, lying in a muddy puddle. The trial of the seven is still going on around him, but almost none of it is visible to the audience. Instead, we mostly see a bunch of mud.

Like the Battle of Winterfell that took place in the dark so you couldn’t see any of the actual battle, the trial of seven takes place entirely in a thick fog. The show’s producers claim this was because they don’t have enough money in their coffers to show a joust, but if you’ve seen any of the series The Pendragon Cycle, which operates on a micro-budget compared to the one mustered up by HBO for a Game of Thrones show, you know that’s total crap. The Pendragon Cycle routinely shows big battles, and they don’t hide them behind a smokescreen. This is just what Game of Thrones does. It teases the audience with something awesome, then shoots it in a way that never shows anything awesome.

After missing most of the battle, though, Duncan’s awake and ready to fight. Now, after that flashback, we know that what’s driving him isn’t goodness and decency, but standard Game of Thrones anger and filth. 

Fortified with hatred for the world, Duncan gets involved in the fight, mostly by falling down in the muck and getting brutally stabbed out of nowhere a lot. Soon, there’s another knight wading around in the mud with him, and they’re both a mass of blood and gore, but they begin half-heatedly stabbing and hitting each other.

Many more minutes of mud later, Duncan collapses again and lies there staring at a puddle through his one remaining good eye before getting back up and punching his opponent in the face until he gives up. Some brains fall out of a heroic character’s head, everyone looks like hell, and there’s nothing enjoyable or pleasant in any of it. Just mud and gore. You thought you were watching A Knight of the Seven Kingdoms, but really it’s still season eight of Game of Thrones, and everything sucks, and there’s no way out.

Game Of Thrones Hates Its Audience, And Always Has

Except this is worse. Because the show’s first four episodes showed that the people making it know exactly what their audience wants and are totally capable of giving it to them. They’re just not going to do it. They’re so obsessed with gore and sick, they’d rather spit in the face of their viewers than give them anything uplifting, beautiful, and heroic. This is a show that hates its audience and wants them to suffer even more than it wants to hurt its characters.

It’s a sickness, and one with only a single cure. Give up and go watch The Pendragon Cycle. There’s nothing worthwhile left in Westeros.

Netflix’s tell-all docuseries about America’s Next Top Model allowed Tyra Banks and Jay Manuel to finally address their infamous falling out.

Created by Banks, America’s Next Top Model aired across multiple networks from 2003 to 2018, following aspiring models as they competed for the title of “America’s Next Top Model” and a chance at a lucrative modeling career. Manuel, 53, joined America’s Next Top Model in its first cycle in 2003 as the Creative Director. He was featured on every cycle of the show for nine years but ultimately didn’t return — along with Nigel Barker and Miss J. Alexander — after his contract wasn’t renewed for season 19.

Banks, 52, remained on the show as an executive producer but she was briefly replaced as the host. She returned for season 24, the show’s final season before it was canceled on VH1.

Issues behind the scenes ultimately led to Banks and Manuel’s falling out, which he addressed in Netflix’s docuseries Reality Check: Inside America’s Next Top Model. Keep scrolling for the biggest revelations — including where they stand now:

What Initially Led to Tyra Banks and Jay Manuel’s Falling Out?

In the three-part special, Jay Manuel recalled realizing he needed to step away from the show after season 8.

“There was a time when the creative of the show started to shift. We were supposed to be showing the behind the scenes of what the fashion world was — helping change the industry,” he said.. “But the show had evolved in a way I had never expected.”

Manuel “really struggled over some of the things” that happened — including photoshoot concepts such as the “race swapping” idea. “That was something that was slowly depleting me and chipping away at my soul,” he noted. “It was time to tell Tyra I wanted to leave the show.”

While discussing his time on the show, Manuel noted that there was a “version” of him on the show that was “not really” him.

“Tyra would always reinforce, ‘We need to keep it entertaining. We need to keep people watching.’ Of course there were gob smack moments where you watch, and you’re like, ‘Oof,’” he said. “But it was certainly not my place to tell them.”

How Did Jay Manuel Tell Tyra Banks He Was Leaving ‘America’s Next Top Model’?

“Tyra and I weren’t the traditional work relationship when you work in such close proximity and are traveling together. I was afraid of saying the wrong thing. And I definitely did not want to make her upset,” Jay Manuel explained. “I tortured myself over the decision. It did not come lightly. I didn’t discuss it with anyone.”

Miss J Alexander, meanwhile, didn’t realize what Manuel was planning. “He [keeps] everything to his chest,” he explained. “He’s very secretive.”

Manuel wanted to tell Banks personally about his exit, sharing, “I knew that I had to tell her first. So I sent her the email just expressing the utter gratitude for this opportunity and to be able to help her realize I was trying to move on in my own life and career.”

Banks “didn’t respond” for three days before just writing back, “‘I am disappointed.’” After that email, Manuel recalled how “all communication just stopped” before he was pressured into coming back for at least one more season.

Why Did Jay Manuel Return to ‘America’s Next Top Model’?

“There was a warning that strikes the fear of God in you. People talk about being blacklisted. Those words were not used but I had suspected that that’s what it would turn into,” Jay Manuel said in the three-part special. “I didn’t know who to talk to because the person I would always talk to was Tyra. I thought I could fix that.”

How Was Jay Manuel’s Relationship With Tyra Banks When He Returned to ‘America’s Next Top Model’?

Before coming back to film, Jay Manuel hadn’t “spoken” to Tyra Banks.

“I was extremely nervous. I just wanted to [talk to her] real quick [before we started filming]. That was the first time I really realized there was a real problem. She wouldn’t speak with me,” he claimed. “On camera, we learned to play and laugh but it was just clear that I was not allowed to speak with her outside of that.”

Jay Manuel compared the experience on set to “psychological torture.”

“After that first day, I thought there is absolutely no way I’m gonna survive the cycle,” he continued. “I just felt broken.”

What Did Tyra Banks Reveal About Her Falling Out With Jay Manuel?

Producers asked Tyra Banks about her and Jay Manuel, to which she replied, “I prefer … I should call Jay. I don’t want to do this here. But he’s a special man.”

How Long Did Jay Manuel Remain on ‘America’s Next Top Model’?

“My job had changed. I no longer was producing creative. The only thing I was responsible for producing per my contract is the final runway. I was now just on camera talent,” Jay Manuel shared. “I started really paying attention to what was starting to happen behind the scenes. That is where I started to learn the art of storytelling.”

Manuel questioned how authentic the show was, adding, “If there were certain girls that were not performing well on a shoot, I would sometimes be pulled aside and say, ‘OK, with this person we have this story. We need them to go forward at least a couple more episodes.’ Because if the photos are just crappy, it’ll become hard to say, ‘This person deserves to stay in the competition.’”

What Led to Jay Manuel’s Exit From ‘America’s Next Top Model’?

In 2012, America’s Next Top Model experienced a palpable shift after the network head changed. Tyra Banks was forced to hop on a call with the network, at which point she was instructed to fire Miss J Alexander, Jay Manuel and Nigel Baker.

“I remember them saying, ‘We’ve decided we’re gonna go in a completely different direction,’” Manuel recalled. “It was like being slapped across the face and slapped right back. [They compared it to] cutting the fat off the show that was bringing the ratings down.”

Manuel continued: “When I wanted to leave, I wasn’t afforded that. And then I work on the shows from cycles 10 through 18. I made so many concessions. That’s the part that’s the most hurtful.”

Where Do Jay Manuel and Tyra Banks Stand After ‘America’s Next Top Model’?

Jay Manuel and Tyra Banks’ issues intensified when news about his firing was leaked to the public.

“We were going to put out one joint press release, and they said we would all get a quote in this press release,” he recalled. “We see it all the time in television shows, people saying, ‘So and so and so and so have decided to part ways.’ And Tyra, she’s like, ‘We’ll put out in our press release how we’re going to continue to work together.’ So we agreed to that.”

After being robbed of the ability to “move forward in their career with grace,” Manuel, Miss J Alexander and Nigel Baker appeared in an interview addressing the firing where they were asked if they felt “blindsided” by the decision.

“We had to speak very carefully, contractually at the time,” Manuel shared. “There are only certain things you could speak about around the production and what you legally could say.”

Banks also weighed in on how her working relationship with Manuel concluded.

“It was probably some of the hardest news I have ever had to deliver, in my existence,” she said. “I cried myself to sleep that night. You know? They were there from the beginning. They were some of the closest people to me in my life and I had to deliver that news that the deal is up and that it’s over. You can imagine what that feels like.”

She continued: “But bosses have bosses, and the big boss was very clear — there are no sacred cows. And I heard that meaning, ‘You too, Tyra. So pick up the phone and do what I’m telling you to do.’ And the thing is, I don’t believe that they knew that it came from above. No matter how much I was explaining, ‘This was not our decision.’ To this day, I think they think that it was me.”

1986 was a year of contrasts: glossy studio hits alongside challenging arthouse films, earnest dramas sharing space with stylized excess, crowd-pleasing spectacle rubbing shoulders with moral unease. On release, some of these movies probably looked like a flash in the pan, but they have actually had surprising staying power.

Four decades later, the defining films of 1986 continue to shape how genres are understood, how performances are measured, and how audiences define cinematic greatness. Without further ado, here are the most enduring of that year’s classics.

10

‘Little Shop of Horrors’ (1986)

Image via Warner Bros.

“The Audrey Two is not a healthy girl.” Adapted from the off-Broadway musical, Little Shop of Horrors centers on Seymour (Rick Moranis), a shy florist’s assistant working in a struggling skid row flower shop who discovers a strange plant (later named Audrey II after the woman Seymour is in love with) that brings in customers but reveals a horrifying appetite for human blood. ​​​​​​Seymour feeds the plant to protect his newfound success and win Audrey’s (Ellen Greene) affection, but at an increasingly terrible cost.

The film spins this B-movie premise into a vibrant musical fable about ambition, temptation, and the price of getting what you wish for. What makes it so memorable is how confidently it embraces its tonal tightrope: the songs are catchy yet character-driven, the humor is outrageous but never cynical, and the practical effects give the carnivorous plant an uncanny personality that feels tactile and alive. Dark comedy is perfectly balanced with real emotional stakes.

9

‘The Name of the Rose’ (1986)

Image via Columbia Pictures

“The devil is the arrogance of the spirit.” Based on Umberto Eco’s acclaimed novel, The Name of the Rose is a medieval mystery set within a remote abbey plagued by a series of murders. The story follows Franciscan friar William of Baskerville (Sean Connery) and his novice Adso (Christian Slater) as they investigate the deaths. Each murder seems tied to forbidden knowledge, turning the abbey into a labyrinth of secrets, and the characters are forced to navigate a combustible climate of censorship, fear, and religious politics.

Along the way, the plot balances intellectual inquiry with thriller mechanics, using theological debates as genuine sources of tension. Books become dangerous objects, laughter becomes heresy, and truth itself is treated as a threat. The atmosphere is unique and immersive, too; all candlelit corridors, whispered conversations, and a pervasive sense of dread. All in all, while not quite as good as the original book, this movie is an unusually smart and compelling historical mystery.

8

‘Blue Velvet’ (1986)

Image via De Laurentiis Entertainment Group

“Now it’s dark.” Blue Velvet begins as a deceptively wholesome mystery. College student Jeffrey Beaumont (Kyle MacLachlan) returns to his idyllic hometown and discovers a severed ear in a field. His curiosity pulls him into a hidden underworld of sexual violence, corruption, and emotional terror, centered around the volatile Frank Booth (Dennis Hopper) and the haunted nightclub singer Dorothy Vallens (Isabella Rossellini). As Jeffrey descends deeper, the movie becomes increasingly brutal and surreal.

On release, Blue Velvet‘s weirdness shocked most audiences, but over the years, it has come to be seen as a defining work of American psychological horror. It doesn’t explain away evil or offer neat catharsis. Instead, it presents violence and desire as inescapable parts of human experience. The contrast between sentimentality and savagery remains unsettling, and its influence on filmmakers exploring the rot beneath normalcy is undeniable. Many consider it to be one of David Lynch‘s very best films.

7

‘Platoon’ (1986)

Image via Orion Pictures

“I think now, looking back, we did not fight the enemy; we fought ourselves.” Informed by director Olive Stone‘s own wartime experiences, Platoon follows a young American soldier (Charlie Sheen) sent to Vietnam, where he becomes trapped between two opposing moral forces embodied by rival sergeants. He grows more and more disillusioned as he witnesses brutality, moral collapse, and the psychological toll of warfare. Rather than focusing on strategy or heroics, his story emphasizes chaos and internal conflict.

The narrative is episodic and fragmented. Moments of terror alternate with stretches of numbness, reinforcing the sense that survival is arbitrary. All this rejects romanticized notions of combat and instead frames war as corrosive to both body and soul. Where Apocalypse Now was a grand and operatic vision of war as madness, Platoon is more restrained and ground-level, trying to show us what it was like to be an ordinary soldier thrown into that environment.

6

‘The Fly’ (1986)

Image via 20th Century Studios

“Be afraid. Be very afraid.” The Fly is a sci-fi horror that doubles as a tragic love story. Scientist Seth Brundle (Jeff Goldblum) invents a teleportation device and, in a moment of hubris, tests it on himself. Unbeknownst to him, a fly enters the machine, fusing their DNA. Thus begins a gradual, horrifying transformation as Seth’s body and mind deteriorate. As Seth becomes more powerful and more grotesque, his relationship with journalist Veronica Quaife (Geena Davis) becomes increasingly painful to watch.

In this, the movie is like a pulpy riff on Kafka‘s Metamorphosis (but with more exploding baboons). The story is one of slow decay, mirroring real-world fears of illness and loss of identity. The tragedy lies in watching intelligence, tenderness, and humanity erode. Over time, The Fly has been reinterpreted as a powerful metaphor for terminal illness and bodily betrayal. Under the far-fetched elements and gory effects, it’s a really poignant and personal statement.

5

‘Stand by Me’ (1986)

Image via Columbia Pictures

“I never had any friends later on like the ones I had when I was twelve.” Rob Reiner delivered a remarkable run of masterpieces between the late ’80s and early ’90s, none of them better than this Stephen King adaptation. Stand By Me focuses on four boys who set out on a journey to find the body of a missing child. Along the way, they confront fear, loyalty, grief, and the painful awareness that childhood is slipping away. Their morbid quest turns into an unexpected rite of passage.

The plot unfolds over a single summer, but its emotional scope is vast, touching on universal feelings and experiences. It’s one of the definitive films about growing up. A huge part of what makes Stand By Me stand out is its honesty. The film doesn’t sentimentalize youth or exaggerate its innocence. The boys are funny, cruel, brave, and scared in equal measure. Their conversations feel lived-in, their bond fragile but profound.

4

‘Ferris Bueller’s Day Off’ (1986)

Image via Paramount Pictures

“Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” A high school senior (Matthew Broderick) skips school for one perfect day in Chicago, dragging along his anxious best friend (Alan Ruck) and his tightly wound girlfriend (Mia Sara). From here, we get a series of escalating antics as Ferris evades authority, particularly a vindictive school principal (Jeffrey Jones) determined to expose him.

On the surface, Ferris Bueller’s Day Off is a carefree comedy. Beneath that, it’s a meditation on youth, anxiety, and self-assertion. Ferris embodies confidence and freedom, while his friend Cameron represents paralysis and fear. The day becomes a turning point, forcing Cameron to confront his emotional stagnation. In hindsight, the movie has very much become a cultural touchstone. Its style, humor, and fourth-wall breaks influenced countless teen comedies. More importantly, its message remains intact: joy requires risk.

3

‘Hannah and Her Sisters’ (1986)

image via Orion

“I don’t know what I’m supposed to do with my life.” Hannah and Her Sisters weaves together the intersecting lives of three sisters (played by Mia Farrow, Barbara Hershey, and Dianne Wiest) and their extended family over several years. Through these characters and their overlapping relationship, the movie dives deep into themes of infidelity, ambition, insecurity, and even existential dread. Conversations drive the narrative, shot through with neurosis and melancholy humor. Comedy arises naturally from discomfort and self-awareness rather than punchlines.

Fundamentally, Hannah and Her Sisters captures the messiness of adult life without cynicism, allowing characters to be flawed without being cruel. The result is one of the most fully realized ensemble dramas of its era. Its structure feels modern, its observations sharp but compassionate. Decades later, the movie still feels intimate, perceptive, and quietly wise. It understands that meaning is often found not through grand revelation, but through small acts of connection.

2

‘Top Gun’ (1986)

“I feel the need… the need for speed.” Top Gun is one of the most straightforwardly entertaining action movies of the ’80s, an unabashedly muscular and kinetic blockbuster with a hearty slice of military propaganda. Tom Cruise turns in one of his most iconic performances as naval aviator Pete “Maverick” Mitchell. We follow him as he trains at an elite fighter pilot school, competing with rivals while struggling with his own recklessness and unresolved grief.

From here, the movie blends together romance, heated personal rivalry, and jaw-dropping aerial combat, building toward the ultimate test of the characters’ mettle. In this, Top Gun is unapologetically mythic. The relationships are simple but effective, the performances sturdy, the big action set pieces well-choreographed. The movie’s style influenced music videos, advertising, and blockbuster pacing for years, and its sheer confidence has solidified its place as a defining cultural artifact of its era.

1

‘Aliens’ (1986)

Image via 20th Century Fox

“Get away from her, you bitch.” Aliens picks up decades after the original, following Ellen Ripley (Sigourney Weaver) as she returns to the planet where her crew was slaughtered, this time accompanied by a squad of marines. Their military operation quickly devolves into survival horror as the team is overwhelmed by xenomorphs. The plot shifts the franchise from horror to action without sacrificing tension. Combat sequences are relentless, but character development remains central, particularly Ripley’s transformation into a protector figure.

On top of that, the movie ups the ante by serving up the alien queen, a feat of monster design that’s somehow just as ingenious as (if not better than) H.R. Giger‘s original alien. For all these reasons, Aliens is widely regarded as one of the greatest sequels ever made. It expanded its universe while deepening its themes of motherhood, trauma, and resilience. For many, it remains the pinnacle of the franchise.

Advertisement

Aliens

Advertisement

Release Date

July 18, 1986

Runtime

Advertisement

137 minutes

Director

James Cameron

Advertisement

Writers

James Cameron

Advertisement

Advertisement

Advertisement

By Chris Snellgrove
| Published 40 seconds ago

Given the state of the country (not to mention the state of the world), politics are probably the last thing you want to engage with. But that might change when you check out Homeland, an Emmy- and Golden Globe-winning political thriller starring Claire Danes. The entire series is now on Netflix, and it remains one of the most compelling and politically resonant shows in television history. 

The premise of Homeland is that a CIA operations officer becomes suspicious of a United States Marine who was recently released from captivity by al-Qaeda. He gets a hero’s homecoming from everyone else, but this government spook thinks that he was actually turned by the enemy and is planning a high-stakes attack on American soil. But considering that the CIA officer is on antipsychotic medication, there is always a question of whether she is really on the cusp of preventing the next 9/11 or if all of this is the paranoia of a brilliant mind slowly unraveling.

A Cast You Can’t Stop Staring At

The cast of Homeland includes some amazing actors like Mandy Patinkin (best known for The Princess Bride), whose gruff mentor quickly becomes this show’s emotional anchor. Morena Baccarin (best known for Deadpool), meanwhile, plays the sexy, supportive wife to a military husband who just isn’t himself after he returns from enemy captivity. That husband is played by Damian Lewis (best known for Band of Brothers), whose performance will keep you guessing about his loyalties long after the credits roll for each episode.

Arguably, the most impressive performance comes from Claire Danes (best known for My So-Called Life), whose portrayal of a broken, brilliant woman is nothing less than mesmerizing. You’ll find yourself rooting for her character even as you wonder if she’s lost her mind, and the nature of her job adds impossibly high stakes to Homeland’s constant paranoia. In the wake of 9/11 and the War on Terror, the show is filled with an electric tension as her character wonders if she is about to save the country or simply ruin an innocent man’s life.

A Sexy Series Goes For The Gold

When Homeland came out, it managed to impress reviewers with its combination of high-quality drama and crackling political commentary. On Rotten Tomatoes, it has a rating of 85 percent, with critics dubbing this bombshell political thriller as downright addictive. They also praised the show for being a compelling character study and having absolutely brilliant performances from everyone involved.

On top of this high praise, Homeland took home some major prizes, including six Primetime Emmys. Those awards included Outstanding Lead Actor In A Drama Series for Damian Lewis, Outstanding Lead Actress in a Drama Series for Claire Danes, and Outstanding Drama Series for the show as a whole. Additionally, Homeland earned five Golden Globes, with Lewis and Danes similarly earning Best Actor/Best Actress trophies, and the show taking home the award for Best Television Series–Drama.

The Most Intense TV Political Thriller Ever Made

Personally, I began streaming Homeland simply because I thought any show featuring both Claire Danes and Morena Baccarin would be one worth watching. I was very skeptical about how the show would approach geopolitics, and I wasn’t sure how well the writers could handle the constant tension regarding Brodie’s loyalties. Fortunately, the show fired on all cylinders: Danes and Baccarin gave killer performances along with Damian Lewis and Mandy Patinkin, and the show instantly sucked me into its world of schemes and the paranoid heroes and villains behind them.

At the risk of sounding like a shameless fanboy, Homeland has something for every kind of viewer. If you’re not typically a fan of spy stories, for example, you can enjoy the show for its sexy and surprisingly transgressive portrayal of modern relationships. If you don’t go in for romantic drama, meanwhile, you can enjoy the show as a psychological thriller in which the fate of countless people depends on a protagonist who may be mentally unwell.

You’d Be Crazy Not To Watch

Admittedly, Homeland goes on a bit too long, and some say that it never recaptures its old magic after Lewis leaves the show. There’s some truth to this, and I’ll be the first to admit that the show’s initial two seasons are probably the best ones. But Homeland is surprisingly good at reinventing itself, and the show continues to remain one of the sexiest, best-written political thrillers to the very end.

It’s a ride worth taking, and you can now stream Claire Danes’ finest work on Netflix. Will you find Homeland to be the sexiest political thriller in television history, or is this one show prestige drama you’d like to report to the CIA? The only way to find out where your TV-watching loyalties lie is to grab the remote and experience this show for yourself!