Ever notice how fans go crazy for deleted scenes, especially when it comes to their favorite shows? If you love a series hard enough, it’s easy to look at deleted content like something that was taken from you. When the scene in question is good enough, you might even start to wonder why it was cut in the first place.
Well, very few series are as popular as Buffy the Vampire Slayer, a show with more than a few deleted scenes. This includes a snippy interaction between Willow and Cordelia in “Phases” that many fans wished had been kept in the episode. However, it’s good that this dialogue was cut because it would have completely changed Willow’s character, effectively hinting at her later transformation into a much darker character.
A Self-Defense Class Gone Wrong
“Phases” was, of course, the episode where we discover that the eternally Zen character Oz has quite the secret: he’s a werewolf who transforms into a dangerous, ravenous monster by the light of the full moon. The Slayer keeps the big, bad wolfman from harming anybody, and she also stops a hunter hellbent on making Oz his latest prize. Along the way, our Sunnydale High students took a self-defense class, and some dialogue between Willow and Cordelia was ultimately removed from the final episode.
In the scene, Cordelia is about to spar with Xander, who sarcastically tells her, “Be gentle with me.” Matching his sarcastic vibes, Cordelia turns to Willow and says, “You’re first. I wouldn’t want to be accused of taking your place in line.” In response, Willow replies, “Oh, I think you pushed your way to the front long before this.”
Girls Can Be So Mean
Things get increasingly snippy between the young women, with Cordelia claiming, “Hey, I can’t help it if I get the spotlight just because some people blend into the background.” Willow frostily responds, “Well, maybe some people could see better if you weren’t standing on the auction block, shaking your wares.” Cordelia tells her, “Sorry, we haven’t all perfected that phony ‘girl next door’ bit” before Willow brings this deleted scene to an end with a distinctively vindictive response: “You could be the girl next door, too. If Xander lived next to a brothel!”
Important context for this episode is that Cordelia and Xander have been secretly dating behind everyone’s back. However, Xander is preoccupied with Willow’s relationship with Oz, even stopping his makeout session with Cordelia to wonder what his witchy friend sees in this wolfy senior. While Willow isn’t directly aware of this particular relationship drama, that same drama helps to explain why Cordelia was being so mean in this deleted scene from “Phases.”
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A Girlfight Scarier Than Any Vampire Fight
What the drama doesn’t really explain, though, is why this scene portrays Willow as a Cordelia-esque mean girl in her own right. Historically, early Buffy the Vampire Slayer portrayed Cordelia as the preppy mean girl and Willow as the mousy nerd. The two women had a rather cantankerous relationship going back to before the show starting, and in their very first onscreen interaction, we see Cordelia criticizing Willow for how she dresses.
In early Buffy episodes, Willow wasn’t afraid to get back at Cordelia, but she usually did so in relatively subtle ways. Perhaps the most infamous (and funniest) example of this is when Willow tracks the other women into deleting an assignment on the computer by convincing Cordelia that the DEL key on her keyboard stands for “deliver.” However, she didn’t really push back against Cordelia’s snark more directly until Season 3, which included the messy plot point of stealing Cordelia’s boyfriend (they are openly dating by this point), Xander.
The Mousy Girl Bites Back
In this deleted scene from “Phases,” however, Willow’s sarcastic replies seem out of character, much more in line with the snappy repartee of Buffy Summers. Willow basically tells Cordelia to her face that the other woman, despite having advantages like wealth and beauty, is still neurotically obsessed with being popular. She then calls Cordelia a prostitute, accusing her of selling her body to men before outright saying she belongs in a brothel.
Is it funny? Of course, and it’s not like ditzy mean girl Cordelia didn’t have it coming. But I keep reflecting on the fact that this is much more like what we’d expect of Willow in Season 6: that was the season where she began recklessly using magic, needlessly resurrecting Buffy, brainwashing Tara, and eventually becoming a threat to the entire world. Dark Willow was always great for sassy quotes, including calling a foe “superb*tch” and saying “bored now” right before she rips the skin off another human being.
A Scary Glimpse Of What She Would Become
Obviously, the Willow in the deleted scene of “Phases” isn’t in danger of ripping the flesh off anyone’s body. But she is in the business of dropping the kind of harsh truth bombs that Dark Willow would be known for, and like her later villain persona, she’s suddenly not taking crap from someone who gives her attitude. This is arguably an improvement over mousy Willow, of course, but it’s also completely out of character with the Willow of Season 2, one who had yet to fully come out about her love of magic (among other things).
Long story short? It’s good that this Buffy the Vampire Slayer scene was cut, even though countless fans would give up their Mr. Pointy replicas to see it in the final episode. Cutting the scene meant cutting out a severely out-of-character moment for everyone’s favorite girl next door, and that helped make it all the more surprising when Willow later stopped playing by the rules and showed everyone just how dangerous a mean girl could really be.
Starfleet Academy’s sixth episode (“Come, Let’s Away”) was a standout tale that ditched the series’ infamous tryhard humor to deliver a tight action/adventure thriller. As someone who had been hard on the show before, I was morbidly curious if that grimdark outing represented the new normal. Would this Star Trek spinoff finally start taking itself seriously in every episode, or would the series be returning to sloppy comedy form?
The seventh episode (“Ko’zeine”) managed to surprise me, and not always in a good way: this story brought goofy comedy back to the forefront, but the humor is less forced and all the more fun for it. Plus, the episode channels the vibe of both indie coming-of-age films (like Garden State) and wedding rom-coms (like My Best Friend’s Wedding) into an uneven episode that packs plenty of character development. As a result, “Ko’ziene” is a deep improvement over earlier Starfleet Academy episodes, but it fails to pack the high-octane thrills and equally high stakes of “Come, Let’s Away.”
Spring Break Is Finally Here
The general premise of “Ko’ziene” is that the various cadets are headed home for Spring Break, but things quickly go awry for three of our heroes. Caleb has no family to return to, so he decides to stay aboard the Athena, trying to take his mind off the injuries sustained by his telepathic girlfriend when she successfully saved him from the Furies. She is recovering on Betazed, and Caleb is having trouble composing the right message to express his feelings; however, he gets a welcome distraction from Genesis, whose decision to steal back aboard the Athena hides a shocking ulterior motive.
Meanwhile, the B plot is that Jay-Den sees Darem getting abducted, and he follows the kidnappers to discover a rather insane surprise. You see, Darem has been nabbed by his own people as part of an ancient ritual, and he is about to marry the woman he was betrothed to many years ago. Jay-Den now has to serve as his best man, but that means he has to avoid a romantic getaway in Ibiza with Kyle, his himbo War College boyfriend.
Taking Aim At The Series’ Awful Humor
Before you say it, I want to let you know I get it. If you’ve hated most of Starfleet Academy up until this point, then “Ko’zeine” sounds like a double serving of the show’s two most annoying aspects: awkward romance and teen angst. However, this outing is better than earlier episodes this season for the simple fact that the writers are finally showing a bit of restraint with the show’s attempts at comedy.
Sure, there are still some overly goody bits here, like Caleb’s ears swelling up in a bit straight out of Star Trek (2009). Oh, and he and Genesis chase down a “warp snail” in a low-speed chase sequence so silly that it belongs in Lower Decks. As for the wedding plot, we get a few equally cartoony, overly trope-y bits, like Darem’s elaborate wedding suit tearing and him having a Bridezilla-esque freakout.
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Mostly, though, this Starfleet Academy episode puts the forced humor into a dampening field, allowing the more serious elements of the story to have more impact. We get to see Caleb processing his feelings for Tarima in a surprisingly earnest way; he cares for her but doesn’t know how to express his feelings, which is relatively realistic for a teenage boy dealing with his own traumatic baggage. Jay-Den has to confront the depth of his romantic feelings and a potential love triangle, all while learning that his swaggering bully/classmate crush is a secret simp back home.
Star Trek Goes Indie
What holds everything together, though, is that returning Trek director Andi Armaganian shoots the A plot and the B plot through the lens of two very different genre films. Jay-Den and Darem get a wedding-based rom-com story, one that mines humor out of cultural misunderstandings and the two characters’ grudging mutual affection. Caleb and Genesis, however, get a twee coming-of-age adventure that shamelessly channels beloved indie hits like Garden State and Nick and Norah’s Infinite Playlist.
Needless to say, your enjoyment of these plots will hinge largely on your enjoyment of the genre stuff. Personally, I like my wedding comedies to be driven more by winking charisma (like in The Wedding Singer) or raunchy punchlines (like in Wedding Crashers), so I was left just a tad cold by the Jay-Den/Darem B plot. The actors get some fun lines and have a decent chemistry with one another, but their plot line veers a bit too much into the space lanes of a good, old-fashioned soap opera for my taste.
A Weirdly Moving, Weirdly Thoughtful Episode
By contrast, I found the A plot with Caleb and Genesis weirdly moving in large part because the script knows when to pull back and just let these characters vibe out. As if in answer to all those fan complaints about the show’s overly vulgar modern slang, this episode mostly has these characters speaking to one another like actual adults. This contrasts nicely with the shenanigans they get up to (Genesis is hellbent on breaking into the Athena’s bridge), and it sets up the essential dichotomy of Starfleet Academy: that these cadets have the potential to be Picard-style movers and shakers, but like Jean-Luc at this tender age, they still have a lot of growing up to do.
In terms of visuals, this episode has some of the most creative camera angles we have seen so far; instead of action shots designed to make you dizzy, “Ko’zeine” provides dynamic shots of Caleb and Genesis bonding, all while a mellow alt soundtrack punctuates their light interaction with hints of profundity. Granted, I’m a Millennial who absolutely lovedGarden State, and that might make you want to take your phaser off stun before shooting me. But I thought this episode perfectly channeled that film’s sense of epic ennui; the idea that everything is meaningless and meaningful all at once for characters who have their whole lives ahead of them and a lifetime of baggage behind them.
Feelings Frequencies Open, Captain
There are no chilling monologues like we got in “Come, Let’s Away,” and unlike that earlier adventure, nobody’s in danger of suddenly declaring “Zo’Keine” one of their favorite Star Trek episodes. But this is a surprisingly earnest, surprisingly honest slice-of-life tale that adds surprising depth to some of the show’s most one-dimensional characters. It’s a thoroughly entertaining (good, not great) tale, one that signifies that Starfleet Academy has overcome most of its growing pains and is ready to finally provide episodes that capture the ephemeral highs and haunting lows of life as a young person.
A fun, unpredictable story that dynamically transforms several of the show’s best characters without disrupting franchise lore? As a Star Trek fan, you could do a lot worse!
March is turning into a blunt reminder that streaming libraries aren’t permanent, especially for older studio horror that cycles in and out on short windows. As Netflix US does its early-month content reset, a lot of viewers will chase the obvious blockbusters leaving on March 1, but genre fans should be looking at the quieter exits: the mid-budget nightmares that still play like a dare. One such departure is a tight, fast watch, barely feature-length by modern standards, yet this Stephen Kingadaptation delivers the kind of escalating dread that newer horror often stretches into a limited series.
What makes this particular adaptation linger is how it weaponizes something everyday. It isn’t just evil arrives horror, it’s obsession horror: the way a teenager’s need for control can curdle into isolation, the way loyalty turns possessive, the way a shiny new identity can rewrite your morals. The movie keeps the scares clean and physical, metal warping, headlights breathing, a presence you can feel even when no one is speaking, and it never forgets the human cost. Add the legendary John Carpenter’s precision for tension and rhythm, and you get a lean thrill ride that still feels nasty in the best way.
The title heading out is Christine, the Stephen King adaptation that runs a brisk 110 minutes and turns a possessed car into a full-blown relationship from hell. According to the current Netflix US departure list, it’s scheduled to leave on March 1, 2026, meaning your real deadline is the night before. Netflix doesn’t always telegraph when it’ll be back, so if you’ve been meaning to catch this classic, this is the window.
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A ‘Christine’ Reboot Was Reportedly in the Works
Christine hit theaters in 1983 as a lean 110-minute supernatural thriller. It wasn’t a massive box-office juggernaut, pulled about $21M worldwide on a ~$10M budget, but it steadily became a cult staple because it turns teen insecurity and obsession into the real horror, with the car as the catalyst.
A reboot seemed locked in when Bryan Fuller was announced in June 2021towrite and direct a new version at Blumhouse Productions with Sony Pictures. Since then, updates have been scarce, enough that Screen Rant reported in 2025 that the remake appears to have stalled, not formally died. Carpenter himself publicly shrugged off the remake talk in 2023, saying, “good luck… it will probably be better,” which probably implied he wasn’t too indulged in it.
Christine is available to stream on Netflix and is scheduled to leave on March 1, 2026. Stay tuned to Collider for more updates.
KATSEYE is going to look and sound different … because moving forward the group will be missing Manon Bannerman.
In a statement on social media Friday, KATSEYE says Manon “will be taking a temporary hiatus from group activities to focus on her health and wellbeing.”
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The statement continues … “We fully support this decision. KATSEYE remains committed to showing up for one another and for the fans who mean everything to us. The group will continue scheduled activities during this time, and we look forward to being together again when the time is right.”
KATSEYE adds … “Thank you to our EYEKONS for your continued love, patience, and understanding.”
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The global girl group formed in 2023 during the reality competition series “Dream Academy” … and they were also the focus of the Netflix docuseries “Popstar Academy: Kasteye.”
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In June 2024, KATSEYE released their debut single “Debut” … and their next single, “Touch,” was a smash hit.
Disney’s live-action remakes are always a gamble. Some of these films land with critics and audiences alike, but many fail to capture the magic of the original and fade into obscurity. Lately, they’re being met with more controversies around gender and ethnic representation, too. However, a recent live-action adaptation that was met with mixed reviews at the time of its release seems to be finding a second life on streaming years after its theatrical run. The spike is especially interesting given that the seven-year-old Will Smith-starrer has not been in the news cycle recently, which means viewers are rediscovering it organically.
The film, helmed by Guy Ritchie, was released in May 2019 with a production budget of $183 million. The adaptation was a box office success and crossed $1 billion worldwide to become the ninth-highest-grossing film of the year. As of now, it ranks as the eighth-most-expensive and third-highest-grossing Disney live-action remake. The film holds a 57% critics’ score on Rotten Tomatoes, against a 94% audience rating, which perfectly mirrors its divided reception. Though streaming numbers are starting to tell a different story now.
Ritchie’s Aladdinentered Disney+’s Top 10 list in the U.S. on February 18 and is currently sitting at #10. Not just that, the live-action remake also hit #9 on Disney+ in Hungary on both February 14 and February 16. It remains to be seen whether this is the beginning of a sustained climb or just a momentary spike. For now, though, the Mena Massoud and Naomi Scottmusical fantasy is officially back on the audience’s radar.
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The Tragic Fate of the ‘Aladdin’ Live Action Sequel
In 2020, Ritchie announced that a sequel to his live-action adaptation of Disney’s Aladdin was officially in the works, with writers John Gatins andAndrea Berloffattached. Unfortunately, though, the follow-up received little to no updates after that. In October 2025, an X fan account for Scott shared screenshots of a conversation in which the star debunked viral rumors that filming on the sequel would begin the following year and called the reports “completely fake.”
Massoud has also taken to social media in the past to express his disappointment over Aladdin being unlikely to receive a follow-up despite crossing the billion-dollar mark. Meanwhile, Ritchie moved on to another Disney project and was tapped to direct the live-action remake of Herculesin 2022 alongside producers Joe and Anthony Russo. However, the film has been in production limbo since then, and Ritchie is reportedly no longer attached to it.
Regardless of all that, Disney’s live-action remake pipeline is not slowing down. The studio is gearing up for the release of Moanaon July 10, with Dwayne Johnson reprising his role as Maui and newcomer Catherine Laga’aia stepping into the titular role.
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The live-action adaptation of Aladdin is available to stream on Disney+. Stay tuned to Collider for more updates.
On the evening of Thursday, February 19, Chrisean Rock took to Instagram to share a video clip with her fans. Furthermore, the clip showed Rock throwing fierce punches, practicing her hand and body technique in the gym.
“Done,” Rock captioned the clip.
Peep it below.
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Internet Users Are Hyping Her Up
Internet users entered TSR’s comment section, hyping up Chrisean Rock and her apparent boxing skills.
Instagram user @shotby.tee wrote, “This is 100% her lane!”
While Instagram user @theereal_mommiana added, “She’s back looking like Chrisean THE ATHLETE 💪🏽”
Instagram user @tattedkelli_ wrote, “This is the energy we wanted to see. Rooting for her”
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While Instagram user @_rose__royce added, “Yall gotta remember before the blueface era , she was athletic asf”
Instagram user @amina.nefertari wrote, “I love this for her! She was always meant to be a star especially pertaining to anything athletic!🙌🏾🙌🏾”
While Instagram user @platinumbeardvalentine added, “Stay focused baby girl. We’re proud of you 🫡🏆🔥🔥🔥”
Instagram user @hoodrichjewelz wrote, “She bouta get right back into shape like when we first discovered her 🔥”
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While Instagram user @__.slim.mingggg added, “This is actually great for her. Great discipline fasure”
Instagram user @aubri.rose wrote, “This is going to build so much character in her 👏 & She is already built Ford Tough 😮💨 I like it…. Keep going girl.”
Why Is Chrisean Rock Showing Off Her Boxing Skills?
As The Shade Room previously reported, in January, it was announced that Chrisean Rock signed a deal with XRumble to participate in the platform’s first-ever female Super Middleweight Championship fight. At the time, it was shared that the fight would go down on Saturday, April 25, at Harrah’s Philadelphia Casino in Chester, Pennsylvania. However, Rock’s opponent was yet to be decided.
Later that month, Pepa’s daughter, Egypt Criss, offered to jump in the ring with Rock, per The Shade Room.
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Earlier this month, Rock’s opponent was revealed to be Zenith Zion, per The Shade Room. At that time, Zion proclaimed, “Be prepared, Chrisean, because I’m coming to kick your ass.”
After Zion was revealed as her opponent, Chrisean Rock reacted to her spicy words.
A still from David Gordon Green’s The Exorcist: Believer.Universal
Only one franchise-starter comes close to matching the disastrous results of Universal’s Dark Universe — a planned series of interconnected movies featuring classic “monsters” from the studio’s stable. The franchise-starter also happened to be a Universal project, and is suddenly seeing a spike in viewership at home. It was released in 2023 to toxic reviews and an underwhelming box office response, after the studio had already announced two further sequels with the same director. Neither of those sequels was made, and the studio was forced to admit that the audience hadn’t responded to the filmmaker’s vision and plan something fresh instead. Universal isn’t one to let go of potential IP material. Despite the failure of the Dark Universe, it released a poorly received Wolf Man movie, a surprisingly successful Invisible Man movie, and has a reboot of The Mummy slated for this year.
The studio was especially confident about the 2023 film, as its director had successfully delivered a trio of horror hits in quick succession. Universal had also spent a reported $400 million on securing the distribution rights to the property, hoping that the filmmaker could spin a billion-dollar-grossing franchise out of it. That didn’t happen. In fact, in addition to disappointing reviews, the movie grossed less than $140 million worldwide against a reported budget of $30 million — well below studio expectations. Especially telling was its weekend-to-weekend drop; the film fell by 58% in its sophomore frame, effectively sealing its fate and shattering any hopes for a rebound.
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Here’s the Failed Franchise-Starter Rebounding on Streaming
The movie in question is The Exorcist: Believer, directed by David Gordon Green. The filmmaker had rebooted the Halloween franchise quite successfully for Universal, with Halloween, Halloween Kills, and Halloween Ends. The trilogy suffered from declining returns but grossed a combined total of nearly $500 million worldwide. The Exorcist: Believer, which brought back the classic 1973 film‘s stars Ellen Burstyn and Linda Blair, was supposed to be followed by two more movies, the first of which was titled The Exorcist: Deceiver. However, its underwhelming box office performance and 22% Rotten Tomatoes score put an end to those plans. The website’s consensus described it as an “inauspicious” debut for the potential franchise. Despite its poor reputation, The Exorcist: Believer was among the most-watched movies on the global Netflix charts this week, when the leaderboard was topped by Ridley Scott‘s Prometheus.
The Exorcist franchise is now being rebooted by Mike Flanagan. Meanwhile, The Exorcist: Believer is streaming on Netflix. Stay tuned to Collider for more updates.
For a franchise built on legacy, redemption, and shocking returns, it is fitting that one of the most intriguing unrealized Star Wars projects refuses to disappear quietly. The Hunt for Ben Solo, a proposed sequel centered on Kylo Ren after Star Wars: The Rise of Skywalker, may have been rejected once, but new comments and behind the scenes details suggest the idea is far from buried.
And according to Adam Driver, it was one of the most exciting scripts he had ever read.
Adam Driver’s Secret Sequel Plan
Following the conclusion of the Skywalker Saga, Driver quietly began developing a continuation of Ben Solo’s story. Teaming with director Steven Soderbergh and writer Scott Z. Burns, the pitch reportedly explored how Ben might have survived and what redemption would actually look like beyond a final act sacrifice.
Driver has since spoken openly about his passion for the project.
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“It was one of the coolest scripts I’ve ever been involved with,” Driver said when discussing the shelved film. “It wasn’t about undoing anything. It was about consequence. It asked what redemption really costs.”
That thematic focus is what reportedly convinced key creatives at Lucasfilm to support the idea. The story was not meant to be a simple resurrection twist. Instead, it would have leaned into the spiritual mythology of Star Wars and the idea that the Force does not operate within normal rules of life and death.
Driver also noted that the film was deeply character driven. “Ben was never meant to be simple,” he explained. “There was always more there. We wanted to explore that in a way that felt earned.”
Adam Driver, as Kylo Ren The Force Awakens [credit: Disney Pictures]
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Why Disney Said No
Despite creative enthusiasm, the pitch ultimately stalled at the executive level. When presented to leadership at Disney, including CEO Bob Iger and co chairman Alan Bergman, concerns reportedly centered on the plausibility of Ben Solo surviving his apparent death.
From a corporate standpoint, the Skywalker Saga had concluded. Reopening it carried financial and narrative risk. Driver has acknowledged that hesitation without bitterness.
“I understand why people were cautious,” he said. “But Star Wars has always been about taking big swings.”
He is not wrong. The franchise has revived characters before, often in far more controversial ways. For many fans, Ben Solo’s survival would have felt thematically aligned with the saga’s long history of redemption arcs and Force mysticism.
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Why The Story Still Has Life
More recently, comments from Kathleen Kennedy have added fuel to speculation that previously shelved ideas are not permanently off the table. Kennedy has emphasized that Lucasfilm continues to revisit concepts depending on timing and creative direction.
That matters. The Star Wars franchise is currently in a period of recalibration, with new films and series reshaping its future. In that context, a character driven story about Ben Solo seeking atonement could fit naturally into a broader thematic revival.
Driver himself has not closed the door.
“I don’t think that story is finished,” he said. “Whether it’s this version or something else, I think there’s still something powerful there.”
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For now, The Hunt for Ben Solo remains a fascinating what if. But in a galaxy where no one is ever truly gone, the idea of Ben Solo returning one more time feels less like fantasy and more like unfinished business.
A Florida man has been accused of killing his father after they got into a heated argument about a dog.
Port St. Lucie police said that Sheldon Morrison killed his father, Glen Morrison, shortly before 8 a.m. on Wednesday, February 18, inside their family garage on Southwest Ketona Circle, according to a police report viewed by Us Weekly.
Sheldon’s mother told police that her husband was “agitated and angered” and “banging water containers around” during the argument. She also claimed that “at one point” he “aggressively walked up very close to her.”
However, she said that Glen never touched her and she never felt like she was in danger during the incident.
An Ohio man is dead after a New Year’s Day argument with his roommate over house rules turned fatal. Robert Palermo, 24, has been charged with aggravated murder in connection with the death of John “Lefty” Grehn, 61, who was a longtime friend of his father’s. The incident reportedly occurred on Thursday, January 1, after […]
At this point in the altercation, Sheldon went into the house and retrieved a gun. He then reportedly returned to the garage and shot his father, according to the report.
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A brief manhunt was launched for Sheldon and he was arrested hours later in Hollywood, Florida, on the afternoon of February 18, according to the police report. He was then brought back to St. Lucie County and is currently in custody at St. Lucie County Jail, according to online records viewed by Us Weekly. He is now facing murder charges in connection to his father’s death.
It is not currently clear if Sheldon has entered a plea or retained legal representation following his arrest.
After Sheldon was taken into custody, Police Chief Leo Niemcyk was asked what he believed Sheldon’s mindset was following the arrest.
Duane “Dog the Bounty Hunter” Chapman’s stepson Gregory Zecca is facing life behind bars if convicted of aggravated manslaughter after fatally shooting his teenage son. Florida’s Collier County Sheriff’s Office posted an update on the July 2025 incident via Facebook on Tuesday, February 3, stating that Zecca accidentally shot his 13-year-old child, Anthony, in the […]
“It’s hard to say. You know, I have to presume that he’s dangerous. You just shot and killed his father and fled the scene,” he said, per CBS 12. “Believed to be armed. So, I can’t state, his state of mind, right? It’s obviously not normal today.”
After Sheldon committed the murder, he reportedly told his mother, “I thought he was going to kill you.”
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Former Palm Beach County State Attorney Dave Aronberg weighed in on the case, telling WPBF that he believes the comment is a “critical piece of evidence” in the case to determine “the gap in time.” Despite sharing his thoughts on Glen’s death, Aronberg is not involved in this particular case.
Additionally, Aronberg said that he expects Sheldon to plead self-defense.
“The defendant may try to convince at least one juror that he was in reasonable fear of his safety and had to engage in violence to protect his mother and himself,” the attorney said.
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Aronberg went on to admit that he believes arguing that the killing was self-defense may be a “steep hill to climb,” pointing out that Glen was not armed during the incident and has no history of violence.
“The defendant had to go into another part of the house to go retrieve a weapon, so the threat was over at that point, and he brought it back with a gun,” Aronberg added.
The investigation into Glen’s death remains ongoing.
Megyn Kelly was an inquisitive spectator during the Team USA women’s hockey gold medal game victory over Canada — and social media had a field day with her line of questioning.
“Why do ppl keep calling the Megan Keller goal filthy/nasty/dirty in a good way? Can hockey fans pls explain?” Kelly, 55, asked via X on Thursday, February 19.
The question was posed after Team USA’s Keller, 29, scored a highlight-reel goal in overtime to defeat the Canadians in the tournament final.
“Those things have been positive descriptors in sports for going on 30 years,” one person responded to Kelly.
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One person commented, “You aren’t even that old. My boomer parents understand this. 😂”
“This was a real question? These slang terms aren’t exclusive to hockey,” another fan wrote.
Despite the trolling, Kelly did receive some genuine answers to her query.
“Hockey slang for the most beautiful goal or display of skill you’ve ever seen. The highest praise!” Fox reporter Britt McHenry responded.
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Another said, “It’s nothing to do with hockey Megyn, it’s basic millennial slang! Nasty/filthy is used to express admiration for or being impressed by something.”
Kelly responded to the wide array of answers, writing via X, “You guys are filthy! Thank you!”
Megyn KellyShannon Finney/Getty Images
The former Fox News host discussed Team USA’s dramatic victory Friday morning on her podcast, “The Megyn Kelly Show.”
“Move over Megyn Kelly, make room for Megan Keller,” she said. “Who scored the game-winning goal against our northern neighbor.”
After the game, Keller, a native of Farmington, Michigan, discussed the history-making moment, which all started with a feed from teammate Taylor Heise.
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“A lot of times you get a little nervous trying to make a move,” Keller said. “Heise made a great pass up to me, just saw one defender and thought, ‘Why not?’”
Team USA forced overtime after captain Hilary Knight, playing in her 5th and final Olympics, tied the game with 2:04 remaining in the third period.
“I remember [head coach John Wroblewski] drawing it up,” Knight, 36, said of the game-tying goal. “And I was like, ‘Yeah, this is our moment. Here we go.’”
She added, “I’ve had a heck of a career personally. It’s been an incredible ride. I have to soak this all in because this room is just so special, this team is so special. This is the best U.S. hockey team I’ve ever been a part of. That is just so tremendous.”
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Knight’s goal moved her into sole possession of the U.S. record (men’s or women’s) for goals and points in an Olympic career, with 15 and 33, respectively.
“Poetic,” Team USA’s Kendall Coyne Schofield said of Knight’s accomplishment. “I said it yesterday, Hilary always goes out with a bang.”
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She added, “You couldn’t script it any better.”
Team USA defenseman Lee Stecklein echoed the sentiment about Knight.
“I think that’s the perfect way for her to break the record,” Stecklein, 31, said. “She carries that pressure, and she knows we’re relying on her. If it wasn’t her, I do believe it could have been someone else. But also, it’s so not surprising for it to be her because that’s just who she is and who she’s always been.”
Some of my favorite moments in film and TV involve long tracking shots that appear to have been filmed in a single take. Rust Cohle’s legendary six-minute run through the projects in True Detective Season 1’s “Who Goes There” has earned its reputation as one of the most ambitious sequences in modern television, and 2014’s Birdman ups the ante by only showing clear cuts during pivotal moments, otherwise presenting itself as one continuous feature-length shot. 1997’s Running Time, directed by Josh Becker, co-written by Becker and Peter Choi, and starring Bruce Campbell, plays out similarly, and it’s the best heist movie you’ve never heard of.
Clocking in at just 70 minutes, Running Time not only appears to be filmed in a single take like Alfred Hitchcock’s Rope (1948), its story also unfolds in real time, mirroring Robert Wise’s 1949 noir classic, The Set-Up. Running Time wastes no time getting into the action because the clock is ticking, the safe needs to be cracked, and fortune only favors the bold. In this case, bold means orchestrating one of the sloppiest heists known to man, minutes after getting out of prison.
Back To His Old Ways In No Time At All
Bruce Campbell is Carl Matushka in Running Time, a petty criminal who has just finished a five-year sentence for a botched heist. After jokingly telling the Warden (Art LaFleur) that he’s getting into the laundry business, he walks out a free man and immediately boards a bus driven by his former partner, Patrick (Jeremy Roberts), with their next score already in mind. While Carl got caught the first time because of Patrick’s carelessness, he figures Patrick owes him one since he never ratted him out when he was apprehended five years earlier.
Sitting in the back of the bus is a prostitute named Randi (Anita Barone), who he soon realizes is his high school sweetheart, Janie, wearing a blonde wig. Carl promises to reconnect with her after pulling off the upcoming heist, and she gives him her address and phone number, though she has no reason to believe he’ll actually come back for her.
As for the heist itself, it couldn’t be more stupid. While working in the prison laundry unit, Carl learned that the Warden and other corrections officers had figured out a way to make a small fortune off the books. They contracted local laundry services, rigged the scales, overcharged, and pocketed the difference. After overhearing where they make the bag drop, Carl, with help from Patrick, former cellmate and safe-cracking expert Buzz (William Stanford Davis), and hapless junkie Donny (Gordon Jennison Noice), plans to steal what he assumes is roughly $250,000 in cash.
With about 10 minutes to pull off the plan, the bus gets a flat tire, it becomes obvious Donny can’t be trusted with the getaway vehicle, and Buzz discovers Patrick’s intel about what kind of safe needs to be cracked was wrong, forcing them to improvise as Patrick quickly resorts to violence. It’s a perfect, profoundly stupid plan that unravels in record time on multiple fronts.
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A Single, Fluid Shot
While there are likely hidden edits in Running Time for obvious logistical reasons, the entire film feels like one unbroken shot. From the prison gates to the final getaway, Bruce Campbell commands the screen with his snark and charm as bedlam erupts around him. The getaway sequences are some of the best I’ve seen in a heist film with such a shoestring budget, and the tension generated by its short run time makes it clear why this isn’t a 90-minute feature. Another 20 minutes of suspense might actually push you over the edge as the gang splits up, trades gunfire with cops, and nearly loses a bag that ultimately turns out to be worth closer to $30,000 than $250,000.
Such a reckless heist can only be pulled off by somebody like Bruce Campbell, who exudes disproportionate confidence the entire time. My favorite moment comes when he realizes just how unreliable Donny is and casually says to Patrick, “Hey, can I talk to you over here for a second?” as if he’s only mildly inconvenienced while trying to score bags of cash from the Warden minutes after his release.
For good, dumb fun that plays out smarter than it has any right to, Running Time is currently streaming for free on Tubi.
