By Brian Myers
| Published 1 hour ago

The 2009 thriller The Box had all the makings of a Hollywood hit. A-list stars (Cameron Diaz, Frank Langella, James Marsden), a $30 million budget, and a hot new director to take the lead. However, the lukewarm reception at the box office and the mediocre critical response to The Box led director Richard Kelly’s career to take an almost immediate nosedive. Fifteen years later, streaming maks it possible for viewers to get a second look at a film that deserves a lot more credit than it originally received.

Kelly had scored a major success several years leading up to the production of The Box, serving as director and screenwriter for the sleeper hit 2001 film Donnie Darko. However, in the years since The Box was released, Kelly has only had a handful of projects in the industry.

Some of this has been attributed to his own admission of wanting to prove to studios that he’s worthy of another modestly budgeted film, and some due to sheer bad luck. Kelly was set to work on a crime film titled Amicus with Sopranos star James Gandolfini, only to have the actor die from a heart attack in 2013 before the project could be started.

The Box’s Moral Conundrum

If you’ve never seen The Box, you’ll likely be intrigued by the storyline alone. Married couple Norma and Arthur Lewis (played by Diaz and Marsden, respectively) are approached by a disfigured stranger (Frank Langella) who gives them a mysterious box. Press the button inside the box, the stranger promises, and you’ll receive $1 million in cash.

However, the stranger reveals a caveat to receiving the prize money. Press the button, and someone that they do not know will die. The plot of The Box takes a good number of unpredictable twists and turns after Norma presses the button, and the young family sees a horrific fate unfold before their very eyes.

The Twilight Zone Episode

The Box was conceived from a short story written by acclaimed horror and science fiction writer Richard Matheson in 1970. Matheson’s original story, Button, Button, was turned into a radio show in the late 1970s. In 1986, a screenplay was written based on the story for an episode of the revived version of The Twilight Zone.

The theatrical version of Matheson’s story debuted in 2009 and wasn’t a favorite of critics. Though Roger Ebert gave it three out of four stars, other critics cited poor editing and the sense of the film being more of a pet project for Kelly as reasons for their dislike of The Box. Audiences at the time largely agreed as box office receipts led to barely making back the film’s budget.

The Box is certainly worth a look 15 years later, despite the lack of enthusiasm it received in 2009. The soundtrack alone should tempt a good number of curiosity seekers. Win Butler and Regine Chassagne of the pop band Arcade Fire teamed with composer Owen Pallett for a film score that more than redeems any of the film’s minor shortcomings that critics pointed out.

As of this writing, The Box can be rented or purchased on-demand through Amazon Prime Video, YouTube, Apple TV+, and Fandango at Home.

By Jason Collins
| Published 1 hour ago

The removal of content from streaming, or the absence of definitive versions, underscores the importance of media preservation. That now applies to Dark City, the 1998 neo-noir sci-fi thriller about an amnesiac man trying to recover his identity while hunted for a series of murders. The theatrical cut is available to stream for free, but if you want to watch the superior Director’s Cut, you’ll have to rent or purchase the title on-demand.

A Dystopian City Ruled By The Strangers

Dark City’s narrative is set in a dystopian city that is perpetually shrouded in darkness and controlled by a mysterious group known as the Strangers, beings that possess the ability to alter reality and reshape the city and its inhabitants’ memories at will.

The protagonist, John Murdoch (Rufus Sewell), wakes up with no memories and finds himself accused of murder, which sets him on a quest to uncover his past and the city’s darkest secrets and horrifying truths about his reality and Strangers’ manipulations.

Dark City Was Doomed At The Box Office

Dark City’s theatrical release was marred by studio interference from New Line Cinema, which diluted its thematic complexity and sense of mystery. Most notably, the studio insisted on an opening narration that prematurely explained many of the film’s biggest reveals, undercutting its suspense and intrigue.

Coupled with a marketing campaign that failed to convey the film’s unique blend of noir and sci-fi accurately, these interventions contributed to its initial lack of success among critics and audiences.

How The Director’s Cut Saved The Film

Something similar happened with Highlander II: The Quickening, which was also nearly completely ruined by its production studio, investors, and completion bond company. However, similar to Highlander II, Dark City was also saved by its Director’s Cut edition by removing the opening narration and restoring the film’s intended sense of mystery. The added scenes also deepened character development and clarified the narrative further, which significantly improved the audiences’ perception of the movie.

The added changes to the film transformed Dark City from a misunderstood gem into a cult classic that’s now appreciated for its bold narrative and visuals. Not to mention that some of its themes, such as the loss of individuality and the manipulation of reality, have become more relevant with time, particularly now, with the rising concerns about technology and privacy.

Without The Director’s Cut, It Might As Well Be Radio

The improvement introduced with the Director’s Cut propelled Dark City into a Certified Fresh rating on Rotten Tomatoes. As of this writing, the film has a 78 percent critical score against an 85 percent approval rating on the Popcornmeter.

Yet, despite its acclaim, the definitive version remains relatively inaccessible. While the theatrical cut is available to stream for free on Tubi, the superior Director’s Cut is still locked behind on-demand purchases, making the film’s best version harder for casual viewers to discover.

Despite its immense quality, Dark City continues to elude many viewers because the version most deserving of its cult reputation isn’t the one most people are likely to stumble across.

By Charlene Badasie
| Published 20 seconds ago

Titan A.E. is an animated sci-fi action adventure directed by Don Bluth and Gary Goldman. Released in 2000, it was a major project for Fox Animation Studios. But despite its ambitious scope and visual appeal, the film was a commercial failure, earning $36.8 million at the box office against a budget of almost $90 million. So, the studio closed its doors, and the movie became infamous as a result.

Leaving In The Titan

Titan A.E. tells the story of a young man named Cale Tucker (Matt Damon) who is tasked with saving humanity after a hostile alien species destroys Earth. The movie begins in 3028 when The Titan Project becomes the target of a hostile alien race called the Drej. Made of pure energy, the aliens fear that the ambitious Earthly undertaking will allow humans to challenge their power.

The Drej eventually launch a massive attack on Earth, forcing humans to evacuate the planet. Amid the chaos, Professor Sam Tucker (Ron Perlman) leaves his son Cale with his alien friend Tek (Tone Loc).

Before leaving in the Titan spaceship, Sam gives Cale a gold ring and tells him that as long as he wears it, there will be hope for humanity. Over a decade later, Titan A.E. finds the surviving humans living as refugees without a home planet.

Meanwhile, Cale has become jaded and works in a space station salvage yard. Former military officer and trusted companion of Cale’s father, Joseph Korso (Bill Pullman), finds Cale and reveals that the whereabouts of the Titan are hidden in his ring. 

Becoming Fast Friends

Upon activating it, a holographic map opens. Korso asks Cale to accompany his crew to Valkyrie so they can search for the Titan together. Cale agrees and becomes fast friends with pilot Akima Kunimoto (Drew Barrymore) and three alien crew members, including first mate Preed (Nathan Lane), weapons officer Stith (Janeane Garofalo), and scientist Gune (John Leguizamo).

Using Cale’s map, they reach the planet Sesharrim, where the Gaoul reveals the Titan’s location. But everything is not as it seems in Titan A.E., as the map often changes. The crew of the Valkyrie is also faced with various challenges, including a kidnapping and a shocking betrayal that takes the story to a new level.

The Deathblow To Fox Animation Studios

Originally planned as a live-action movie named “Planet Ice,” Titan A.E. was brought to life as an animated feature due to the high costs of the visuals.

Ben Edlund penned the initial script, with John August handling re-writes. With a budget of $55 million and 19 months to complete after $30 million had already been spent on pre-production, much of the animation was computer-generated, with traditional animation used for the main characters. Despite various setbacks, like studio cutbacks and executive changes, the film was released in 2000.

However, the closure of Fox Animation Studios shortly after hindered its promotion and distribution. In fact, cutbacks at the studio during the making of Titan A.E. were largely responsible for the movie underperforming. It kind of all went wrong at once here.

Still, Titan A.E. made almost $9.4 million in its opening weekend, ranking fifth behind other popular films. However, its audience dropped by 60 percent the following weekend.

Streaming Titan A.E.

Titan A.E. received mixed reviews from critics and currently holds a 51 percent approval rating on review aggregator Rotten Tomatoes alongside a 61 percent audience score.

The movie’s DVD release featured extras like commentary by the directors, deleted scenes, and a music video. Titan A.E. is available via various video-on-demand platforms such as YouTube, Apple TV+, Amazon Prime Video, and Fandango at Home.

By Jonathan Klotz
| Published 20 seconds ago

It’s 12 years old, it’s been off and on different streaming services over the years, and yet, David Fincher’s 2014 hit Gone Girl is again in the Netflix Top Ten. There’s something about the story of a missing wife that tickle the true crime center of the brain. That’s before the first twist, and then the second one, and then a few more on top of that. By the time the credits roll, you’ll be horrified and impressed in equal measure. 

Every Man’s Worst Nightmare

Gone Girl starts with the disappearance of Amy (Rosamund Pike). Her husband, Nick (Ben Affleck) is immediately considered the prime suspect. It doesn’t help that there’s signs of a struggle in their kitchen, the small fact that he really was having an affair with one of his students played by Emily Ratajkowski, and the complete breakdown of their relationship has left him feeling, at best, completely numb inside. At worst, he thinks Amy has set him up. 

No one’s listening to anything Nick says or does in his own defense. What he says is less important than how he says it. His inability to get with the program and be the grieving, distraught husband every major news network wants to interview is more damning than all of the circumstantial evidence the police dig up. It’s everyone’s nightmare to be accused of a crime that isn’t being taken seriously. 

It’s also why Gone Girl works as well as it does. Everyone involved in the disappearance of Amy is a horrible person, with the lone exception of Nick’s sister, Margo (Carrie Coon), including Nick and Amy herself. No one’s listening to Nick’s defense, and no one listened to Amy. 

Every Woman’s Worst Nightmare

David Fincher was working off very strong source material when putting together one of the darkest, bleakest thrillers about a marriage falling apart. Author Gillian Flynn wrote the screenplay to her own blockbuster 2012 novel herself. It’s a testament to the skill and craft of everyone involved that in an era when adult thrillers were fading, the film pulled in $370 million at the box office. 

It’s Rosamund Pike’s best movie, arguably Ben Affleck’s best performance, and in the last 12 years, nothing’s come close. A wave of similar hit thriller novels came to the big screen including The Girl on the Train, but nothing hit the sweet spot of edge of your seat “what is going on here” with wild twists and characters you’ll love to hate. Or love to love. Gone Girl is a rorschach test of a film and you’ll end up seeing what you want to see. 

The success that the film has had on streaming isn’t up for debate. On every streaming service it’s been a part of Gone Girl has been a hit. True crime podcasts rising in popularity over the last decade has helped the film remain on the top of the most-watched lists. Those haven’t dipped in popularity as sadly, every year brings fresh material for the legions of podcasters out there to pour over. Gone Girl will always be relevant. 

Gone Girl is currently streaming on Netflix.

Pokémon is one of the longest-running franchises in the realm of video games, and it’s not difficult to see why. The series allows players to roam a fascinating world populated by the titular creatures. You can capture Pokémon, train and bond with them, and face numerous challenges throughout your journey across a particular region. Most mainline Pokémon games follow a similar structure, with the protagonist challenging the Gym Leaders and, eventually, the Elite Four and the Champion. Along the way, they must also overcome other obstacles, mainly an evil team aiming to control the region.

The regional evil team has been a staple of the series since Generation I introduced the iconic Team Rocket. However, in recent titles, the series has been quietly moving away from the idea, with Pokémon Scarlet and Violet featuring Team Star more as a group of misunderstood outcasts than an outright evil organization seeking regional domination. The decision has proven successful, and the games’ narratives have greatly improved. Indeed, it’s time for Pokémon to abandon the idea of evil teams entirely, making way for new and exciting plots that might also introduce more complexity to the series’ tried-and-true formula.

Evil Teams Have Grown Stale in Pokémon Games

Since Generation I of Pokémon, regional evil teams have been a crucial aspect of the franchise’s formula, making up about half of the narrative in any given mainline title. In Kanto and Johto, it’s the mob-like Team Rocket, which aims to control the regions by exploiting Pokémon for profit. In Hoenn, it’s Team Aqua and Team Magma, both seeking to expand the oceans and land, respectively. In Sinnoh, it’s Team Galactic, arguably the most deranged of them all, which seeks to literally destroy the universe and create a new one. In Unova, Team Plasma, the most sinister, wants to conquer the region by separating Trainers from Pokémon, while Kalos has Team Flare, which wants to create a “beautiful” world by using the Ultimate Weapon.

Alola and Galar have regional teams, Team Skull and Team Yell, but they’re both subservient to groups that function as the regions’ actual evil organizations: the Aether Foundation, which seeks to research and potentially control the Ultra Beasts, and Macro Cosmos, which wants to prevent an energy crisis that’s not actually set to occur for another thousand years. Similarly, the most recent region, Paldea, has Team Star, which, as previously mentioned, is just a group of misunderstood pariahs rebelling against their bullies.

For the first five generations, the evil teams in Pokémon were quite good. The trope peaked in Gens IV and V, with both Team Galactic and Team Plasma representing Pokémon villainy at its purest. The leaders of both teams, the stoic and somber Cyrus and the insane and brutal Ghetsis, are also two of the best villains in the saga, largely because of how shamelessly evil they are. Since Gen VI, the evil team trope has been on the decline; yes, Alola’s Aether Foundation is great, and Lusamine is a top-tier figure, but Team Flare and especially Macro Cosmos were very underwhelming.

Galar’s Macro Cosmos is the main reason why most fans have grown tired of the evil team trope. Its leader, Chairman Rose, is, for lack of a better word, an incredibly useless guy who’s willing to put the entire region at risk for something that won’t happen for another millennium. Let me repeat that: Rose wants to wake Eternatus to harness its energy to solve a problem that won’t actually need solving for another thousand years. It’s the peak of stupidity, and it doesn’t help that Rose is just not a good character: his villainy is meant to be a twist, but you can see it coming from a mile away.

Pokémon Games Need To Embrace Ambiguity With Its Characters

Image via the Pokémon Company

It’s not a coincidence that the downfall of evil teams in Pokémon coincided with the rise of a new type of character, one that was more morally grey and elusive than anyone we had seen before. Gen V introduced N, one of the franchise’s all-time best characters and the closest thing Pokémon has to an anti-hero. N represented an evolution of the classic Pokémon formula, representing a misguided character who opposed the protagonist while remaining compelling and even easy to root for; in other words, N was an antagonist, not a villain, and that’s exactly what Pokémon needs.

Future games followed a similar route, introducing characters who did misleading, treacherous, or even reprehensible things without necessarily being evil: AZ in Pokémon X and Y, Lusamine and Guzma in Pokémon Sun and Moon, and most recently Penny in Scarlet and Violet. The latter two games also feature the AI Professors, Turo and Sada, who act as the final bosses in the base story. They’re allies for most of the playthrough, only to reveal their ulterior motives during the story’s prologue. Turo and Sada aren’t evil, but they are a dangerous enemy and the final obstacle to overcome in Paldea. The DLC also introduces Kieran, another fascinating character who descends into desperation and becomes the main antagonist in this portion of the narrative.

All these figures greatly enhance the narratives, introducing some much-needed complexity to a franchise that has long been accused of rejecting change and refusing experimentation. Yes, the plots of most Pokémon games are still rather straightforward, but characters like N, Guzma, and Kieran offer different takes on what it means to be an antagonist. After all, a story doesn’t need a great evil to overcome, even a hero’s journey like the one most Pokémon protagonists experience.

Pokémon Must Let Go of Evil Team Once and for All

Image via The Pokémon Company

Now, I’m not saying Pokémon games need to abandon villainy for good. However, I am saying the idea of the evil team is now outdated and should probably be retired. The games can still have an overarching force for evil; just look at Volo in Pokémon Legends: Arceus, possibly the best villain in the franchise’s history. Volo is widely recognized as one of the best characters in the series, acting as the embodiment of pure evil yet acting all by himself; no need for a whole organization to back him up.

Abandoning the idea of the evil team can also free a lot of space in the average Pokémon narrative. The Starfall Street storyline is one-third of Scarlet and Violet‘s main narrative, time that could’ve been spent exploring the secrets behind the Paldea region, for example. Legends: Arceus also provides a blueprint on how to keep a narrative engaging and still have a main villain at the end of the road without any additional distractions. The evil teams in Pokémon have had a good run, but like many of the series’ other tired tropes — HMs, third versions, the Battle Frontier, etc. — it’s time to leave them in the past where they belong.

Jodie Foster isn’t holding back when it comes to Hollywood’s growing reliance on artificial intelligence. 

During a candid appearance at the Aspen Ideas Festival, the Oscar-winning actress sparked debate after pointing to Brad Pitt’s hit racing drama “F1” as an example of filmmaking that felt shaped by AI. 

While praising the movie’s commercial success, Foster questioned its storytelling approach, sparking a broader conversation about technology’s rapidly expanding role in the entertainment industry.

While speaking with former Sony executive Michael Lynton, Jodie Foster discussed how artificial intelligence is reshaping modern filmmaking.

As the conversation turned to AI’s growing influence, Foster singled out one of last year’s biggest box office successes: Pitt’s “F1.”

“I don’t say this disparagingly, how could I? This movie went on to make millions of dollars but look at a movie like F1 and I’m like, F1 was made by AI,” she said, according to Variety.

Foster also added, “Wasn’t it? I mean, the structure was exactly the structure that you would learn in school.”

The actress continued, explaining that it wasn’t the technology behind the visuals that caught her attention, but rather the film’s storytelling and dialogue.

She argued the cast delivered “lines exactly the way it would be written if a computer was writing exactly what would be the right thing for that time.”

Foster added that the filmmakers “were able to dominate the technology to make something big and beautiful and potentially where a lot of the information comes from other places.”

Foster’s Critique Comes After ‘F1’ Earned Box Office And Oscar Success

Jodie Foster’s comments come despite “F1” becoming one of last year’s biggest theatrical successes. 

Directed by Joseph Kosinski and written by Ehren Kruger, the sports drama starred Brad Pitt alongside Damson Idris, Kerry Condon, Javier Bardem, and Tobias Menzies.

Released in theaters last June, the movie earned an impressive $634.1 million worldwide against a reported budget between $200 million and $300 million. 

Beyond its commercial performance, “F1” also received four Academy Award nominations and ultimately won the Oscar for Best Sound.

Long before Foster weighed in, Kosinski had spoken extensively about making the film feel as authentic as possible, emphasizing practical filmmaking over digital shortcuts.

Speaking to Esquire last year, director Kosinski explained that authenticity was one of the driving forces behind the project.

“The audience can tell when something has been captured for real and when it’s been manufactured,” he said, revealing that the production developed “a much smaller, lighter camera system” to capture the racing action.

Rather than relying solely on visual effects, the filmmakers shot scenes during actual Formula One Grands Prix.

“Overall, I wanted it to feel like you’re really at the race. So we actually shot scenes at Grands Prix, and that meant the windows for shooting were very, very narrow,” Kosinski explained.

He revealed there were occasions when the cast and crew had only a few minutes to shoot a scene. 

“The time constraint was a huge challenge, but at the same time it kind of infuses the scenes with energy and a realism that we couldn’t have gotten any other way,” he explained.

Foster Believes AI Must Never Replace Human Creativity

While “F1” became Jodie Foster’s example during the discussion, the broader conversation centered on artificial intelligence’s growing role across Hollywood.

“AI is one more giant step forward into changing the industry,” the “Panic Room” star said before Lynton asked the question many creatives continue debating. “The big question is, is it going to replace actors and writers?” he asked.

Foster answered candidly, noting, “We do replace people.” She pointed to the growing use of AI to replicate background performers rather than hiring additional actors, arguing that technological advances should not come at the expense of workers.

“We’re getting rid of a lot of jobs and hopefully, things like unions will be able to come in and say, you can use my actor 20 times, but you’re going to pay him 20 times. And I think that’s fair,” she shared.

Jodie Foster Believes Filmmakers Should Control AI, Not The Other Way Around

While expressing concern over AI’s impact, Foster also acknowledged that the technology can serve a creative purpose when used thoughtfully.

“What we all would love is that filmmakers would be able to dominate AI, and never lose sight of that,” she said. The 63-year-old pointed to her recent film “A Private Life,” which incorporated AI during one of its dream sequences.

Although she felt the technology suited the mystery thriller, she admitted the AI-generated imagery “made no sense.”

The debate surrounding artificial intelligence has become one of Hollywood’s most polarizing issues in recent years, with actors, writers, directors, and studios weighing its benefits and risks.

However, not everyone shares Foster’s cautious outlook, as “I, Robot” director Alex Proyas argued last month that AI could actually help repair what he described as the industry’s “broken” production process.

By Chris Snellgrove
| Published 18 seconds ago

Ronald D. Moore’s Battlestar Galactica reboot is one of the most grim and gritty sci-fi shows ever created. Every bulkhead is absolutely brimming with drama, including simmering tensions between the civilian fleet and the soldiers protecting them. There’s also plenty of erotic tension, like the kind fueling every single interaction between Starbuck and Apollo. Making everything that much worse is the general premise of the show: that most of humanity has been wiped out by evil robots, and everyone who is left must constantly run, fight, and run some more to keep the genocidal clankers hoping to finish the job. 

Long story short, the series is very dramatic, and it’s filled with one weird bummer of a moment after another. However, these are counterbalanced by moments of triumph and joy made all the sweeter by our characters’ constant struggles. A great example of this is “The Hand of God,” a Season 1 episode where the Battlestar Galactica crew finally took the fight to the Cylons and won a hard-fought victory. Understandably, it was an episode that made the fans quite happy. However, what most fans don’t know is that this episode had a nickname inspired by the pioneers of the Happy Meal: McDonald’s!

Big Mac, Big Bang

The premise of “The Hand of God” is that the Battlestar Galactica crew discovers an asteroid filled with tylium, which is necessary for faster-than-light travel. There’s just one problem: it’s being guarded by the Cylons, who are busy mining it for their own needs. Sick of running and hungry for the opportunity, Commander Adama orders the asteroid to be taken by force. This is a dangerous proposition, as the ship has only narrowly escaped earlier encounters with the Cylons. But thanks to a crazy plan from Starbuck and some hotshot flying from Apollo, the Galactica crew is able to score their first real victory against the toasters, boosting morale throughout the fleet.

Incidentally, the plot of this episode was written to boost morale among the viewers as well. As written in Battlestar Galactica: The Official Companion, “The Hand of God” started when co-showrunner David Eick was taking inventory of the kinds of episodes they had already made. “I had done an interior courtroom drama, we had done an inside-Baltar’s-head episode, we had done a torture room episode and a somewhat absurd episode, and I thought we needed to remind viewers why the show’s called Battlestar Galactica, he said. “So I asked David [Weddle] and Bradley [Thompson] to give us a ‘Big Mac’—a big combat show.”

Smoke’em If You Got’em

What made “The Hand of God” a “big combat show,” exactly? Basically, Battlestar Galactica didn’t have enough of a budget to show extravagant space fights in every episode. Frankly, that’s one of the reasons so much time is spent on Caprica and aboard the Galactica. Nonetheless, Eick and the other producers knew how much fans loved the show’s killer space battles. “Big Mac” was a fitting nickname, then, as it referred to giving viewers much more of the action (i.e., the meat) than they normally got.

In this case, David Eick’s instincts were perfectly correct: “The Hand of God” ended up being a crowd-pleasing fan-favorite, largely because of the ambitious outer space battles. After watching our heroes get their butts kicked for so much of Season 1, this victory over the dastardly Cylons felt downright cathartic. This was an episode that set the bar for such scenes quite high; fortunately, the Battlestar Galactica writers and producers rose to the challenge, and the action on this show only gets better over time. If you’re as religious as Six, you might say this was because the series’ success was guided by the titular hand of god. 

Or, quite possibly, the white-gloved hand of a darker, much more Eldritch figure: Ronald McDonald!

Taylor Swift and Travis Kelce are donating $26 million to various charities ahead of their rumored New York City wedding at Madison Square Garden. Among the organizations to receive a portion of the millions was Dolly Parton‘s Imagination Library. Now, the 80-year-old has sent them a sweet message as thanks for the gesture.

Parton took to her official social media channels on July 3 to thank Swift and Kelce. She did so by posting a video of herself in which the iconic singer is seen wearing a white outfit complete with red jewelry. Parton also wore red and blue makeup to celebrate the Fourth of July.

She began, “Taylor and Travis, it’s Dolly, and I was just told that you two are making a donation of $2 million to my Imagination Library.” After that, the “Jolene” singer thanked the soon-to-be-married couple profusely, saying, “Thank you, thank you, thank you. I’m blown away and overjoyed with that gratitude.”

From there, she mentioned Swift and Kelce’s giving nature, joking, “It’s evident that you two have made giving back a key part of your lives, so, hey, when you have your firstborn, can I have it?” Parton went on to say that the couple’s future child will be “one special baby.”

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Parton Stated The Mission Of Her Library

The beloved songstress continued her dedication to Swift and Kelce by sharing her foundation’s mission, which includes the library. According to her, “You know, the mission of the Dollywood Foundation is to dream more, care more, learn more, and be more.”

Parton continued, “And thank you again for your very generous gift, and we’ll continue that mission even in bigger ways now with your money.” She added, partly singing her iconic song, “So, thank you and know that I will always love you.”

Fans Are Reacting To Dolly’s Kind Words

Following Parton’s heartfelt thanks to Swift and Kelce, fans of the legend are weighing in. For the most part, many are taking her comments as another example of her being a true class act. Additionally, some social media users recall having access to Parton’s Imagination Library and how it positively impacted them.

One person said on X, “We love you, Dolly!! For always supporting and showing love unselfishly. You are a true saint on this earth!! Respect for you in every way!! Love… just love.” Another social media user wrote, “It was always a pleasure to read your Imagination Library books to HeadStart students in SE Georgia.”

Someone else said, “If Dolly likes you, then you’re on the side of good. Nice to see people share their good fortune.” A different fan stated, “Dolly is a National treasure. Thanks to Taylor & Kelce for supporting her cause for We, the People.”

Another person highlighted the legacy of Parton’s library, saying, “Dolly Parton’s Imagination Library has quietly changed literacy rates for kids who’d otherwise never own a book. $2M from Taylor and Travis actually does something real; this isn’t just a headline donation.”

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Lastly, someone else said, “You’re a class action, Dolly. A real human being who never forgot her roots. One who has sympathy & empathy for humanity. One who has taken their massive success to help those in need. God bless you, Ma’am. May you receive all the blessings you give to others.”

The Music Legend Founded The Library In The 90s

Per the official Imagination Library website, Parton launched the venture in 1995. Initially, the books were sent to children in Sevier County, Tennessee, where the singer grew up. The program quickly gained popularity, and by 2003, it had distributed more than one million books.

Since its creation, Imagination Library has gone global, including countries like Canada beginning in 2006, the United Kingdom the following year, Australia in 2013, and the Republic of Ireland in 2019.

Imagination Library Has Faced Budget Cuts

Nowadays, kids in several states around the United States have access to Parton’s Imagination Library. However, according to News Nation, the program has faced budget cuts in several states. This includes Missouri, where its budget is being decreased from $6 million to $2 million for the 2027 fiscal year.

Other states experiencing cuts to the Imagination Library are Indiana, Washington, and Kentucky.

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Following one of the strongest debut seasons in Marvel Animation history, X-Men ’97 faced enormous expectations entering Season 2. Fortunately, the first three episodes prove the series hasn’t lost any momentum, delivering another thrilling blend of superhero action, emotional storytelling, and deep comic book lore.

Rather than easing viewers back into the world of the X-Men, Season 2 immediately picks up after the explosive finale of Season 1. With the team scattered across three different time periods, the opening episodes follow multiple storylines simultaneously while laying the groundwork for Apocalypse‘s rise.

It’s an ambitious approach, but one that largely succeeds.

Episode 1 centers on Cyclops, Jean Grey, and the future timeline, adapting elements from The Adventures of Cyclops and Phoenix. Their reunion with Nathan, better known as Cable, provides some of the strongest emotional moments of the season so far. The episode reminds viewers that beneath all of the time travel and mutant battles, X-Men ’97 continues to thrive because of its characters.

X-Men 97′ Season 2 [credit: Marvel Animation]

Episode 2 shifts gears with a fun, action-packed adventure featuring Cable, Jubilee, Sunspot, and the formation of a new X-Force. While the episode embraces the over-the-top style of the classic ’90s comics, it also explores the moral differences between Cable’s hardened worldview and Jubilee’s optimism. Their dynamic creates one of the season’s most entertaining character pairings.

The third episode may be the strongest of the bunch, taking audiences thousands of years into the past as Magnetoencounters a young En Sabah Nur, the mutant destined to become Apocalypse. Rather than presenting the iconic villain as a one-dimensional conqueror, the episode explores his origins in a surprisingly thoughtful way. The conversations between Magneto and En Sabah Nur are among the most compelling scenes in the series, adding emotional complexity to a character fans thought they already knew.

Visually, X-Men ’97 remains one of Marvel’s most impressive productions. The animation captures the spirit of the original 1990s series while elevating every action sequence with fluid movement, vibrant colors, and cinematic direction. Whether it’s mutant powers colliding on the battlefield or quieter emotional moments between teammates, every frame feels carefully crafted.

The voice cast also continues to shine, bringing authenticity and heart to these beloved characters. Even with multiple storylines unfolding simultaneously, each episode finds time for meaningful character moments that remind viewers why the X-Men have endured for generations.

The biggest criticism of these opening episodes is pacing. Episode 1 in particular moves through a significant amount of story in a short amount of time, and several of the timelines could have benefited from an extra episode to further develop their characters and emotional beats. It’s less a flaw in storytelling than a reminder that there’s simply so much happening at once.

X-Men 97′ Season 2 [credit: Marvel Animation]

Even so, those concerns do little to diminish what has been an outstanding start to Season 2. Marvel Animation has once again found the perfect balance between nostalgia and fresh storytelling, honoring classic comic arcs while keeping longtime fans guessing about what’s coming next.

Three episodes in, X-Men ’97 is already shaping up to be one of the year’s best animated series. If the remaining episodes maintain this level of quality, Season 2 has every chance of surpassing its already exceptional predecessor.

Verdict

X-Men ’97 wastes no time reminding fans why it became one of Marvel’s biggest success stories. While the opening episodes occasionally move too quickly through their ambitious storylines, the outstanding animation, emotional character work, and faithful adaptation of beloved comic arcs make for an exceptional return. After three episodes, Season 2 is firing on all cylinders.

Whew, Roommates! Chris Brown and Usher’s ‘R&B’ tour recently kicked off, but things are heating up QUICK! Breezy dropped a video showing a SPICY moment with a fan at one of their recent tour stops, and now folks online are asking what ticket did the lucky lady purchase to get her special one-on-one treatment with him.

RELATED: Issa Zaddy! Chris Brown Has Fans Going WILD After Flexing His Post-Workout Body In Steamy Shirtless Flick (PHOTO) 

Chris Brown Turns Up The Heat With SPICY Onstage Moment At The ‘R&B’ Tour

Recently, Breezy dropped a lil’ preview on his Instagram Story showing how he’s coming for the ‘R&B’ tour, and he’s making it clear that he’s trying to give fans exactly what they want. The footage shows him giving a fan some VIP treatment while he performs ‘Take You Down.’ The woman in the clip clearly came ready for the quality time with Breezy, with the video showing her fully locked in on the moment while he goes to work. Chris Brown even took his shirt off to show off his six-pack he’s putting in work for. Chris captioned the spicy moment, “This what yall wanted?” making sure he checks in with fans to see if he’s understanding the assignment.

Social Media Pops OFF With Reactions To Breezy’s Tour Preview

Once TSR dropped the video of Breezy with a fan, the comment section was flooded with reactions. Plenty of fans joked that they want the same ticket the fan got. Meanwhile, other fans said they’re about to start practicing just in case Chris picks them to come on stage.

Instagram user @uadorelai wrote, “what ticket did she buy?! because I WANT THAT ONE TOO! @chrisbrownofficial.” 

Instagram user @trendy_chef wrote, “A lot of women losing their relationships for this moment 😂 make it worth it ladies 😂😂😂” 

While Instagram user @troyse_official wrote, “I’m not getting married until this 🥷🏿 is done touring 😂” 

Then Instagram user @ari3xo wrote, “I see why each child got a mother 😍😍” 

Another Instagram user @mystachris wrote, ‘At this point, I need proof Usher was even on stage, because all I’m seeing is Chris Brown. 😂😭” 

Instagram user @gueits wrote, “Its the heels in the air for me 😭” 

Then another Instagram user @lovecorkscrew wrote, “Closing my married eyes 👀” 

While another Instagram user @khadi.cutie wrote, “Yes. Now let me start practicing what ima do if I get up on that stage 😂” 

Finally, Instagram user @marla_vuitton wrote, “I just want my man to know in advance… I’m goN 😩🫣😬🤣🤣🤣🤷🏽‍♀️” 

Chris Already Said He Wasn’t Playing ANY Games On This Tour

Weeks before the ‘R&B’ tour kicked off, Chris teased his energy and said he was trying to get “as sexy as possible” for his and Usher’s upcoming shows. In a video he shared on social media, he also warned fans that shirts would come off and there wouldn’t be any dad bod energy. He said when he starts doing his big one on stage, he wants to hear the ladies’ screams get a little louder. “No dad bod situations going on. No honeybuns! So, hell yeah […] when I do my 1,2 go on and scream a little louder.” 

RELATED: Caught Up? Fans Are Popping OFF With Reactions To Chris Brown & Usher’s Opening Tour Night (VIDEOS)