D4vd has now been accused of having a “significant” amount of child sex abuse images on his phone and iCloud account.

RELATED: UPDATE: Charging Documents Reportedly Reveal Disturbing Details About D4vd’s Relationship With Celeste Rivas Hernandez

D4vd Has Been Accused Of Having A “Significant” Amount Of Child Sex Abuse Images On His iPhone & iCloud

According to the New York Post, on Thursday, April 23, D4vd appeared in court for his preliminary hearing. This time, prosecutors reported that they discovered a “‘significant’ amount of child pornography on the singer’s iPhone after conducting a search of the device.”

Specifically, investigators reportedly “gathered 40 terabytes of data,” apparently from his device. Additionally, prosecutors also revealed they conducted a wiretap of his phone. Furthermore, prosecutors revealed they plan to hand over “bodycam video, DNA trace evidence, property reports, vehicle reports, photographs,” and forensic reports to D4vd’s legal team.

Per the outlet, D4vd will be back in court on April 29. Per Fox 11 Los Angeles, it remains unclear whether prosecutors will pursue the death penalty against the singer.

Social Media Reacts To Reports Of Child Sex Abuse Images On His iPhone & iCloud

Social media users reacted to the reports of child sex abuse images on D4vd’s phone in TSR’s comment section.

More On D4vd’s Case & The Death Of Celeste Rivas Hernandez

As The Shade Room previously reported, D4vd was arrested earlier this month in connection with the September 2025 discovery of the body of 14-year-old Celeste Rivas Hernandez. Additionally, he was held without bail, and his mugshot was released in the following days. Simultaneously, D4vd was also charged with first-degree murder of the 14-year-old, along with “lewd and lascivious sexual acts with an individual under 14 years of age,” and “mutilating human remains.”

In the days that followed, charging documents revealed that D4vd engaged in continuous sexual abuse of Hernandez between September 2023 and September 2024, per The Shade Room. Then, on or about April 23, 2025, he allegedly killed the teen. Then, on or about May 5, he allegedly mutilated her body.

Earlier this week, the autopsy for Celeste Rivas Hernandez was released, revealing that her body was missing two fingers and that she died from multiple penetrating injuries. Additionally, the autopsy release prompted a statement from the Hernandez family.

RELATED: Celeste Rivas Hernandez’s Autopsy Results Revealed As Family Shares First Public Statement & Unreleased Photo

Editor’s Note: The following contains spoilers for Animal Control, Season 4, Episode 12

After 12 episodes, Animal Control Season 4 came to a close on Thursday night following the ACOOTY (aka “Animal Control Officer of the Year”) Awards, which, of course, turns into complete chaos the second Joel McHale’s Frank Shaw and Templeton Dudge (Gerry Dee) go head-to-head for the prestigious honor. Naturally, there’s sabotage, stolen speeches, relationship revelations, and somehow Frank ends up taking his shirt off and winning anyway. But the real story is never just the frantic energy felt by its Northwest Seattle Division crew. Instead, it’s that quiet hotel room moment between Frank and Victoria (Grace Palmer) that suddenly gets way more real than expected. Even McHale kind of dodges that near-kiss moment, joking with Collider, “Well… wait till season 5,” before admitting he totally sidestepped the question.

At the same time, the finale flips the entire power dynamic on its head. As it goes, Templeton becomes the new animal control director by episode’s end after Emily (Vella Lovell) and Shred (Michael Rowland)’s relationship comes to light at the worst possible time during the awards. The entire fiasco turns into instant nightmare fuel for Frank, who probably sums it up as, “You got to be f—ing kidding me,” per McHale.

And that’s the energy going into Season 5 for the Fox sitcom, where everything gets worse in the funniest way possible. With a finale that somehow balances emotional payoff with total disaster, McHale breaks down “Golden Moose and Wiener Dogs,” admitting just how close Frank and Victoria really came to crossing that line, how chaotic things could get now that Emily is suspended and under investigation for an HR violation, and what it all means for Season 5. On top of the shenanigans that will no doubt ensue in the milestone season, McHale admits to Collider he’s secretly trying to turn Animal Control into a full-on Community reunion tour before the movie finally happens.

Joel McHale Sidesteps Frank and Victoria’s Future After the ‘Animal Control’ Finale

The actor teases Season 5, praises Grace Palmer, and jokes about Hugh Jackman joining the Fox comedy.

Image via Bettina Strauss/FOX

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COLLIDER: Congrats on the Season 4 finale of Animal Control! Getting right into it, Frank and Victoria — I love those two. I’m wondering for you, how careful does the show have to be with them so that you don’t lose what makes that dynamic work? Because I feel like what we saw was so close to something, and it was like a Ross and Rachel thing, but then we end up not having it, and now we’re going to wait for Season 5.

JOEL MCHALE: See? How can I sidestep this? Well, getting to work with Grace. I mean, she’s a freaking movie star, so that’s really easy. And she’s so fucking, oh, excuse me.

You can say that.

McHALE: No, she’s so fucking funny. So in those scenes, it’s one of those things where you know your lines, and then you see what the little crackle is of the scene. And then yeah, she’s one of those folks that always… She always brings it. I was like, dang. So I’m like, Grace, geez, you were so damn good. And so she’s going to hear this, you’re like, “Man, that’s so nice of you to say.” So what am I going to say? I’ll be like, “Well, wait till Season 5.” That was a terrible answer. I sidestepped, and then I didn’t even answer.

That’s classic Joel.

McHALE: It was really fun to ride around those horses. It was really fun.

Yeah. The horse scene was so cute, too. And then Parker had to come and ruin things, but I do love Josh Segarra. He’s really amazing! I was going to ask, though, after what we see in this finale, going forward into Season 5, how big a turning point can you tease that would be for the rest of what people can expect? Because again, this is a postmortem, so you could say some things.

McHALE: All the animals start talking.

That’s good. It’s like the Sheep Detectives. I watched it this week, and it’s really good, and the sheep are just talking. It’s very good.

McHALE: Wait, Sheep Detectives?!

Have you not seen trailers for The Sheep Detectives?

McHALE: No. [Laughs]

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This Is What Happens When You Let Joel McHale Do Everything

Turns out ‘The 1% Club’ host Joel McHale didn’t choose a lane — he built the whole road.

It’s so good. Where have you been? It’s like a new movie with Hugh Jackman where he gets… It’s not a spoiler, but in the trailer, they show he gets murdered, and his sheep have to… His flock needs to figure out who murdered him. And then they pair up with Nicholas Braun, who’s a cop in a small British town. It’s a very good movie—

McHALE: Sounds great. It sounds as out there as Being John Malkovich in the best way. That’s awesome. Wow. Well, I will say Nicholas Braun will be a part of Season 5. No, he will not.

I know that’s not true…

McHALE: No, but Hugh Jackman’s coming in for a four-episode arc.

Okay.

McHALE: I mean, we’re pitching him. We’re pitching him now.

Sure, well, I would love to have him singing on the show.

McHALE: So you’re saying this Sheep Detective thing is pretty similar to Succession?

Yes. They all wear suits, and they basically… well, Logan Roy is like the big sheep.

McHALE: They ride around in private helicopters?

Yes, they do. I need to see sheep in helicopters now. [Laughs]

McHALE: Boy, I don’t have a very good answer, but I’m going to do the same thing that was like, I’m really excited we got a Season 5. And I think the thing is, I think with comedies, you never know how it’s going to gel, and it’s gelled just great. So I’m so lucky to be on it. And now, yes. And hopefully Ken will come back. Ken? We’ll get you a castle.

Joel McHale Says Templeton’s ‘Animal Control’ Takeover Will Drive Frank “Out of His Mind”

McHale teases a chaotic Season 5 shakeup, Gerry Dee’s return, and a few possible Capybaras.

So then, ending the season with Templeton potentially in charge now, I feel like that flips the dynamic. And obviously it sucks for Emily, and I think it sucks more for Frank, though. How big of a shakeup can you tease for Season 5?

McHALE: I wouldn’t be surprised if Templeton doesn’t accidentally burn the whole place down. Boy, yeah. I mean, Gerry Dee, man. He’s so freakishly funny. And from the great city of Toronto. But this is a good question because they’re writing Season 5 right now. So I’d like him to go on to be like he becomes mayor of the city, and it just drives Frank even more out of his mind. He’s so funny to work with, and he’s so good. And yeah, boy, heavyweights. Yeah. And then Kyla Pratt was in there, who was just unreal, and their dynamic together was so good. And yeah, it was so funny.

So, what do you think Frank’s mindset is now, especially in those final moments of the episode where he finds out Templeton is in that position?

McHALE: Probably, “You got to be fucking kidding me.” Like, “Oh, fuck, you’ve got to be kidding me.” I cannot … He’s always burdened because I think he kind of wants to be. He’s always like, “Can you believe this? These things that are all happening.” But at the same time, it’s going to drive him out of his mind. I hope there’s probably a scene where he gets driven out of his mind, but getting to play against Gerry, Kyla, I mean, having that dynamic set up is pretty darn fun. And you throw in a Capybara or a couple more lemurs, and we’re off to the races. And thank you for watching it. You’re very kind.

It’s a great season — you definitely take off your shirt a lot this season. But, like, good for you.

McHALE: Oh, yeah. [Laughs] I did starve a lot. There was a lot of starvation. I was cutting every day. A lot of plucking. A lot of plucking.

McHale jokes about Donald Glover joining the Fox comedy and gives a vague update on the long-awaited movie.

Image via Bettina Strauss/FOX

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I will say after having Jim Rash on the show, who was so good, and then Ken—

McHALE: He was so good. … [addresses PR on the call: Oh, Hayley, can we have Jim back? Can you let all the powers that be know because his character was so fun? Thanks!] It’s funny for us to have somebody, like the entire city’s office supplies it being controlled because Jim is a real — I mean, he’s a savant and getting to see just a different side of him that he can play. It was so funny. And he runs this place that just has gigantic dudes in tank tops. Yeah, it makes me so happy.

I was laughing when the guy kept repeating everything he said, and he was like, “Just stop doing that.” It’s so good.

McHALE: So good.

But I was going to ask, though, will you try to sneak in more Community reunions on the show before the movie even comes out? Because I feel like that’s a possibility at this rate. [Laughs]

McHALE: Yeah. Donald is doing another theme song for Animal Control.

Right.

McHALE: He’s playing Yoshi [from Super Mario] next year, which technically is an animal. Yeah, that’s the goal. When every Community cast member has been on the show, that will be… It’s like The Lord of the Rings, where all the rings are together. Look, that’s a good question. I want to… Hey, Community cast members, if you can come on the show, that would be great. You hear that? [addresses PR: Hayley, can you tell them? That would be great, thanks!]

OK, well, now I have to ask: what is the update for the Community movie? Are we—

McHALE: We’ve shot three. We’ve shot all three.

Umm, ok…

McHALE: We just shot there. We just keep shooting. I think we’re going to shoot it this year. So that’s what, yeah, it’s going to happen. [Laughs] I know that’s extremely vague, but I think we’re doing it this year.

I just was like, how many years has it been since it was announced? And I was like, I don’t know.

McHALE: Five? Has it been four?

I think four, like 2022, it was announced.

McHALE: Yeah, this thing they take… It’s all animated in Claymation, and we’re doing stop-motion, so it takes a while.

Yes, it’s from the Wallace and Gromit people. I know it takes a very long time.

McHALE: Right.

Well, I just really want that movie before World War III breaks out, God forbid, because the way things are going…

McHALE: [Laughs] Actually, it’s a very good goal. Oh, my Lord.

This interview was abridged for length and clarity — and PR can confirm to Collider that there are no ‘Community’ reunions happening on Season 5 (yet).

Animal Control is now streaming on Hulu.

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Release Date

February 16, 2023

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FOX

Writers

Dan Sterling, Tad Quill

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Billie Eilish is taking fans back in time with a series of social media posts that highlight her longtime admiration for Justin Bieber. The photos and videos offer a glimpse into her early years as a devoted fan, showing that her connection to the singer began long before her own rise to global fame.

The throwback post comes several days after Bieber brought Eilish on stage during his Coachella set, leaving her visibly overwhelmed with joy.

On April 23, Billie Eilish took to Instagram to share throwback photos and videos from her Belieber era with her 125 million followers. “Don’t talk to me,” the 24-year-old singer captioned the post.

The first photo shows a younger Eilish dressed in a rainbow, sequined halter dress paired with Converse high tops as she posed in her room with her hands on her hips. Behind her, the wall is decked with Justin Bieber posters.

The second slide showed a whiteboard where Eilish wrote alternate lyrics to Aqua’s “Barbie Girl,” changing them to, “I’m a Bieber girl / in a Bieber world / It’s Biebertastic / Let’s Bieber blast it…” On the lower portion of the board, she wrote details about Bieber’s day of birth, including the date, exact time, the hospital where he was born, the floor and room number, and the doctor’s name.

The Singer Wrote Justin Beiber A Note

Other photos featured Eilish wearing Bieber merch, and one was a photo of her cellphone case with the “Baby” singer posing with a backward ball cap sans shirt. Eilish also posted a message she wrote Bieber on February 28, 2014, a few days before his 20th birthday. In it, she called him “SEXY,” “sweet,” “hilarious,” and “AN AMAZING PERSON.”

“No words can explain how much I love you!!! If you only knew I existed… I have always been a belieber and I will always be!!!” Eilish wrote, adding red heart emojis. The last slide was a video clip of Eilish dancing to the song “Confident” from Bieber’s second compilation album, “Journals,” released in 2013.

Billie Eilish Is A Proud Belieber

The “Birds of a Feather” singer has always been vocal about her love for Bieber, even saying that one of the reasons she wanted to be famous was to be “closer” to him. In an interview with Samya Hafsaoui for the Netherlands talk show “De Wereld Draait Door” in 2019, Eilish said, “The only time that I really was like, ‘I wanna be famous,’ I only wanted to be famous so I could be closer to Justin Bieber.”

In one video clip that went viral, a young Eilish said she “cried so hard,” adding, “I’m worried that when I get a boyfriend, I won’t wanna be with him because I actually love Justin Bieber more.”

The Two Singers First Met In 2019

It was at Coachella 2019 when Eilish first met Bieber in person. A then 17-year-old Eilish was watching Ariana Grande’s set as Bieber stared at her from a few feet away. The “When the Party’s Over Singer” stayed in place for a few moments, seemingly starstruck, before sharing a long and emotional hug with her idol. Their first interaction was included in her 2021 documentary, “Billie Eilish: The World’s a Little Blurry.”

Following their meeting, Eilish collaborated with Bieber on a remix of her song “Bad Guy,” which featured a verse from the “Sorry” singer. In a 2020 interview with Zane Lowe, Bieber talked about his bond with Eilish and how he feels protective of her, especially since he knew how difficult it was to be a young artist under the spotlight.

Bieber got emotional as he said, “I don’t want her to go through anything I went through… I don’t wish that upon anybody. So if she ever needs me, I’m a call away.”

Billie Eilish’s Coachella Moment With Justin Bieber

Eilish’s throwback post was shared nearly a week after she shared the stage with Bieber at Coachella. On the second weekend of the music festival, Eilish was in the crowd with Bieber’s wife, Hailey, who then ushered her away from the VIP section and brought her toward the stage. Bieber serenaded Eilish with the song “One Less Lonely Girl,” and the latter was visibly emotional.

Following the sweet surprise, Eilish’s mother, Maggie Baird, took to Instagram to show her appreciation for the “most touching moment ever.” “I’m so grateful to Justin Bieber for the kindness he has shown Billie and to our whole family and to Hailey who makes so many things wonderful and possible,” Baird wrote.

Offset is recovering following a shooting incident in early April, and despite getting injured, the rapper has shown no signs of slowing down. In an interview, he spoke about staying focused and continuing to move forward despite what happened, emphasizing his resilience and steady mindset as he works through the aftermath and stays committed to his career.

Offset, real name Kiari Kendrell Cephus, was a guest on the “Creators Inc. Podcast” episode released on April 23, and he briefly talked about his shooting with host Andy Bachman.

At the beginning of the interview, Offset was hooked to a B complex IV, with Bachman explaining that he and the Migos rapper always get an IV drip. As the host said, the interview was conducted just six days after Offset was shot in Florida. “And now you’re here in L.A. How the hell did you even get here?” he asked.

“You got to keep pushing. Like the Energizer Bunny, man. Keep this sh-t pushing,” Offset said, adding that he has no time to slow down. “The show don’t ever stop at the end of the day. I was blessed enough to be able to still move. So, I’m still moving,” he said.

The Rapper Doesn’t Need Anyone’s Pity

Offset shared that he was in L.A. working on an upcoming album. At one point, Bachman asked the rapper to give an insight into what was going on in his mind, especially since he didn’t take a break and went back into the grind after he was shot. “Gladiator mentality, man,” Offset said, adding that he just focused on working on his music.

“All the other sh-t was just like distractions and just getting in the way of just doing sh-t,” he said. Offset alluded to the shooting as “being in the wrong place at the wrong time,” adding, “The grind don’t stop, bro. I don’t want nobody to feel sorry for me or no sh-t like that. People get shot everyday, bro.”

Offset said that despite his injury, he could still “keep pushing,” and that’s exactly what he did following the shooting.

Offset Was Shot In The Hip

Elsewhere in the interview, Bachman noted that he must be grateful to wake up knowing that he has all his arms, legs, and “pee pee” all intact. “By the way, as soon as you got shot, you must have been like, ‘Check the pee pee.’” With a laugh, Offset answered, “No I knew I was straight on that. I just got hit in my hip.”

On April 6, Offset’s representative confirmed that the rapper had been shot outside a casino in Florida. At that time, the rep said he was being treated at a hospital and was in stable condition. Days later, as The Blast reported, Offset took to social media to update his fans. He shared photos of himself by a pool wearing a camo outfit and Supreme slippers. “God is Good Thank you,” he captioned the post.

The FBI Said The Migos Rapper Was Targeted

On April 14, the FBI stated that Offset was targeted by a “large group” of people who attempted to rob the rapper outside the Seminole Hard Rock in Hollywood near Miami, Florida. An unnamed individual reportedly attempted to steal Offset’s watch from his wrist, but was unsuccessful. During the incident, one shot was fired and hit the rapper’s hip.

The suspect then immediately fled the scene in two separate SUVs, going in different directions, but two people were detained in connection with the incident. One of them is Lil Tjay, who was arrested in connection with an altercation that happened prior to Offset being shot. Lil Tjay was charged with operating a vehicle without a license and disorderly conduct, but he was released after posting bond. Per his lawyer, he was not in possession of a gun at the time of the incident.

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Offset Performed Just Days After The Shooting

After spending four days in the hospital, Offset returned to work, performing at the University of Arkansas’ Rowfest on April 11, per PEOPLE. The rapper was wheeled onto the stage and met with loud cheers from the crowd. He stood up, giving the impression that he had not been in the hospital just a day prior.

Despite still recovering, he delivered an energetic set, engaging with fans and performing some of his biggest hits. On Instagram Stories, Offset’s mother, Latabia Woodward, said, “Six days ago, my son was shot. Four days later, he was released from the hospital. Last night, he was on a stage doing what he loves to do. He is a miracle walking. That is God’s grace, that is God’s mercy.”

When it comes to creatives who are synonymous with one genre, few are clearer examples than Guy Ritchie‘s love for the gangster drama. From Snatch to The Gentlemen, Ritchie has seemingly explored every facet of the criminal underworld one could think of. When MobLand first premiered on Paramount+, viewers wondered if the creator would be able to shock and compel once again. Yet, MobLand has proven to be one of the best projects Ritchie has worked on, both as executive producer and director. With a stacked cast that makes each character feel fully realized and vital against the backdrop of an unflinchingly brutal world, it’s no surprise that viewers are still flocking to binge the show nearly a year after its first season premiered.

What Is ‘MobLand’ About?

MobLand may feel like an ensemble series at times due to its large cast, but the true protagonist is Tom Hardy‘s Harry, a fixer for the Harrigan crime family. With the cutthroat Conrad Harrigan (Pierce Brosnan) at the helm and his manipulative and bloodthirsty wife, Maeve (Helen Mirren), by his side, the Harrigans are a feared family throughout London, making Conrad’s trust in Harry an instant sign of respect. When the Harrigans go to war with rival Ritchie Stevenson (Geoff Bell), due to the actions of the despicable Eddie Harrigan (Anson Boom), their strong foundation, along with their overall grip on the city, threatens to break.

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Guy Ritchie’s best work and legacy.

Conrad and Maeve’s son and Harry’s best friend, Kevin (Paddy Considine), tries to limit the destruction and violence while undergoing an intensely painful personal journey related to his past, while Kevin’s son, Eddie (Anson Boon), is one of the main instigators of the family, desperate to prove himself. Alongside them are Seraphina (Mandeep Dhillon), Conrad’s illegitimate child, who is despised by Maeve, and Brendan (Daniel Betts), who could be considered the Fredo (John Cazale) of the Harrigan family. The Harrigans all live under Conrad’s influence, and Harry is caught between trying to remain a trusted employee and never truly being considered a member of the family. Every character in MobLand is given rich layers, making each subplot feel key as the overall story hooks you.

‘MobLand’ Is Brutal in the Best Way Possible

In every gangster story, whether Goodfellas or The Godfather, the characters are always eventually shown to be immoral thugs. However, MobLand truly emphasizes its world’s merciless nature, making the series truly thrilling to watch. You never know whose head will end up on the chopping block next; sympathetic and arguably innocent characters, like Jan (Joanne Froggatt), Harry’s wife, and Bella (Lara Pulver), Kevin’s wife, are constantly put in harm’s way.

This decision to break a key rule of other gangster narratives, in which civilians are treated as no-go zones, ultimately sets MobLand apart. It also positions Harry as one of the show’s most reasonable figures and makes his acts of violence more palatable. As a result, the series elicits dynamic reactions: viewers are disgusted by Eddie, Maeve, and Conrad, while enjoying Harry’s more restrained yet highly competent methods, whether he’s dismantling an entire operation when necessary or merely using his intimidating stare to bring someone under his control. No matter which character you’re watching, though, there are no scenes in MobLand that you won’t have a visceral reaction to. With Season 2 having wrapped filming this month, now is the perfect time to binge MobLand Season 1 and find out why crime may pay on a financial level, but the moral cost is ultimately bankrupting.

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Release Date

March 30, 2025

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Paramount+

Directors

Daniel Syrkin

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  Pierce Brosnan

  Conrad Harrigan

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Roommates, tension is heating up again between Brian McKnight and his family as he has reportedly filed a defamation lawsuit against his ex-wife Julie McKnight and his son Brian McKnight Jr. The suit doesn’t stop there. PEOPLE reports that he’s also suing media figures, Tasha K and Marc Lamont Hill as well as, New York Post, claiming they used his late son Niko McKnight’s death to push a false narrative about him.

RELATED: Julie McKnight Speaks On Brian McKnight Allegedly Not Telling Niko He Loved Him, Files To Dismiss Defamation Lawsuit

Details On Brian McKnight’s Lawsuit Against Julie McKnight & Brian McKnight Jr.

According to TMZ, Brian McKnight accuses Julie McKnight, Brian McKnight Jr., Marc Lamont Hill, Tasha K, and the New York Post of teaming up to attack his reputation and profit off what he calls “malicious character assassination. He filed the lawsuit in Georgia on April 21, saying a “shockingly dishonest” and false narrative paints him as a father who abandoned his kids and refused to tell his late son Niko that he loved him. Brian adds that the claims hurt his reputation, career, and family, and says the ongoing attacks pushed him to take legal action. The suit reportedly seeks compensatory damages.

“Defendant Julie McKnight asserted that their son repeatedly told Plaintiff “I love you” during the call while Plaintiff refused to reciprocate, thereby portraying Plaintiff as emotionally cruel and indifferent toward his terminally ill son,” the filing reportedly states

This isn’t the first time Brian has taken legal action against Julie. In 2025, he filed a lawsuit accusing her of defamation, slander, and libel. She was also accused of claiming he caused emotional abuse and neglect, as well as their sons’ lack of success in the music industry.

Here’s What Julie Previously Said About Brian’s Relationship With Niko

As The Shade Room previously reported, Niko McKnight’s death in May 2025 was attributed to colon cancer. Months later, Julie released an exclusive statement with Page Six accusing Brian of not telling Niko he loved him.

“Those words should come easily, freely, and often. And in Niko’s case, lying on his sick bed, fighting through pain, fear, and uncertainty, he deserved that love spoken over him more than ever. There is nothing more heartbreaking than hearing your child say that all they want is to simply hear his father say “those three words.” She continued, “No child should have to long for something so basic, so pure, so necessary to the human heart. As his mother, hearing those words from him cut deeper than anything I could have imagined.”

Brian Jr. & Marc Lamont Hill Weigh In On Brian Sr.’s Estranged Relationship With Niko

Brian McKnight Jr. has also accused Brian Sr. of refusing to tell Niko he loved him before he passed. Marc Lamont Hill later dropped an exclusive interview with Brian Jr. and Julie in December 2025. In the exclusive chat, Brian Jr. recalled one of his darkest moments — Niko calling him in tears.

“All my brother wanted and needed […] asked for, was my father to tell him that he loves him […] and my father responds to him, ‘I can’t arbitrarily say that I love you.’ But this is the man that wanted to help him?” Brian Jr. recalled.

Marc also shared that hearing Julie and Brian Jr. describe Niko’s final moments hit especially hard during the interview. “I can’t imagine how impossibly difficult this entire ordeal was for the entire family.” 

RELATED: Brian McKnight Jr. Reacts To His Dad Celebrating Allegedly Winning $8M Judgement Against Julie McKnight On His Late Brother’s Birthday

The zombie genre has seen a resurgence in recent times, thanks to The Walking Dead, The Last of Us, and Danny Boyle’s 28 Days Later, among others. There is an odd satisfaction in watching a protagonist go up against a horde of brain-eating creatures and coming out on top. With many filmmakers riding the wave with their own spin, fans are spoiled for choice.

Star Wars icon Daisy Ridley’s latest film, We Bury the Dead, tackles zombies but also brings in the psychological thriller angle and empathy that make it stand out. We follow Ava (Ridley), who joins a body-retrieval unit while grappling with personal grief to search for her husband after a US military weapon accidentally triggers a disaster in Tasmania, turning the deceased into violent, reanimated, undead “shamblers”. While most people will think of high-octane action, the Zak Hilditch-directed film provides a slow-burning drama wrapped in themes of grief and closure. The film also sees zombies in a more empathetic light, like 28 Years Later: The Bone Temple, as they are framed as once-loved human beings. However, it has divided audiences as seen in its Rotten Tomatoes score: 88% from critics and 46% from audiences.

The feature is a decent watch, already making waves on PVOD, with Ridley’s performanceuniversally appreciated. The movie also cast Brenton Thwaites as Clay, Mark Coles Smith as Riley, Kym Jackson as Lt. Wilkie, Matt Whelan as Mitch, Chloe Hurst as Katie, Deanna Cooney as Bianca, Salme Geransar as Private Clarkson, and many others. For fans who’d like to check out the film, it’s a good time. We Bury the Dead is finally coming to Hulu on May 8. Furthermore, it will also be released on 4K UHD and Blu-ray on July 8.

Where Will We See Daisy Ridley Next?

Ridley is well known for playing Rey in Star Wars, and her return to the franchise is imminent in a standalone movie. While the updates are far and few, she previously teased, “I think the story will be wonderful. I think the wait will be worthwhile. I think it will be a discovery, as all roles are, of where Rey is when we meet her again.” Further, she’ll also be seen in Ti West’s Ebenezer: A Christmas Carol, where she’ll share the screen with Johnny Depp, Sam Claflin, and more. Then there is Stelana Kliris’ Me vs. Me, Pierre Morel’s The Good Samaritan, which also stars Josh Duhamel and Sharlto Copley.

Meanwhile, check out We Bury the Dead when it drops on Hulu on May 8. Stay tuned to Collider for more updates.

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Release Date

January 2, 2026

Runtime

95 minutes

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Director

Zak Hilditch

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Writers

Zak Hilditch

Producers

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Grant Sputore, Joshua Harris, Kelvin Munro, Mark Fasano, Ross M. Dinerstein

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2026 kicked off strongly for young adult book-to-screen adaptations with the release of Finding Her Edge on Netflix earlier in January. Now, nearly five months into the year, fans are eagerly anticipating several more releases, with the most high-profile being The Hunger Games: Sunrise on the Reaping, which is slated to hit theaters this November. Another equally exciting title—arguably Netflix’s most anticipated YA adaptation of the year — is the final Heartstopper movie, which has now officially received a premiere date.

Titled Heartstopper Forever, the coming-of-age movie is a feature-length finale to the Netflix hit rather than a fourth season. Heartstopper Forever is directed by Wash Westmoreland and written by Alice Oseman, who created the near-perfect teen series, which premiered in 2022. The film is an adaptation of the sixth volume of Oseman’s Heartstopper graphic novel series, which follows Nick Nelson (Kit Connor) and Charlie Spring (Joe Locke), two teenagers whose friendship at Truham Grammar School develops into a romantic relationship.

Heartstopper last aired in October 2024, when all of its Season 3 episodes were released. Now, nearly two years later, fans will finally see Nick and Charlie’s love story come to a close—hopefully on a satisfying note. With that said, Heartstopper Forever is set to premiere on Netflix on July 17, 2026. Alongside the release date announcement, the streamer shared a short video compilation highlighting the cast’s journey throughout the seasons. Kit Connor and Joe Locke will reprise their roles as Nick and Charlie, while also serving as executive producers on the film. William Gao, Yasmin Finney, Corinna Brown, Kizzy Edgell, Tobie Donovan, Jenny Walser, Rhea Norwood, and Leila Khan also star.

Will ‘Heartsopper’ End on a Satisfying Note?

Heartstopper Forever will pick up directly from the Season 3 finale, which saw the lead couple – like some of their friends – take the relationship to a new level. As teased in the film’s synopsis, Nick and Charlie are inseparable. Still, as Nick prepares to leave for university and Charlie finds new independence at school, the reality of a long-distance relationship begins to weigh on them. Doubts take hold, and their relationship faces its biggest challenge yet. Meanwhile, their friends are also navigating the ups and downs of love and friendship, confronting the bittersweet challenges of growing up and moving on. Can first loves really last forever?

The final Heartstopper entry arrives on Netflix this summer.

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Release Date

2022 – 2024-00-00

Showrunner

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Alice Oseman

Directors

euros lyn, Andy Newbery

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Writers

Alice Oseman

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Universal love is one of the hardest things a movie can earn, because audiences are cruel in ways history quietly records. They get tired of hype. They punish sentiment if it feels false. They punish seriousness if it feels stiff. They punish popularity just because too many people agreed. It’s ridiculous how much a movie has to survive to navigate every one of those reactions and still keep people coming back with a real feeling in their chest.

Weirdly though, that is what these films did. They stopped being hits or classics and became shared emotional property. People quote them to each other. Hand them to their children. Revisit them in bad years and good years. Keep arguing about them because the argument itself is part of loving them.

8

‘Jaws’ (1975)

Image via Universal Pictures

People love Jaws because it works on every level at once, and the levels keep feeding each other. The shark is terrifying. Amity’s denial politics are infuriating. Brody (Roy Scheider) is deeply human in that exact American way where duty arrives before confidence does. He is a police chief who hates the water, which is already such a perfect pressure point, and the movie keeps twisting it. He knows something is wrong after Chrissie Watkins (Susan Backlinie)’s death. He gets overruled. Then Alex Kintner (Jeffrey Voorhees) dies, and the movie crosses a line it never uncrosses. At that point the shark is no longer just the threat but the thing exposing everyone’s cowardice, ego, or seriousness.

Then the film gives us Quint (Robert Shaw) and Hooper (Richard Dreyfuss) and suddenly it becomes even bigger. Quint has trauma in his bones. Hooper has expertise and curiosity and enough class privilege to irritate Quint into full mythic grump-sage mode. Brody is stuck between them while trying to keep this whole thing from becoming one more body count attached to his name. That is why the Orca section is so beloved. It is not just men hunting a shark. It is three different relationships to fear locked on a boat with no exit. By the time Quint tells the Indianapolis story, Jaws has already become part monster movie, part character piece, part American fable about people waiting too long to admit danger is real. That is serious movie alchemy.

7

‘Singin’ in the Rain’ (1952)

Image via MGM

This movie is beloved because it makes joy feel earned, and that matters more than people admit. Pure charm can get old. Precision never does. Singin’ in the Rain has absurd precision. The whole silent-to-sound transition is sure a clever setup for jokes about bad diction and industry panic but also the pressure cooker that reveals everyone. Don Lockwood (Gene Kelly) gets to stop performing one version of himself and move toward another. Kathy Selden (Debbie Reynolds) gets to prove that the talent buried under male vanity and studio packaging is the real engine of the story. Lina Lamont (Jean Hagen) becomes one of the funniest comic disasters in American film because the movie understands a brutal truth about old Hollywood: one new technology can turn a star into a problem overnight.

And then there is the movement of the thing. “Good Morning” is famous because it is delightful, sure, but it is also story rhythm disguised as euphoria. The title sequence — Don has finally crossed from romantic misery into emotional release, and the rain becomes permission. The ending works because the movie has built toward a beautiful public correction: Kathy gets seen. Lina gets exposed. Don gets honest. People love Singin’ in the Rain because it is dazzling without ever losing contact with effort, embarrassment, ambition, and relief.

6

‘The Wizard of Oz’ (1939)

Image via MGM

This movie has universal love because The Wizard of Oz understands homesickness and longing at the same time, and that is a deeper trick than it first appears. It’s not just a masterpiece for kids either for the same reason. Dorothy (Judy Garland) wants more before she wants to go home. That is why the movie lasts. She begins with emotional appetite and innocence. Kansas feels small, gray, and emotionally unrewarding. Then Oz arrives and gives her everything the imagination could want: color, danger, novelty, companions, impossible roads, glittering cities, witches with personal vendettas. The movie is smart enough to make that dream intoxicating before it teaches her what home actually means.

And the companions are why the film gets people forever. The Scarecrow (Ray Bolger) wants brains, the Tin Man (Jack Haley) wants a heart, the Lion (Bert Lahr) wants courage, and every child understands those desires instantly while every adult eventually realizes they never stopped wanting the same things. The Wicked Witch of the West (Margaret Hamilton) gives the movie real danger, the Wizard (Frank Morgan) gives it the great American disappointment of spectacle covering ordinariness, and the ending gives you one of the great emotional reversals in popular cinema: the place she wanted to escape turns out to be the place already carrying the love she needed. That would be sentimental mush in a lesser movie. Here it lands like truth because the journey was vivid enough to make the return mean something.

5

‘It’s a Wonderful Life’ (1946)

Image via Paramount Pictures

People love It’s a Wonderful Life because George Bailey (James Stewart) hurts. That is the center of it. He hurts in the way decent people hurt when their lives become a long chain of necessary self-denials that everyone else benefits from and almost nobody fully sees. George Bailey is bright, energetic, ambitious, funny, romantic, and absolutely alive as a young man. He wants travel, scale, architecture, movement, escape from Bedford Falls. Then duty keeps calling his number. His father dies. The Building and Loan needs him. The town needs him. The family needs him. Mary Hatch Bailey (Donna Reed) loves him enough to build a real life with him, and even that love becomes part of the trap because it gives him something beautiful he can’t abandon without becoming someone else.

When the money goes missing, it isn’t just a plot crisis. It is the final insult to a man who has already given away too much of himself while trying to remain grateful and decent. Clarence (Henry Travers) matters because the film has already built George’s emotional case against his own life with terrifying thoroughness. Then the alternate Bedford Falls sequence arrives and the whole movie turns its knife: this is what your goodness prevented; this is what your presence meant; this is how many people were living inside your life without your permission. The ending still destroys people because it gives George recognition at the precise second he had lost the ability to recognize himself.

4

‘Casablanca’ (1942)

Image via Warner Bros. Pictures

Casablanca understands adult sacrifice better than most movies with twice the runtime and ten times the self-importance. The film follows Rick Blaine (Humphrey Bogart)’s café. It contains everything already: refugees, opportunists, Nazis, gamblers, broken lovers, patriots, cynics pretending not to care, idealists running out of time. Rick stands in the middle of all of it performing detachment, and Bogart plays him like a man who got good at emotional self-containment because the alternative nearly killed him once already. Then Ilsa Lund (Ingrid Bergman) walks in, and the whole movie catches fire without ever raising its voice too much.

Then there’s a Paris flashback. It is crucial because it gives the romance real innocence before history poisons it. Suddenly Rick’s bitterness makes sense. Ilsa’s hesitation makes sense. Victor Laszlo (Paul Henreid) stops being a plot obstacle and becomes the reason the movie has moral scale. Everybody wants something emotionally justifiable, which is why the film stays so alive. Then “La Marseillaise” happens. The ending remains immortal because Rick chooses with pain. He gives up the woman he loves because the world is on fire and love alone is not the whole story. That hurts every time and maybe that is why people keep loving it.

3

‘The Godfather’ (1972)

Image via Paramount Pictures

People love The Godfather with a kind of reverence that would crush a lesser film. This one survives it because the movie is alive from the inside out. It has lessons projecting far beyond a film or a fictional story. The wedding at the beginning already contains the whole system: joy, obligation, business, family, status, threat, old-country ritual, modern ambition, and the fact that love in this world is always standing next to power. Vito Corleone (Marlon Brando) is unforgettable. He can grant favor like a king and talk to a frightened undertaker like an uncle. That complexity is all over the film.

And then there is Michael. That is the tragedy that keeps people obsessed. Michael Corleone (Al Pacino) begins at a distance from the family story. He has Kay Adams (Diane Keaton), the war record, the clean suit, the confidence of a man who believes he can remain adjacent to history without being absorbed by it. Then Sollozzo (Al Lettieri) and Captain McCluskey (Sterling Hayden) force the issue, and from the hospital scene onward The Godfather becomes a slow, horrifying coronation. The scenes in Sicily change Michael. It lets us see what kind of life he might have had. Sonny Corleone (James Caan)’s death matters because the family is now being stripped toward inevitability. The baptism montage, the return, the revenge, it all works because it reveals how completely he chose the loss. That level of tragic design is why people don’t just admire this movie. They carry it with them. They learn and utilize it like power.

2

‘Star Wars’ (1977)

Image via Twentieth Century-Fox

People love Star Wars because it gives them story oxygen. It moves with the force of myth told by somebody who loves speed, humor, danger, and clean emotional stakes. Luke Skywalker (Mark Hamill) staring at the twin suns condenses an entire feeling into one shot: wanting life to begin somewhere larger than where you are. Then the movie starts feeding that desire exactly what it needs. Leia Organa (Carrie Fisher) is instantly under pressure. The droids crash into a hostile world. Ben Kenobi (Alec Guinness) arrives carrying sadness and history in his voice. Han Solo (Harrison Ford) gives the story a vibe, selfishness, and the possibility that charm can become courage if pushed hard enough.

Then Darth Vader (David Prowse) enters and the whole galaxy gets a face for fear. And the beauty of the film is how cleanly it expands. Mos Eisley, the Death Star, rescue, escape, sacrifice, and rebellion all locking together. It keeps getting better. Obi-Wan’s death matters because it hands Luke grief and destiny at once. Han’s return matters because the film has made selfishness emotionally legible enough that his choice to come back actually means something. The trench run still gives audiences a pulse spike because it turns everything simple and sacred: belief, timing, friendship, risk. That purity is why people keep loving it.

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1

‘The Shawshank Redemption’ (1994)

Image via Columbia Pictures.

This is number one because people love The Shawshank Redemption in a way that almost transcends genre. Prison drama, friendship story, institutional critique, escape film, spiritual endurance narrative, it lives in all those categories and somehow feels bigger than all of them. Andy Dufresne (Tim Robbins) enters Shawshank carrying intelligence, grief, and a deep stillness that everyone around him initially misreads. Red (Morgan Freeman) becomes the film’s genius move because he gives the audience a witness who can slowly understand Andy the way the prison does not. Their friendship is what turns the whole movie into something beloved rather than merely impressive. We watch one man endure through another man’s eyes, and that point of view is everything.

The details matter so much. Andy asking for Rita Hayworth and the rock hammer. The rooftop beers. Brooks Hatlen (James Whitmore) and the crow and the unbearable ache of a man who cannot survive freedom after institutionalization has rewritten him. The library. The Mozart scene. Tommy Williams (Gil Bellows). Warden Norton (Bob Gunton)’s corruption hardening into panic once Andy stops being useful and starts being dangerous. Then the escape comes, and it lands with such force because the movie has made patience emotional. Every year mattered. Every humiliation mattered. Every inch of tunnel mattered. And then Red reaches the beach, and the movie gives people the ending they most desperately want from cinema: earned grace. One of the greatest films of all time, easily.

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The Shawshank Redemption

Release Date

September 23, 1994

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Runtime

142 minutes

Director

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Frank Darabont

Writers

Frank Darabont

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