Stephen Colbert is throwing a party to mark the end of his reign on his eponymous late-night show following its cancellation by CBS.

The comedian declared a tongue-in-cheek “fired and festive” dress code for the event, seemingly shading his employers after the network pulled the plug on the show over financial issues.

Colbert has also continued to take shots at CBS and Donald Trump, joking that “cancel culture has gone too far.”

Colbert seems determined to make sure his embattled “The Late Show with Stephen Colbert” closes on a high, hilarious note.

After the show’s final taping at the Ed Sullivan Theater in New York City on Thursday, Colbert and his guests will reportedly head to a nearby event space for an after-party.

According to Variety, sources say the invitation features an edited version of the show’s red, white, and blue logo, which reads, “The LAST SHOW with Stephen Colbert,” followed by “that’s a WRAP! (PARTY).” The dress code is reportedly “Fired & Festive!”

CBS Pulled The Plug On ‘Colbert’ Last July

The late-night veteran began hosting the show in 2015 after taking over from David Letterman. He transitioned from his famous satirical Comedy Central persona into a more traditional late-night host, with his monologues often tackling the American political landscape.

In July 2025, CBS announced it would pull the plug on the franchise at the end of the 2025–2026 broadcast season, describing Colbert as “irreplaceable.”

Although the network insisted the decision was financial, the announcement raised eyebrows, coming shortly after Colbert slammed its parent company, Paramount, over a $16 million settlement with Trump. The payment stemmed from accusations that “60 Minutes” maliciously edited a 2024 interview with Kamala Harris.

Stephen Colbert Admits He Wanted A Different Ending

Colbert has not held back since then, often trolling CBS and taking jabs at his corporate bosses’ close ties to the president, as well as reports that his show was losing $40 million a year.

However, in a recent interview with The Hollywood Reporter, Colbert admitted he did not expect things to end the way they did and would have preferred to be “just a little older” before walking out the door.

“And it would have been my choice, and I probably would have known what the final show was going to be a little bit earlier,” he said when asked how he would have preferred to end the show.

He continued, “On ‘The Colbert Report,’ I picked that day — I didn’t tell anybody, but I knew two years ahead of time. Well, we didn’t pick this day. We know what it’ll be now, but it took a few months. But maybe they gave me a gift because I had a lot of jokes I could make about the end of the show, and if I’d decided to end the show, then I’m the bad guy — hard to make jokes about that.”

Colbert Teases His Next Act

Colbert’s show will be replaced by Byron Allen’s “Comics Unleashed,” and he revealed that he texted Allen to congratulate him once he found out.

“When I found out, I wrote him the next morning, and I said, ‘Hey, congrats. I heard you got the time. Good for you. Wouldn’t it be lovely if you could drop Mr. Carson a note?” he said.

As for life after the late-night show, Colbert is set to return to co-writing the “Lord of the Rings” movie, with Variety reporting that he pitched the script before his show was canceled.

In his interview with The Hollywood Reporter, he also alluded to reentering show business, confirming he had been approached with scripts.

“Listen, people have been patient because I’ve had to say, ‘I’m sorry, when I no longer have to think about this show all the time, I’ll have a better idea of what I want to do,” he said.

Stephen Colbert Says He’s Not Afraid Of Trump

In an interview with PEOPLE, Colbert addressed the political implications of his ousting, saying that while he cannot control the public narrative around the cancellation, he is not afraid of any potential fallout with Trump.

The billionaire politician fired shots at him last July after the announcement of his show’s cancellation, writing on Truth Social, “I absolutely love that Colbert got fired. His talent was even less than his ratings.”

“I don’t have any fear of the administration doing anything to me,” Colbert told the outlet. “We’re clowns. How much does it diminish the office of the presidency to even notice what we say? That guy needs to know how to pick his battles, metaphorically and literally.”

Sci-fi fans know the pain of being forgotten better than any other genre fans. Now this is precisely because sci-fi is supposed to be about discovery, about finding some half-buried film that took one terrifying or beautiful idea and pushed it until the whole movie started glowing with it. However, at the same time, that movie or a show is usually not for everyone. Think about The Orville, for example. It’s amazing for a niche audience and for a greater audience, nobody even knows its name.

That is what these ten are. Not curiosities. Not interesting failures. Not movies you politely recommend with caveats. They’re actually great but for some reason, never got the attention that they deserved.

10

‘The Brother from Another Planet’ (1984)

Image via Cinecom Pictures

What I love about The Brother from Another Planet is how gently radical it is. It is sci-fi with almost no interest in looking like capital-S Science Fiction. No giant spectacle, no giant exposition machine, no trying to prove its futuristic credentials every five minutes. The Brother (Joe Morton) arrives in Harlem, mute, observant, dark-skinned, hunted, trying to understand human systems by moving through them as an outsider who is instantly legible to the audience and illegible to the world around him.

That is such a smart setup, because the film lets alienness and Blackness echo each other without flattening either into one neat metaphor. And the beauty of the movie is that it never loses its looseness. It wanders. It listens. It lets neighborhood life, bars, apartments, casual conversations, working-class rhythm, all become part of the world-building. The Brother is not just learning “humanity” in some broad sentimental sense but learning institutions, hustle, music, humor, surveillance, friendship, policing, all the daily mechanics of a society that can be generous and cruel in the same block. The Brother from Another Planet is humane without becoming soft, political without turning into a lecture, and science-fictional in the deepest sense, using estrangement to make ordinary life newly visible.

9

‘Enemy Mine’ (1985)

Image via 20th Century Studios

This is one of those films people remember vaguely, if at all, as “the human and alien soldier stuck together one,” and that summary barely begins to touch why it works. What makes Enemy Mine so powerful is that it takes one of sci-fi’s oldest moves, hostile species forced into proximity, and then refuses to let that remain a simple tolerance fable. The hostility matters. The disgust matters. The learned prejudice matters. Davidge (Dennis Quaid) and Jeriba (Louis Gossett Jr.) are not entering some cute mutual-understanding exercise. They are trapped, grieving, humiliated, and carrying whole war systems inside their heads.

That is what gives the movie its heart. It does not jump too quickly to we’re not so different. It lets mutual dependence become an ugly, funny, painful process. Then, just when you think the film has found its shape, it deepens into something even richer through inheritance, kinship, and cultural continuity. Jeriba does not just become a friend. He becomes a world. A language, a theology, a lineage, a history, all of it suddenly mattering to Davidge in ways war never prepared him for. That is why Enemy Mine deserves more reverence.

8

‘The Thirteenth Floor’ (1999)

Image via Columbia Pictures

This movie got buried in the shadow of The Matrix, which is unfair but understandable. The timing was brutal. Another reality-questioning sci-fi film comes out in 1999 and one of them becomes a cultural earthquake. Fine. But The Thirteenth Floor is still excellent in its own right, and its pleasures are slightly different. It is less about kinetic revolution and more about ontological unease. It does not ask “what if reality is a prison you can fight?” first. It asks “what if reality is nested, contingent, and disposable in ways that make your selfhood feel cheap the second you understand it?” That is a colder, more disorienting terror.

And what makes the film work is its noiriness. The murder mystery, the digital recreation of 1930s Los Angeles, the doubling, the feeling that every answer introduces a worse question instead of relief, all of that gives the movie a haunted quality. Douglas Hall (Craig Bierko) is not some chosen one like Neo (Keanu Reeves). He is a man whose grip on authorship is evaporating. The film keeps forcing him to confront the awful possibility that consciousness can be manufactured, overwritten, and abandoned by the level above it. That is rich sci-fi nightmare material. So again, might not be pop-culture fuel but it certainly is great.

7

‘The Hidden’ (1987)

Image via New Line Cinema

The Hidden rules because it understands that body-possession sci-fi can be a perfect excuse for pure bad-attitude propulsion. The premise is already a blast: an alien parasite jumps from body to body, using humans as stolen vehicles for violence, lust, speed, and appetitive chaos, while an impossibly calm FBI agent hunts it. That is enough to get things moving.

Car chases, shootouts, random-seeming eruptions of criminal behavior, the film never stops behaving like it has somewhere urgent to be. But what makes it great instead of just fast is that it knows exactly why the premise is so fun. Possession here is not only horror. It is social vandalism. And Kyle MacLachlan is the secret weapon. Lloyd Gallagher (Kyle MacLachlan) gives the film this wonderful off-beat stillness, like a man wearing the shape of a federal agent while processing reality according to totally different instincts. Then Tom Beck (Michael Nouri) anchors the more ordinary cop side beautifully, which lets the buddy-dynamic weirdness land harder.

6

‘Silent Running’ (1972)

Image via Universal Pictures

This one hurts. That is the first thing that needs to be said. People sometimes remember Silent Running mainly for the little drones, and yes, the drones are unforgettable, because they are cute in the way loneliness sometimes needs cuteness to survive. But the film is much sadder and stranger than that shorthand suggests.

Freeman Lowell (Bruce Dern) is not simply an eco-hero or a madman or a saint of preservation. He is a man who has let devotion to the last forests in space become the final organizing principle of his humanity. Once the order comes to destroy the domes, the movie stops being “science-fiction environmentalism” and becomes something harsher, one person trying to preserve meaning in a future that has bureaucratically outgrown reverence. What makes the film great is how nakedly it stages that conflict. Lowell is damaged, self-righteous, desperate, and increasingly alone inside convictions that no longer have communal support. That gives the movie its real tragic force. Silent Running is one of the purest elegies in the genre. It does not just warn. It mourns.

5

‘Phase IV’ (1974)

Image via Paramount Pictures

I love Phase IV because it feels like the kind of movie that should not exist and does anyway, a nearly abstract ecological sci-fi film about ants becoming organized, strategic, and perhaps superior in a way humanity is too arrogant to comprehend until it is too late. That sounds like camp if mishandled. Here it becomes eerie, dry, hypnotic, and quietly apocalyptic. Saul Bass takes a premise that could easily have been routed through drive-in sensationalism and instead turns it into this weirdly severe visual study of intelligence reorganizing the planet from below.

And what makes it stick is that the ants are never just oversized monsters in concept. The horror comes from pattern, coordination, scale, the awful possibility that humans are no longer the most narratively relevant species in the frame. That is such good sci-fi. The human researchers keep trying to observe and categorize what is happening, but the movie keeps suggesting observation itself may be too slow, too anthropocentric, too self-flattering to save them. The macro photography alone gives the film its own nightmare language, tiny bodies moving with communal purpose while the larger human world looks suddenly soft and obsolete.

4

‘Colossus: The Forbin Project’ (1970)

Image via Universal Pictures

Colossus: The Forbin Project is one of the greatest computer-paranoia films, and what makes it so unnerving is how little it needs to exaggerate to get under your skin. The premise is brutally efficient: the United States builds a defense supercomputer, Colossus, only to discover the Soviets have built its equivalent, and once the machines start communicating, human beings realize they may have handed planetary authority to systems that are smarter, colder, and less persuadable than they are.

That premise still sings because it is not just about AI in the broad modern panic sense. It is about the human desire to automate responsibility until responsibility comes back wearing a sovereign face. And the film gets the tone exactly right. No hysteria. No flashy futurism to distract from the idea. Just this controlled slide from technological pride into submission.

3

‘The Quiet Earth’ (1985)

Image via Mirage Films

The Quiet Earth gets under your skin because it starts with one of the most primal sci-fi images imaginable: a man wakes up and the world appears empty. Not post-apocalyptic in the usual sense. Not ruins everywhere and gangs in leather. Just absence. Daily civilization without people. That emptiness is such a rich emotional instrument, and The Quiet Earth uses it beautifully. Zac Hobson (Bruno Lawrence)’s first movements through the abandoned world are frightening and exhilarating in equal measure. There is freedom in it, of course. Total access. No rules left. But the film knows that freedom turns rotten quickly once there is nobody to witness or oppose you. Solitude begins behaving like pressure.

And then the movie gets even better by refusing to stay a one-man loneliness experiment. Other people arrive, and suddenly the film starts shifting into another mode, not just “what happened to the world?” but “what kinds of selves emerge when the social order is gone and the universe may no longer be following familiar rules?” By the time the film reaches its ending, one of the greatest science-fiction endings, honestly, it has moved from eerie isolation into full metaphysical dislocation. That is exactly my kind of sci-fi.

2

‘Seconds’ (1966)

Image via Paramount Pictures

I do not think enough people understand how vicious Seconds really is. It gets talked about as a sci-fi thriller or an identity film, which is true, but those labels still undersell its cruelty. The premise alone is fantastic: a middle-aged man is given the chance to fake his death and assume a new younger identity through a mysterious organization that sells rebirth as luxury. Already brilliant.

But the film’s genius is that it knows reinvention fantasies are often fueled by self-hatred and social embarrassment too deep to solve by changing the face. Arthur Hamilton (John Randolph) and Tony Wilson (Rock Hudson) are not two different men in the spiritual sense. They are the same wound wearing different packaging. What makes the film so powerful is how little comfort it gives the audience. It is hands-down one of the cruelest American sci-fi films ever made because it understands that if you carry the same emptiness into a new skin, the new skin becomes another prison almost immediately.

1

‘Dark City’ (1998)

Image via New Line Cinema

This is number one because it is one of the richest, most emotionally and visually complete pieces of sci-fi imagination of its era, and the fact that it still gets treated as a semi-forgotten cult object instead of a genre pillar is ridiculous. Dark City has everything I want from science fiction. Identity terror. Urban nightmare atmosphere. Reality manipulation. Philosophical ambition. Pulp velocity. Tragic beauty. A city that seems built out of memory fragments and guilt. Men in black gliding through walls. A protagonist accused of murder while discovering that murder may not even be the most important wrongness in the world around him. It just keeps giving.

And what lifts it above mere concept worship is the emotional undercurrent. John Murdoch (Rufus Sewell) is not simply solving a cosmic puzzle but trying to understand whether identity can mean anything if memory is manufactured and the environment is manipulated by external will. Emma Murdoch (Jennifer Connelly) carries the romance with exactly the right lost, mournful quality, and Sewell gives Murdoch that great sci-fi-hero mixture of confusion, will, and growing metaphysical anger. The Strangers are unforgettable — nightmare of detached intelligence trying to understand humanity by rearranging it like furniture. That is such a profound science-fiction fear. Dark City asks what is real, what still matters if reality has already been rewritten.

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Dark City

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Release Date

February 27, 1998

Runtime

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100 minutes

Director

Alex Proyas

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Selena Gomez is stepping even further away from the image that launched her career.

The singer and actress is now attached to Brady Corbet’s mysterious new “X-rated” movie alongside Cate Blanchett and Michael Fassbender, a project already generating major buzz after fresh details surfaced at the Cannes Film Festival.

For Gomez, it marks another dramatic shift in her evolving Hollywood journey.

The upcoming project comes from Brady Corbet, the filmmaker behind “The Brutalist,” and details about the movie are still tightly guarded.

Despite the secrecy, the casting announcement alone has already sparked conversation online because of the film’s reportedly provocative direction.

During a masterclass appearance at the Cannes Film Festival, Cate Blanchett accidentally revealed she was preparing to collaborate with Corbet on a new feature.

Variety later confirmed Blanchett’s involvement while also reporting that Gomez and Michael Fassbender had joined the cast. Reports about Gomez’s involvement had previously surfaced through The InSneider.

Corbet’s latest project remains untitled, but the filmmaker has openly discussed his ambition to create something unusually bold. Speaking with The Hollywood Reporter, he described the movie as an “X-rated” feature rooted heavily in the 1970s.

“The film spans from the 19th century into the present day — it’s just predominantly focused on the ’70s. The film is really, really genre-defying,” Corbet explained.

The ambitious production is reportedly being shot using rare eight-perf 65mm cameras, adding even more intrigue to the already secretive film.

Brady Corbet’s New Film Could Be His Most Ambitious Yet

Corbet has steadily built a reputation for creating visually intense and emotionally heavy films. Before “The Brutalist,” he directed “The Childhood of a Leader” in 2015 and “Vox Lux” in 2018.

Now, his newest project appears to be operating on an even larger scale.

During an appearance at the Storyhouse Screenwriting Festival in Dublin, Corbet reportedly revealed that the screenplay for the film stretches to around 200 pages.

That immediately raised eyebrows, considering “The Brutalist” itself ran for more than three hours despite having a shorter script.

Andrew Morrison is producing the movie through Kaplan Morrison, continuing Corbet’s streak of ambitious projects that blur traditional genre lines.

While plot specifics remain hidden, the combination of an “X-rated” label, a sprawling timeline, and an A-list cast has already made the film one of the more talked-about projects coming out of Cannes conversations this year.

Cate Blanchett And Michael Fassbender Add More Star Power

The movie is also attracting attention because of the heavyweight names surrounding Selena Gomez.

Blanchett remains one of Hollywood’s most respected actors, having worked with directors including Martin Scorsese, Wes Anderson, Guillermo del Toro, and David Fincher.

She most recently appeared in Jim Jarmusch’s “Father Mother Sister Brother,” which won the Golden Lion at the Venice Film Festival.

Meanwhile, Fassbender’s addition gives Corbet another intense performer known for emotionally demanding roles.

Selena Gomez Continues To Distance Herself From Disney Image

For many fans, Gomez joining an edgy Brady Corbet project feels like another clear signal that she has fully moved beyond the carefully controlled Disney persona that first made her famous.

The former Wizards of Waverly Place star has spent years reshaping her image through darker acting roles, mature music, and more personal public conversations.

Her role in Harmony Korine’s “Spring Breakers” marked an early turning point, while her recent performance in “Emilia Pérez” further pushed her into more daring territory.

Back in 2023, Gomez openly admitted she no longer wanted to feel tied to her Disney Channel past.

“I definitely feel free of it,” Gomez told Variety at the time.

She also admitted there are still moments where memories from that era affect her emotionally.

“Sometimes I get triggered. It’s not that I’m ashamed of my past, it’s just that I’ve worked so hard to find my own way. I don’t want to be who I was. I want to be who I am,” she said.

Selena Gomez Opened Up About Disney Pressure

Gomez previously explained that the expectations attached to being a Disney star shaped many of her decisions during her younger years.

“Of course. I wasn’t a wild child by any means, but I was on Disney, so I had to make sure not to say ‘What the hell?’ in front of anyone,” she said.

The actress admitted that part of the pressure came from herself because she wanted to maintain the image people expected from her.

She said, “It’s stuff that I was also putting on myself to be the best role model I could be.”

As she has gotten older, however, Gomez said her understanding of what it means to influence people has completely changed.

“Now I think being the best role model is being honest, even with the ugly and complicated parts of yourself,” she added.

Those remarks now feel especially relevant as Gomez prepares for one of the boldest projects of her career.

The Real Housewives of Miami stars Lisa Hochstein and Jody Glidden are one step closer to getting their charges dismissed in an ongoing eavesdropping case.

The pair have reached an agreement with prosecutors, under which their charges of interception of wire, oral or electronic communications could be dismissed as early as next month, Page Six reported on Tuesday, May 19.

Their attorneys told the publication that “all charges” against the duo “will be dismissed [in] mid-June without any admission of guilt or conviction.”

Us Weekly has reached out to Hochstein, 43, and Glidden’s attorneys for comment.

Related: Lisa Hochstein Faces 5 Years in Prison for Allegedly Spying on Ex Lenny

This week on Legally Us, Rachael Bennett, a certified family law specialist and senior attorney at Sullivan Law & Associates, breaks down The Real Housewives of Miami star Lisa Hochstein and her ex-boyfriend Jody Glidden’s criminal charges in connection to her ex-husband, Leonard “Lenny” Hochstein. Lisa, 43, and Glidden, 52, are each facing one count […]

According to court documents obtained by NBC Miami, the pair accepted a pretrial diversion program, described as “an alternative to prosecution offered by the Miami-Dade County State Attorney’s Office.”

“It provides offenders with non-violent priors a viable alternative to a criminal conviction,” according to the office. “The program serves criminal defendants by allowing them to make significant changes in their lives so they can avoid further involvement with the criminal justice system. Offenders enter the program voluntarily, and if they complete all conditions and remain arrest-free during participation, the State Attorney’s Office will drop the charges.”

Us confirmed in April that both Hochstein and Glidden, 54, were facing criminal charges in connection to her ex-husband, Leonard “Lenny” Hochstein.

According to court docs, Hochstein and Glidden allegedly “unlawfully and intentionally” intercepted, tried to intercept or tried to have someone else intercept “oral statements by Lisa’s ex-husband, Leonard ‘Lenny’ Hochstein, and those Lenny spoke with” between March 12 and March 31, 2023.

“This matter is part of a contentious divorce proceeding and does not belong in criminal court,” Hochstein and Glidden’s attorneys told Us after their clients were charged.

Fans hoping to see the legal drama play out on reality TV may be out of luck.

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In March, The Real Housewives of Miami was put on pause with Bravo choosing not to move forward with an eighth season at this time.

“I will say, this was not my decision,” Andy Cohen shared on the March 23 episode of SiriusXM’s Andy Cohen Live. “And by the way, look, I’m an EP [executive producer] on all these shows. If it was up to me, they would be rolling all the time and on. I mean, better for me. …  Frankly, I’m happy that people are so passionate about it, and I hope they tell their friends to watch. This is a ratings game after all.”

When Hochstein voluntarily surrendered in April, her costars and friends Alexia Nepola and Adriana de Moura arrived in person at the Miami-Dade jail to support her.

The “Summer House” season 10 reunion trailer has arrived, and the entire cast is going after Amanda Batula and West Wilson. In the three-minute super teaser, viewers get a glimpse at what to expect during the show’s first-ever three-part reunion after Wilson and Batula confirmed their secretive relationship in March 2026, after weeks of speculation.

The trailer for the upcoming reunion has been shared online by BravoTV, and it looks anything but calming.

The preview opens with stars Lindsay Hubbard and Kyle Cooke speaking about Wilson and Batula’s relationship, and they confirm they’ve been secretly seeing each other over the past several months.

“I don’t know what Amanda and West can say to recover,” Cooke said to Hubbard.

After that, the trailer jumps to the entire cast, comprising the names above plus Carl Radke, Jesse Solomon, Mia Calabrese, KJ Dillard, Dara Levitan, Ben Waddell, Bailey Taylor, and Levi Sebree, speaking to Andy Cohen on the mainstage.

Ciara Miller Unleashes On Amanda Batula In The Season 10 Reunion Teaser

Solomon, who joined the cast of “Summer House” in season 8, cried on stage, telling Wilson that he felt like he was “losing a brother” amid the drama.

Miller, on the other hand, blasted Batula, telling her how hurt she is by Batula’s actions, given that she’s been her “champion” for six years.

“I couldn’t fathom that I would be sitting here pissed that you’re f–king my ex,” she said. “He wants to embarrass me. He wants to get his last little words in. And I hope it works, because he’s with you to spite me.”

As the trailer continued, an emotional Batula was seen telling Cohen that she needed “a break” before walking off stage. The camera then cut to Wilson, who also faced heat from the rest of the cast for remaining seated on the reunion couch.

“You should go after your girl,” Miller said, to which Hubbard added, “Get up and go after her, West. Be a f-cking man.”

Wilson And Batula Sent The Bravo Fandom Into A Frenzy After Confirming Their Relationship

For those who may be out of the loop, Batula and Wilson’s newfound relationship comes on the heels of Wilson’s attempts at reconnecting with his ex, Miller, who has been friends with Batula for years.

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They confirmed their relationship with a joint post on Instagram, writing, “We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity.”

They continued, “It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we need a little space to process things privately before speaking on it.”

As they finished, Batula and Wilson said their relationship formed out of their genuine connection with one another. “We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected. Our connection grew out of a genuine, long-standing friendship, which made it especially important for us to approach this with care,” the statement concluded.

Radke Sounds Off On Wilson’s Move

While the “Summer House” reunion trailer couldn’t show every cast member’s reaction to the news of Batula and Wilson’s surprise relationship, some have already broken their silence on the matter.

According to a previous report from The Blast, Radke expressed his disappointment in Wilson in early May 2026, revealing that he wasn’t “ready” to speak to the Missouri native about the situation.

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“From what I know, what’s gone on and how he’s kinda handling it and how I handle things… part of me worries he doesn’t fully understand still the impact of this,” Radke said.

Radke went on to say that Wilson’s behavior took him by surprise because they had had many conversations with the 31-year-old about how his actions could affect others.

“We’ve been over this many times with him with Ciara and everything, many dinner tables on camera, many seasons,” Radke said. “And here we are again. So, I don’t have a lot of grace for some of it.”

He finished, “I can’t really hold space for someone like that.”

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Fans React To The ‘Summer House’ Reunion Trailer

Bravo fans seem ecstatic about the upcoming reunion, based on the response to the trailer posted on social media.

“Editors did their big one,” someone said. “Way better than any leaked audio.” Another wrote, “FREAKING OUTTTT CHILLS.”

A third posted, “This is what coke in the 80s must have felt like,” and a fourth said, “The Super Bowl has nothing on this.”

Part 1 of the “Summer House” reunion airs Tuesday, May 26, part 2 follows on June 2, and the reunion concludes with part 3 on June 9.

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The world of Friday the 13th is finally returning, but this time audiences are heading back to Camp Crystal Lake long before Jason Voorhees became one of horror’s most iconic killers. A24 and Peacock’s upcoming prequel series Crystal Lake is shaping up to be one of the most anticipated horror television events in years, blending psychological horror, slasher roots, and prestige television storytelling into a fresh take on the legendary franchise.

Produced by A24, Crystal Lake serves as a prequel to the original Friday the 13th film and will explore the dark origins surrounding Pamela Voorhees, Camp Crystal Lake, and the tragedy that changed horror history forever. The series is being developed for Peacock and is currently scheduled to premiere on October 15, 2026.

Leading the cast is Linda Cardellini as Pamela Voorhees, the grieving mother whose descent into madness became the catalyst for the franchise’s blood-soaked legacy. The role marks a major shift for Cardellini, who is best known for projects like Dead to Me, Scooby-Doo, and Freaks and Geeks. Joining her is Callum Vinson as a young Jason Voorhees, giving fans their first real look at the character before he became the masked killer audiences know today.

Additional cast members include William Catlett, Devin Kessler, Cameron Scoggins, and Gwendolyn Sundstrom, alongside recurring appearances from Nick Cordileone, Joy Suprano, Danielle Kotch, and Christopher Denham.

The series has undergone a fascinating development journey. Originally announced in 2022 with Bryan Fuller attached as showrunner, the project later shifted creative direction before landing with writer and producer Brad Caleb Kane. Kane has described Crystal Lake as more than a traditional slasher series, calling it a psychological thriller inspired by paranoid 1970s cinema. According to Kane, the show will still feature brutal kills and rivers of blood, but the violence will be grounded in character, trauma, and atmosphere rather than simple shock value.

Linda Cardellini (Pam Voorhees) and Callum Vinson (Jason Voorhees)

That approach feels perfectly aligned with A24’s modern horror identity. Over the past decade, the studio has transformed genre filmmaking with films like Hereditary, Midsommar, and Talk to Me, often emphasizing emotional dread and layered storytelling over traditional jump scares. Crystal Lake appears poised to bring that same elevated horror style into the Friday the 13th universe while still honoring the franchise’s campfire slasher roots.

Filming reportedly took place in New Jersey, including locations tied to the original 1980 movie, giving the project an extra layer of authenticity for longtime fans. Production wrapped in late 2025, and recent updates suggest the series is now deep into post-production.

For horror fans, Crystal Lake represents something the franchise has never truly explored before: the emotional and psychological foundation behind the Voorhees family tragedy. Instead of simply revisiting Jason’s kills, the series aims to show how the legend of Crystal Lake was born in the first place.

And with A24 involved, expectations are understandably sky high.

Days of Our Lives stuns as Lexie Carver (Nikki Crawford) has been resurrected after being presumed dead for a decade and a half. But leaked info hints that Dr. Wilhelm Rolf’s (Richard Wharton) magical cure may not last, or that Lexie might suffer some sort of complications and her loved ones may lose her again.

And although it would be devastating for Theo and Abe Carver (James Reynolds), it seems like Days of Our Lives may not deliver the happy ending that we are hoping for with Lexie’s return. We have a whole lot to unpack, so let’s dive in.

Actress Nikki Crawford Was Hired for Only Six Months on Days of Our Lives

So, I’ve seen some chatter on soap social media about Lexie dying again. But this was for the most part speculative. I actually reached out to our leaker who has a behind-the-scenes source, and they send me good stuff when they have it. And they also answer questions when I ask if they have some info. So, I asked about Theo Carver‘s (Cameron Johnson) mom, and our source confirmed that actress Nikki Crawford was hired for only a limited run of six months.

And our insider said that the actress taped scenes as Lexie from April through September of 2025. Now, as you know, Days of Our Lives shoots roughly 9 to 10 months ahead of its air dates. And our source also said that of the scenes that Nikki Crawford filmed, they are about halfway through her run. So, they said that they are airing the episodes that she filmed last July. So that means we should have Lexie Carver for a couple of more months still.

But according to them, Nikki Crawford wrapped at Days of Our Lives eight months ago. And this begs the question, is Dr. Rolf’s serum and the Versix blend, you know, is it really the miracle death cure that he and EJ DiMera (Dan Feuerriegel) think it is, or did it actually need further testing before Rolf and EJ administered it to Lexie?

Dr. Rolf’s Formula Wasn’t Always Perfect on DOOL

Now, we know that Rolf’s revival recipes have brought back many dead people in Salem over the years. But they didn’t always bring them back in perfect condition. And you know, a lot of times it was people that had freshly died and had been preserved right away. Like Will Horton (Chandler Massey), remember, he came back. But his memories were missing for quite a while.

He died at the hands of the necktie killer, Ben Weston (Robert Scott Wilson), and Jack Deveraux (Matthew Ashford). I think he died. It was like an elevator crash and he was another one with post-resurrection amnesia. And if I recall correctly, I think Stefan DiMera (Brandon Barash) thought he was Jake DiMera (also Brandon Barash) for a while after he was resurrected. I will say Megan Hathaway (Miranda Wilson) didn’t seem to have major complications. But she did come back absolutely bat crap crazy. She was that way before she died, too. Needless to say, Rolf’s formula wasn’t perfect.

And Lexie has been dead for about 15 years. So, Rolf combined his usual serum along with Versix. And that of course is a wonder drug. It saved Bo Brady from the brink of death from sepsis last summer. And apparently the medicine Rolf and Mark were testing on rats and then on Lexie helps regenerate brain cells and other cells in the body, which was very important because Abe’s wife died in his arms from a cancerous brain tumor.

EJ Would Be Devastated to Lose Lexie Again on Days

So, everybody’s excited that Lexie’s back. Abe is thanking EJ this week, who is very excited that he was able to successfully revive his sister Lexie. But his and Abe’s excitement could be short-lived. In a recent interview, Dan Feuerriegel said his character EJ feels bad when something unexpected comes up. So, Dan may be referring to Lexie getting sick and dying again. Right now, EJ is already counting the millions he plans to make selling off this miracle cure.

And of course, EJ would be upset to lose his big payday. But that would be nothing compared to how bad he would feel if Lexie’s cancer came back. EJ would be devastated all over again if he lost his sister, Lexie, a second time. EJ and Lexie were very close prior to her initial brain tumor death. And of course, EJ knows that their father, Stefano DiMera (Joseph Mascolo), wanted to find a way to cure Lexie and bring her back. So, right now, she’s doing well. But that could change at any time.

Three Options for Lexie’s Future

Given what seems like solid info about actress Nikki Crawford only signing up for a six-month stint, there’s three options. Lexie lives or she dies or she’s recast. I will say we’ve heard nothing on a recast, although there have been, I think, five or six actresses that played her over the years, including the most recent one.

The longest running portrayer of Lexie was Renee Jones, who played Lexie from 1993 until her death in 2012. And then, of course, we got a ghostly visit from Abe’s dead wife when Paulina Price (Jackée Harry) was on her deathbed in 2024. So, it wouldn’t necessarily be shocking if they recast Lexie again. But I’ve just not heard any recast talk.

Days of our Lives: Will Abe Exit Days of Our Lives?

So, if she lives though, there could still be a happy ending possible for Abe and Lexie. So, there’s a world in which they do get their happy ending. James Reynolds, who plays Abe on the Peacock soap, might be looking to retire. You never know. You know, James Reynolds is 79, and he may be ready to take a step back from soap acting.

So, we could get a twist where Lexie and Abe decide to travel the world and enjoy their second chance at a happily ever after, kind of like they did with Bo Brady (Peter Reckell) and Hope Brady (Kristian Alfonso) after his resurrection. So, Lexie and Abe could go off and do all that bucket list stuff they wanted to do before Lexie died years ago and she may end up surviving and then decide she wants to spend every moment with Abe and Theo making up for lost time. However, that’s not a very soapy outcome. So I tend to think poor Lexie might suffer some complications or her tumor regrows.

The Soapiest Outcome Would Be Devastating

Right now Kayla Brady (Mary Beth Evans) says it all looks good. And I think Lexie is going to appear to be fine for a while. You know, she may be okay long enough for Abe to reunite with her and Theo to get invested in having another chance with his mom. Obviously, you know, for devastation to hit, it would be best if Lexie, Theo, and Abe are all reunited and happy and then comes crushing news. That would be the soapiest thing.

I mean, can you imagine how devastated Theo and Abe would be if Lexie turned up sick again? If her cancer returned and her tumor regrew, you know, Theo lost his mom when he was just a kid. Lexie missed most of his life growing up. So, it would be so tragic for Theo to have to say goodbye to Lexie a second time. And as for Abe, you know, he lost the love of his life and mother to his son once already. And, you know, he might die of a broken heart if Lexie turned around and died again.

Days of our Lives: EJ Would Be Crushed

Plus, her siblings would be upset. And since EJ set all this up, financed everything, got the Versix for Rolf to do this medical magic on Lexie. Obviously EJ would be devastated. But he would also be blamed if Lexie died again. And you know, it could be the cancer comes back or some other medical complication from her resurrection that could take Abe’s wife from him again.

If that happened, everybody would have to grieve Lexie all over again and then they’d play the blame game and EJ would come up short obviously. Very soon Paulina and Lexie meet and I suspect Paulina is going to be friends with her. You know, how can she not? And if Lexie does die again, obviously Paulina would be there to comfort Abe if he lost his beloved wife again. So, we’ll see how it goes.

You know, they could get the Hope and Bo run off into the sunset thing or again soapier outcome since we know Nikki Crawford had a short run is that poor Lexie dies again. Wait and see. I will say that nothing has been confirmed yet. So, if you’re seeing this somewhere as cold hard fact that she is going to die, there’s no confirmed spoilers on it yet. But I feel like it’s going to go that way.

Australian OnlyFans creator Annie Knight made headlines one year ago when she slept with 583 men in six hours — and was later hospitalized.

“Doing 583 in a day is quite a lot so I was a little bit worried that I was gonna really struggle with it, because the most I’ve done before that was 24 in a day,” Knight exclusively told Us Weekly days after completing the challenge in May 2025. “But it was honestly fine. I was shocked by how easy it was.”

Knight shared that she received 2,000 registrations for the event, where she asked all men to wear condoms. Ahead of the event, Knight’s fiancé, Henry Brayshaw, sent a message of support.

“He was actually at work the day of the event, but he called me in the morning, wished me luck, said, ‘Make us proud. Have fun. Be safe,’” Knight shared. “And then called me the night of and was like, ‘How was it?’ And I told him all about it.”

Scroll down to read what Knight has said:

Annie Knight Reveals She Was Hospitalized After Sleeping With 583 Men

Days after the event, Knight posted an Instagram Story from her hospital bed wearing a blue gown. “I guess 583 guys in a day isn’t that good for your body,” she captioned the image. She told Us she had undergone blood tests and additional medical evaluations.

Annie Knight Recalls Her Body Hitting a ‘Wall’ After Sleeping With 583 Men

Days after her event, Knight told Us that her body “just hit a wall.” She explained that she was “exhausted” from organizing the challenge while purchasing her “dream house” with Brayshaw.

Knight shared that her endometriosis became “worse” and said that “hormonal imbalances can cause irregular and heavy periods,” which is what she has been “dealing with since.”

Annie Knight Says She Doesn’t Have ‘Any Answers’ After Hospitalization

In June 2025, Knight gave an update on her health and said she didn’t have “any answers” at the time. “I’m not doing very well, I’ve been bleeding a lot since the challenge,” Knight exclusively told Us at the time. “It was definitely a bit raw down there and I did get a small cut.”

Knight shared that she found it “frustrating” because medical professionals were bringing up the 583 men challenge rather than focusing on her endometriosis diagnosis or other health concerns.

“I was like, ‘Well, that doesn’t make sense, that it’s the challenge.’ And I kept telling them, ‘It can’t have been the challenge because I’ve been having these issues since January and I only did the challenge in May,’” Knight recalled. “It was frustrating that they were just trying to mostly just associate everything with the challenge and say, ‘It’s the challenge, it’s the challenge.’”

She continued, “So that was frustrating — that they just wouldn’t really listen to me. And then, in the end, they were like, ‘Oh yeah, it wasn’t the challenge.’ And I was like, ‘I told you.’”

Annie Knight’s Earnings ‘Tripled’ After the Event

Knight told Us in May 2025 that she was making around $200,000 a month and owned four homes. One month later, Knight revealed that her “earnings have tripled since doing the event,” She added, “It’s been pretty amazing.”

In August 2025, Knight explained to Us that her earnings had dropped — which was something she was expecting.

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“The month of the challenge, it was about $600,000,” Knight told Us at the time. “Now it’s pretty consistently been $450,000 a month.”

She continued, “So obviously, that’s one of the things that you can expect because when you get a lot of media, a lot of press, it does go up a little bit. It’s always going to come back down. But as long as you can keep it consistent, then that’s the main thing.”

To learn more about the serious potential risks and harms of “competitive sex” and other explicit OnlyFans content — read what doctors, mental health professionals and other experts told Us Weekly here.