By Chris Snellgrove
| Published 44 seconds ago

One of the most important directors in Star Trek history is someone you’ve likely never heard of: James L. Conway. He made a splash by directing some major TNG episodes like “The Neutral Zone” and “Frame of Mind,” and he later became one of DS9 showrunner Ira Steven Behr’s favorite directors for helming killer episodes like “Duet,” “Way of the Warrior,” and “Apocalypse Now.” In fact, he was so important to the franchise that he nearly directed First Contact, and he only lost that gig because Patrick Stewart personally pushed for having Jonathan Frakes in the director’s chair.

While Conway didn’t get to direct a major Star Trek picture, he did get to do the next thing by directing “Broken Bow,” the movie-length premiere of Enterprise. He did an excellent job, and many (including beloved franchise writer Brannon Braga) consider it the best pilot from the Golden Age of Star Trek. However, one Enterprise actor had a less-than-stellar time making this episode: John Billingsley, who got humiliated by Conway on set during his very first scene!

The Galaxy’s Most Quirked-Up Doctor

On Enterprise, John Billingsley plays Dr. Phlox, a genial alien physician with a very warm bedside manner. However, the doctor isn’t without his quirks, including a creepy, CGI-enhanced smile that has haunted Star Trek fans for years. But it turns out that the actor wanted his character to be far, far quirkier than anyone could have imagined. While performing in his very scene, Billingsley began squawking like a bird. Malcolm Reed actor Dominic Keating happened to be on-set, and he later reported how the squawking sounds sent director James L. Conway into an angry tailspin.

In the special feature on the Enterprise Season 1 Blu-Ray, Keating claims that Conway, when he heard the squawking noises, began repeatedly and immediately screaming out “Cut!” The director had been inside the video control room, but he allegedly stormed out and stood directly in front of Billingsley. Keating claims the director looked the actor directly in the eye and asked a brutally humiliating question: “Are you sh*tting me?!” All Billingsley could do was mutter, “Listen, I’m not married to it.” They finished the scene as written, and Billingsly never again squawked when playing Dr. Plox.

Humiliation: Star Trek Style

It’s wild to imagine an acclaimed Star Trek director humiliating an actor on set like this. Still, you might be on Conway’s side: the squawking really does sound goofy, and it would have made every scene with Dr. Plox distractingly weird. But here’s the thing: John Billingsley had made those bird-like noises throughout his entire audition process, which included performing them in front of Conway. The director seemingly decided in the moment that the squawking didn’t work for this performance. Again, this was probably the right call, but he made it in such a way that Billingsley was left downright mortified.

This bizarre tale is a reminder of the paradox at the heart of every Star Trek series. These shows are all about “seeking out new life and new civilizations,” but audiences have trouble relating to anything that’s a little too alien. That’s why Trek is filled with so many not-so-exotic species that look mostly human: it’s easier for those of us watching to relate to. In the case of Dr. Phlox, James L. Conway decided that Enterprise audiences were ready for weird head bumps and even an alien smile straight out of a creepypasta. But a doctor who squawks like a really loud bird? That, sir, is a starship bridge too far!

Katie Bates is opening up about experiencing family strain after addressing an incident from her childhood.

“I’ve been getting flooded with messages like this from people who are genuinely concerned for me so I want to answer this as honestly as I can,” Bates, 25, wrote via her Instagram Story on Wednesday, May 20, when answering a user’s question about her decision to leave Tennessee. “A lot of people are confused by my decision to leave Tennessee, especially because from the outside it may look like I have a big support system here. The truth is, sometimes things happening behind closed doors are a lot more complicated and painful than what people see publicly.”

She continued, “Recently I chose to address something that happened throughout my childhood that I wish I had the strength to address years ago. Unfortunately after doing so I lost relationships with about 90 percent of my family. This has been incredibly heartbreaking and heavy to walk through. I’m not going to share details online, but I’m also done pretending everything is OK just to protect appearances.”

Bates noted that staying in Tennessee is “no longer healthy” for her at this moment.

Related: Katie Bates Is Doing ‘Therapy Intensive’ After Husband’s Cheating Scandal

Bringing Up Bates star Katie Bates is seeking professional help navigating husband Travis Clark‘s cheating scandal. “I’ve wanted to come on here and say something for a while but I honestly haven’t really known how to put words to any of this,” Bates, 25, wrote via her Instagram Story on Sunday, February 22. “This year […]

“I’m choosing to move forward, finally heal and build a peaceful life for myself and my children,” she wrote. “More than anything, I’m desperately leaning on God right now even when things feel painful, confusing and lonely. I don’t have every answer right now, but I believe God can bring healing and peace out of even the hardest situations.”

“Sadly I’ve learned that not everyone will support your choices when you finally choose honesty and healing and that’s OK,” she concluded. “Right now I’m focused on protecting my peace, my children and the life I’m trying to rebuild moving forward.”

In a separate Instagram Story, Bates responded to a user asking how she and her husband, Travis Clark, are doing. (In January, Clark revealed he had cheated on Bates. The pair have been married since 2023 and share two children.)

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“Marriage can be hard at times and unfortunately what Travis did certainly did not make things easier,” she wrote. “Trav and I are working through things and making really good progress, but there are definitely still hard days. With God’s help we’re both continuing to show up for each other and our children as we work through this difficult time.”

Related: Katie Bates Reveals Family Move After Husband Travis Clark’s Affair Scandal

Katie Bates and her family have opted for a permanent change of scenery following her husband Travis Clark’s admitted affair and subsequent scandal. “Life has looked different lately, but I’m really excited for what’s ahead!” Bates, 25, wrote via Instagram on Saturday, May 16, sharing a video diary highlighting her family’s impending move. “The last […]

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Bates went on to note that she’s still going through therapy, which she hopes to continue “consistently for a long time.”

“The first time I really got connected with a therapist was back in February and it’s genuinely been life changing for me,” she wrote in a separate Instagram Story, while answering a user’s question. “I didn’t realize how much I needed it until I finally started opening up and working through things. It’s helped me understand myself better, process difficult emotions in a healthier way and I truly think it’s been one of the best decisions I’ve made for myself.”

Survivor host Jeff Probst found himself in hot water with fans after he accidentally revealed the outcome of the season 50 finale’s challenge live on the air.

During the Wednesday, May 20, finale, Probst, 64, referred to contestant Rizo Velovic as “the final member of our jury” before the fire-making challenge had finished airing. The comment inadvertently spoiled to viewers that Velovic had lost.

“I love doing live television,” Probst joked. “What just happened?”

One contestant called out, “They haven’t seen the fire,” while Velovic clarified, “Fire hasn’t happened yet.” As the audience groaned, Probst admitted, “I’m not even sure what happened but up next, we’re going to have one final surprise for the players.”

In the episode, Aubry Bracco won the final immunity challenge and saved Joe Hunter, which sent Velovic and Jonathan Young into the fire-making challenge. Bracco was ultimately crowned the winner of season 50, with Young placing runner-up.

Scroll down to see what Probst and Survivor stars said about the finale spoiler:

Jeff Probst Tries to Frame Spoiler as a Planned Twist

After returning from a commercial break, Probst attempted to spin the mistake as an intentional storytelling choice.

“In case you’re confused, this is what happened,” he explained. “We were going to show you fire-making and then have the loser of fire-making, Rizo, come out and talk about if he had practiced fire-making maybe he would’ve won. Instead, we did a Survivor twist, it’s the last twist of the season. We call it, ‘A peek into the future.’ So now, we’re going to watch Rizo lose in a fire to Jonathan.”

Rizo Velovic Reacts to the ‘Survivor’ Finale Moment

Velovic found humor in being part of the show’s first major finale flub. “Survivor history!” Velovic told Entertainment Weekly at the time. “Jeff was on a Variety interview recently saying that he wants to edit Survivor with the person going home and then showing how they go home. And he did it the next day, and it was me! I made Survivor history.”

The contestant added, “Never been voted out of Survivor, two times playing, only one of four people ever that happened to. And also the first finale flub ever in 50 seasons and the RizGod was a part of it. So that’s what happened.”

Velovic knew something was off the moment Probst called him out from the green room. “So my understanding was they were under the assumption fire already happened,” he told the outlet. “But I was in the green room saying like, ‘Wait, I’m waiting for myself to lose here. What are we doing?’ And Jeff’s like, ‘Bring out RizGod. And they’re like, ‘You’re up!’ And I’m like, ‘OK, I’m gonna work with what we got here.’”

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He continued, “I’m playing off Jeff, and Jeff is talking about fire and I was like: Well, I’m not trying to reveal it. So I’m like, ‘Win or lose, I’m proud of how I played.’ And Jeff’s like, ‘Sit your ass on the bench.’ And I’m like, ‘Well, this is awkward.’”

Velovic shared that he and Probst “recovered well,” adding, “I made a little joke with Jeff live on stage. I thought it was fine.”

Survivor’s Tiffany Ervin Reacts to the Finale Flub

Tiffany Ervin, who finished fifth, was also on stage when the spoiler dropped. “I was very confused,” Ervin told Entertainment Weekly. “The one thing I’ve learned is not to not question Jeff because he knows what he’s doing 99.999 percent of the time. I think we were all shocked. We really didn’t know what was going on. I think it was just a human moment. It’s Survivor and it’s just the story of what we all do. We’re vulnerable in front of the world. We make mistakes. And Jeff is no different.”

Ah, film noir, that daring, brutal, and cleverly subversive genre. Taking inspiration from pulp crime books and the German Expressionist movement, noir’s sordid scenarios and pessimistic moods echo the character’s internalized conflicts as well as their world’s suffocating corruption. Human fallibility reigns supreme — hence the tough-talking detectives encased in swirling tobacco smoke, the conniving dames who beguile these brooding men, and the outsiders exiled to, and striving to survive, society’s fringes.

Luckily for audiences who couldn’t (and still can’t) get enough, the novelty of noir’s charms goes down like a smooth shot followed by a pleasantly fraught chaser of labyrinthine mysteries and tremendous pathos. From the style’s classic beginnings (which run gleefully defiant circles around the Hays Code’s regulations) to its neo-noir modernization, the conventions are an unflinching exercise in tone, material, and artistic experimentation. If any vintage examples warrant the term “absolute cinema,” it’s these 10 standard-setting gems.

10

‘Kiss Me Deadly’ (1955)

Image via United Artists

Mike Hammer’s (Ralph Meeker) investigation into the murder of Christina Bailey (Cloris Leachman), a hitchhiking stranger a group of men tortured to death, uncovers a conspiracy too immense for even an experienced private detective to fix. At first, the situation looks simple; numerous unscrupulous individuals are chasing after a mysterious suitcase. How unfortunate, then, that their target’s glowing contents (parodied in Quentin Tarantino‘s Pulp Fiction) unleash global annihilation.

Arriving at the tail end of the noir movement, director Robert Aldrich and writer A.I. Bezzerides adapt novelist Mickey Spillane‘s Kiss Me Deadly into an incendiary deep-dive into speculative sci-fi, nuclear paranoia, nihilistic despair, and narcissistic masculinity. Cinematographer Ernest Laszlo’s imposing canted angles squeeze the characters into tighter spaces and send them spiraling down nonsensically winding staircases; every visual sign points toward Kiss Me Deadly‘s petrifying ending, where self-serving people meddle with forces beyond their control and the world suffers for their negligence.

9

‘Leave Her to Heaven’ (1945)

Image via 20th Century Fox

Grieving her father’s recent death, socialite Ellen Berent (Gene Tierney) finds solace by falling for Richard Harland (Cornel Wilde) at first glance. The feeling’s mutual, given the effect Ellen’s intoxicating persona has on the men within her orbit. After a whirlwind romance, the newlyweds’ bliss vanishes inch by inch once Ellen’s all-consuming possessiveness perceives everyone in Richard’s life as a threat to her husband’s affections.

Nothing quite like Leave Her to Heaven exists within the Hollywood movie canon. Martin Scorsese hailed director John M. Stahl’s transgressive composite of noir, psychological thriller, and domestic melodrama as a personal favorite, and it’s a rule-breaking formal masterwork. Before Leon Shamroy‘s Oscar-winning cinematography, the genre’s ethical incertitude wasn’t bathed in luxurious Technicolor splendor. And unlike the black widows who spin their enticing webs for money or power, Ellen craves love no matter the cost. Tierney plays her mesmerizing beauty against type; her green eyes stare with blistering intensity, her frame as still and chilling as a coiled viper. Against saturated Southwest vistas and golden sunsets, the underrated performer delivers a femme fatale all-timer who’s simultaneously toxic and sympathetic.

8

‘The Big Heat’ (1953)

Image via Columbia Pictures

Beat cop and upstanding family man Dave Bannion (Glenn Ford) refuses to stop pursuing the truth behind a suspicious death, despite pressure from his superiors and the organized criminals who keep his city within a terrified choke hold. Following a personal tragedy, Bannion’s resolute principles devolve into a vigilante justice crusade.

Fritz Lang‘s directorial career helped define industry standards. Between Metropolis, M, and prior film noirs, he matched German Expressionist visuals with his recurring post-war fatalism regarding exploitative leadership and socioeconomic hierarchies. True to form, The Big Heat defines the phrase of staring into a bleak abyss that stares back. Cinematographer Charles Lang‘s symbolic styling is less metaphorical than Lang’s earlier work but just as effective. Stark close-ups, confined spaces, and precisely placed interplay between light and shadow emphasize Lang’s breathtakingly cruel treatise on self-destructive revenge, systemic corruption, police brutality, and sadistic violence against women.

7

‘Shadow of a Doubt’ (1943)

Image via Universal Pictures

For the precocious Charlotte Newton (Teresa Wright), her uncle Charlie (Joseph Cotten) equals excitement. Named after the relative she idolizes, his exhilarating visits offer a reprieve from her monotonous small-town life. Yet her handsome uncle’s indulgent affection masks his identity as an infamous serial killer devoid of compassionate humanity. As Charlotte shifts from starry-eyed innocence to grieving resolve, her suspicions endanger her life.

Shadow of a Doubt distills Alfred Hitchcock‘s thematic and tension-driven essence into a trim 108 minutes. Charlotte’s traumatizing coming-of-age maturation hinges upon a young woman discovering the malicious predators lurking just past suburbia’s white picket fences, traditionally suave American masculinity, and even one’s dearest kin. Cinematographer Joseph A. Valentine underscores key emotions (claustrophobic threats, power imbalances, implied unconsummated incest) through classic techniques and subtle metaphors: fastidious zooms, lingering close-ups, Uncle Charlie’s imposing form towering above Charlotte, and the recurring imagery of couples sweeping across a dance floor like uncle and niece waltz around one another — first as seemingly entwined souls, then in a sinister duel.

6

‘The Maltese Falcon’ (1941)

Imagery via Warner Bros. Pictures

Sam Spade (Humphrey Bogart) just wants to get paid, throw back an excessive amount of alcohol, and go home. He doesn’t even care about his detective partner’s (Jerome Cowan) murder. Nevertheless, the deadly event tosses the reluctant, but sharply curious, gumshoe into the path of three duplicitous gold-diggers. The trio seeks the Maltese Falcon, a legendary statuette artifact said to house an extraordinary treasure trove.

Future two-time Oscar winner John Huston commands The Maltese Falcon with such consummate authority, you’d never guess it’s his directorial debut. The definitive adaptation of Dashiell Hammett‘s novel either launched the noir template into widespread popularity or cemented its clarifying turning point. Everything one expects and desires from a mystery caper operates at an impeccable peak: character archetypes, cinematic atmosphere (cinematographer Arthur Edeson‘s velvet-rich shadows, disorienting compositions, a flowing seven-minute take), hard-boiled dialogue, and convoluted thrills. As for The Maltese Falcon‘s lightning-in-a-bottle cast, Bogart dazzles as a world-weary, deliciously cunning master of acidic one-liners. Set him loose against the slippery Mary Astor, Peter Lorre, and Sydney Greenstreet, and you have an uproariously entertaining fencing match between four onscreen titans.

5

‘In a Lonely Place’ (1950)

Image via Columbia Pictures

Failing screenwriter Dixon Steele’s (Humphrey Bogart) history of volatile rage makes him the primary suspect in a young woman’s (Martha Stewart) murder. His neighbor, Laurel Gray (Gloria Grahame), provides an alibi, and their blossoming romance reinvigorates Dixon’s creativity for the first time since World War II. Meanwhile, Laurel glimpses the softer, redeemed man her lover could become — until her fears about his capacity for violent physical abuse turn their engagement perilous.

Director Nicholas Ray and writer Andrew P. Solt‘s suspense thriller sheds all expectations. In a Lonely Place structures its central mystery around astonishingly mature emotional depth and profound uncertainty, but the focus shifts to a different kind of harrowing tragedy. Known for a tough-guy persona that often leaves his finer-tuned talents unsung, Bogart delivers his career-best performance as a haunted, self-sabotaging, and insecure leading man whose bloodthirsty inner demons are psychologically dissected rather than lauded. He inhabits a palpable vulnerability, like he’s peeling back his skin to reveal Dixon’s self-loathing bones.

4

‘Out of the Past’ (1947)

Image via RKO Pictures

Accomplished criminal overlord Whit Sterling (Kirk Douglas) hires Jeff Bailey (Robert Mitchum) to retrieve Kathie Moffat (Jane Greer), the young woman who stole Sterling’s money and what little remains of his heart. Jeff knows better than to fall for an insidiously magnetic temptress, yet the detective plunges head-first into a dangerous affair regardless. Years later, Jeff lives under an assumed name, complete with a new profession and a good-girl-next-door lover (Virginia Huston) — all too aware he’s stealing moments until the living ghosts of his past inevitably corner him.

With Out of the Past, Jacques Tourneur demonstrates the same remarkable directorial mastery over art direction, intricate blocking, and melodically despondent atmosphere as his horror masterpieces (Cat People, I Walked With a Zombie). Likewise, older noir has rarely looked more exquisite than under Nicholas Musuraca‘s eye; his chiaroscuro perfection rivals fine art paintings with their contrast between sun-drenched panoramic countrysides and enclosed, menacing urban architecture. Not to be undone, Daniel Mainwaring‘s poetically brittle screenplay leaves a dozen figurative paper cuts. Although Out of the Past‘s winding plot can be an intimidating head-scratcher, one needn’t comprehend the ins-and-outs to be swept away by one of the genre’s defining zeniths.

3

‘Double Indemnity’ (1944)

Image via Paramount Pictures

What happens when two amoral opportunists stumble into sexually charged intrigue? Cataclysmic results, of course. Phyllis Dietrichson (Barbara Stanwyck) coaxes insurance agent Walter Neff (Fred MacMurray) into helping her murder her boring husband (Tom Powers) so they can claim his life insurance policy. Craving the fortune and the alluring girl, Neff willingly obliges. However, Neff’s only friend, claims investigator Barton Keyes (Edward G. Robinson), zeroes in on the pair’s not-so perfect crime.

All superlatives for Billy Wilder‘s Double Indemnity are valid, whether those descriptors are “the quintessential noir” or “a perfect movie.” Double Indemnity‘s enduring legacy as a tense, intoxicating elixir without equal would be enough on its own, but Wilder’s first masterpiece arguably popularized the genre’s trademarks and originated the erotic thriller. Walter and Phyllis’ illicit dalliance manifests as sizzling verbal warfare, while the voyeuristic appeal for audiences emerges from watching terrible people indulging their worst impulses. A never better Stanwyck delivers the femme fatale to end all femme fatales — divinely calculating, enigmatic, and assured, strutting like a sultry panther with its claws extended, alternatively carnivorous and playing with her food. John Seitz’s camera either halos Phyllis in beautific light or drenches her in blood-curdling shadows.

2

‘Laura’ (1944)

Image via 20th Century Studios

In an ironic turn of events, detective Mark McPherson (Dana Andrews) becomes infatuated with a dead woman while investigating her murder. Without anyone to advocate on her behalf, business executive Laura Hunt (Gene Tierney) is memorialized through a single glamorous portrait and the biased recollections of enemies wearing friendly faces — specifically, Waldo Lydecker (Clifton Webb), Laura’s ostentatious and self-appointed mentor, her social-climbing fiancé (Vincent Price), and her disdainful aunt (Judith Anderson).

Laura brims with melancholic yearning, depraved perversion, class awareness, and the ways patriarchy crafts an idealized feminine image while oppressing the personality and agency behind the fantasy. For all this solemnity, Otto Preminger‘s disciplined director’s pacing, writers Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt‘s silver-tongued wit, and the underhanded dexterity through which both parties choreograph the mid-way twist are second-to-none. Joseph LaShelle’s hypnotizing work behind the camera sparsely utilizes elongated shadows, preferring to glide through well-lit interiors and place the two-faced ensemble in allegorical profiles. As cinematic as movies come, Laura‘s another pristine triumph that dabbles in, but avoids adhering to, every whodunit rule.

1

‘The Third Man’ (1949)

Image via British Lion Films

American novelist Holly Martins (Joseph Cotton) plans to reunite with his old friend Harry Lime (Orson Welles) in Vienna. Upon arriving, Martins discovers Lime allegedly died in a car accident. The eyewitness testimonies, however, are too contradictory for either Martins or Lime’s loyal girlfriend, Anna Schmidt (Alida Valli), to ignore — while the truth about their shared acquaintance is darker than either bargained for.

Shot on location in an Austria freed from Nazi control but divided into four Allied occupation zones, Carol Reed‘s seminal philosophical thriller The Third Man roots itself in the fragile individual ethics and fractured geopolitical landscape of a Europe teetering on the cusp of the Cold War. Welles’ wily smirk personifies the film’s skein of skewering cynicism as much as Reed’s sublime proficiency, Graham Greene‘s crackling dialogue, and Robert Krasker’s baroque framing of the city’s crumbling architecture and scattered debris; the latter, in particular, evokes the scars only war can leave. An indelible and pivotal contribution to movie history, The Third Man remains as fresh and relevant as the day it first hit theaters.

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The Third Man

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Release Date

February 1, 1950

Runtime

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93 Minutes

Director

Carol Reed

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A clip posted by Yandy Smith on her social media has internet users in tears, calling her “YANDEECEES.”

RELATED: For Real?! Mendeecees Goes Viral Following Revelation About His Relationship & Union With Yandy Smith (WATCH)

More On The Clip Posted By Yandy Smith

On Wednesday, July 20, Yandy Smith took to Instagram to share a clip of herself alongside her friend, Quad. However, in the clip, they were both dressed up as men, rocking Yankee caps and oversized jackets.

“Sometimes the realest 🥷in the room is a 💃🏾 🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯🎯,” Smith captioned the clip, which showed them singing to Rihanna’s ‘Take a Bow.’

Check it out below.

It Has Internet Users Calling Her “YANDEECEES”

Social media users slid into TSR’s comment section, some calling Yandy Smith “Yandeecees,” and many comparing her looks to Mendeecees.

Before Yandy Smith Had Internet Users Calling Her “YANDEECEES,” She & Mendeecees Had Internet Users Talkin’

Before Yandy Smith’s video, back in December, she and Mendeecees had internet users talkin’. As The Shade Room previously reported, at the time, Yandy Smith shared a carousel featuring a variety of text quotes.

At the time, one Instagram user slid in TSR’s comment section, writing in reaction, “Most of us understand how she feels. Riding with someone to the wheels fall off. When the wheels fall off, it’s meant to just let it go.”

Furthermore, her post followed Mendeecees revealing that she and he were never legally married.

RELATED: Hol’ Up! Are Mendeecees Harris & Yandy Smith Responding To Each Other With Cryptic Reposts? (VIDEOS)

Roomies, when it comes to Keyshia Ka’oir and Gucci Mane shutting it down without even trying too hard, they always step out like it’s a private runway. But this time around, all eyes were locked on Mrs. Davis as she gave full main-character energy.

RELATED: Keep It Moving! Carlos King Addresses Keyshia Ka’oir Cheating Rumors As She Reveals Doing “Everything” For Gucci Mane (VIDEO)

Keyshia Ka’oir recently shared clips on her social media showing her stepping out in a bold black ensemble featuring a fitted bodysuit layered under a sheer dress that highlighted her silhouette, complete with dramatic detailing and pom-pom accents that had the look doing all the talking. She finished it off with a diamond choker, stacked bracelets, a sleek black purse, and a straight middle-part hairstyle, serving luxury from head to toe while fans flooded the comments calling her “Queen Davis” in real time. Walking right beside her, Gucci Mane matched the energy in an all-black fit with shades on, casually sipping his drink as the couple moved like they owned the night — and honestly, the internet agrees nobody is topping this duo anytime soon.

The Roomies Always Got Something To Say

One Instagram user @kurvy_kayy said, “One Thing About My Girl Kaoir She’s Going To BODY An Outfit 😍🖤🔥🔥🔥🔥”

This Instagram user @taramarie.214 added, “She really be putting that sh**ttttt on 🔥🔥”

And, Instagram user @jodiamond84 shared, “She dresses so tacky..she a baddie tho💯”

Meanwhile, Instagram user @kryssiglam claimed, “My gowrl will always dress like a Jamaican“

While Instagram user @ms_courtneylove joked, “LOOKING LIKE A POODLE!!!!!! 😂😂😂😂SILLY SELF!“

Finally, Instagram user @mznickytrevill commented, “🙌🏾Both look good and healthy!“

Keyshia Don’t Play About Her Man

Not too long ago, Keyshia Ka’oir and Gucci Mane popped out for a lil’ date night, and of course, they stepped out giving full coordinated luxury vibes. Mrs. Davis stunned in a red-and-white look dripping in diamonds as usual, while Gucci Mane matched her energy in a red-and-white tee, shorts, and sneakers, keeping it cool beside his wife.

And y’all already know Gucci Mane’s wife Keyshia Ka’oir doesn’t play about her man, as we just heard from her not too long ago when she took to Instagram Stories to make her stance crystal clear. “My husband is my world & I’ll 4Eva ride fa him. MRS. GUWOP!” she wrote, letting it be known she stands ten toes down for Gucci Mane every time.

RELATED: Loyalty Check! Keyshia Ka’oir Drops Message About Gucci Mane After Pooh Shiesty’s Mugshot Surfaces (PHOTO)

Latto and 21 Savage have the internet asking, “What’s Tea?” after dropping a random joint photo on social media. Fans instantly flooded the comments with reactions and theories, trying to figure out whether the flick hinted at a potential baby name or new music.

RELATED: New Mom Energy?! Social Media Thinks Latto Gave Birth After Mother’s Day Video Seemingly Featured Baby Sounds 

Fans Think Latto & 21 Savage Just Hinted At Something BIG

Roommates, social media is working overtime trying to find clues after Latto and 21 Savage dropped a photo together on Instagram on Thursday, May 21. No caption, no explanation, no warning — just a random flick of a sword with cheetah print accents at the top. Fans have spent months speculating about the rappers, wanting details about their relationship and now-growing family, but this little teaser only added more fuel to the fire.

Social Media Detectives Clock EVERY Detail Of Latto & 21’s Flick

Fans instantly flooded the rappers’ comment section with reactions. Plenty of folks immediately asked, “What does this mean?” while others started speculating that the post was meant to tease new music or maybe even a new music video. A few more fans even said they think the photo might be a hint at their baby’s name.

Instagram user @cocoeauxluxe wrote, “Lawd they done named the baby bull dagger…just joking just joking lol.” 

Instagram user @thebrittcaldwell wrote, “I love it already ❤️” 

While Instagram user @ibrah_oy wrote, “Whatever that is we need it.” 

Then Instagram user @starrpoppin wrote, “Maybe they’re doing an album together.”

Instagram user @615kee wrote, “Hope its pictures I know its gone eat 😍” 

Another Instagram user @chi_nuh wrote, “I feel like its gonna be a song lol they boutta use all this attention to make the numbers go up.” 

Instagram user @goodgirl_nodeypay wrote, “I know they both feel finally free to let us know that they together (even tho we all been knew lol) 🙂‍↔️” 

While another Instagram user @tayflexx_ wrote, “Hopefully an album that would be tough cause they both can rap fasho.” 

Then another Instagram user @mrcoolbeardguy wrote, “Baby name blade brown 🤔” 

Finally, Instagram user @miiaiisha wrote, “They popped out when THEY felt like it 👏👏👏👏👏👏👏👏” 

Did 21 Just Give A Peek At His & Latto’s Baby?

While some fans keep trying to figure out what Latto and 21 have up their sleeves, others think 21 may have lowkey teased a photo of their baby. He recently dropped a set of photos on Instagram, and right in the middle of the carousel, fans spotted a newborn rocking an Emirates Arsenal onesie. The pics celebrated Arsenal winning its first Premier League title in 22 years. Peep the pic below.

RELATED: Okay, Then! Social Media Reacts As 21 Savage Shows Love To Latto Amid Her Pregnancy Announcement (PHOTO)

Netflix has made a decision about the future of Emily in Paris as production starts on season 6 in Greece.

The streaming service confirmed on Thursday, May 21, that Emily in Paris was coming to an end after its sixth and now final season.

“Making Emily in Paris with this extraordinary cast and crew has been the trip of a lifetime,” creator Darren Star said in a statement. “As we embark on the final season, I am so grateful to Netflix, Paramount, and, most importantly, the fans who have taken this incredible journey with us.”

He continued: “We can’t wait to share this last chapter with you. Thank you for letting us be a part of your lives, inspiring your dreams of travel and your love of Paris. We will always have ‘Emily in Paris!’”

First look stills showed Lily Collins back on set as Emily Cooper. The hit series centers around Emily after her move to France from the U.S. for a new job. She subsequently ended up caught in a love triangle between Gabriel (Lucas Bravo) and Alfie (Lucien Laviscount).

Emily then moved on with Marcello (Eugenio Franceschini), but by the end of season 4, Gabriel realized that he wanted to fight for her. Emily, however, had moved to Rome and started her future with Marcello.

Season 5 took Emily and her friends back to Paris with a stop in Venice in the finale. In the last scene, however, viewers checked in with Gabriel, who was working on a boat that was about to dock in Greece, which paved the way for him to invite Emily to visit him.

“All we know is that we’re going to Greece and Monaco,” Bravo, 38, told Us Weekly in May. “We have no script. I have no idea. I do want them to be happy and in love because they’ve been working on it for six or seven years now.”

Bravo held out hope about Gabriel and Emily’s future, adding, “I hope it happens. I think some people want that, but whoever Emily ends up with will be the perfect choice because she knows better.”

Collins, 37, meanwhile, teased how season 6 will address Gabriel’s postcard to Emily.

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“Does she get the postcard? I don’t know. Maybe she does. Maybe she doesn’t. I know we end up in Greece but I haven’t read anything. Things get lost in the mail,” she noted. “I’m happy when Emily’s happy.”

Star, 64, also showed support for Emily and Gabriel’s long-awaited reunion. “They deserve each other. I hope so,” he teased. “But I can’t promise. … She’s got a lot of options out there — and some possible new options too.”

Emily in Paris is currently streaming on Netflix.