The year 2020 will forever be known in history as the year that the world shut down. Nevertheless, you can’t stop horror movies — especially vampire movies, as the crepuscular crop that’s been produced since then has included some of the most outstanding films in the entire eerie canon. Indeed, the eternal plague of ageless bloodsuckers has been at the forefront of many talented filmmaker’s minds, and the work produced has been thankfully immortalized on film.

Welcome to the roaring/sucking 20s of vampire cinema. Some of the macabre moving pictures of the last six years have resurrected old fables from far-off lands, like in The Vourdalak, while others tackled morbidly modern mischief, as in the thrill-a-minute genre mash-up Abigail. No matter how you slice it, vampires are here to stay, and they are only getting more and more complex and creepily charming. So, break out the holy water and crucifixes, and enjoy these six malevolent masterpieces. Just remember…there’s a lot at stake.

6

‘Blood Red Sky’ (2021)

Image via Netflix

Director/co-writer Peter Thorwarth’s innovative vampire story is quite fast-paced; 500 miles per hour, to be exact (it’s set on a plane). Indeed, the story is a wild, riveting one that never lets up on the heart-rate-accelerating action. It’s a dazzling mixture of horror, action, and suspense, with bold vampiric scares and blazing fight sequences to spare.

The premise of this film is great. It’s about a mom, Nadja (one minute lovely, the next terrifying, Peri Baumeister), who has a rare “blood disorder.” She hops a flight from Germany to New York with her tiny son, Elias (Carl Anton Koch), in hopes of receiving medical treatment for her blood…issue. The only problem is that the flight is hijacked midway through by terrorists, led by Berg, (scary in his own right, Dominic Purcell). The aforementioned problem really belongs to Berg and his insidious crew, since Nadja is a (beautifully bald) vampire who will stop at nothing to protect her lil’ pointy-toothed progeny. Brimming with tantalizing twists and rocking reveals, this film quenches even the most discerning vamp enthusiast’s thirst for boldly bloody fun.

5

‘The Vourdalak’ (2023)

Image via Oscilloscope Laboratories

We always hurt the ones we love the most. This appears to be the major theme of French director and co-writer Adrien Beau’s visually lavish period piece The Vourdalak. It’s a uniquely conceived tale with very memorable (and terrifying) imagery that also manages to entertain with ironic humor and cleverly subtle commentary. Based on a Slavic vampire yarn from the 1800s, this sometimes humorous, often chilling tale is highly ambitious, and manages to deliver the stylized goods at every turn.

The story begins with a 19th century nobleman, Marquis d’Urfé (Kacey Mottet Klein), who finds himself lost in the deep, dark woods. He entreats locals to grant him entry (a little room and board, mayhaps?), yet is denied at every turn. Eventually, he’s directed to the rustic Gorcha homestead, where the family members eagerly await the return of the patriarch of the clan. This proves to be a big mistake, since papa Gorcha has been fighting hordes of evil in not-so-nearby Turkey. In fact, he warned his fam that he would most likely return as a wickedly evil entity intent on draining them of their blood (manifested in a disgustingly skeletal puppet, which the director voiced). Nevertheless, the fam welcomes his horrid homecoming, and the fish-out-of-water Marquis is smack-dab in the middle of all this. Gorcha’s clan (with the comely daughter Sdenka, played by Ariane Labed, as the standout) is torn between murking daddy and letting him feed — and the horrific hijinks are doled out in deliciously ironic fashion. Certainly a different type of vampire film, The Vourdalak is a glorious watch for fans of the darkly different.

4

‘Humanist Vampire Seeking Consenting Suicidal Person’ (2024)

Image via H264

A different French co-writer/director, Ariane Louis-Seize, tackles a bunch of the standard vampire tropes in Humanist Vampire Seeking Consenting Suicidal Person — like existential angst, morality versus primal impulses, and insatiable hunger — but she goes a few steps further with this nuanced reflection on the very nature of the human condition. Immortality comes with some hidden terms and conditions, Louis-Seize clearly posits.

Sasha (the precociously talented Sara Montpetit) is an early teen vampire who, for some bizarre reason, has a huge reserve of empathy, which has impeded her fangs from “dropping.” This is problematic for a sucker of blood, since it’s imperative that vampires have a killer instinct in order to survive. Her family (who has been supplying her with fresh, tasty hemoglobin) gets fed-up with her overly human sensibilities and gives her the directive: “find your own blood, or die.” Luckily for Sasha, she encounters Paul (Félix-Antoine Bénard), a lonely teen looking to end it all. Voilà. A beautiful bond is born, in a symbiotic relationship for the ages. This coming-of-(endless)-age tale is wryly comedic and sensitively unveiled. A biting dissection of familial alienation, this is a poignantly presented work that gives new meaning to the term “enfant terrible.”

3

‘Nosferatu’ (2024)

Image via Focus Features

Gothic film master director Robert Eggers was handed quite a challenge: remake one of the most iconic horror films ever (that’s already received a bloody bevy of terrific remakes) and improve upon it. Well, he certainly was up to the expressionistic challenge with Nosfertatu. The tone, color palette, mood, and overall look are stunning; a truly well-designed and sublimely executed take on an undeniable classic.

The story (more commonly known to everyday filmgoers as Dracula) is focused on a relatively innocent girl, Ellen Hutter, played with wide-eyed wonder by Lily-Rose Depp (who, despite her nepo-baby status, does a remarkable job with the role). Ellen is betrothed to the dashing Thomas Hutter (Nicholas Hoult), who’s been called away to the Carpathian Mountains to secure a land deal with the mysterious (and thoroughly revolting) Count Orlok (Bill Skarsgård, who, despite his matinée star looks, has quietly made a lucrative career in playing the creepiest of antagonists). Orlok sees an image of Ellen in Tommy boy’s locket, and immediately becomes obsessed with making her his dark bride. The rest of the (near black and white) film plays out as one would imagine, with Orlok using his mystical powers of the night to try to seduce Ellen into joining him in demonically damned eternity. Eggers received a ton of acclaim for his careful handling of the gruesomely beautiful gothic material — and he deserves it. The film is a true work of baroque art, even if it’s the 4,582nd version of this story.

2

‘Abigail’ (2024)

Image via Universal Pictures

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Who said vampire movies can’t be fun? Definitely not directors Matt Bettinelli-Olpin and Tyler Gillett, who delivered one of the most action, laugh, and gore-packed vampire flicks of all time. Basically every morsel of this multi-genre mash-up movie is super entertaining. The story (conceived by screenwriters Stephen Shields and Guy Busick) is extraordinarily rich, crammed with clever subplots and twisty twists that permeate the entire tale. Add to all these already fantastic elements a perfectly assembled cast that delivers the goods — especially the titular star — and you’ve got one of the best vampire films of any time period.

The supremely well-crafted story revolves around a diverse cadre of criminals, kidnappers, if you will, that receive some (eventually revealed to be suspicious) intel about a massively valuable target housed in a huge estate. The thing is, each member of this crew has got quite the backstory — but none as layered as that of the main character, Joey (Melissa Barrera, who’s poised to become the next scream queen of the moment). So, they gear up, ready to snatch the person…who turns out to be a little girl…who turns out to be a sneaky, devilishly precocious vampire. Meet Abigail (the outlandishly gifted young actress Alisha Weir). Once her true, vampirific nature is exposed, things devolve into a nightmarish web of horrors for the kidnapper crew, as they try to navigate the booby-trapped home. Truly wonderful supporting performances by Kevin Durand as Peter, Dan Stevens as Frank, Giancarlo Esposito as Lambert, and Matthew Goode as the ambiguous, undead patriarch “Father” really bolster the already imaginative story, ferocious fight (and dance) choreography, and visually luscious art direction. Abigail dispatches the ultimate lesson of “never underestimate your opponent.”

1

‘Sinners’ (2025)

Image via Warner Bros. Pictures

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Music and cinema have always gone together. In fact, music has been an integral part of movies before there was even talking in them. So, when writer-director Ryan Coogler set out to develop one of the most entertaining and profound vampire films of all time, he knew that the specific music of the era that he was capturing had to be woven into the story in a groovily smooth manner. He definitely achieved this goal, as Sinners features the most soulful soundtrack and score of possibly any horror film ever.

The sublimely structured story is set in a very specific place and time, which informs all the action of the film. Sammie Moore (Miles Caton) is a young blues-loving guitarist in the Mississippi Delta in the 1930s. His preacher poppa wants him to follow in his devout footsteps, but Sammie would rather jam out at his cousins’ new juke joint. Yes, Elijah “Smoke” Moore and Elias “Stack” Moore (Michael B. Jordan in his Oscar-winning role(s)) have breezed back into town from the Windy City and have their hearts set on using their city slicker ways to make a buck in their old community. Stack’s old flame, Mary (Hailee Steinfeld, who is phenomenal at exuding smoky sexuality, earnest emotion, and then brazen wickedness), gets involved in the mix, complicating things tremendously (and not just because she’s white). Now, to the vampire aspect; a trio of Irish-born vamps desire entry to the Juke Club, and are met with some resistance…yet Remmick (the beguilingly dark Jack O’Connell), their de facto (de fango) leader, will not be thwarted. Of course, hefty themes of racial inequality, injustice, faith, and a lot more heady topics are explored here that elevate this film to one of the best of the decade, but now…back to the music. Sammie plays his guitar with such passion and soul that he is able to invoke the musical spirits of his ancestors…and even future descendants. The way Coogler and his sound crew blend the blues with the luxurious sounds of other eras is a wonder to behold (and then, naturally, the manner in which they masterfully mix in the scary score to accompany the vicious vampire parts is also perfectly executed). Overall, this moving movie is a knockout all around (just ask The Academy), and the earthy, pulsating sounds of the South will be resonating in the ears of vampire-movie-lovers for a long, long time.

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Sinners

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Release Date

April 18, 2025

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Runtime

138 minutes

Director

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Ryan Coogler

Writers

Ryan Coogler

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We’ve already found our first two billion-dollar movies of 2026. The first, unsurprisingly, followed in the footsteps of the Chinese animated hit Ne Zha 2 and last year’s Zootopia 2 by being the latest animated sequel to make $1 billion. The video game adaptation sequel, The Super Mario Galaxy Movie, which stars the likes of Chris Pratt, Charlie Day, Anya Taylor-Joy, and Jack Black, will forever be known as the first billion-dollar 2026 movie.

The target was then recently hit by Antoine Fuqua’s musical biopic, Michael, which followed up on a successful run in U.S. theaters by opening in Japan and finally crossing the line. But fear not, order looks ready to be restored, and another animated sequel looks set to hit $1 billion soon. This is thanks to Woody (Tom Hanks), Buzz (Tim Allen), Jessie (Joan Cusack), and the rest of the Toy Story 5 gang, surpassing the $900 million mark worldwide last weekend,

In the U.S. alone, in its fifth weekend, Toy Story 5 made another $14.8 million and finished fourth in the domestic ranks. Not just a box office smash, the latest in the groundbreaking Pixar franchise is also a critical darling, earning a strong 92% score on review aggregator Rotten Tomatoes, alongside a 95% rating from audiences. Collider’s Taylor Gates gave the movie an 8/10 rating in her review, saying, “The impressive fifth installment not only justifies its existence but feels like a necessary response to how much the world has changed in the past three decades.”

Could the Next Billion-Dollar Movie of the Year Have Just Debuted?

As Toy Story 5 edges closer to that all-important box office milestone, a new contender for the prize in 2026 has debuted. Last weekend, Christopher Nolan‘s most ambitious film yet, The Odyssey, crashed onto theatrical shores with an almighty bang, shaking the foundations of the 2026 box office with an opening weekend that is Nolan’s highest ever. The movie, dubbed “a filmmaking feast” by Collider’s Perri Nemiroff, has earned a whopping $264 million in its first weekend and sets sail on a likely successful journey to the billion-dollar boundary.

Toy Story 5 is in theaters now. Make sure to stay tuned to Collider for more box office updates.

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Release Date

June 19, 2026

Runtime

102 Minutes

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Director

Andrew Stanton, Kenna Harris

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  Tim Allen

  Buzz Lightyear (voice)

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  Greta Lee

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  Lilypad (voice)

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By TeeJay Small
| Updated 1 hour ago

By now, even the most casual Simpsons fan is aware of the controversy surrounding Apu Nahasapeemapetilon. The fan-favorite character, once voiced by Hank Azaria, first appeared all the way back in the show’s inaugural season and has become a staple of the series for decades. Unfortunately, Apu has been all but written out of The Simpsons and ignored since 2017, following the release of a documentary titled The Problem With Apu. In the years since, Fox has effectively pretended that the Kwik-E-Mart clerk doesn’t exist, until a recent social media post.

On July 11, the official Simpsons X account shared an image of Apu passing a golden, glowing Squishee cup across the counter at the Kwik-E-Mart. Eagle-eyed fans quickly recognized the frame as being pulled from the 2016 episode “Much Apu About Something.” Others questioned if the still was from an upcoming episode, which would place Apu back in the spotlight. Either way, there were a myriad of reactions from fans regarding this sudden acknowledgment of a character who has been relegated to the distant background since “Gucci Gang” and fidget spinners were all the rage.

Soft Lanch, Or Hot Air?

In case you’re not up to date, comedian Hari Kondabolu created The Problem With Apu to raise concerns regarding Indian stereotypes in media, and the damaging effects they can have on real-life Indians. In the special, Kondabolu claims that he and others have been tormented by refrains like “thank you, come again,” and jokes which call back to The Simpsons as a singular cultural touchstone. Needless to say, the Indian people are not a monolith (the diaspora accounts for some 1.4 billion), and others, like Akaash Singh, have argued that the character actually brings positive representation to the cultural forefront.

If this social media post is indeed a soft-launch of Apu’s return, the network will surely be met with plenty of questions. For starters, will Hank Azaria return to the role, or will Apu be recast by an actor of actual South Asian heritage? Azaria has been asked multiple times if he’s open to a return, and made it perfectly clear that he has no plans to offer up a “thank you, come again” any time soon. Other Simpsons characters, including Dr. Hibbert and Carl Carlson, have been recast in recent years, as a greater cultural push demands characters be played by actors who share their lived experience.

The Simpsons is not the only animated series that’s faced this backlash. Futurama, Family Guy, and Big Mouth have also agreed to swap caucasian voice actors out of non-white roles. BoJack Horseman (which concluded before this controversy became relevant) was criticized for Alison Brie’s performance of Diane, a Vietnamese-American with very few roots to her ethnic homeland.

No matter what happens with the Apu character, some subset of fans will surely be up in arms. For now, it seems like Fox will make their decision based on market research, and try to offend as few potential viewers as possible, while cashing in on rage-bait politics with cryptic social media posts.

Streaming was once seen as an alternative to basic cable with more options and fewer distractions, but the industry has increasingly updated its subscription services to feel more like traditional television. Amazon Prime used to make a clear distinction between its ad-supported free content and a more streamlined subscription model; until 2024, the “Freevee” app for ad-supported content was independent of Prime Video, but now all content is hosted in the same place with different tiers. Amazon is replacing its existing “ad-free tier” with Prime Video Ultra, which allows for increased offline viewing, five concurrent streams, and Ultra HD and 4K quality picture and sound by Dolby Atmos. Given that any new perks within streaming come with price hikes, the Prime Video Ultra tier has been raised from $14.99 to $19.99 per month.

While it should be expected that services will ask for more when adding new benefits, Prime Video has framed its ad-supported tier as the baseline subscription, as even those who pay the yearly rates for all Amazon Prime capabilities will have to deal with ads. Ads might have been an annoyance that could be dealt with for those using the free tier, but Prime Video isn’t even suggesting that an ad-supported subscription is the cheaper option anymore; the basic Prime Video subscriber should expect ads, as only those willing to tack on additional viewing capabilities will be exempt from distractions. There have been many questions about how streaming services will continue to be profitable as content spending goes up and the maximum subscriber count has plateaued, and the pivot towards ad integration provides an answer.

Prime Video Is Reframing Its Streaming Tiers

It’s important to remember that every major streaming service has gone back on its initial promise to be ad-free, as the option to draw in new subscribers with a less expensive option was too alluring to pass up. Prime Video is unique in this regard because it was initially seen as a bonus for those using Amazon Prime for other reasons; if a subscriber was accessing content on Prime Video, they, in all likelihood, used Amazon for other consumer needs. While Freevee had operated as an experiment to test how well subscribers reacted to ad-supported content that was hosted in the Prime Video interface, there’s a different calculation involved when there is an actual subscription price. Similar to what Netflix and HBO Max have discovered, Prime Video recognized that the integration of ads provides more unique sponsorship opportunities for companies based on how existing users navigate the service. The data Prime Video has on how its users respond to prominent ad placements within the middle of streams is just as desirable for content sponsors as the advertising of their products.

Prime Video is in a position to pivot because it has developed “zeitgeist shows” that subscribers will sign up to watch, even if they don’t otherwise use Amazon Prime. Since its ad interactions allow Prime Video to cut more deals with companies, it is in the streamer’s best interest to develop shows that get a high amount of viewership; this might explain why Prime Video has been more ruthless in cancelling shows that had some degree of critical acclaim or niche fanbase. Prime Video has been savvy in cornering certain markets that haven’t been targeted by other streamers; while there isn’t another service that has produced as much great science fiction content as Apple TV, Prime Video has developed strong followings for its romantic and coming-of-age programs. Prime Video has also expanded some of its most popular shows with spin-offs, which will guarantee that viewers will spend more time on the platform and thus be exposed to more ads. Spin-offs for shows like Reacher, Bosch, and The Terminal List don’t just allow Prime Video to capitalize on some of its most successful properties but also give it the chance to develop a unique brand identity.

Ads Have Become Normalized on All Streaming Services

Prime Video is experiencing a broad strategic shift because its content has to be adjusted for ads to be incorporated. Some of Prime Video’s longest-running shows, such as The Boys and The Lord of the Rings: The Rings of Power, began airing on the service before ads were commonplace; these shows’ creators now must either find natural ad breaks in the episodes or risk taking the viewer out of the experience with an awkward transition. This is further complicated by the fact that Amazon Studios has found more success with its theatrically released films that hit the service months after they leave cinemas, such as Project Hail Mary, The Sheep Detectives, or Crime 101. Since the fact that these films hit Prime Video before other subscription-based services is part of the appeal, calculations are made to determine how to best incorporate ads; some feature an extended run of ads that run before the film so that there are no interruptions during playback.

Although it used to be an option to save extra on a monthly bill, ad-free streaming is now a luxury offered to those who want better restoration, multiple streams, and better surround sound. While it doesn’t come as a surprise that all streaming services seem to be following the same pattern, there’s no need for them to put up the guise that they’re much different from cable television. The massive amount of spending that Prime Video puts into its original content comes with a cost, and ads are clearly the strategy to be most profitable.

Bruce Springsteen’s political commentary has sparked plenty of debate in recent years, and another fellow musician has now joined the growing list of critics. 

Journey keyboardist Jonathan Cain recently argued that politics has no place on the concert stage, saying artists should focus on entertaining audiences rather than sharing their personal views. 

His comments not only took direct aim at the rock legend but also echoed concerns Mick Jagger recently raised about Springsteen’s increasingly political performances.

Bruce Springsteen’s increasingly political concerts have become a talking point beyond his own fan base, with fellow rock legend Mick Jagger offering a different perspective on how artists should approach the stage. 

During an appearance on The New York Times podcast “The Interview” earlier in July, the Rolling Stones frontman was asked about Springsteen’s habit of addressing political issues from the stage. 

While avoiding a direct personal attack, Jagger made it clear that his own philosophy was very different. 

“The bottom line of my thing, really, is that my job in the live music world is [for] those people that come is to have the best time they possibly can,” he said, explaining that audiences should be able to forget “all their problems” for a few hours. 

Jagger added that while he occasionally included political themes into his songwriting, he didn’t believe concerts were the place for extended commentary, concluding, “You don’t want to lecture them.”

Jonathan Cain Says Bruce Springsteen Should Leave Politics Out Of His Shows

Jagger isn’t the only rock legend to question Springsteen’s increasingly political performances. Journey keyboardist Jonathan Cain soon weighed in with a far more direct assessment.

The 76-year-old didn’t mince words while discussing Springsteen during an appearance on “The Complete Disaster Network” podcast. 

Although Cain acknowledged that he held firm political beliefs, he insisted he had never felt the need to turn his concerts into political platforms. 

Reflecting on his own views, Cain explained, “I used to be a Democrat back in the old days, but I couldn’t go there anymore, you know? I’m a diehard conservative.” 

He then argued that Springsteen should adopt a similar approach, saying, “And guys like Bruce Springsteen should shut up. You know, really, honestly, shut up, Bruce, you know? Him and who’s the other one? Robert DeNiro. I mean, who cares, guys? Do your art. I try to keep politics out of my music.” 

The musician added that while he once enjoyed Springsteen’s work, he now saw the singer as “an annoying, bitter old man.”

Cain Explains Why He Keeps His Personal Views Separate From Music

While criticizing Bruce Springsteen’s approach, Jonathan Cain also emphasized that his own political and religious beliefs remained just personal.

The “Separate Ways” singer said fans attended concerts to hear music, not political speeches. 

“People say, ‘Well, you’re a Christian and you’re conservative,’ and I’m like, ‘So what?’” he explained, adding, “I don’t preach it on stage. I don’t spend 10 minutes talking about it.” 

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For Cain, live performances should provide an escape from everyday divisions rather than reinforce them. 

He argued that audiences come together through shared songs and memories, regardless of where they stand politically, which is why he believed entertainers should resist using their performances to promote personal ideologies.

Cain Also Took Aim At Bruce Springsteen’s ‘Born In The U.S.A.’

Cain’s criticism extended beyond Springsteen’s recent public comments, reaching back to one of his biggest hits. 

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Discussing “Born in the U.S.A.,” the keyboardist argued that the song itself reflected a message he believed was overly critical of America. 

“You were born in the USA, weren’t you, dude? So act like it,” Cain said before adding, “But even that song, if you look at the lyrics, I mean, it’s a kind of a diss toward our country.” 

By pointing to the decades-old anthem, Cain suggested that Springsteen’s political messaging didn’t begin with his recent speeches but had been embedded in his music for years. 

Jonathan Cain Believes Music Should Unite, Not Divide

Rather than using concerts to show political differences, Cain said he believed music should bring people together. 

Citing Paul McCartney as an example, he recalled, “I mean, Paul McCartney said, ‘Hey, when I sing Hey, Jude, Democrats and Republicans all sing together.’” 

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Cain said he strived to create that same atmosphere whenever Journey took the stage. 

“And I feel the same way with Journey,” he explained. “We have our parties out there in the audience, respective parties, and they’re singing Don’t Stop Believin.”

For the veteran musician, that sense of unity was what made live performances memorable, regardless of fans’ political affiliations. 

Summing up his perspective, Cain argued that entertainers risked undermining that shared experience when they ventured into politics, concluding, “I just don’t think it’s cool to have celebrities going there. It’s a bad look.”

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The Scrubs revival will look a little different in season 2 following multiple cast exits.

Multiple outlets confirmed on Monday, July 20, that Joel Kim Booster, who played Dr. Kevin Park in season 1, will not return. X Mayo, who recurred as Charge Nurse Raymond, is also not set to be back in season 2.

16 cast members are confirmed to be back — including returning stars Zach Braff, Sarah Chalke and Donald Faison. Out of the new group of interns introduced in season 1, Ava Bunn has been promoted to series regular.

The rest of the actors playing interns — Jacob Dudman, David Gridley, Layla Mohammadi and Amanda Morrow — are set to recur in season 2. Scrubs is also expanding with new characters such as Rachel Bilson‘s Charlie.

Related: Meet the ‘Scrubs’ Revival Cast — Including Alums From the Original Show

Most of the original Scrubs cast is reprising their roles for the highly anticipated revival — but who else is new to the show? Scrubs, which originally aired from 2001 to 2010, followed the lives of employees at the fictional Sacred Heart Hospital. The hit series starred Zach Braff, Sarah Chalke, Donald Faison, Judy Reyes, […]

“This isn’t a show about the kids, but the audience is curious about their family life and home life, and so we do want to show a little bit of that as well,” showrunner Aseem Batra told Deadline in April.

Other members of the cast such as John C. McGinley and Judy Reyes are still recurring amid filming other projects outside of Scrubs.

“Both shows have been amazing and working with us to get those performers over to Vancouver [where Scrubs films],” Batra added. “So we’ll do our very best to keep them in the fold, because they are part of this in a big way, but we’re happy for their success in other areas, and we’d just love them back as much as we can get them.”

Scrubs, which originally aired from 2001 to 2010, followed the lives of employees at the fictional Sacred Heart Hospital. The hit series starred Braff, Chalke, Faison, Reyes, Neil Flynn, Ken Jenkins and McGinley before it was brought back for a ninth season titled Med School.

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Related: Which ‘Scrubs’ Stars Are — And Aren’t — Returning for the Revival?

Bill Lawrence‘s medical drama Scrubs is being revived over a decade after its finale season — but which stars are and aren’t reprising their roles? Scrubs, which originally aired from 2001 to 2010, followed the lives of employees at the fictional teaching hospital Sacred Heart Hospital. The hit series starred Zach Braff, Sarah Chalke, Donald […]

The show’s final season moved the setting to a medical school to introduce new characters. Only Braff, Faison and McGinley remained regular cast members while others made guest appearances. Kerry Bishé, Eliza Coupe, Dave Franco and Michael Mosley were brought in, with Bishé taking over as the show’s new narrator after Braff.

According to the official synopsis, season 2 of the revival will show J.D., Turk and Elliot as they “have leveled up from interns to icons at Sacred Heart.”

“Now, the respected doctors inspire the next generation while balancing the ups and downs of working in a hospital,” the description continued. “Together with characters new and old, they are navigating this next chapter with laughter, heart and some surprises along the way.”

Country singer Rory Feek revealed his 12-year-old daughter Indiana is out of the hospital eight days after experiencing complications from open heart surgery.

“Indy’s doing amazing and looking and feeling better than ever,” Rory, 61, revealed in a Substack blog on Monday, July 20. “Pretty much completely her old self. And although she’s excited about getting back to sleeping in her big girl bedroom…for the next few nights, Mama’s not taking any chances.”

He clarified, “She’s sleeping in a bed at the foot of ours.”

The musician initially announced on June 22 that he and wife Rebecca Feek were preparing Indiana for surgery to repair a hole in her heart. She was later admitted back to the hospital in July when fluid built up around her heart. (Indy has Down syndrome, which can be linked to heart issues, per the National Down Syndrome Society.)

Related: Rory Feek Went to See Daughter Amid Dispute, Says Nobody Opened Door

Rory Feek, who is in an ongoing family dispute over the welfare of his youngest daughter, Indiana, claimed on his personal blog that he tried to personally reach out in order to talk matters over with his adult daughters, but was rebuffed. In a blog entry titled “Canceled” published Tuesday, September 17, on his website, […]

“We’ve known for the last couple of months that this was on the horizon. This is part of why we’re here in Texas,” Rory wrote about her surgery in June. “Throughout February and March, we visited a couple of different children’s hospitals around the state and ultimately decided to do it at Dell Children’s Medical Center in Austin. It’s an incredible facility with a wonderful staff, and Dr. Frasier, who will be doing the surgery, is one of the very best pediatric cardiac surgeons in the world.”

He added, “[We’re] preparing her for something that’s going to be very hard on her. Hard on all of us, especially her Papa, to see her go through so much difficulty and pain. But I also know that when it’s done, it’s going to make her life better.”

Rory had a very positive update on Monday, revealing that Indy was officially released from the hospital eight days after her complications arose. (Rory welcomed Indy with his late wife and musical partner, Joey Feek. He married his third wife, Rebecca, in 2024.)

“When we got back home here to the little farmhouse we’ve been renting, as Rebecca and I unpacked (thankfully, some folks here had secretly showed up and cleaned up the house, since we had left everything in such a rush last Thursday morning), Indy and her friends went through more of the sweet cards and letters and played some games together in her bedroom,” he wrote. “Honestly, the outpouring of love from everyone — some we know and most we’ll probably never meet — that we’ve received in the last few weeks, has been absolutely humbling for our whole family.”

Indy’s medical issues have reignited a conflict with the Feek family. Amid her hospitalization, Rory’s older daughters, Heidi, 39, and Hopie, 38 — from his first marriage to Tamara Gilmer — criticized their father for publicizing Indy’s surgery.

Heidi and Hopie took legal action against their dad in the fall of 2024, claiming that he’d cut them off from contacting Indy because of a family dispute over her care. The case is ongoing, as of publication.

“Yesterday my father posted a Substack post where he detailed how she essentially almost died, according to him. And while I’m glad that she’s doing better and that she’s okay, according to him in that Substack post, I am upset that I found out on Instagram,” Heidi said in a vlog on July 12 “I am still upset because of the ongoing exploitation of my little sister on his monetized Substack account.”

She argued that Rory should not be sharing Indy’s “vulnerable moments” for social media content before criticizing him for promoting his song “Thank You Lord” at the end of his post.

“That’s not a moment to be taking photos, that’s not a moment to be blogging about, and it’s not a moment to be self-promoting or promoting your organization performing your song,” she insisted. “It all makes me absolutely sick to my stomach.”

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Related: Rory Feek Responds to Claims That Youngest Daughter Is in Unsafe Situation

Rory Feek has responded to threats of legal action made by his oldest daughters, Heidi and Hopie, who claim that he has placed their 10-year-old sister Indiana Boone in an unsafe situation. Heidi, 38, alleged that her father had been neglectful of Indiana, who has special needs, in an interview with People published on Saturday, […]

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Her sister Hopie claimed she and Heidi had not seen Indy in two years because of their disagreements with Rory.

“My beautiful 12 year old sister was being life flighted to Austin due to complications after her heart surgery…which somehow was the pristine time to stop and take photos!” Hopie alleged. “I see Indy scared and hurt surrounded by strangers being photographed from afar by a parent. In moments like these I would never stop to think I need to take photos for my blog and for my fans!”

Rory’s spokesperson declined to comment on Heidi and Hopie’s social media posts when contacted by Us.

By Chris Snellgrove
| Updated 29 seconds ago

Last year, Marvel tried building hype for Avengers: Doomsday by releasing a series of different teasers, each focused on different characters. It was an interesting strategy, but it didn’t work out: not only were the teasers intended for theaters leaked early online, but the only one that really got people excited was the one with the X-Men. Sure, these teasers raised awareness about the upcoming blockbuster movie, but they arguably did a poor job of generating hype, especially for fans who have felt burnt out on the MCU since the credits rolled on Endgame. 

Now, Marvel surprised everyone by dropping the first proper trailer for Avengers: Doomsday. Previously, many assumed they’d be unveiling a trailer at San Diego Comic-Con this week. Maybe the studio feared another leak, or maybe they have something bigger and better to show off at SDCC. Either way, you can now watch the trailer for yourself with the click of a button. No need to get Wong to open a portal; below, we’ve got the full trailer and a breakdown of what everything in it means for your favorite characters.

Doomsday Is Finally Here

The Avengers: Doomsday trailer begins at the X-Men’s home, where Xavier is watching an incursion event (more on this later). The whole thing is narrated by Doctor Doom, whom Robert Downey Jr. gives a gloriously thick accent. The villain discusses how “something’s coming…something we may not be able to deter. Before this day is done, we will be faced with an unthinkable decision.” After that, we see various heroes gathering (including Avengers, Thunderbolts, the Fantastic Four) while Thor gives a speech about how he’s fought alongside far stronger warriors who died fighting foes that scare him far less than this new threat.

During Thor’s cheerful speech, we see various shots, including Namor on a throne, Black Panther and her fellow Wakandans, Shang-Chi fighting Gambit, and Thor walking towards Doctor Doom. There’s a brief shot of Loki looking at a TVA card and of the Wakandans teaming up with the other heroes, with M’Baku shaking Thing’s hand. We see Yelena fighting Mystique, who shapeshifts to look like her foe. There’s also an emotional shot of a tearful Xavier holding Magneto’s hand. We then get an action montage that culminates with Doom stopping a blow from Stormbreaker while Thor’s speech ends with him saying they’d need “a miracle” to win.

It’s Hammer Time

As if on cue, we see Thor, carrying Mjolnir, encounter Steve Rogers, who greets the god with a soft, “Hey, pal.” Thor says, “it’s not possible” and holds his hammer out, testing if this is the real Captain America. Steve holds his hand out, and Mjolnir comes right to him, and America’s greatest hero smiles at his old friend. After that, we get the title card, a reminder of the release date (December 18), and one of the countdown clocks that we first saw in the earliest teasers for Avengers: Doomsday.

This first trailer doesn’t really tell us much about the story of Doomsday. What’s really going on here? Basically, different realities are colliding. Normally, this destroys both universes, but one universe can survive if it destroys the other. The bright explosion Xavier is looking at is one of those realities (most likely the Tobey Maguire Spider-Man universe) getting destroyed. This is the “unthinkable decision” Doom speaks of: to save everything and everyone they have ever known, our heroes must be willing to doom countless lives in another universe. In all likelihood, Thor’s speech is referring to the incursions themselves and how they’d need a miracle to avoid this “kill or be killed” scenario.

So far, fan reaction to the trailer has been mixed. Many are just happy to see familiar faces (especially Patrick Stewart’s Xavier and Chris Evans’ Steve Rogers) back onscreen again. Others are disappointed that the trailer tells us so little about the plot and does very little to establish who Doctor Doom is and why we should care about him as a villain. Here’s hoping Marvel can generate a little more hype for Avengers: Doomsday before the movie comes out. Otherwise, the movie intended to reenergize the entire fandom may end up destroying the MCU.

By Chris Snellgrove
| Updated 19 seconds ago

Say what you will about Marvel Studios, but they are still capable of surprising us. We haven’t gotten any big reveals about Avengers: Doomsday for a hot minute, and many fans assumed that we wouldn’t get anything significant until San Diego Comic-Con. However, the studio shocked everyone by releasing the first full trailer for the upcoming film online this morning. It’s far more substantial than the teasers we got last year, showing ample footage of our heroes teaming up to fight a new threat. We also get a great look at Doctor Doom in action as he deflects a mighty attack from Thor without breaking a sweat.

While the fan reaction has been divided, the trailer has some undeniably cool moments, including Steve Rogers’ reunion with Thor. What you might not realize while you’re soaking it all in, though, is that Marvel is effectively lying to us with this trailer. Most of the dialogue comes from Thor, who is rallying other heroes against a threat they will need “a miracle” to stop. The framing of the Avengers: Doomsday trailer implies that Doom himself is the threat. In reality, everyone is freaking out about the movie’s real Big Bad: the incursions that threaten the entire multiverse and that will kill all of your favorite heroes.

Mighty Marvel Misdirection

Now, before we get started, a word of warning. In discussing the first Avengers: Doomsday trailer, I’m going to be dipping into spoilers for the film. Some of these spoilers come from trusted leakers, but most come from my long boxes of comics. You see, Doomsday and Secret Wars are adapting a Marvel comics storyline that came out over a decade ago, so it’s easy to extrapolate some of where these films are going. If you haven’t read the comics or peeked at the leaks, though, my breakdown may spoil some of the movie’s biggest surprises. That makes this your last chance to back out if you’d rather know as little about Doomsday as possible.

Still with me? Great. Now, why do I say the Avengers: Doomsday trailer is effectively lying to us? Most of the dialogue comes from Thor, who gives a grim speech to other heroes. He discusses how he has teamed up with far stronger warriors who “died facing enemies and threats that scared me far less than this one.” He ends the speech saying, “we’re going to need a miracle.” There are plenty of interesting scenes while he speaks, but none are as captivating as Thor’s fight with Doctor Doom. Because of this, the trailer leads us to believe Thor has been talking about Doom the entire time.

The Saddest Marvel Movie

He isn’t, though. What he is talking about, which is only hinted at in the trailer (when Xavier looks up to see a bright explosion), are the incursions. Ripped straight from Marvel Comics, the plot of Avengers: Doomsday deals with different realities colliding into one another. When this happens, both universes are destroyed. However, a universe can survive by doing something horrific: wiping out the other universe before the collision. Doctor Doom alludes to this in the trailer when he talks about being “faced with an unthinkable decision.” That decision is whether the heroes are willing to wipe out entire realities in order to save everyone they love.

So, all of this is more or less backed up by official synopses for Avengers: Doomsday. The next parts are based on speculation from me and other comics-loving fans across the internet. Early in the trailer, we see Xavier looking in shock at a bright explosion. This is one of the other realities (most likely the Tobey Maguire Spider-Man universe) getting destroyed. According to the rumors, the X-Men have had to do this several times before, which is why the Avengers are wary of them. Presumably, this is why Gambit and Mystique are fighting, respectively, Shang-Chi and White Widow Yelena Belova in Xavier’s mansion.

From Secret Enemies To Secret Wars

Interestingly, the rumors claim that Doctor Doom presents himself as an ally first … someone who convinces both the Fantastic Four and Steve Rogers to come to the 616 universe and work with the Avengers to stop the incursions. However, the heel turn comes when the villain reveals that he actually wants the incursions to happen, and by the end, one of those incursions has killed everyone except Doom, who uses powers stolen from Loki to resurrect everyone, erase their memories, and make them part of the only reality that is left: Doom’s Battleworld. Avengers: Secret Wars will show what happens next, and its climax will help reboot the MCU.

Kevin Feige is basically gambling everything on that reboot. It will pave the way for properly introducing new X-Men into the MCU, recasting popular characters, and even bringing in fan-favorite superheroes like Miles Morales. There’s a certain irony here, of course: the incursions are the major existential threat of Avengers: Doomsday, and because of them, none of our favorite heroes will survive. Without those incursions, though, we’d never get the upcoming reset, and without that, there would be no way for the MCU to live. 

Multiple fictional worlds at stake, an entire cinematic universe on the line, and Robert Downey Jr. talking like Nandor from What We Do in the Shadows? Superhero fatigue be damned, it sounds like Avengers: Doomsday will be one hell of a thrill ride!

By Chris Snellgrove
| Published 3 seconds ago

With less than five months left until the film’s release, Marvel has taken their marketing for Avengers: Doomsday to the next level. Right now, fans are mostly focused on the trailer that dropped today, which is no surprise; after all, it’s not every day that you see the reunion of Thor and Steve Rogers or, for that matter, a battle between Shang-Chi and Gambit. Amid all the breathless hype over the trailer, however, a more powerful advertisement is lurking in plain sight. At the same time Marvel launched the trailer, they also released a new Avengers: Doomsday poster.

Compared to that crowded character poster, the new poster is downright subdued. It features Doctor Doom staring at a huge tapestry with a broken world and two characters: a woman and a boy. Some comics fans think this image is Doom and his mother, a character who is eventually damned to Hell. However, other fans are convinced that this is actually an image of Doom’s wife and child; if true, this would effectively ruin the biggest plot twist. How does it do that? If you don’t mind some potential spoilers for this year’s biggest film, just keep reading!

You Can’t Spell “Painting” Without “Pain”

So, let’s start this story in reverse (just don’t let the TVA get me!): why do some fans think the woman in this poster is Doctor Doom’s mother? In the comics, she’s a big deal. To defeat an evil dictator who was ruling her country with an iron fist (an actual fist, not the kung-fu guy), she made a deal with the devil. As usual, the deal went wrong, and she lost control of the powers that she gained from Mephisto. She renounced those powers, got killed, and was then dragged into Hell. To see her again, Doom later mastered magic, visited Mephisto, and conducted an experiment that ruined his own face.  

However, all of the lore behind this origin story is too dense to fit into Avengers: Doomsday, a movie which is already crowded with endless character cameos. It seems the movie is taking a different direction, as multiple reports have claimed that the two figures are actually Doom’s wife and child. An unconfirmed leak of the movie’s plot (don’t say I didn’t warn you about spoilers, kids!) claims that Doom actually lost his family to one of the incursions, which is when one reality collides with another. This motivates Doom to learn more about the incursions and to plot his revenge.

A Hero Will Be Broken

Revenge against whom, you ask? According to the leaked plot, Steve Rogers! Reportedly, Loki visits the former Captain America in the past and warns him that the TVA will prune his entire timeline because he’s not supposed to be there. In an act of seeming kindness, Loki brings Cap, Peggy, and their young son to the Fantastic Four’s universe. However, the leak claims that Steve’s presence in this universe somehow triggers an incursion and that Doom disfigured himself and killed his own wife and son trying to stop it. In a shocking twist, Doom reportedly kills Steve’s son in front of the hero in an act of vengeance.

Now, again, all of this comes from a leaked plot summary that hasn’t been confirmed, so all of this could be an Ego-sized bottle of hogwash. But it’s worth noting that the Avengers: Doomsday teasers last year prominently focused on both Captain America and Thor becoming fathers. This potentially adds credence to the idea that this is a film about family and how far someone will go to protect the ones they love. If the leaks are true, this innocuous poster featuring Doctor Doom is spoiling the motivation the villain will have to cross time and space and cross countless moral event horizons along the way.

A movie where costumed vigilantes (like Batman, Spider-Man, and so many more) are driven by the ghosts of family members they lost when they were children? Well, nobody ever accused Marvel of being all that original!