Days of Our Lives confirms that AlexAnn Hopkins is returning as Joy Wesley. Which means she might have Alex Kiriakis‘ (Robert Scott Wilson) baby in her arms when she arrives in Salem.

I am super excited for Joy’s return and all the drama she could potentially bring to Alex and his wife, Stephanie Johnson (Abigail Klein). We have lots to talk about so let’s dig in!

Days of our Lives: Joy Wesley’s Exit from Salem

So, if you recall, Joy left town pregnant with Alex’s baby last March but she lied to Stephanie and Alex. It was clear that Joy was pregnant but lied to them, I think because she knew Alex was going to be with Stephanie no matter what. More rejection for Joy…

Longtime fans may recall that Nancy Wesley (Patrika Darbo) and her now-ex-husband, Craig Wesley (Kevin Spirtas), conceived Joy as a donor baby to help save their daughter, Chloe Lane (Nadia Bjorlin), who had leukemia. No one else in their family was a bone marrow match so they made a match to save her.

Thankfully, baby Joy was born and saved her big sister Chloe’s life. She was the savior sibling. Later, in 2005, when Joy was just 2 years old, she was the tiny flower girl at Chloe’s wedding to Brady Black (Eric Martsolf). But shortly after that, the Wesley family relocated to New York.

Joy Wesley Returns to Salem as an Adult on DOOL

Joy Wesley returned to her hometown almost 20 years later all grown up on October 22, 2024, marking her debut as the adult version of the character. Nancy had dragged Joy to Salem to get her an audition for Kate Roberts (Lauren Koslow) and Abe Carver‘s (James Reynolds) soap opera Body and Soul.

If you remember, Joy was super excited when she landed the role of Reagan Holloway, a character who liked to stir up trouble with Arrow (who was played by Alex) and Faith (who was played by Chanel Dupree) on the soap within the soap.

Joy and Alex had instant chemistry while running lines and blocking scenes. The two actors eventually hooked up after a New Year’s Eve party, which sparked a brief, hot-and-heavy romance in early 2025. But then, their stint with Body and Soul ended in February 2025.

So, Alex offered Joy a job at Titan. And she accepted. And she developed true feelings for Alex, but he broke up with Joy, admitting he had unresolved feelings for Stephanie. If you remember, she was dating Philip Kiriakis (John-Paul Lavoisier) at the time.

Days of our Lives: Joy Left Salem Pregnant with Alex’s Baby

But Stephanie ended things with Philip and then Stephanie and Alex reunited. However, shortly after the breakup, Joy found out that she was pregnant. And then, Stephanie caught wind of it and confronted her.

Not only did Joy lie to Stephanie about being pregnant, but Joy also lied to Alex as well. And in true soap fashion, Joy decided to leave town without telling Alex that she was carrying his baby. Joy left Salem on March 19, 2025, and headed back to New York to be with her family again.

And since then, Alex and Stephanie’s relationship blossomed. First, they moved in together. And most recently, they eloped in an elaborate plot to entrap her stalker, turned two-time kidnapper, Owen Kent (Wes Ramsey).

Right now, Alex is sick with worry and doing everything he can to bring Stephanie safely home and get her away from Jeremy Horton (Michael Roark), whom Alex continues to blame. Meanwhile, Stephanie is being held captive along with Jeremy in a storage room near EJ DiMera (Dan Feuerriegel) and Dr. Wilhelm Rolf’s (Richard Wharton) secret lab.

So, right now, Joy Wesley is the furthest thing from either Alex or Stephanie’s mind. They just want this whole stalker and kidnapping nightmare to end. And hopefully it will soon. But more drama is headed their way even after Jeremy and Stephanie are saved.

Joy Wesley Returns During Days of Our Lives May Sweeps with Alex’s Baby

Joy Wesley is slated to return on April 24th on the Peacock soap. And the timing makes sense because May sweeps kicks off on April 23rd and runs through May 20th. With her coming back during sweeps, I have no doubt that she’s already had Alex’s baby by then.

Unless Days of our Lives really messes with timing, she should’ve given birth in late November or early December. So, Joy should have a five or six month old baby. Surely she knows from Salem Spectator updates that Alex and Stephanie are engaged and planning to marry.

But since they secretly eloped, Joy may not know they’re married. But surely, she’ll find out that Stephanie is Alex’s wife before she comes back to Salem. This baby bombshell could put Stephanie and Alex’s marriage into a tailspin.

Of course, Stephanie and Alex are both going to be angry that Joy lied to them. But they might not know the truth right away. Because Joy could leave the baby back in New York and come to Salem alone to check things out before she decides what to do.

Or Joy could bring the baby back with her and then when she sees that Alex and Stephanie are happily married, she might lie and claim the baby is some other guy’s. But I suspect Alex and Stephanie will demand a paternity test because of the timing of everything.

Alex and Stephanie’s Marriage Faces Baby Mama Drama on Days of our Lives

Hot on the heels of Alex agonizing over Stephanie’s kidnapping, this is more drama coming their way. Do you remember that Alex and Stephanie had a talk before they were married about having children.

Alex wants a bunch of kiddos, but Stephanie’s not sure if she even wants one, although she hasn’t really come out and told Alex directly that kids are off the table. But once Jeremy’s exonerated, Owen’s arrested or killed, then they might circle back to this chat.

And if Alex finds out from Stephanie that she doesn’t ever want kids and then Joy turns up with Alex’s kid, that could get really messy really fast for the newlyweds. Joy Wesley returns to Salem in just 7 weeks right as May sweeps kicks off and I expect huge baby mama drama for Alex and Stephanie to deal with.

Selena Gomez has spoken out following the death of Only Murders in the Building costar Martin Short.

“My favorite guys,” Gomez, 33, captioned an Instagram Story post on Wednesday, March 4. “I’II always be there for them as they have been for me.”

Gomez shared a black-and-white photo of herself with Short, 75, and Martin, 80, that appeared to be taken on the Only Murders in the Building set.

“Love you Steve and l love you Marty,” she concluded.

Gomez has appeared alongside Short and Martin on the Hulu show since it premiered in August 2021. The trio have gushed over each other through the years, with Gomez even joking in an October 2025 interview that Short would be the ring bearer at her wedding to Benny Blanco.

Gomez’s social media post comes more than one week after news broke that Short’s daughter Katherine Hartley Short died by suicide at 42 on February 23.

“It is with profound grief that we confirm the passing of Katherine Hartley Short. The Short family is devastated by this loss and asks for privacy at this time,” Martin’s rep confirmed in a statement to Us Weekly. “Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

Related: Martin Short’s Daughter Katherine Short’s Cause of Death Revealed

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Martin Short’s daughter Katherine Hartley Short’s cause of death has been revealed. Us Weekly can confirm via online records that Katherine’s death has been officially ruled a suicide. A rep for Martin, 75, confirmed Katherine’s death at age 42 in a statement on Tuesday, February 24. “It is with profound grief that we confirm the […]

TMZ later reported that Katherine was found by a friend “behind a locked door and with a note nearby.” Katherine’s death certificate confirms that she was cremated on Friday, February 27.

Martin shared Katherine with his late wife, Nancy Dolman, who died in 2010 following a battle with ovarian cancer. They also shared sons Oliver, 39, and Henry, 36.

Years before her death, Katherine filed to have her name changed to “Katherine Elizabeth Hartley,” according to court documents obtained by Us from October 2012. The motion was reportedly granted in 2013.

“My father is a public figure. I am a psychiatric social worker,” Katherine stated in the court documents. “I am concerned about potential harassment from future patients resulting from my association with my father.”

Katherine became a licensed clinical social worker in Los Angeles after completing her undergraduate studies at New York University in 2006 and graduate studies at the University of Southern California in 2010.

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.

Often, the best kinds of science fiction movies are the ones that sneak up on you and surprise you with how exceptional they are in virtually every department. These kinds of unexpected masterpieces are proof that sci-fi doesn’t need a huge budget, a big cast, or even more than just one interesting idea in order to be great.

As a testament to this fact, one needn’t look much further than cult classics like Tetsuo: The Iron Man or underrated modern gems like Color Out of Space. No one would have been blamed for thinking that these films would be nothing special upon first glance, but with time, they have instead proved to be some of the most surprising masterpieces that sci-fi has ever seen.

‘The Vast of Night’ (2019)

Image via Amazon Studios

Loosely based on the Kecksburg UFO incident from 1965 and the Foss Lake disappearances, The Vast of Night is science fiction at its most mysterious and suspenseful. It finds its characters, a switchboard operator and a radio DJ, starting to hear a strange signal over a radio frequency in 1950s New Mexico. What ensues is one of the most original alien invasion films of the last decade.

The Vast of Night is one of those near-perfect streaming movies that no one remembers today, an engrossing Prime Video original that’s far more than just a sci-fi period piece. It’s a modern low-fi masterpiece that established debuting director Andrew Patterson as a voice to look out for, proving that minimalist sci-fi can work wonders when paired with a solid script.

‘Coherence’ (2013)

Image via Oscilloscope

In the psychological thriller Coherence, strange things start happening when a group of friends gets together for a dinner party on an evening when a comet is passing overhead. It’s the kind of less-is-more filmmaking that all aspiring indie directors should watch at least once, and the sort of shoestring-budget sci-fi that all fans of the genre should be able to appreciate and admire.

Coherence, which wears its Twilight Zone influences on its sleeve, is one of the most underrated sci-fi masterpieces of recent years. It, too, was a directing debut, one that showed James Ward Byrkit had a faultless understanding of what makes science fiction work. Hint: It’s not gargantuan budgets, but rather an ambitious idea and enough clever creativity to see it brought onto a big screen.

‘Moon’ (2009)

Image via Sony Pictures Classics

The always-enjoyable Sam Rockwell stars in Duncan Jones‘ directorial debut, Moon, as an astronaut who experiences a personal crisis as he nears the end of a three-year solitary stint on the far side of the Moon. It’s one of the most astonishing and ambitious performances of Rockwell’s career, and it couldn’t have been in a more fittingly astonishing and ambitious movie.

Moon is thematically sharp, emotionally engaging, and visually stunning, everything that a good science fiction film should always aim to be. On the surface, and based on its premise alone, it may look like nothing more than an extended Twilight Zone episode (not like that would be bad, though). In reality, Moon is a philosophically profound masterpiece filled to the brim with memorable moments.

‘Color Out of Space’ (2019)

Image via RLJE Films

Nicolas Cage has starred in a large number and wide variety of sci-fi movies over the years, and Color Out of Space is easily among his most underrated. Based on the short story of the same title by H. P. Lovecraft, it’s about a family on a secluded farm whose lives are transformed after a strange meteorite strikes. It was Richard Stanley‘s return to filmmaking after his firing from the infamous Island of Dr. Moreau, and what a comeback it is.

Exquisitely pulpy and unapologetically gonzo, this delectably bizarre cult classic is as narratively fascinating as it is visually striking. Cage and the rest of the cast all do a phenomenal job, and Stanley’s understanding of what makes cosmic horror work is pretty much flawless. As far as Lovecraftian films go, it rarely gets much better than this.

‘Last and First Men’ (2020)

Image via Shudder

Over the last decade, there have been some incredible sci-fi movies, including in 2020, in spite of the COVID-19 pandemic. But out of every great sci-fi film from the beginning of the decade, the best, boldest, and most experimental is easily the directorial debut of composer Jóhann Jóhannsson, Last and First Men. Narrated by Tilda Swinton, it’s about humans facing the threat of extinction two billion years in the future.

The movie, which was tragically the only one that Jóhannsson ever directed (since he passed away a couple of years before the movie’s premiere), basically consists of a beautifully narrated story superimposed on a surreal collection of shots of monuments erected in the former Yugoslavia. It’s an enthralling, thought-provoking study of humanity’s endurance throughout the years, and one of the most unique sci-fi films of recent years.

‘District 9’ (2009)

Image via Sony Pictures Releasing

Who could have guessed that a modest American-New-Zealand-South-African co-production would end up being one of the greatest sci-fi films of the 2000s? Neill Blomkamp‘s District 9 is one of the most essential movies of 2009, about a government agent who finds himself banished to the remote ghetto where aliens live on a future Earth.

It’s a modern sci-fi classic through and through, full of creative ideas and engrossing thematic work. Irresistibly satirical without ever sacrificing its edge, District 9 is an intelligent gem fizzling with some of the most thought-provoking social commentary of any modern sci-fi film. It’s a jaw-dropping debut feature and a must-see for all fans of the genre, receiving a much-deserved Oscar nomination for Best Picture in 2010.

‘Donnie Darko’ (2001)

Image via Pandora Cinema

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Throughout pretty much the entirety of the ’90s, the midnight cult film circuit lay mostly dormant. It was going to take something truly special to wake it back up, and “truly special” is something that Donnie Darko, Richard Kelly‘s directorial debut, definitely is. It’s a bizarre, utterly head-scratching little movie, but one of the greatest sci-fi films of the 21st century nevertheless. In it, a troubled teen is plagued by visions of a man in a rabbit suit who manipulates him to commit a series of crimes.

It’s the kind of sci-fi film that you need to be a genius to understand, sure, but all it takes to enjoy it is someone who loves the genre. Everything about this passion project of Kelly’s, from the performances to the writing to the mind-blowing ending, is absolutely unforgettable. Upon release, Donnie Darko was mostly a failure, which only made its later resurgence as a modern cult classic all the more unexpected.

‘Primer’ (2004)

Image via THINKFilm

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People who love movies you need to be a genius to fully understand are pretty much guaranteed to love Shane Carruth‘s Primer, yet another—you guessed it—directorial debut. There’s something about the genre that lends itself perfectly to new creatives’ wildest ideas, and Primer is definitely wild. It’s about four friends who accidentally discover time travel, and the consequences of their new invention.

Famous for its minuscule budget, experimental structure, and philosophical depth, this cult classic proved that you don’t need to dumb down the “science” part of science fiction in order to keep your audience engaged. It’s a riveting movie from start to finish, a highly cerebral gem that tackles complex topics with the utmost intelligence and originality.

‘Tetsuo: The Iron Man’ (1989)

The world of Japanese horror cinema is filled with exceptional—and sometimes quite underrated—masterpieces. None is quite as grotesque, however, as Tetsuo: The Iron Man, one of the most groundbreaking J-horror films of the ’80s. In it, a businessman accidentally kills a man, who gets his revenge by slowly turning the businessman into a hybrid of flesh and metal.

Tetsuo: The Iron Man is one of the most surprisingly perfect sci-fi movies ever, a relentless punk rock masterpiece that scathingly criticizes the loss of individuality and humanity in the face of non-stop, ever-changing industrialization. The effects and sound design are haunting, Shinya Tsukamoto‘s direction is a blast of fun, and the 67-minute runtime makes the film a breeze to get through.

‘Everything Everywhere All At Once’ (2022)

Image via A24

Everything Everywhere All At Once came out of left field. Nothing about this hyper-ambitious study of family, generational trauma, immigration, and existential dread shouted “awards material” when it came out, yet the Daniels‘ magnum opus ended up becoming one of the biggest Oscar winners of the 2020s so far. Needless to say, it’s one of the most perfect movies of the last 20 years.

On paper, Everything Everywhere shouldn’t work. No one would be blamed for labeling it too big, too ambitious, too experimental. But it’s in its sincerity and earnestness that the movie finds its strength, and in its confidence that it finds the time to offer something for everyone: romance, action, humor, excellent performances, and no shortage of tear-jerking moments. It’s one of the biggest unexpected masterpieces of all time, let alone just from the sci-fi genre.

Bobby Bones stepped in to defend Morgan Evans after their interview — which mentioned the musician’s ex-wife, Kelsea Ballerini — received backlash from Chase Stokes.

“If you’re gonna come that hard then maybe don’t take it down. Also, nothing bad to say about this person,” Bones, 45, said in an Instagram video on Wednesday, March 4, in response to Stokes’ heated comment.

Bones clarified that he doesn’t “know” Stokes, 33, personally, adding, “I’m sure he’s probably a good guy. Mostly, like, in my heart, I just wonder why certain people can talk about things and other people can’t.”

Stokes called Evans, 40, out after the singer made a rare comment about his divorce from Ballerini, 32, while on “The BobbyCast” podcast, saying in the Tuesday, March 3, episode, “I definitely wasn’t [expecting our divorce], and it took me by surprise. But yeah, that whole time is such a blur. It almost feels like somebody else, just from where I’m sitting now. I just look back and I’m like, ‘Oh, my God.’ … Yeah, it was just kind of a whirlwind, life-changing moment.”

Evans also admitted that he felt mischaracterized in the aftermath of the split.

“In my case, it didn’t feel like it necessarily had a lot to do with me,” Evans added. “I think maybe I was presented, or made out to be, or became an archetype for any guy that had done any woman wrong during that period of time. Like, some of the stuff was just like … ‘What? What are you even talking about?”

He concluded: “It doesn’t not hurt … especially if it was real vicious or something. And then I’d click on whoever said it and just have a look and just be like, ‘Oh, yeah, it’s OK. That looks like somebody going through a tough time.’”

Stokes, for his part, posted a since-deleted comment in response to Evans’ interview, which read, “This is about the most pathetic excuse of masculinity ive ever seen. Get a f***ing life.”

Us Weekly has reached out to Ballerini for comment.

“The only people going ‘you’re less masculine’” are the “people who are maybe insecure in their own masculinity,” Bones added on Wednesday while defending Evans’ ability to speak out about his personal life. “He wrote a record about his life, and part of that record, just a part, a small part of the record, is about a divorce that he went through. The whole record is not that. Most of the record’s not that, because there’s parts about his traveling around the world, his new relationship, which, she’s awesome — like, all these positive things.”

Related: Kelsea Ballerini and Chase Stokes’ Relationship Timeline

Kelsea Ballerini and Chase Stokes navigated many ups and downs in their two-year relationship. The country singer and the Outer Banks star were first linked in January 2023 after they were spotted together at the College Football Playoff National Championship in Los Angeles. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email […]

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Ballerini announced in August 2022 that she and Evans had called it quits after nearly five years of marriage.

“Friends, I’ve always tried my best to share my life with you in a real and vulnerable way, while also protecting layers of my personal life as they unfold,” she wrote via her Instagram Story at the time. “This is now public record so I wanted you to hear from me directly that I am going through a divorce.”

Ballerini concluded: “This deeply difficult decision is the result of a journey of love, growth, and effort that ultimately has come to an end. It’s hard to find the words here … but I feel extremely grateful for the years of marriage to Morgan and hopeful for the next seasons. With very active schedules coming up, please be mindful that we are both fragile, actively healing, and showing up the best we can.”

After their split, Ballerini found love with Stokes, and the duo dated off and on since January 2023 before officially calling it quits last month.

Evans, for his part, has since moved on with fellow country singer Laci Kaye Booth.

By Robert Scucci
| Published 1 hour ago

I’m just going to come out and say it. They really don’t make slashers like they used to. I love a solid elevated horror flick as much as the next person, and Weapons was one of my favorite widely released films last year. But one thing we’re missing from horror these days, aside from the fun meta commentary that the Scream franchise continues to deliver, is camp. Lots of it.

Though I don’t doom scroll on social media, I’ve adopted a far more harmful habit that should have my family worried about my general well being: doom scrolling through Tubi’s catalog and adding everything that looks even vaguely interesting, like 1988’s Destroyer, to my watch list.

Destroyer is a slasher that has a lot of fun with its very simple premise, and it’s so satisfying to watch because the stakes are laid out clear as day. We know who the killer is, the people who encounter him are familiar with his mythos, and they’re all stuck in one place. In this case, it’s a prison being used for a movie shoot. While it’s no Dr. Giggles (1992), Destroyer carries itself with the same kind of manic energy, just without nearly as many surgical puns.

Give ‘Em The Chair! 

Here’s the plot rundown for Destroyer so you know what you’re getting into. Epically jacked serial murderer Ivan Moser (Lyle Alzado) is executed by electric chair. During his execution, a prison riot causes confusion, leaving him only half electrocuted when the power shorts out. The combination of this electric charge, plus his “unusual genetic gift,” leaves him half alive and gives him superhuman strength. Though if I’m weighing in here, the dude is already ripped beyond belief, so I’m not sure where his mortal body ends and his immortal one begins.

Eighteen months later, the now abandoned prison is being used by a film crew as the set for their all-woman prison exploitation movie, Death House Dolls. Though everybody vaguely knows about Ivan’s execution and mysterious disappearance, he’s presumed dead and production continues as planned. Screenwriter David Harris (Clayton Rohner) and stunt woman Susan Malone (Deborah Foreman), who are dating, show up to work as usual. But David is fascinated with the lore surrounding Ivan and wonders how he could incorporate the legend into the film, which rightfully creeps Susan out.

Before you know it, all hell breaks loose when Ivan reveals he’s still living in the prison, and he’s pissed. He’s the kind of killer who isn’t mad at anything specific. He’s just a psycho who loves killing and torturing people. No ulterior motive. No vendetta against “the system.” He laughed while they were executing him, saying in so many words that he’s going to kill again. And here he is doing exactly that.

People run and scream, get torched, and ripped to shreds while Ivan gleefully antagonizes everybody unlucky enough to cross his path.

A Bare-Bones, Low-Budget Slasher That Does It For The Love Of The Game

Though Destroyer is obviously a low-budget slasher, to the point where I couldn’t even find specifics on exactly how much money went into its production, it’s still a solid effort. One aspect that really works to its advantage is that it was actually shot on location in a real abandoned prison, giving it an air of authenticity that most budget slashers can only dream of. Ninety-nine percent of the atmosphere comes from the decaying cell blocks of the former Wyoming State Prison. Even the electric chair scenes were filmed in the prison’s real execution chamber, though it had originally been used as a gas chamber when the facility was still housing inmates.

As for our villain, he’s large and in charge, carrying himself like a pro wrestler. It doesn’t hurt that Lyle Alzado’s intimidating physique comes from his work as a defensive end in the NFL, meaning he’s not Hollywood jacked. He’s a genuine bruiser through and through. His attempts at campy catchphrases leave a bit to be desired, but he still owns the role, and half the fun comes from how corny his delivery is.

Couple his charisma with some pretty gnarly practical gore shots and you’re going to have a great time. Destroyer doesn’t offer anything new to the slasher genre, but it’s an impressive outing compared to other B-movies of the time.

As of this writing, Destroyer is streaming for free on Tubi.

Serving in more ways than one! Whitney Port is bringing back ’90s -inspired tennis fashion in a big way.

The Hills alum sat down with ET to dish on her sporty style and the beauty essentials she relies on for match-day while celebrating her co-designed capsule with Courting.

While tennis has become a major part of the reality star’s fitness regimen, looking cute on and off the court is what always scores points.

“I got more into playing in recent years. … I love that it’s both mental and physical. It forces you to be present, which I find really grounding,” she shares.

Putting a chic spin on vintage sportswear styles is also part of Port’s game.

“We wanted to bring back contrast, bold color, and a bit of experimentation from the ’90s. … It’s about mixing tones and playing with shape,” she notes.

Think classic silhouettes with an edge, from oversized proportions and fold-over waists to a standout Moto Jersey.

“The vibe is elevated sport with personality. … It feels confident and nostalgic,” she adds.

But when it comes to pre-match glam, the podcast host keeps things simple.

“I want to look fresh, not overdone. … I’m very into minimal beauty like glowy skin, brushed brows, and neutral lips.”

Her go-to tennis hairstyle choice is just as effortless.

“I love a sleek low pony or a braid. I’ll use a smoothing cream beforehand and make sure I have good hair ties that actually hold. Sometimes I’ll add a headband if I want to feel a little more styled. The key is keeping it secure so you’re not thinking about it mid-match,” she spills.

As for what’s in her tennis bag, Port says a few must-haves make the cut.

“I always have sunscreen, lip balm, a good water bottle, an extra hair tie, a snack, and a lightweight layer for after.”

Whether she’s hitting the court or rounding out her exercise routine with strength training and Pilates, staying active and positive is always the goal.

“I try to focus on workouts that make me feel strong and energized rather than depleted. At this stage in my life, it’s less about extremes and more about consistency and feeling good in my body,” she explains.

RELATED CONTENT:

Mathew Knowles has clarified the stunning response he gave when he was asked about Tina Knowles‘ contributions to Destiny’s Child.

RELATED: Match Made? Mathew Knowles’ New Photo With Beyoncé’s Step-Mom Has The Internet Buzzing (PHOTO)

Mathew Knowles Clarifies Stunning Response He Gave When Asked About Tina Knowles’ Contributions To Destiny’s Child

On Wednesday, March 4, Page Six published an exclusive interview with Mathew Knowles, and the outlet questioned him about his now-viral sitdown with PIX 11 News anchor Kendis Gibson. Per the outlet, Mathew explained that he doesn’t “do interviews.” Instead, he has “conversations.”

“I didn’t know what he meant by that,” Mathew explained to Page Six, referring to his conversation with Kendis Gibson. “So, I’m saying, well, calmly, ‘What work did she put in?’ That was a question. I don’t know how it became a comment, but it was a question. If someone diminished what Tina does and just say, she did the hair, and then I come back and say, ‘No, she did the styling, isn’t that me giving flowers?”

Additionally, Mathew told the outlet that he’s “baffled” by the public reaction and the clip’s virality.

“You can’t even find a negative comment I’ve ever said about Tina. So, I don’t get it… People try to bait us all the time to be against each other. There was a complete misrepresentation here – and I’m evaluating all legal remedies at this time,” Mathew added, noting that he and Tina have a “wonderful relationship” and he doesn’t refer to her as his ex-wife. “That’s a negative term… I’ve never referred to Tina as my ex. I’m always positive. She’s my former wife, and I give her the respect of that rather than saying ex.”

Social Media Reacts

Social media users reacted to Mathew Knowles’ clarification of his comments about Tina Knowles’ contribution to Destiny’s Child in TSR’s comment section.

More On The Stunning Response Mathew Knowles Gave When Asked About Tina Knowles’ Contributions To Destiny’s Child

As The Shade Room previously reported, earlier this week, a clip from Kendis Gibson’s recent sitdown with Mathew Knowles was released, and a portion showed Mathew’s response after Gibson asked Mathew about Tina’s contributions toward Destiny’s Child.

“You’ve earned your flowers. I said the same thing to Ms. Tina Knowles. You guys put in the work, and obviously the talent was there, with your kids and your grandkids,” Gibson said to Mathew.

In turn, Mathew responded with, “What work did she put in?”

After Gibson noted Tina’s contribution to the girls’ image and the project being a “joint effort,” Mathew called for the end of the interview.

RELATED: Mathew Knowles Explains Why He Ended Interview After Being Told Tina Knowles Contributed To Success Of Destiny’s Child (VIDEO)

Disney movies are often remembered more by their commercial success than by their storyline. When a release fails to meet expectations, it is quietly categorized as a miscalculation, and that label tends to follow it for years. Yet their reception is often shaped by timing. A film may not align with what audiences expect in a given decade. Even if a film doesn’t fit its era’s expectations, it can still be well‑made and meaningful.

With time, it becomes easier to understand what these films were attempting instead of how they were received. Most of the films experimented with darker tones or complex moral framing instead of relying on music or simplicity. In doing so, they unsettled viewers who associated Disney animation with emotional reassurance. Here are some of the films that have shown what the platform was capable of.

‘The Black Cauldron’ (1985)

Image via Buena Vista Distribution

In The Black Cauldron, Taran (Grant Bardsley) is introduced as a pig-keeper who believes heroism is something that can be claimed through ambition alone. When the Horned King (John Hurt) seeks a magical cauldron capable of raising an undead army, Taran attempts to protect the oracular pig Hen Wen. As Taran escapes captivity, he meets Princess Eilonwy (Susan Sheridan) and Fflewddur Fflam (Nigel Hawthorne) and forms an alliance with them.

As events intensify, Taran confronts the consequences of his earlier arrogance. The story reframes heroism as responsibility. When the cauldron demands a sacrifice to stop, Taran understands that courage often means surrendering your pride. The defeat of the Horned King does not come from strength alone, but from collective resolve. The narrative closes by suggesting that growth is often quiet and internal rather than publicly celebrated.

‘The Great Mouse Detective’ (1986)

Image via Walt Disney/Courtesy Everett Collection

The Great Mouse Detective follows Basil (Barrie Ingham), a detective whose confidence in deduction shapes his whole personality. When Olivia Flaversham (Susanne Pollatschek) asks Basil to locate her kidnapped father, Basil traces the crime to Professor Ratigan (Vincent Price), who intends to replace the Queen of Mousedom with a mechanical duplicate to seize political control.

Assisted by Doctor Dawson (Val Bettin), Basil analyzes clues, deciphers coded messages, and reconstructs all events through his observation. The investigation gradually becomes successful as he closes the distance between himself and Professor Ratigan. As Professor’s scheme moves forward, Basil’s pride nearly obstructs his clarity and forces him to reconsider all his previous assumptions. Doctor Dawson helps Basil to regain his composure and forget about his ego while seeking the truth. Eventually, Olivia reunites with her father, and the story tells us that in any circumstance, order is preserved through patience.

‘Atlantis: The Lost Empire’ (2001)

Image via Walt Disney Studios Motion Pictures

In Atlantis: The Lost Empire, Milo Thatch (Michael J. Fox) devotes his life to proving that Atlantis exists, despite being dismissed by academic institutions. When Commander Rourke (James Garner) leads an expedition funded to locate the city, Milo Thatch joins as the linguistic expert. After surviving mechanical dangers and natural barriers, the crew discovers Atlantis beneath the ocean’s surface. There, Milo Thatch meets Princess Kida (Cree Summer), who seeks to understand her civilization’s fading heritage.

As Milo Thatch learns the truth about Atlantis, he realizes that Commander Rourke intends to exploit the city’s energy source. Faced with betrayal, Milo Thatch chooses preservation, and the story gradually shifts to moral accountability. When Princess Kida risks becoming a vessel for the city’s power, Milo Thatch intervenes to protect both her and Atlantis.

‘Treasure Planet’ (2002)

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Treasure Planet centers on Jim Hawkins (Joseph Gordon-Levitt), whose father’s absence shapes the distrust and restlessness he develops over time. When he discovers a map to a hidden fortune, Jim boards a voyage that is commanded by Captain Amelia (Emma Thompson). Among the crew is Long John Silver (Brian Murray), who gradually earns Jim Hawkins’ trust while concealing his own objective. Their expedition soon becomes a space-bound search for treasure, yet the emotional focus remains on Jim Hawkins’ evolving perception of authority.

As the ship approaches its destination, Long John Silver’s hidden alliances surface. Now, Jim must decide whether that betrayal confirms his cynicism towards life or challenges it. The story, in the end, showshow trust can exist even within deception and blur our decisions. In the final confrontation, Jim prevents any catastrophe and chooses integrity over resentment, and Long John Silver departs while acknowledging Jim’s growth. The treasure, however, becomes secondary to the transformation both of them faced that was shaped by mentorship and a clear choice.

‘The Hunchback of Notre Dame’ (1996)

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In The Hunchback of Notre Dame, Quasimodo (Tom Hulce) lives confined in the cathedral tower under Judge Frollo’s (Tony Jay) authority. Judge Frollo presents isolation as protection in Quasimodo’s life, which shapes his understanding of himself. When he attends the Festival of Fools, he faces severe public humiliation that suddenly confirms how he has been shielded from cruelty all his life. Then, the story introduces Esmeralda (Demi Moore), who confronts both the crowd and Judge Frollo’s rigid morality.

As Judge Frollo’s obsession intensifies, Quasimodo begins to question his obedience towards him. The cathedral turns from a sanctuary into a contested ground. In the end, when Esmeralda faces punishment, Quasimodo finally chooses defiance over submission. The story resolves by allowing Quasimodo to step into public space, suggesting that dignity does not emerge from isolation.