Keith Urban is facing a painful new chapter in his personal life as the fallout from his split with Nicole Kidman continues to ripple through his family. 

Urban once appeared to have a solid bond with his daughters, but that now seems strained, with subtle public moves and insider claims painting a complicated picture. 

As tensions grow and loyalties become clearer, those close to the situation say the country star is struggling to come to terms with where he stands in his daughters’ lives.

Keith Urban found himself at the center of attention after his eldest daughter, Sunday Rose, made a move that many interpreted as a statement. 

The 17-year-old appeared to unfollow her father on Instagram, a small but noticeable action that quickly fueled speculation about their relationship.

Although Urban was reportedly added back within 24 hours, the moment still raised questions. 

For many, it hinted at deeper issues following the split between the Country singer and Kidman, which became public in September 2025 and was finalized in January.

Sunday and her younger sister Faith Margaret have largely stayed out of the spotlight, but this brief social media change suggested that tensions may be more visible than before. 

Observers quickly connected the move to ongoing reports that Urban’s relationship with his daughters has become strained in recent months.

Urban Branded ‘The Bad Guy’ By His Own Daughters

According to insiders, Keith Urban’s situation at home is far more emotional than it appears on the surface. 

Sources claim his daughters have taken a firm stance, aligning themselves with their mother in the wake of the breakup.

One insider described the dynamic bluntly, telling the Daily Mail, “[The girls] are completely team Nicole and, right now, Keith is the bad guy. He is the cause of every problem in their minds, and it’s harrowing for him.” 

The same source added that the 58-year-old is “distraught” over how things have unfolded. Despite the tension, those close to the family insist the girls reached their own conclusions. 

“I don’t even think this is Nicole painting a narrative; this is the girls coming to this conclusion on their own,” the insider explained.

For Urban, the situation is deeply painful. He reportedly continues to express love for his daughters, even as they distance themselves. 

Keith Urban Struggles With Distance As Communication Breaks Down

Urban’s attempts to maintain a connection with his daughters have reportedly been met with limited response. 

Early on, sources say he would receive short replies, but communication has since become even more strained.

“He was texting [his daughters] before and getting one or two-word answers, if he got anything at all. Now nothing,” an insider revealed. 

The lack of communication has left the doting dad feeling uncertain about how to move forward. For now, he is said to be giving them space, hoping time will ease tensions. 

“For now, he’s just letting it happen and hoping that they can talk it out down the road. It hurts but hopefully at some point they can have the conversations and move forward,” the source added.

The emotional toll has been significant, with another insider describing him as “completely lost” as he adjusts to the new family dynamic.

Urban Faces New Reality As Daughters Grow Closer To Nicole Kidman

As Keith Urban navigates the aftermath of the split,  Kidman’s bond with their daughters appears stronger than ever. 

Court arrangements have seen the girls spend the majority of their time with their mother, who remains in the family’s Nashville home.

Their closeness has been evident publicly as well. Sunday recently described Kidman as her “biggest inspiration in life” and said she plays “a key part of everything I do.” 

The actress herself has spoken about their connection, saying, “We’re so close, the three of us, we talk about everything.”

Insiders say Urban recognizes that bond and does not criticize it. “Keith has said that Nicole has been great during all of this,” a source noted. Still, the reality of the situation remains difficult for him to accept.

“They’re young, they’re hurt, and they have to choose sides in their minds. So, they have chosen mom,” the insider explained, adding that despite everything, Urban’s feelings for his daughters remain unchanged. 

“But whatever his issues between him and Nicole are, he still loves his daughters very much. For them to cut him out is really hurtful,” they shared.

Keith Urban’s Personal Life Adds Fuel To Family Tension

Urban’s rumored connections to younger musicians have also drawn attention and may be contributing to the strain. 

Shortly after the split, he was linked to Nashville-based artist Maggie Baugh, though her friend shut down the claims, calling them “absolutely not true.”

More recently, Urban has been connected to Karley Scott Collins, who joined him on his 2025 tour. 

She also dismissed speculation, labeling it “absolutely ridiculous and untrue,” while her mother reinforced that message, saying, “None of that stuff is true.”

Even so, the rumors have persisted, and insiders suggest they may not have helped his relationship with his daughters. 

At the same time, Urban is said to be dealing with his own emotions about the end of his marriage.

“He’s in a lot of pain right now,” one source shared, adding, “The worst pain is the type that you inflict on yourself, so he’s got some guilt and shame and hurt. He’s struggling to make sense of it right now.”

Edwin Arroyave offered rare details into the romantic relationship he embarked on after splitting from Teddi Mellencamp.

The entrepreneur, 49, discussed his “girl” during the Tuesday, April 28, episode of his “The Eds” podcast, cohosted by Tamra Judge’s husband Eddie Judge, revealing when the romance began following his 2024 separation from Mellencamp, 44, after 13 years of marriage.

“It’s actually been going great, I can’t believe it’s been a year and … three, four months so it’s been good,” Arroyave told his cohost before commenting on how he had hoped to find new love soon after parting ways with the Real Housewives of Beverly Hills alum.

“I’m better in a relationship. I’m not good when I’m single, I think it just distracts me too much. It’s a lot of work, a lot of energy. That’s why I didn’t want to remain single for a long time,” he explained. (Arroyave shares three children, Slate, 12, Cruz, 11, and Dove, 6, with Mellencamp, as well as a daughter, Isabella, whom he shares with ex Christina Mecklenburg.)

Related: Edwin Arroyave Confirms He’s Dating Again After Teddi Mellencamp Split

Edwin Arroyave is dipping his feet back in the dating world after his separation from Teddi Mellencamp. “I am dating someone, yeah,” Arroyave, 48, shared on the Tuesday, October 14, episode of iHeartRadio’s “The Ed’s” podcast. “It’s pretty serious.” While Arroyave didn’t share further details about the mystery woman in his life, guest Joe Gorga […]

Arroyave, who shared a photo of his girlfriend via Instagram in October 2025, also detailed how his family is blending with his girlfriend’s. “We just did Easter together. It was amazing. We started off at church, then had an amazing lunch, the kids were having fun. She’s got a daughter herself who is best friends with my daughter, so her daughter’s seven and mine is six [and] they’re, like, the best of friends,” he said. “Then we went to the park and celebrated with my siblings, my older sibling, and mom and all that. It was a fun time.”

The founder and CEO of Skyline Security Management then revealed how often he spends time with his girlfriend, who seemingly goes by the name of Elsa, however that has not been publicly confirmed by Arroyave. “We see each other not on the daily but at least three or four times a week,” Arroyave said on the episode. “She’s busy, she’s got her own little profession and I’m busy as well. We’ve got kids but we still spend a good amount of time. It’s been good, for sure.”

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Mellencamp announced that she had filed to divorce Arroyave in November 2024. “After a great deal of care and consideration, I have made the difficult decision to file for divorce,” the reality TV star wrote via Instagram at the time. “My priority is my children and ensuring that every care is taken with their privacy and wellbeing throughout this new chapter. Making a public statement is not something I wanted to do, but in an effort to protect my family from undue speculation and rumors, I felt being open, honest and vulnerable was the best path forward.”

Us Weekly exclusively reported in the days that followed that the former couple’s split was “a long time coming,” per a source who spoke to Us at the time. “They have been up and down for the last seven-plus years,” the insider revealed. “This isn’t the first time Teddi has wanted a divorce, and it has been an ongoing conversation between them for years.”

The following year, Arroyave said on “The Eds” that the pair were on good terms after the split. “We’re just, you know, we’re great friends, and you know, I want to make sure she’s taken care of, but we’ve maintained that great relationship,” he said on the podcast’s August 4, 2025 episode. “So even though we’re separated and we’re estranged, and we’re still planning on divorcing, like, we’re still friends. I still see her as a friend.”

Congressman Ro Khanna, a Democrat representing California’s 17th congressional district,  has expressed disappointment after King Charles III reportedly refused to meet with survivors of convicted child sex offender Jeffrey Epstein.

“It’s very disappointing after the British Ambassador [Sir Christian Turner] told me that the King would talk about the survivors and sex trafficking,” Khanna, 49, told Us Weekly in a Tuesday, April 28 statement — the same day that Charles, 77, was a no-show at a roundtable discussion in Washington, D.C., that united Khanna, 49, with Epstein survivors.

“The King’s failure to acknowledge the pain his brother had caused is a moral failure and emblematic of an elite impunity that is an ongoing affront to survivors,” Khanna added.

Among those in attendance at the roundtable was Sky Roberts, younger brother of Virginia Guiffre, an Epstein survivor who also accused the monarch’s brother, former Prince Andrew, of sexually assaulting her when she was a teen. (Andrew Mountbatten-Windsor has repeatedly denied the allegations.)

Us Weekly has reached out to Buckingham Palace for comment.

Just hours earlier, Roberts, 36, also criticized Charles — who is currently visiting the U.S. upon invitation by President Donald Trump — for not accepting an invitation to the meeting, hosted by Khanna.

“Survivors are here sitting with members of Congress, still fighting to be heard, still pushing for real accountability, while many of the powerful figures connected to these systems remain just out of reach, unable to acknowledge survivors face to face,” Roberts said, per reporting by The Guardian on Tuesday. “You would expect this to be a moment for the king to give a message to the world that he stands with survivors.”

In the immediate hours that followed the roundtable, Khanna also reflected on Charles’ decision to skip the roundtable to members of the press, per reporting by ABC’s Eyewitness News.

“I thought the king owed that to the survivors, given his brother’s serious allegations of abuse, and I thought it would have been an incredible moment and statement to show that it doesn’t matter how much wealth you have, how much power you have,” he said prior to providing a statement to Us. “No human being is dispensable and the survivors deserve justice. He unfortunately declined that request.”

The New York Times reported last week that a lawyer for Charles and Queen Camilla, who joins the king during this U.S. visit, stated that Charles’ omission from the roundtable was due to “ongoing police inquiries” underway in the U.K. and that the king was “unable to meet survivors or comment directly on the matters under inquiry.”

The report, published on Wednesday, April 22, stated that a letter read, “the king and queen have consistently made clear their support for all victims of abuse, wherever and however perpetrated.”

As a result, Charles avoided any mention of Epstein, or his brother’s former relationship with the late billionaire, while addressing Congress earlier on Tuesday.

Epstein, who died by suicide in 2019 while awaiting his trial for child sex trafficking, remains at the center of a criminal investigation currently examining Andrew’s professional activity, specifically allegations the former royal shared confidential government information with the convicted pedophile while he was in public office.

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The former prince, who was stripped of his royal titles in October 2025, has repeatedly denied all allegations of misconduct.

If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). https://www.rainn.org/

If you or someone you know is experiencing child abuse, call or text Child Help Hotline at 1-800-422-4453.
https://www.childhelphotline.org/

Kyle Cooke has no time for his “Summer House” co-star, West Wilson. On social media, the Bravo OG slammed Wilson for allegedly leaving Amanda Batula to fend for herself during the explosive reunion taping.

Cooke’s comments come weeks after Wilson admitted he was in a relationship with the former’s soon-to-be ex-wife, Batula. Their newfound relationship has stirred up chaos in the Bravosphere due to Wilson’s past connection with Ciara Miller.

On Threads, Cooke replied to a fan who expressed their disappointment in Wilson for reportedly failing to defend Batula at the “Summer House” reunion.

“He’s all PR and zero intention or integrity,” Cooke wrote, as reported by Page Six. Continuing, Cooke, who joined the cast of “Summer House” in 2017, said the sit-down gathering was a “brutal beat down” before implying Wilson left Batula to fend for herself.

“I can’t recall a moment when he had Amanda’s back,” Cooke finished.

Batula And Wilson Confirm Their Secret Romance Weeks Before The ‘Summer House’ Reunion

Wilson and Batula have been the talk of the town over the last few weeks, given the pair confirmed their secret romance via Instagram after months of speculation.

“We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity,” the pair wrote online. “It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we need a little space to process things privately before speaking on it.”

While nontraditional relationships are common among Bravo stars, Wilson and Batula’s relationship has garnered significant backlash due to their proximity to Miller.

Miller, who joined “Summer House” in 2021, dated Wilson briefly in 2023. In a 2026 episode, Miller was candid with the audience about the pressures of dating interracially.

“I don’t think you guys also realize the interracial aspect that exists and all the s— that goes on,” Miller said. “I get a lot of blowback that’s very racial, obviously, being in this position. I was the first Black person in this house, and then dating publicly, dating white guys publicly, is a whole contraption that I don’t think you guys can understand or can even empathize with.”

Things Reach A Boiling Point At The ‘Summer House’ Reunion

Drama between the “Summer House” cast only intensified when an unauthorized clip from the upcoming reunion was shared online. In the footage, Miller can be heard slamming Batula for betraying her and disrespecting their years-long friendship.

Although the leaked recording gave some viewers a sneak peek of what could come during the special, it garnered a disappointed reaction from the network, including Andy Cohen, who begged fans to let the show play out the way its supposed to.

Cooke also chimed in, condemning the audio’s release before defending his cast mates, saying that none of them were behind the leak. “The audio itself, from all of the cast, sounds like it’s audio from our mics,” he said, adding that there was “no way” it came from a cast member.

Cooke And Batula Split

Before Wilson and Batula broke the internet, the latter was the topic of conversation after announcing her split from Cooke.

“After much reflection, we have mutually and amicably decided to part ways as a couple,” the pair wrote on Instagram, according to PEOPLE. “We share this with a heavy heart and kindly ask for your grace and support while we focus on our personal growth and healing.”

They went on to say that while asking for privacy felt “ironic” because of their jobs, they added that “your kindness and respect will go a long way as we try to navigate our next chapter.”

Cooke Wishes He Did Things Differently In His Marriage

It’s been two decades since The Devil Wears Prada gifted us the sharp stilettos, sharper one-liners, and the unforgettable peek behind the glossy pages of Runway Magazine. In that time, we’ve gawked at Miranda Priestly’s (Meryl Streep) icy quips, cheered over Andy Sachs’ (Anne Hathaway) transformation, quoted Emily Charlton (Emily Blunt) and Nigel Kipling’s (Stanley Tucci) sassy remarks, and argued endlessly over which outfit should be the fan-favorite. Now, with its long-awaited sequel premiering this weekend, expectations are sky-high as to where the story is set to go.

The first film worked because it had a perfect mix of biting satire, heartfelt growth, emotional dips, and jaw-dropping fashion. The sequel has the rare chance to expand on that magic (and then some). It does want to follow in its predecessor’s footsteps and become another comfort movie, right? So, here’s our non-negotiable checklist: the six things The Devil Wears Prada 2 must include, or we’ll be tossing it out faster than last season’s cerulean sweater.

1

More Fashion Montages, Please

Image via 20th Century Studios

Who could forget Andy’s iconic fashion montage set against the backing track of Madonna‘s “Vogue”? It’s basically the cinematic equivalent of a triple-shot espresso in a bedazzled cup. Between the quick cuts, the outfit reveals, and the sense that the New York streets themselves are strutting along with Andy, the sequence is pure joy and in dire need of an update. We are, after all, living in an age where everyone’s obsessed with fashion reveals and sharp transitions.

Plus, think of the music landscape we have today. We could have everything from Beyoncé to Chappell Roan to Sabrina Carpenter to Dua Lipa. The scoring possibilities are endless. And if the glimpses of the costumes are anything to go by, Andy’s fashion evolution definitely needs to be celebrated, pinstriped pants and all. After all, fashion is the heart of the story.

2

More Cameos From People in the Fashion Industry

Image via 20th Century Studios.

One of the most delightful surprises in the original film was spotting the cameos of real-life fashion faces. It blurred the lines between movie magic and the real industry, making the story world feel even richer. For the sequel? Let’s crank that up. A little bit of meta never hurt nobody, so even a couple of blink-and-you’ll-miss-it cameos could make the movie sparkle. Although it would be more fun if the cameos weren’t about the figures playing themselves. Remember Gisele Bündchen casually playing a Runway employee? We need more of that.

Imagine Miranda giving the side-eye to a new co-worker played by Tom Ford or Emily bonding with Law Roach over martinis. If the director is bold enough, he’ll give the people what they really want and put Anna Wintour in the mix (please, even if it’s for a five-second gag — the jokes write themselves). Either way, these cameos are like Easter eggs for fashion lovers. It may be indulgent, but in a movie like this, indulgence is the point.

3

Better Friends for Andy

Image via 20th Century Studios

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It’s been an ongoing joke now that, despite Miranda’s harrowing and antagonistic ways, the true villains of The Devil Wears Prada were her so-called “support system.” Because, let’s be real — her friends weren’t great. They seemed far more interested in keeping Andy in her dowdy writer’s box than in celebrating her growth. And don’t get us started with Nate (Adrian Grenier). The man is the dictionary definition of an unsupportive partner, whining and chastising Andy for the sacrifices she made for her career while doing the exact same thing for himself.

In the sequel, Andy needs people who understand her ambition without mistaking it for selfishness. Sure, with Tracie Thoms returning, Lily can be the exception and show a change of heart, but let’s get Andy a new crew. Whether they’re other fellow journalists or creative industry types, she needs people who get what it’s like to chase a dream. Yes, they can call her out when needed, but they must cheer her on when she lands a win, too. Hopefully, Patrick Brammel‘s character becomes the love interest she deserves (though we need not worry if the recent set pictures are anything to go by).

4

A (Slightly) Dethroned Miranda

Image via 20th Century Studios

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There’s no doubt about it — Miranda Priestly is an icon known for her icy authority. But sequels are all about evolution, and while there were humanizing moments, for the majority of the original film, Miranda was pretty much untouchable. So wouldn’t it be fun to see the fashion titan meet her match? Perhaps a younger, hungrier rival threatens her reign, or maybe the rise of the digital age may just chip away at her power. The latter may likely be the case if the rumors are true. But whatever it is, knocking down the Queen of Runway would be ripe for drama.

And with several mega-stars now joining the cast, any one of them could easily slot into that rival role. Our personal preference? Let’s hope the other rumors are true and have Emily Charlton call the shots. The poeticism is too good an opportunity to miss. Still, this doesn’t mean we want Miranda groveling or irrelevant. Her strength is her weapon, and watching her outmaneuver new threats in the post-print era could be a thrilling narrative twist.

5

A Juicy Reunion Between the Main Trio

Image via 20th Century Studios

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Despite its chaos, the chemistry between Miranda, Emily, and Andy was magnetic — part high-fashion workplace drama, part Mean Girls in couture. Every scene between them had layers, whether it was respect, envy, disgust, or begrudging admiration. Sure, we may have gotten a semblance of closure at the end, but imagine the tension of a reunion years later. Has Emily finally stepped out of Miranda’s shadow? Has Miranda done a 180 and held a petty grudge against Andy for leaving? Does Andy have any guilt about leaving the fashion industry? We need answers.

A Devil Wears Prada sequel without the trio back together would be a crime, but their first scene together needs to be more than just cordial small-talk. We want power plays, veiled insults, and maybe a surprise alliance (or rivalry) no one saw coming. Put them in an elevator to trade barbs, have them side-eye each other across a boardroom table, or let them scheme together at a gala to take down a common enemy. It’s been 20 years — the people deserve a punchy reunion.

6

More Nigel!

Image via 20th Century Fox

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Nigel Kipling was the creative heartbeat of Runway — Miranda’s closest confidante, who could turn her vague, godlike commands into actual, high-fashion brilliance. From his quick wit to his warm but brutally honest pep talks with Andy, Nigel brought style, heart, and soul to the office…only to be thrown aside. Remember the Paris betrayal? He was moments away from a career-making promotion at James Holt’s (Daniel Sunjata) company when Miranda pulled her coldest move yet, pushing Jacqueline Follet (Stéphanie Szostak) instead, all to save her own position as Runway’s editor.

The sting of that blindsiding still lingers, especially since Nigel, ever gracious, insisted that Miranda “would pay him back.” If the sequel wants to right the wrongs of the past, it’s time for Nigel’s redemption. Give him another promotion, the accolades, or even a delicious subplot where he gets to turn the tables on Miranda. Either way, Tucci’s charisma could carry half the movie, and it’s about time we let him.

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The Devil Wears Prada

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Release Date

June 29, 2006

Runtime

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109 minutes

Director

David Frankel

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Writers

Aline Brosh McKenna, Lauren Weisberger

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Next: 10 Movies From 2006, That Are Now Considered Classics, Ranked

Post-apocalyptic films, despite the global scale of their premise, work best as introspective reflections on humanity, exploring all the strengths and flaws that come with the mortal experience. While many sci-fi stories explore the adventurous aspects of surviving the end of the world — rugged survivalism, mutated creatures, and abandoned cityscapes, the most compelling stories in this genre are centered around the question of what it truly means to continue living in a world that is desolate, unforgiving, and lonely. This is a critical distinction that separates apocalyptic and post-apocalyptic movies, separating the Roland Emmerich-style disaster movies from the slower burn of other films.

Z for Zachariah is one such example of a character-driven drama set in the end-of-days. The film delves headfirst into this question of human survival and coexistence as it explores the lives of three unlikely survivors of a nuclear apocalypse, forced to navigate life within the confines of a miraculous safe haven. Based on a novel from 1974, the underrated sci-fi picture is one of the most personal post-apocalyptic stories out there, featuring a starkly minimal cast of just three actors — but when that cast includes Margot Robbie, Chris Pine, and Chiwetel Ejiofor, there’s still an overabundance of talent and depth present throughout the film. Directed by Craig Zobel, the indie sci-fi thriller still has plenty of post-apocalyptic intrigue, but in a dead world, the most compelling stories are about the scarce few that remain. Despite the star power in the film, Z for Zachariah only received a limited release and minimal media attention. However, a retrsopective look back at the picture proves that it’s an underrated and important addition to each of these actor’s respective filmographies.

‘Z for Zachariah’ Takes a Personal Approach to the Post-Apocalyptic Genre

Image by Lionsgate

Z for Zachariah is set in a dying world rendered uninhabitable by a nuclear apocalypse. However, within an isolated valley in the Southern United States, a young woman named Ann Burden (Robbie) lives a miraculous life shielded from the radiation outside her humble homestead. Surviving thanks to the miraculous microclimate in the valley, Ann and her dog Faro keep a simple and steady life as they plant and harvest in preparation for the impending winter, motivated by the ever-dimming hope that her family will return from their expedition outside. But Ann’s loneliness is poised to come to an end when John Loomis (Ejiofor), an engineer and researcher, finds his way into the valley. Upon discovering that the valley was spared from excessive radiation, Loomis rushes to bathe in a seemingly crystal-clear lake. However, Ann discovers him and warns him that the water is irradiated because it comes from outside the valley. Without second thought, Ann swiftly takes the stranger into her home and nurses him back to health.

Once Loomis regains his strength, he and Ann continuously grow closer to one another as they steadily build a life in the valley, supplementing each other’s survival despite the secrets that keep a degree of distance between the pair. John’s engineering background proves to be an immeasurable asset as he begins undertaking projects around the farm, improving the scarce living conditions with practical and hands-on solutions that make survival significantly more comfortable. But just as a shade of normalcy begins to form for the pair, a stranger arrives in the valley and shakes up the already tenuous balance. Caleb (Pine), a miner who survived the apocalyptic fallout by remaining underground for months, arrives with rumors of a town of survivors further south. Similar to her earliest interactions with Loomis, Ann proves to be trusting and earnest upon meeting another living person, eager to give help to a fellow survivor. In contrast, Loomis feels suspicious and skeptical of Caleb, initially planning to ask him to leave before being dissuaded by Ann. The initial meeting and following days after Caleb’s arrival are marked by a cold tone, one that dances between Loomis’ suspicion and the group’s dependence on each other for continued survival, adding significant tension to the film with the sole addition of one new character.

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That focus on character interactions and tension is what makes this movie stand out from others in the genre. Despite being a sci-fi film, Z for Zachariah takes a far more grounded approach than others in the genre. Most of the science in the film is relatively small-scale and realistic, focused on realistic survival strategies such as fixing a water wheel to generate power, even with the dramatic background of nuclear fallout just outside the valley. And despite the differing professional backgrounds of each character, it’s quickly affirmed that each of them brings a set of skills that are essential for their survival. Loomis uses his engineering background to manually pull fuel from an abandoned gas station, Ann’s farming knowledge keeps them fed, and Caleb’s hands-on mechanical experience proves a welcome addition. While the fiction part of science-fiction in the film is mostly in the background, the destruction of the nuclear apocalypse still serves as the overarching catalyst for the central conflict: the tension between the survivors.

The Survivors Navigate Love, Trust, and Jealousy During the End of Days

The small-scale perspective of this post-apocalyptic film means that John, Caleb, and Ann won’t be solving the problem of saving the entire world — in fact, because of the safe haven of their miraculous valley, their immediate survival isn’t a pressing concern as it would be for other characters in the same genre. The valley is one of the most hospitable settings of a film set after nuclear fallout, which allows the central narrative to truly sit with the characters and their interpersonal relationships. Even though there are fewer than a handful of characters, it’s Margot Robbie’s portrayal of Ann that serves as the central foundation for the entire film. It’s her stalwart care of the farm before Caleb and John arrive that provides such a safe haven for them to arrive at, and it’s her earnestly friendly personality that enables coexistence in such a tense environment. Ann is a kindhearted and steady Southern belle, faithful and optimistic even after suffering immeasurable loss. While Robbie’s Southern accent wavers at times, her performance is nonetheless endearing and heartfelt, maintaining an irrefutable charm despite the melancholic tone of the story. One of the keys to Robbie’s performance is her measured restraint. Despite her character’s innocence and naïveté, she’s not an easily manipulated farm girl but a young woman driven by her staunch hope and values.

The other characters then play important juxtapositions to Ann’s character. In contrast to Ann’s steady faithfulness, Ejiofor’s Loomis is a stoic and troubled figure. Despite his reliable nature and incredibly useful expertise, Loomis carries a haunted past on his shoulders, a burden and distance expertly portrayed by Ejiofor’s performance. While Ann holds onto hope due to her religious upbringing, Loomis continues to push forward because of his own resilient dependence on science. But though he doesn’t hold the same religious faith as Ann, Loomis does remain respectful of the source of her unwavering conviction. Loomis relies on his scientific background as the foundation for his continued perseverance, but intellectual knowledge alone soon proves lacking for sufficient survival. Despite being the most tangibly useful member of the group, Loomis also harbors the most insecurity and guilt about his past — shortcomings that prevent him from truly connecting with Ann and Caleb. Though his presence proves vital for improving the physical conditions of their home, his detachment keeps their living situation cold and the tensions hot throughout the film.

While John and Ann serve as the foundational relationship in the story, Caleb is the wildcard that disrupts whatever shade of stability they are forming. A religious person like Ann, Caleb retains his southern charm and manners that make him easy for the young woman to connect to. Even with her trusting nature, Ann’s trust in Caleb is formed through their shared beliefs and backgrounds, which serve as nostalgic remembrances of life before the apocalypse. However, Caleb isn’t introduced as a straightforward charming gentleman, but as someone who carries an air of danger around him. For once, Pine’s striking eyes aren’t painted as the charming baby blues of a romantic lead, but like the ice-cold stare of a wolf, indicating a strong defiance and confidence. Just as John and Ann’s relationship begins to deteriorate over concerns about issues of trust and affection, Caleb and John enter a Cold War over their third companion’s attention. It’s a cold and passive-aggressive war, one that cannot be fought outright, but remains a nagging tension throughout all their interactions. Each moment between the two is thrilling, as the audience is unsure what they are going to say, or even worse, what they are going to do.

At first, the quietly brewing love triangle between Ann, Caleb, and John may feel out of place, considering the more pressing concern about survival in such an inhospitable environment. However, its inclusion in the film instead makes these characters feel all the more human; it makes their unexpected coexistence in the valley feel like the random shuffle of existence, rather than an intentionally written narrative. There is something viscerally human about John’s jealousy over Caleb. Despite his mechanical expertise and knowledge, his inner emotional turmoil ultimately supersedes his own rational thinking. Caleb, on the other hand, is painted in a more intentionally antagonistic lens, lording arrogantly over the other man at any given opportunity. However, even with this initial framing, both characters are multidimensional and can be seen from the other lens. John is still fallible and deserving of criticism and Caleb, despite his air of mystery, likewise deserves a chance to prove himself trustworthy. Ultimately, the two men are forced to remain cordial, forced to work with one another, and forced to believe that everything will be okay.

At the center of it all is Ann, whose guarded optimism about the world serves as the guiding beacon of hope in Z for Zachariah. Though her companions often underestimate her because of her youth, Ann is equally as complex a character as her male counterparts. While she remains optimistic and hopeful, she demonstrates an acute understanding of the reality of the situation. Although her hope for the future is often misinterpreted, she is not naive — though she is still flawed. Similarly to the other two characters, Ann’s approach to processing complex emotions suffered from her time in isolation, making her susceptible to emotionally charged and unsteady decisions. While audiences might get frustrated at moments when the characters act irrationally, it’s these moments that make them feel more human and relatable. So even when they’re all trying their best, the small contingent of survivors still have to contend with their internal turmoil, just as much as they have to deal with the harsh external world.

The Film Is Slow and Contemplative With its Characters

Image via Lionsgate

Audiences shouldn’t watch Z for Zachariah with expectations of an adrenaline-pumping sci-fi thriller, despite the genre it falls under. The film is slow, contemplative, and brutally realistic about the interpersonal struggle between flawed people; John’s jealousy, Ann’s uncertainty, and Caleb’s arrogance all seep into every minute action that they have. Their actions and words are layered with subtext and complex motivations which leave audiences in a constant state of uncertainty. That ever-present discomfort feels right at home in a post-apocalyptic setting, where each moment isn’t guaranteed. While it’s not the central focus of the movie, questions about race, science, and religion all permeate throughout the narrative. There’s no denying that John’s identity as a black man contrasts with both Ann and Caleb, who are not only both white, but were raised in similar communities. Even after society has collapsed, the characters are unable to completely separate from the world they once knew, forcing them to contend with the remnants of their old lives as they endeavor to build a new one.

Where other post-apocalyptic movies like Mad Max focus on emotions like rage in their exploration of humanity, Z for Zachariah carries an overarching tone of sadness and melancholy that permeates throughout the entire film. Even with a runtime of just over an hour and a half, the movie feels like it lasts much longer because of the deliberate pace of each passing day. For every minor victory that the characters earn, there is still the void of society and community that dwarfs whatever happiness is attained. Robbie, Ejiofor, and Pine all deliver some of the most subtle yet emotional performances of their career, embodying characters that are not typical in their resumes with notable depth and contemplation. If you’re a fan of any of these actors, Z for Zachariah is certainly worth viewing. In this brief glimpse of a potential haven, it truly feels like these characters are the last survivors of the end of the world — there’s no hope of rescue, and maybe no reason at all to even continue living. Even within the safe haven they were seemingly blessed with, the characters in Z for Zachariah live with uncertainty in every breath, questioning what it means to live, alone, in a dead world.

When “Our Hero, Balthazar“ began filling theaters across New York and Los Angeles without a Sundance launch, a major festival platform, or a traditional studio campaign, the film industry was caught off guard. The people who actually built the release, however, were not. The film, directed by Oscar Boyson and featuring an ensemble cast led by Jaeden Martell, Asa Butterfield, and Noah Centineo, alongside Avan Jogia, Chris Bauer, Jennifer Ehle, Anna Baryshnikov, Becky Ann Baker, and Pippa Knowles, launched in tandem with a fine art exhibition in a raw Brooklyn warehouse, with no traditional studio campaign behind it.

The exhibition, titled “American Wasteland,” was hosted by Relaispunkt, locally known as RP.1, the curatorial arm of Base 36, an independent cultural network that has built its own infrastructure outside the gallery establishment. Base 36 is the core; its projects are the extensions.

From Le Parti’s years of DJing and running after-hours and warehouse events out of his Brooklyn studios, the network took shape across cities: RP.1 operating out of Berlin, and across Los Angeles and Berlin, with a recurring presence in the Downtown Los Angeles and Skid Row area, “Play,” an after-hours and warehouse party, and “Sibyl,” an art advisory. All built on the same instinct: activate the space, own the infrastructure, don’t wait for permission.

The exhibition is the work of Jet Le Parti: a painter, poet, musician, and publisher whose practice has spent years accumulating force outside the channels that typically decide what gets seen. Where Boyson came up through the Safdie brothers’ orbit, producing “Good Time” and “Uncut Gems” before stepping into the director’s chair, Le Parti built his own orbit entirely. He is not an outsider artist in the romantic sense. He deliberately chose where to build, then built it.

When the two projects collided, it wasn’t a promotional alignment. It was two people investigating the same American crisis, arriving at the same room from opposite directions.

‘Our Hero, Balthazar’ Turns Rejection Into Sold-Out Success

Oscar Boyson has spent his producing career inside a gritty, unflinching tradition of American independent cinema, films about people on the verge of coming apart. As a director, “Our Hero, Balthazar,” co-written with Ricky Camilleri, the former HuffPost journalist turned screenwriter, and executive produced alongside Halsey, is his most direct engagement with the consequences of a collapsing masculine mythology.

The film zeroes in on the specific cruelty of the environments teenage boys are placed inside, tracking the fallout of edgelord internet culture and the performance of masculine identity in the attention economy. Where most films about this terrain reach for sociological distance, “Our Hero, Balthazar” stays close: drawing from the raw, proximate lineage of Larry Clark’s “Bully,” the performances refuse the safety of retrospective judgment. The team approached the release not as a standard theatrical run but as a deliberate cultural act: a film meant to be encountered inside an exhibition that was already asking the same questions.

When the film was turned away by Sundance and SXSW, the team refused to wait for permission to exist. They found a shared ethos in Peter Gold at WG, who architected the unconventional distribution play. Through a pipeline coordinated between WG, Picturehouse, Arkhum Media Rights, and Base 36, the film went directly to audiences. Base 36 and RP.1 connected their community to it, driving turnout, moving tickets, and contributing to multiple sold-out screenings across New York. It didn’t need a traditional campaign. It needed the right people in the right rooms.

This Exhibit Takes A Shocking Look At American Decay

The film’s reception cannot be separated from that room. Le Parti transformed the warehouse into an extensive study of late American decay, operating, as he typically does, outside the permitting logic that governs institutional spaces. His is a practice of accumulation and witness: he grew up in the American South inside the military apparatus, and his work has never metabolized that origin cleanly. What remains is violence absorbed as atmosphere, institutional failure rendered as aesthetic fact, the fatigue of endurance as formal principle.

“Rocketman,” a work by London-based Base 36 artist L.S. Toy, offers a frame-by-frame, photorealistic rendering of active-duty airman Aaron Bushnell’s self-immolation in protest of the Gaza war, holding the image at the scale the decision deserves. Toy’s practice is built around media-heavy subject matter: hyperrealistic paintings of scenes drawn directly from news coverage, political commentary rendered in industrial greyscale, and works that have tested the legal boundaries of image and currency.

‘American Wasteland’ Blurs Line Between Real And ‘Simulated’ Violence

Nearby, Le Parti’s “Pawn Shop” reconstructs the police scene from the street where his own brother was shot, refusing the distance between private catastrophe and public history. Alongside military diagrams and works like “Sisyphus,” treated here not as classical allusion but as a lived condition, the myth stripped of its consolations, the exhibition features collaborative image-works by Reign.925, the visual project of “Le Parti and Toy,” created together, where school-shooting imagery bleeds into “Call of Duty” aesthetics without ironic distance. The effect is a kind of double exposure: real violence and its simulation rendered indistinguishable, which is precisely the point.

The triptych “Phases of the Nuclear Option” maps the procedural steps toward annihilation in the calm, bureaucratic language of the military itself, the aesthetic of institutional inevitability. At the center of the exhibition is “Ramble,” a long poem from Le Parti’s self-published debut manuscript “Every Day Is a Countdown,” which tracks the evolution of modern violence from the manosphere to the mainstream. The show is, in essence, his poetry made spatial, a poet who refused to soften his language for traditional publishing and who built the room to hold it instead.

Noah Centineo Backs ‘Underground’ Art-Film Collaboration

The two projects grew from relationships outside the usual industry circles, and from a conversation that began, as many things in Le Parti’s orbit do, through Converting Culture, his editorial platform and magazine. It was there that the idea for the exhibition first took shape as something more than an idea: a felt necessity.

Noah Centineo, who appears in Boyson’s film and had long been a collector of Le Parti’s work, and Enzo Marc, whose Arkhum banner is also attached to the film as a production company, came in behind it together. Nobody was waiting on a grant. It came from people who already believed in each other’s work.

During the exhibition’s opening, Boyson articulated the link connecting the two mediums, asking: “Why does dark humor feel like the only way to find catharsis amongst the horror show we’re living in? And what would you call the horror show we’re living in? I mean, it’s the American wasteland, man.”

Le Parti’s answer was blunt. It’s all just atmosphere now, he said, people wake up, see a child die online, scroll to delivery options, order something, share a story, move on. Extreme violence has become ambient, absorbed into the scroll. Words are just noise. Maybe the art is too. But we’re still recording it. What Le Parti is describing is less a failure of empathy than a structural condition: a culture so saturated with images of its own catastrophe that outrage has become another content category. The exhibition doesn’t solve that. It just refuses to look away.

And the film, in its own way, is proof of the same condition. You don’t arrive at dark comedy about school shooters as a viable form of entertainment unless the culture has already done the work of normalizing the subject matter. “Our Hero, Balthazar” could only exist, could only find an audience willing to laugh and wince and sit with it, because the ambience Le Parti is describing has already settled in. The film isn’t commenting on desensitization from the outside. It was made from the inside. That’s what makes it a document as much as a film, a timestamp of exactly where America is right now, rendered in the only register the moment could hold.

‘American Wasteland’ Challenges How Stories Reach Audiences

Neither the film nor the exhibition is context for the other. They are operating on different registers of the same problem. Le Parti works at the systemic level, the military apparatus, the cultural infrastructure that normalizes violence, the long American tradition of absorbing catastrophe without consequence. Boyson works at the phenomenological level, two boys, one country, the specific texture of the damage done. The distinction matters: one maps the structure, the other inhabits it. Together, they argue that neither register is sufficient on its own.

Together, they pulled off what the conventional apparatus could not, and would not. “American Wasteland” and “Our Hero, Balthazar” didn’t prove a theory about independent distribution. They proved something older: that when the work is honest, and the room is right, the audience finds it. Institutions are optional.

“Our Hero, Balthazar” is currently in distribution through Picturehouse. “American Wasteland” was presented by RP.1 / Base 36, featuring works by Jet Le Parti, L.S. Toy, and Reign.925. “Every Day Is a Countdown” by Jet Le Parti is available through Base 36.