Actors Miles Teller and Adam Driver play two brothers in James Gray’s “Paper Tiger,” which was met with rave reviews at the Cannes Film Festival last weekend. The “Top Gun: Maverick” star plays Irwin Pearl, a family man who is determined to set a good example for the two sons that he raises with his wife, played by Scarlett Johansson. Unfortunately, things take a turn for the worse when his older brother, Gary, an ex-cop (played by Driver), shows up and offers him a get rich quick scheme. Although Irwin is interested, he decides to investigate the matter himself and ends up in a confrontation with the Russian mafia that puts his whole family in jeopardy.

Without giving away any spoilers, one can expect that the two brothers’ relationship is tested after the Russian mafia gets involved. There is a fight scene between Teller and Driver where both actors are giving it their all. Teller’s face is actually quivering with rage in the scene, which has gotten the attention of many critics.

In an interview with IndieWire, the “Top Gun: Maverick” star was asked about that scene in particular. Teller admitted “there was a twitch going on there” before going into the family values that instigated his performance in the scene.

“At least in my own life, your family can get to you in a way that nobody else can,” Teller explained. “Those feelings are so deeply rooted and established from childhood, so I guess in that moment, and neither one is fully aware of the ramifications of the Russians, this deal going bad, and how it’s affecting that person in their life.”

Miles Teller Was ‘Letting It Out’ In That Scene

Teller explained that he drew on personal experiences in order to make that scene come to life.

“In that particular scene, you’re letting out. It’s not just about what they’re talking about right there,” he continued. “It’s an entire lifetime of misgivings — he’s going to let him have it.”

“When that’s happened to me in my personal life, you feel so bad afterwards,” he added. “It’s a horrible feeling when you’re not talking to a sibling or your parents, and often it’s hard to make amends.”

Although this is Teller’s first time acting, and fighting, with Driver, it isn’t the first for Scarlett Johansson, who starred opposite the actor in 2019’s “Marriage Story.” She is married to Teller’s character in “Paper Tiger,” but in “Marriage Story,” she and Driver play characters going through a tumultuous custody battle and vicious divorce.

Scarlett Johansson Wishes She Had More Scenes With Adam Driver In ‘Paper Tiger’

Unfortunately, “The Avengers” actress was unable to make it to the Cannes premiere due to a scheduling conflict. However, she did tell The Hollywood Reporter, “I would’ve loved to have had even more scenework with him,” adding, “I love working with him.”

In 2025, she told PEOPLE magazine that she had a “great” experience working with the “Star Wars” actor. “I love Adam as a person, and he is an absolutely extraordinary actor,” she said at the time. “If I could make every movie with Adam Driver, I would.”

Scarlett Johansson Weighs In On Their Fight Scenes

Their fight scenes in the movie were so brutal that the U.S. Department of Agriculture actually played audio clips from their arguments to scare away a pack of gray wolves that were reportedly “terrorizing” an Oregon farm’s livestock, as per The Wall Street Journal.  

“We spent two entire days screaming at each other, brutally screaming and fighting for two full days,” she told As If, as reported by PEOPLE magazine.

“It was exhausting, but if I didn’t have as strong an actor as Adam to take all the stuff I was giving him, I would have been lost,” Johansson said at the time. “For me, working with other actors is a really important part of what I do … it’s everything.”

Adam Driver Jokes About Writing A Memoir After Lena Dunham’s Claims

The White House has sparked reactions after using a song from Drake‘s ‘Iceman’ album in a recent TikTok video showing immigration agents.

RELATED: Hol’ Up! Dennis Graham Clears The Air On Drake’s Cancer Reveal As Social Media Reacts To His 3 New Albums (VIDEO)

White House Sparks Reactions After Using Song From Drake’s ‘Iceman’ In Recent TikTok Showing Immigration Agents

According to USA Today, last week, the White House administration took to TikTok to share a clip of Donald Trump apparently walking in the snow as shots cut to various images of ICE authorities detaining individuals. Per the outlet, the administration used audio of ‘Make Them Now’ as the background music for the clip.

“Iceman 🥶,” the clip was captioned.

@whitehouse

Iceman 🥶

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♬ original sound – The White House

Social Media Reacts To White House Using Song From Drake’s ‘Iceman’ In TikTok Showing Immigration Agents

Social media users reacted to the White House using the song from Drake’s ‘Iceman’ in its TikTok in the video’s comment section.

TikTok user @Elisa🌸 wrote, “Whole government is a joke”

While TikTok user @TeejKingston added, “[ステッカー] Drake watching this like..”

TikTok user @Lulu🪷 wrote, “lmao what is our world becoming”

While TikTok user @🎰 added, “Drake would NOT approve”

TikTok user @cxld_4 wrote, “Drake time to sue them 🫡”

While TikTok user @Real.Josh🧠📈 added, “[ステッカー] Drakes lawyer”

TikTok user @ashley wrote, “this is so weird”

While TikTok user @jake added, “drake is canadian btw”

TikTok user @Aj🩵🇩🇴 wrote, “This is so disrespectful”

While TikTok user @Nara added, “This is so unprofessional and weird”

TikTok user @so.fie3.0 wrote, “Drake SUE THEM ✌🏾😭🥀 now….”

While TikTok user @𝐀𝔰𝕥Ř𝐎 added, “[ステッカー] okay this is actually f*****g crazy”

TikTok user @🌸 wrote, “this just is not right.”

More On Recent Videos From The White House

The TikTok using Drake’s song from his ‘Iceman’ album isn’t the first time the White House has come under fire for its social media posts. As The Shade Room previously reported, in February, the Trump administration came under fire after a 62-second video was shared on Trump’s Truth Social account. At one point in the clip, Barack and Michelle Obama appeared to be depicted as apes.

Ultimately, Trump alleged that he only watched the beginning of the clip and did not see the portion that appeared to show the Obamas. Still, social media users were up in arms, with one sliding into TSR’s comment section, writing, “Marshmallow Minions stay lying…”

RELATED: Frosted Out! Drake’s ‘Iceman’ Album Release Had Streamers Going CRAZY With Viral Winter-Themed Celebrations (VIDEOS)

Beyond the Gates official spoilers confirm that somebody dies. So, we’re going to talk about who’s pushing up daisies by the end of May sweeps. Grayson Perez (Jordie Vilasuso) is a top choice for who’s going to meet his maker, but he’s also a very obvious choice.

So, maybe it’s not him. I want to talk about who is at life and death risk because of the climax of the red market ring storyline this week.

Jacob Hawthorne is at The Warehouse on Beyond the Gates

So, I am fully expecting the death to happen at the warehouse where the plasma ring does its drops. And we know that Jacob Hawthorne (Jibre Hordges) is there that night as part of the undercover sting operations. Other cops are outside lurking and Dr. Lia Whitmore (Cecelia Specht) is going to confront him knowing that he’s bad guy Ren Tolliver’s (Donny Carrington) pickup man.

So Dr. Lia Whitmore must get some sort of suspicious feeling because she insists that Jacob take off his hat and says, “Look at me.” And he’s got no choice since Ren’s right there and Jacob’s in deep in this operation and he’s in danger. So he pulls off his hat as she demanded and Dr. Lia Whitmore is stunned to see it is Chief Elon Hawthorne’s (Malachi Malik) son right there in the middle of the criminal ring that she is overseeing.

Jacob Expected to Survive

So, Dr. Whitmore may panic and order that Ren takes Jacob out. Shoot him on the spot before he brings all the cops in the DMV down on their heads. But honestly, even if Ren starts popping off shots, I don’t expect them to kill off Jacob. He is a Dupree by marriage and he and Naomi Hamilton Hawthorne (Arielle Prepetit) have a whole lot of storyline potential ahead.

Jacob is a possible death option simply because he’s at the warehouse when gunfire breaks out. But I think that he definitely will survive. However, when Elon calls shots fired and they rush in, there could be someone taking pot shots at Jacob. He might even take a bullet, but I think he’ll live.

Dr. Lia Whitmore Is A Monster on BTG

So, next, let’s talk about the wicked witch of the DMV, somebody who can tell Dana “Leslie” Thomas (Trisha Mann-Grant), “Hold my beer,” when it comes to being bad, and that is Dr. Lia Whitmore, chief of staff at Garland Memorial. She is rotten. And she constantly threatens Grayson. She has made threats to harm Ashley Morgan (Jen Jacob). We have seen Dr. Whitmore leverage the fact that Grayson is caring for his poor sick mom against him.

Bottom line is that Dr. Whitmore is a monster and she did not care that Grayson was stabbed. She thought he had it coming. Plus, I honestly suspect that Randy Parker (Maurice P. Kerry) might have handed Lynette Wise (Dominique Madison) over to Dr. Lia Whitmore to get payback for draining her retirement account. So, Dr. Whitmore might have drained Lynette of all her plasma and just tossed her corpse out.

Beyond the Gates: Joey Armstrong in Deep

Plus, it also looks like Joey Armstrong (Jon Lindstrom) is neck deep in this plasma ring. He may be the big boss Impaler. And Dr. Whitmore is just doing the day-to-day operation of the red market ring. And of course, Joey just figured out the cops are nosing around and he’s got Randy keeping an eye on things. So, I could see Joey having a minion nearby waiting with a rifle to take out Dr. Whitmore if the cops get too close. Because I’m sure Joey realizes that Dr. Whitmore would probably throw him under the bus and cut a deal with the cops to minimize her own prison time if she’s caught.

And I don’t think Joey would let that happen. So, I do think Dr. Lia Whitmore would be the best character for Beyond the Gates to kill off this week because she is an irredeemable monster. Getting your 401k cleaned out by scammer Lynette does not justify Whitmore’s awful murderous ways, even if she was cleaned out and is broke.

Grayson Seems Certain His Life Is at Risk

But now, let’s talk about Grayson, because he seems certain that his life is at risk. That’s why he gave all those documents to Ashley this week and scared the starch out of her. We know that Grayson wanted some peace of mind that if Dr. Lia Whitmore has him killed or he winds up dead by mischance, then at least somebody will be there for his sick mom.

Jordie Vilasuso was brought in as a recurring player in January. So, Grayson might have had an expiration date all along.

We know he’s also at the warehouse. We know Dr. Lia Whitmore has threatened him repeatedly. Of course, Ren is also at the warehouse and he stabbed Grayson before, so he’s totally capable of killing him.

And if you remember, Grayson told Derek Baldwin (Ben Gavin) that if he didn’t take the plasma he stole from the clinic that his and Ashley’s lives are at risk. And that’s, I think, the only reason why Derek let Grayson go. So, yeah, he may die. But I’m also wondering if he might just wind up arrested and testifying against everybody. So, there’s a chance Grayson may yet live.

Derek Baldwin Could Be Caught in the Crossfire

And that brings us to Derek Baldwin as another possible death suspect. In an after the episode clip this week, there was this just quick little scene that hints that Derek might follow Grayson. There’s a split-second shot of Derek peeking through some slats. So, he might be worried about Ashley. And also Derek may want to know the fate of the plasma that Grayson stole from the clinic that he runs.

So, maybe Derek is lurking and watching. And if he does follow Grayson, he could be spotted. I mean, it’s not like Derek’s got ninja sneaking skills, right? Or it could be that when Elon yells, “Shots fired and the cops join the fray and rush in.” We could see Derek caught in the crossfire as some kind of collateral damage in the shootout with the criminals.

Actor Ben Gavin was originally hired at Beyond the Gates on contract, but he was dropped to recurring status in early 2026. And Beyond the Gates spoilers for later this week have Ashley and Naomi shell shocked. That hints at it being Jacob, Grayson, or Derek who dies or that some combination of them might be injured in all of this.

Beyond the Gates: Grayson May Survive

That same day, spoilers say that Marcel Malone (Darryl W. Handy) grills a perp. So, clearly somebody with knowledge of the ring survives. Maybe Grayson. There’s a little end of the show clip where it looks like he was up at the police station. It was just a fleeting little thing, but you know, they could be grilling Dr. Whitmore or even Ren.

By the end of the week, Nicole Dupree Richardson (Daphnee Duplaix) is asked to reach out to a distraught colleague according to Beyond the Gates spoilers. And since she works with Ashley, I’m leaning towards it being one of the men in her life, either Grayson or Derek, who most likely finds their life cut short by a bullet.

Now, of course, it could be dirt bag Ren that dies, but nobody would be distraught if he kicked it. So, he doesn’t really fit the spoilers. And of course, Beyond the Gates could pull a bait and switch and kill off a rando who just works for Dr. Lia Whitmore. But since the character death happens on the last day of May sweeps on Wednesday, I do expect it to be a named character, somebody that we know.

Beyond the Gates: Who’s Time is Up?

Nobody would be distraught if Dr. Whitmore died, but I would like to see her gone. If she’s not going to be in a grave, though, life in prison works for me. Based on the spoilers, I’m leaning towards Derek or Grayson being the one that we lose. And of course, Smitty Smith’s (Mike Manning) been part of this, too.

But he is safely at Cotillion with the Duprees watching his daughter Samantha Richardson (Najah Jackson) make her debut and Joey’s not dying because he is in the spoilers for later this week and he’s having to answer to Vanessa McBride (Lauren Buglioli) and then also to Elon. So even though Joey seems to have a hand in the red market ring, I don’t think he’s going to go down.

Now, Grayson obviously is the most obvious choice to die, but I personally feel like sweet, nice Derek dying would deliver a bigger emotional punch. So, we’ll see. But one more day and then somebody’s dead.

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

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

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

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

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

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

CBS Pulled The Plug On ‘Colbert’ Last July

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

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

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

Stephen Colbert Admits He Wanted A Different Ending

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

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

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

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

Colbert Teases His Next Act

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

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

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

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

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

Stephen Colbert Says He’s Not Afraid Of Trump

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

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

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

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

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

10

‘The Brother from Another Planet’ (1984)

Image via Cinecom Pictures

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

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

9

‘Enemy Mine’ (1985)

Image via 20th Century Studios

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

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

8

‘The Thirteenth Floor’ (1999)

Image via Columbia Pictures

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

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

7

‘The Hidden’ (1987)

Image via New Line Cinema

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

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

6

‘Silent Running’ (1972)

Image via Universal Pictures

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

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

5

‘Phase IV’ (1974)

Image via Paramount Pictures

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

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

4

‘Colossus: The Forbin Project’ (1970)

Image via Universal Pictures

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

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

3

‘The Quiet Earth’ (1985)

Image via Mirage Films

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

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

2

‘Seconds’ (1966)

Image via Paramount Pictures

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

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

1

‘Dark City’ (1998)

Image via New Line Cinema

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

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

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Dark City

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Release Date

February 27, 1998

Runtime

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100 minutes

Director

Alex Proyas

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cate Blanchett And Michael Fassbender Add More Star Power

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

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

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

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

Selena Gomez Continues To Distance Herself From Disney Image

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

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

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

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

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

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

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

Selena Gomez Opened Up About Disney Pressure

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Radke Sounds Off On Wilson’s Move

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

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

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

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

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

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

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Fans React To The ‘Summer House’ Reunion Trailer

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

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

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

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

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

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

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

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

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

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

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

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

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

And with A24 involved, expectations are understandably sky high.