: Police have identified Shamar Elkins as the Louisiana man who fatally shot eight children on Sunday (April 19). Additional details from the case revealed that seven of the kids were his, and that the attack on his family stretched across two houses in a Shreveport, Louisiana neighborhood. 

The shooting was the deadliest in the U.S. since January 2024, when eight people were killed in a Chicago suburb, according to a database maintained by The Associated Press and USA Today in partnership with Northeastern University.

RELATED: Prayers Up! Louisiana Mass Shooting Reportedly Leaves Eight Children Dead & Two Individuals Injured (VIDEO)

Shamar Elkins Reportedly Shot His Wife, Children 

Shamar Elkins’ wife was the mother of their children. He reportedly shot her and another woman. Both were critically wounded in the attack on Sunday, according to the Shreveport Police Department. Shamar Elkins fled the scene, reportedly carjacked a vehicle, and later died after officers fired on him during the pursuit. They believe he acted alone.

Officials said the children — three boys and five girls — ranged in age from 3 to 11. Another child jumped from the house’s roof to escape and was expected to survive.

“This is a tragic situation — maybe the worst tragic situation we’ve ever had,” Shreveport Mayor Tom Arceneaux said.

Witness Shares What She Saw & What Her Camera Recorded

Authorities said the attack began before dawn, when Shamar Elkins shot a woman at one home in the neighborhood south of downtown. Then, he fatally shot the children at another house a few blocks away. Elkins’ nephew was among the slain children, according to the Caddo Parish coroner’s office.

Liza Demming lives two houses down from where Elkins shot most of the victims. She said her security camera captured video of the suspect, Elkins, running away along with the sound of two shots.“That’s pretty much all I saw, was him running out of the house and the cars leaving,” she said. Demming later went outside and saw the covered body of a child on the home’s roof. State Rep. Tammy Phelps said some children tried to get away through the back door.

“I can’t even imagine what the police officers, first responders actually dealt with when they got here today,” Liza Demming said.

Louisiana Shooter & His Wife Were Separating, Cousin Reveals

The investigation is ongoing, and the motive has not been revealed. According to a cousin of one of the women shot, Elkins and his wife were in the process of separating and had been due in court Monday. Crystal Brown, the cousin, said the couple had been arguing about the separation before the shooting. “He murdered his children,” she said.

Investigators were not aware of other domestic violence issues involving Elkins, Shreveport police spokesman Chris Bordelon said. Also, Elkins did not appear to have an extensive criminal history. Court records showed he was placed on probation in 2019 after pleading guilty to illegal use of weapons. In that case, Elkins told police that someone driving a vehicle pulled a gun on him “and then took off,” according to a police report.

Brown, the cousin of one of the women who was shot, said she was at church Sunday morning when the pastor told congregants about the shooting at the end of the service. She described the children as happy and friendly.

“They worked, came home, they stuck to themselves,” she said. “Just an everyday family.”

Mourners laid flowers outside the single-story house on 79th Street and others lit candles for the victims in the parking lot of a nearby shopping plaza.

Associated Press writers Sophie Bates, Lekan Oyekanmi, Gerald Herbert, John Seewer, Jake Offenhartz, Jeff Martin, Steve Karnowski, Terry Tang and Christopher Weber contributed to this report via AP Newsroom. 

Michelle Pfeiffer is opening up about the reason she finally broke one of the longest-standing rules in her marriage.

The actress has spent more than three decades avoiding professional collaborations with her husband, David E. Kelley, to protect their relationship. However, she has now revealed why she decided to make an exception for his latest project, “Margot’s Got Money Trouble,” saying her connection to the character ultimately made the choice feel worth it.

Michelle Pfeiffer ‘Fell Madly In Love’ With A Character In Her Husband’s New Series

David E. Kelley Claimed Casting For The Show Was Easy

Kelley suggested the casting process came together with little difficulty, thanks in part to how strongly the actors responded to the material. Among those who quickly signed on were Nick Offerman, who plays Pfeiffer’s character’s ex-husband, and Elle Fanning, who leads the series as Margot Millet.

Kelley also said he felt especially lucky that his wife agreed to take on the role, joking that her decision ranked just behind another major yes from decades ago.

“When I read the book, I could only see one person playing it, and we’re lucky enough that she said yes, the second luckiest yes I’ve gotten from her,” he said.

Michelle Pfeiffer Had A Pact With Husband To Keep Work And Personal Life Separate

Pfeiffer’s long-standing decision not to work with her husband originated from a pact they made early in their marriage to keep their professional and personal lives separate.

She first opened up about the agreement in a 2021 interview with The New Yorker, explaining that even strong couples can run into trouble once they start working together. Pfeiffer later reiterated that view during a 2022 appearance on “The Tonight Show Starring Jimmy Fallon.”

“I value our relationship more than a good part, and I just think it’s too risky,” she said, per Fox News.

She went on to explain why the arrangement mattered so much to her, adding, “We’re both fierce when we work, so if I come home and I’ve had a bad day, and I’m upset about something, I want him to be on my side because he hasn’t heard the other side. There’s value in that.”

Michelle Pfeiffer Learned Some Lessons From Working With Her Husband

While promoting the show at the SXSW Film & TV Festival last month, Pfeiffer spoke about what it was like to finally work with Kelley after all these years.

“I learned that he likes you to take all of your questions to the director, and I’m fine with that,” she said, as reported by PEOPLE Magazine. “It was actually one of the best productions I’ve ever worked on. It was honestly so beautiful.”

The three-time Oscar nominee also made clear that she had no complaints about her husband’s work, praising both the writing and the ensemble behind the project.

Kelley Enjoyed Working With His Wife

Meanwhile, Kelley reflected on finally collaborating with his wife, saying the experience gave him an even deeper appreciation for her talent.

Although he had long admired Pfeiffer’s work, he explained that watching her perform material he had written for the first time allowed him to fully see what she brought to the words on the page, rather than simply watching her disappear into a character as a viewer.

Overall, Kelley said he came away “pretty impressed” by his wife’s performance. Pfeiffer admitted his praise meant a great deal to her and said she had felt a strong desire not to let him down.

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Editor’s note: The below interview contains major spoilers for the From Season 4 premiere.

For every question that MGM+’s horror series From has provided an answer to, twenty more have tended to spring up in its place. That’s certainly been the case now that the show is heading into its fourth season, with renewal of a fifth now confirmed as a way to definitively wrap up the story — but as the terrifying Man in the Yellow Suit (Douglas E. Hughes) once cryptically uttered, “What happens next is my favorite part.”

Some eagle-eyed fans may have spotted a few of the earliest clues via the Season 4 trailer, but it turns out that the Man in Yellow is no longer content to reserve his most chilling actions for the unlucky townspeople that happen to encounter him in the woods (RIP, Eoin Bailey‘s Jim). It takes until the very end of “The Arrival” for the episode to reveal its biggest twist to viewers — that Sophia (Julia Doyle), a young Christian woman who crashes into town alongside her “father,” is actually the Man in Yellow in disguise, setting up the revelation that the town’s deadliest threat is now walking among them. Ahead of the Season 4 premiere, Collider spoke with Doyle about her journey to joining From, when she found out who she was really playing, the secret technique she used to differentiate her performances, who Sophia already has her sights set on, and more.

COLLIDER: How much did you even know about who you were really playing before you were cast in From?

JULIA DOYLE: I didn’t know I was auditioning for From. I auditioned for a show called No Exit, and I didn’t get any storyline. In the script, all my scenes took place in the clinic, and a lot of the lines were changed. Instead of saying, “Oh, the monsters, they come out at night,” I would say, “Oh, the monsters that live inside the walls?”

I had watched Season 1 prior, and when I finally booked it, I did not know who the Man in Yellow was yet, so I knew that I was changing into a monster, but I didn’t know I was changing into the monster. It was definitely one of those things where it came in stages. “Oh, this is great!” [Pauses] “Oh my god, I booked a really good role!” [Pauses] “Oh my god, it’s a really good role on a really good show.” [Pauses] “Oh my god, this is a really, really good role.”

‘From’s Julia Doyle Got More Answers About Her Character After She Was Cast

“I got information when I was shooting block two, which was Episodes 3 and 4.”

Image via MGM+

Once you were cast, did you get any lore secrets from the series creators to help your performance at all, or was it mostly limited to what you were able to pick up from the scripts?

DOYLE: Yes, but not immediately. I got information when I was shooting block two, which was Episodes 3 and 4. I definitely did have to make up some stuff, but at the same time, not much changed. It was pretty good.

There’s a jump back in time after the episode’s big reveal, to all the steps leading up to it. From a filming standpoint, did you shoot chronologically, starting from the transformation in the woods, or was it less linear than that?

DOYLE: We shoot things in blocks — there are five blocks, and each block is two episodes. My scenes inside the car, post-crash, those were the very first scenes I ever did on the show, but then also right after that, I did scenes from Episode 2. To end that block, I did my flashback scenes and scenes driving the car inside the studio with the green screen and everything, and also the transformation and everything. That was all my last day of block one.

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Terror still reigns supreme, but this time, it comes from within.

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Talking about the crash, Sophia gets pinned in and has to wait for the others to free her. How long did you have to sit inside the car, in that position, between takes?

DOYLE: The first thing I will say is I loved the physicality of it, because doing auditions, you don’t always have things to work off of, and it can be a hindrance when you’re trying to make things up and mime things. You feel really fucking silly. So it’s really nice to have that. It’s also just one of those scenes that gets you. You don’t have to try as much as an actor because you already have the work there in front of you, and you can just do it.

I kind of just stayed in the car. They were very nicely like, “Are you sure you want to go? You can walk around.” I’m like, “No, I’m chillin’. This is a comfy seat.” They would recline the seat more, so I wouldn’t be totally locked in there, but yeah, it was great.

The reveal of Sophia’s true identity isn’t until the very end of the episode, but it happens after she takes her glasses off. For you, are little details like that helpful shorthand to inform the moments when you’re playing “Sophia” versus her real self? Does taking the glasses off symbolize her unmasking?

DOYLE: That’s very, very, very true, the unmasking part of that. I think my thought process was, “I want to make sure I really savor this moment and take it in, and I want to see clearly.” But de-masking, that’s probably what the writer was thinking when he was writing it. That’s really good writing, but in my head, I was like, “I just want to look at [the pastor] more. I want to get a good look at [him].” It’s also me being like, “Take a moment to breathe. Take off my mask.” So that wording does make a lot of sense.

‘From’s Julia Doyle Reveals the Secret Technique She Used to Get Into Different Character Headspaces

“When I’m Sophia, I want to fully be Sophia and not think that I’m the Man in Yellow acting as Sophia.”

Image via MGM+

Was there anything else, even if it was something that no one else knew about, that you used to help yourself in the moments when you’re playing “Sophia” versus the moment when we finally see the mask slip?

DOYLE: I used two different perfumes. I had one that was a pine scent, that was woodsy, that I used for the Man in Yellow, and then one [for Sophia] that was called Bubbles, and it was a nice sweet scent. Another thing that was really, really nice was, as an actress, obviously, there are moments in a scene where I might notice the camera, or stepping on my mark. So it was one of those things where, instead of being like, “Oh, shit, I’m acting,” it was one of those things where I was like, “Yeah, I’m acting right now.”

When I’m Sophia, I want to fully be Sophia and not think that I’m the Man in Yellow acting as Sophia. But if I did have moments when I would catch the camera in my peripherals, I would use it as a, “Yeah, you are acting,” instead of, “You’re acting right now on a set! Don’t flub your lines. Are you acting good? Are you acting bad right now?” It actually snapped me more into character, in a sense.

You have a few scenes with Kenny in the premiere, and I think there’s a protectiveness from him that maybe Sophia could exploit a little. Is there anyone that she’s set her sights on in terms of a potential target among the townspeople, or is everyone fair game at this point?

DOYLE: I think everyone’s fair game, but at the same time, there are people who are easier game than others. There are people that she knows would be more likely to look a little deeper than other people who are just like, “Oh, sweet little baby. I gotta make sure she’s okay.” So I think it’s one of those things where everyone’s typically fair game, and she’s not afraid, but at the same time, she’s not an idiot, and she’s not going to do things willy-nilly just because she can.

Who might start picking apart details and figuring out that her story’s not lining up, and whose protective instincts can she appeal to, in other words?

DOYLE: And if people are trying to sense the truth, or are starting to sense it, then she’s already laid the groundwork with her backup.

New episodes of From Season 4 premiere Sundays on MGM+.

“Real Housewives of Rhode Island” (or “RHORI” for short) may only be in its first season, but the ladies are dishing up drama like nobody’s business. In last night’s episode, Alicia Carmody and Rosie DiMare went head-to-head during a night out after accusations from a previous outing were shared in front of the group. The ladies were able to work through their problems, but not before they shook the table.

What Went Down Between Alicia Carmody And Rosie DiMare On ‘RHORI’?

According to Bravo’s Daily Dish, the cast of “RHORI” went on a group outing in episode 4 of the new series. During the event, several of the ladies broke off into smaller groups. DiMare teamed up with Liz McGraw, and during their excursion, DiMare told McGraw that some of the women—namely, Ashley Iaconetti—were a bit intimidated by her.

On the “RHORI” aftershow, DiMare admitted to relaying the information to McGraw but admitted to being a bit confused by everyone’s reaction. “She was totally fine while we were on the little machine,” DiMare said. “And suddenly, I’m like the worst person in the world for saying she’s scary.”

DiMare expressed her confusion because a day before, some of the women, including Carmody, had discussed McGraw’s rage. According to Carmody, McGraw has “been like that her whole life,” telling the women, “We do all have to walk on eggshells with her, me included. She’s no bulls–t. I even get scared of her, and I don’t get scared of anybody.”

Why Did Carmody Snap On DiMare During Episode 4 Of ‘RHORI’?

Things took a turn, however, when, during the outing, McGraw attempted to explain her position by revealing that she may appear tough on the outside but has a heart of gold on the inside. DiMare was a bit confused by McGraw’s statement, though, and told her that her friend, Carmody, previously said she’d “always been like this.”

Carmody snapped at DiMare shortly after, accusing her of twisting her words around. During the aftershow, Carmody said she doesn’t “think [DiMare] realized what she was doing.”

“I’ll tell you what pissed me the f–k off about Rosie,” she added. “I said, ‘Yeah, she was always like this,’ in a way like she had a hard life, like kind of trying to explain Liz, like, without talking s–t. … I was trying to make Liz softer than what they were trying to [portray] her as. Rosie, the next day, took it… That’s when I lost my s–t. I don’t like someone twisting that. That’s f–ked up.”

Carmody Said DiMare’s Behavior Was A Red Flag

Continuing, Carmody called DiMare’s behavior a “red flag,” adding that she wouldn’t let it slide. “You know what I mean? Don’t f–k with me.”

“I think that she was testing the waters, and then she was like, I am gonna dip my feet in. And it was the wrong f–kin’ pond. Not with me,” Carmody added.

DiMare, on the other hand, admitted to being stunned by everyone’s reaction; however, she said she knew Carmody could be a bit feisty.

“I knew Alicia had it in her ’cause, like, she can be really fiery,” she said. “I just didn’t think, like, acknowledging something she said the day before was, like, so deep.”

The ‘RHORI’ Ladies Moved On

Par for the course, DiMare and Carmody moved on shortly after their blowup after the former said she was “really sorry” for stirring up trouble.

“I definitely have a temper. My mother always told me that. It’s, like, very loud,” Carmody said. “But when she apologized to me, I knew that she didn’t mean it, and I was like, ‘I love you.’ The fact that you acknowledged it. It’s not like you f–ked Billy. Like, I can move on. I knew that she was sorry, and I love Rosie for that.”

So, where are the girls today? According to Carmody, DiMare is a “good friend right now.” However, it is the “Real Housewives,” so things could change at any moment.

Andy Cohen Teased ‘Real Housewives Of Rhode Island’

The “Real Housewives of Rhode Island” are living up to the hype. According to a previous report from The Blast, Bravo staple Andy Cohen teased the show earlier this year, stating that it would “hit [viewers] like a ton of bricks.”

“The women are all stars. They’re so funny. They are the drama. You know, we were talking about Rhode Island backstage. It’s our smallest state, and they all seem to know each other, or be related, or went to high school together, or all of the above,” Cohen added.

Amal Clooney just proved that achieving glossy, expensive-looking hair doesn’t require a luxury budget. While attending a Cartier event in Milan, the human rights lawyer stepped out with voluminous waves and a silky, high-shine finish that looked straight out of a high-end campaign.

The surprising part? Her ultra-polished look wasn’t created with a pricey salon treatment. According to InStyle, hairstylist Dimitris Giannetos used the L’Oreal Paris Sulfate Free Iron Sleek Coat Hair Treatment — a drugstore staple that’s currently on sale for just $10 on Amazon.

Get the L’Oreal Paris Iron Sleek Coat Hair Treatment or $10 (Was $13) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Related: Cameron Diaz Uses This Gentle (And Super Clever) SPF for Sensitive Skin

Finding a sunscreen that actually works for sensitive skin — without stinging, clogging or leaving a heavy film — isn’t always easy, which is why Cameron Diaz keeps her routine simple with one that checks all the boxes. Her go-to SPF, the Colorescience Colorescience Brush-On Sunscreen, is known for being gentle, lightweight and easy to […]

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Designed to smooth strands and fight frizz, this semi-permanent treatment helps protect against humidity — a.k.a. the fastest way to ruin a blowout. It works by coating hair with a lightweight, water-resistant layer that seals the cuticle for a sleeker, glossier finish, all while staying sulfate-free to help preserve color and prevent fading over time.

If Amal’s Milan moment proved anything, it’s that the right finishing product can completely transform your hair. Her waves looked soft, bouncy and reflective under the lights — delivering that effortless, ‘rich girl’ shine that instantly elevates your look.

Beyond the celebrity stamp of approval, shoppers say the results speak for themselves. The treatment has seen a surge in popularity, with some reviewers saying they’re “obsessed” with how it leaves their hair “perfectly sleek.” Others even call it a “game changer” for managing frizz in humid weather — especially for color-treated strands that need extra care.

Even better, it’s incredibly easy to work into your routine. There’s no complicated process or extra salon step involved — just a simple addition that helps your blowout last longer and look noticeably smoother.

For under $10, this is the kind of beauty buy that feels almost too good to pass up. If you’ve been chasing that glossy, polished finish, consider this your shortcut to Clooney-level shine — no glam team required!

Get the L’Oreal Paris Iron Sleek Coat Hair Treatment or $10 (Was $13) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more from L’Oreal Paris here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

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Related: Amal Clooney Has Used This ‘Facelift in a Jar’ Cream for Years (On Sale!)

With Amazon’s Big Spring Sale ending soon, now’s the chance to snag what you’ve been eyeing before it returns to full price. One item that definitely made its way into our carts? Charlotte Tilbury’s revamped Magic Cream, which is surprisingly discounted by 20%, despite recently hitting the market. The original Magic Cream has been a […]

A Taylor Swift-obsessed influencer claimed she makes up to $10,000 per social media post.

Full-time influencer Olivia Levin told the New York Post on Saturday, April 18, that she has scored the significant sum on multiple occasions. “It ranges; sometimes it’s $1,000, but sometimes it’s like $10,000,” Levin, 26, said.

Levin’s @SwiftiesForEternity Instagram account boasts more than 630,000 followers and is even followed by Travis Kelce’s mom, Donna Kelce, Swift’s soon-to-be mother-in-law. (Swift and the NFL star, both 36, announced their engagement in August 2025 after nearly two years of dating.)

Levin, who is based in Connecticut, shares fan sightings of Swift via her Instagram account as well as other Swift-related content, commentary on Swift’s public outings, interactions with fellow Swifties, memes focused on Swift and updates on Levin’s own life.

Related: Taylor Swift and Travis Kelce by the Numbers: How Much Are They Worth?

It’s safe to say Taylor Swift and Travis Kelce could afford to rent out (several) restaurants every day for the rest of their relationship. Swift and Kelce broke the internet in September 2023 when they confirmed their romance by the Grammy winner watching Kansas City Chiefs play the Chicago Bears at Arrowhead Stadium in Missouri. […]

Her prominence as a Swiftie influencer even landed her a book deal. Levin’s debut, The Story of Us: How the Taylor Swift Fandom Changed Our Lives, was released on Tuesday, April 14.

In a social media post from September 2025 that announced the book’s release, Levin wrote, “The Story of Us is my love letter to you, the Swifties, who gave me purpose, friendship, and a kind of joy I didn’t even know was possible.”

Levin continued at the time, “If you’ve been here from the beginning, get ready to revisit the eras, the livestreams, the chaos, the inside jokes, the happiness, the fun, and the magic. If you’re newer here, welcome. I hope reading this book makes you feel like you were part of it all along.”

The influencer told the New York Post that her social media career began after she was laid off from her job in the book publishing industry in 2023. “At a certain point, I stopped looking for 9-to-5 jobs because I met my brand partnerships agent who started getting me brand deals,” she said.

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Her foray into influencing coincided with the launch of Swift’s Eras Tour, which kicked off in Glendale, Arizona, on March 17, 2023. The timing was perfect, as she quickly boosted her profile by helping other Swifties secure Eras Tour tickets without being scammed online.

“People who had extra tickets or couldn’t make it any more would message me, and I would verify the tickets and post them and help them transfer it to another fan at face value,” she told the outlet.

Today, Levin’s posts draw solid engagement, including the September 2025 book deal announcement, which attracted support from @kelcebrothers, another prolific Swiftie fan account. “Congratulations Olivia!!!,” the account, which boasts more than 744,000 followers of its own, commented.

The 2020s have already delivered an impressive range of standout films across genres, from intimate character-driven dramas to ambitious blockbusters and visually inventive animated features. Even in a rapidly changing industry shaped by streaming growth and shifting audience habits, filmmakers have continued to produce memorable and widely celebrated work that have become modern classics.

Fans on IMDb have rated the decade’s releases, voting for what they believe are the best movies from the 2020s so far. From animated gems like Soul to blockbuster sci-fi adventures like Dune, these movies defied the odds, providing audiences with entertainment and inspiration through this remarkable time. Film lovers on IMDb have given these releases their seal of approval, granting them high rankings and cementing their place as the best films from the 2020s so far.

35

‘Godzilla Minus One’ (2023)

IMDb Score: 7.6/10

Image via Toho

The latest powerful and jaw-dropping film in the Godzilla franchise, Godzilla Minus One reimagines the kaiju’s origins, taking place just after Japan’s defeat in World War II, focusing on the country’s post-war struggles. The film specifically follows the perspective of Koichi Shikishima, a failed kamikaze pilot who is attempting to do what he can to build his life back up from the destruction left behind by both the war-torn economy and Godzilla himself.

While there have been many giant monster movies that have certainly had high levels of spectacle and destruction on display, what made Godzilla Minus One connect with so many audiences is its human characters. The film is one of the few examples of a monster movie with a human storyline that actually adds and further amplifies the themes and messaging of the film, creating a beautiful blend that makes the actual Godzilla sequences that much more impactful. The film proved that there were still a multitude of beautiful and resonating stories to be told in the monster movie genre that go beyond action simply for the sake of action.

34

‘Poor Things’ (2023)

IMDb Score: 7.7/10

Image via Searchlight Pictures

One of many masterful and abstract masterpieces from director Yorgos Lanthimos, Poor Things follows the story of Bella Baxter (Emma Stone), a young woman who was brought back to life thanks to a wild, unorthodox scientist. As she relearns and reexperiences the beauties and difficulties of life once again, Bella soon comes to a greater understanding not only of her role in the world but also of how the world as a whole operates around her.

Poor Things is a film that simply doesn’t hold back when it comes to the vibrant and absurdity of its world and characters, allowing its strange and mind-melting execution to take a commanding hold of the audience’s attention. It can just as easily delve into deep and philosophical topics, such as life and the balance of society, as it can go full absurdist and raunchy comedy with the scenes that take place. It makes for a difficult yet powerful balancing act that the film does just right, easily making it one of the most standout viewing experiences of the decade so far.

33

‘Everything Everywhere All at Once’ (2022)

IMDb Score: 7.7/10

Image via A24

The Best Picture-winning sci-fi action film that took the world by storm, Everything Everywhere All at Once is the perfect combination of kung fu action, emotional family drama, and over-the-top comedy. The film follows the story of Evelyn Wang (Michelle Yeoh), an aging Chinese immigrant who is unexpectedly told that she is the key to winning a war that has been spanning across the multiverse. She is soon taught the ability to hone in on versions of herself from alternate realities, able to use an array of wild skills to be able to become an exceptional fighter in her own world.

Everything Everywhere All at Once features just about everything that one would want from a modern action comedy, blending together exciting and top-notch action sequences with a chaotic comedic energy that serves to fuel the entire experience. What has made the film such a critical and audience powerhouse, however, is its exceptional message about generational trauma and the film’s unexpected ability to be a genuine tearjerker. Its Best Picture win only puts a bigger spotlight on the film’s greatest strengths, as it’s easily one of the best movies of the 2020s.

32

‘All Quiet on the Western Front’ (2022)

IMDb Score: 7.8/10

Image via Netflix

The original, Best Picture-winning All Quiet on the Western Front is one of the most widely acclaimed and influential war films of all time, leaving a hefty legacy for this modern German remake to follow up on. However, finding inspiration from other exceptional modern war films, the modern adaptation of All Quiet on the Western Front proves to be one of the most brutal and vicious portrayals of World War I ever put to film. The film mostly follows the plot of the original novel, staying true to the themes of wartime hardship and loss of innocence on the battlefield.

The story and messaging of All Quiet on the Western Front prove to be the same masterfully crafted anti-war sentiment as always, yet the story is amplified and flourishes under the vision of director Edward Berger. Berger proves to make each grueling sequence more impactful and dreadful than the last, fully amplifying the feelings of helplessness and pain that war provides. It’s easy to view the film as the quintessential war film of the decade so far, combining classic storytelling with modern craft to create the best of both worlds.

31

‘Puss in Boots: The Last Wish’ (2022)

IMDb Score: 7.8/10

Image via Universal Pictures

Easily one of the biggest surprises of the decade in terms of animation, nobody would ever have expected a gripping tale of fear and life fulfillment from the sequel to a spinoff of the Shrek franchise. However, Puss in Boots: The Last Wish is not only a monumental feat of modern animation but has also quickly risen to be one of the greatest cinematic achievements of DreamWorks Animation’s long and varied history. The clear highlight of the film is the exceptional visual flair and stylized animation, yet pretty visuals are only the beginning of the film’s many positives.

A great deal of the film’s praise and surprise factor comes from its multifaceted villain, Death, acting as both a symbolic and literal battle for Puss in his fear of dying. It makes for one of the most original and compelling messages and core themes for a children’s film, which, combined with top-notch comedy and exceptional vocal performances, made the film an immediate fan favorite. The film nearly single-handedly revitalized DreamWorks’ stature and legacy as a leading force for blockbuster animation, once again being a fierce rival to the likes of Pixar.

30

‘RRR’ (2022)

IMDb Score: 7.8/10

Image via Lyca Productions

The 2020s have been an exceptional time for massive cinematic breakthroughs from India, with easily the most prominent and recognizable Indian film of recent memory being RRR. This Telugu-language action epic remix of classic Indian revolutionaries broke through the global cultural barrier to become a massive worldwide hit, thanks in part to exceptional spectacle at every opportunity. From explosive action to high-energy musical numbers, the film delivers everything one would want out of a complete high-budget Indian epic.

The film exemplifies all the greatest strengths of Indian filmmaking since 2020, personifying a great path forward for the region in terms of striking blockbusters that not only rival the works of traditional Hollywood blockbusters but, in many ways, surpass them. The sheer craft and brilliance of its filmmaking, combined with the massive and dedicated subsection of Indian cinema fans on IMDb, have helped give the film an exceptionally high score.

29

‘The Batman’ (2022)

IMDb Score: 7.8/10

Image via Warner Bros. Pictures

While many different renditions of the Caped Crusader have graced the silver screen over the years, The Batman immediately made a name for itself as one of the most stylistically rich and original takes on the character. The film follows Bruce Wayne (Robert Pattinson) in only his second year of crimefighting under the mantle of Batman, as he is forced to uncover the corruption hidden in Gotham City brought to the surface by serial killer, The Riddler (Paul Dano). The investigation leads him to the darkest and most dangerous parts of the city, as well as leading to an unexpected connection to Bruce’s own family.

The Batman character has, in a sense, become the perfect surrogate and showcase for exceptional filmmaking chops in the modern era, with director Matt Reeves creating a visual spectacle that stands head and shoulders above other contemporary superhero blockbusters. Especially after the widely mixed reception of DC’s other recent films, The Batman‘s striking visuals, instantly iconic song, and deeply thematic story of hope and corruption helped the film write a name for itself as one of DC’s best.

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‘Past Lives’ (2023)

IMDb Score: 7.8/10

Image via A24

Celine Song’s feature directorial debut, Past Lives, is a riveting and emotionally charged romantic drama. It traces the journey of two childhood friends, Na Young (Greta Lee) and Hae Sung (Teo Yoo), and their evolving relationship spanning 24 years as they grapple with the changes in their lives and slowly grow apart. The plot draws inspiration from real events in Song’s life and is semi-autobiographical in nature.

Past Lives is realistically subtle and understated, occasionally veering into the ordinary but ultimately reflecting the complexities of lives through a universal tale of life choices. It captivates viewers, particularly in its climactic, emotionally draining moments. A further aspect of the movie’s charm is the way the camera seems to caress the landscape of the desolate cities while it catches their beauty.

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‘Flow’ (2024)

IMDb Score: 7.8/10

Image via  Dream Well Studio

Proving that a sprawling and compelling story can be told with so little, Flow is a meticulously crafted masterpiece of visual storytelling that achieves its prowess without a single word of dialogue. The film was largely created and animated by a singular visionary, Gints Zilbalodis, telling a beautiful story of various animals coming together and adapting when the world around them begins to be flooded. There is a sense of raw emotion and aura emanating from every second of the film, creating an immediately engaging and compelling narrative through striking visuals alone.

Flow proves to be a magnificent achievement in the realm of modern independent animation, showing the exact type of glorious works of art that can be created through modern technology and with a dedicated vision. It goes beyond simply capitalizing on and utilizing the trend of modern stylized animation, but instead uses the style as a tool to tell a timeless story of community and bonding during a time of disaster and communal pain. There are many different interpretations and meanings that one can attribute to the film, a sign of a truly transformative and immortal work of art.

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‘Hamnet’ (2025)

IMDb Score: 7.8/10

Image via Focus Features

Chloé Zhao‘s exceptional return to elevated award-winning filmmaking after her detour with the MCU and Eternals, Hamnet proved that the award-winning female director was far from a one-time fluke and one of the most emotionally resonant directors of the modern era. This remixed origin story of the Shakespearean classic is massively elevated by a duo of heart-wrenching performances by Jessie Buckley and Paul Mescal, adding layers of grief and underlying pain to the timelessness of Hamlet.

As opposed to directly following the characters of Hamlet, the film follows a young interpretation of Shakespeare and his wife Agnes, seeing them fall in love, start a family, and experience painful loss in their lives that directly inspired the writing and story of Hamlet. Zhao knows how to bring the absolute most out of the central performances of the film, with overwhelming emotional weight and power, making Hamnet one of the 2020s saddest, most heartbreaking films.

Singer K. Michelle has been open on “The Real Housewives of Atlanta” about her health issues that stemmed from prior plastic surgery procedures. However, in the most recent episode, Porsha Williams asked what the “RHOA” newbie considered to be an insensitive question. Now, following the show’s airing, the “VSOP” singer is revealing why Williams’ question bothered her.

K. Michelle Thought Porsha’s Miscarriage Question Was Out Of Bounds

Episode three of “The Real Housewives of Atlanta” featured Michelle discussing her hospitalization. Notably, this happened during a group scene with Cynthia Bailey, Phaedra Parks, and Williams. During the scene, Michelle explained that she experienced leakage, leading Williams to ask the singer if she’d suffered a miscarriage.

After the episode aired, Michelle took to X to vent about the question. She said, “Have you ever almost died from surgery? Have you ever lost several babies?” The “RHOA” newbie went on to note that the cast had been informed about why she had been hospitalized, meaning Williams had no reason to wonder if she’d had a miscarriage.

The “Love & Hip Hop” alum continued, “I was out of the hospital bed an hour and being asked if I had a miscarriage in an Atlanta nail salon. I forgive and come in peace, but I’m very much clocked in.”

K. Michelle Made Her Disdain Known To Porsha Williams

Williams asked Michelle about her hospital stay, which came fairly early in the third episode of “RHOA” season 17. Because of this, she was able to voice her concerns not only to the other ladies but to Williams herself.

While talking to Bailey and fellow newbie Pinky Cole, Michelle was asked about her August 2025 tweets, in which she seemed to call someone in the group a bimbo. Notably, this would have been during the show’s production.

She told the group that the posts were about Williams. According to Michelle in a clip from the show, “I had already talked to Porsha about what happened and what was going on with me, and this big dingbat burst out and says, ‘You had a miscarriage?’”

She went on to question why the “RHOA” legend would “say that to a woman.” Bailey and Cole then told the singer to speak with Williams, which she did. The two came to an understanding, and Williams apologized to Michelle.

Fans Think K. Michelle Overreacted & She’s Defending Herself

Following the most recent episode of “The Real Housewives of Atlanta,” fans took to social media to offer their opinions on the situation between Michelle and Williams. One person said, “K Michelle dragging it with the miscarriage thing … like that was a valid question.”

The singer quoted the post, writing, “Would you want someone in the middle of a nail shop screaming out in front of Atlanta when you’re an hour out of the hospital asking you in front of other women you just met if you had a miscarriage?????? Oh.”

After that, another “RHOA” fan noted that they had resolved their issues within the episode. Michelle responded, “You can’t be that slow, honey bunny? We are discussing the episode as I’m supposed to do.”

Someone else wrote on X, “You are reaching for the stars with this one, K. P didn’t mean any harm.” Lastly, a different viewer stated, “I love you, girl. But Porsha was the only one who stopped you before you spoke and asked you if you were sure you wanted to talk about it! Puddle of liquid does not give its coming from my a-s. Yes, Porsha should not have interrupted.”

The ‘RHOA’ Star Explained Her Health Scare In A Recent Episode

According to Bravo, Michelle was hospitalized during the second episode of “The Real Housewives of Atlanta” season 17. This came after she performed at the Academy of Country Music Honors. She stated that while at the event, she experienced an “open wound” that had become infected and caused leakage.

Michelle explained in the episode, “I was preparing for the Academy of Country Music performance. I’m sitting there minding my business, and I stand up. The whole coach is soakin’ wet. I didn’t feel anything. I was completely numb.”

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She also revealed that her condition required reconstructive surgery. She vulnerably admitted, “I did not think I was going to be going to no hospital today. I just hate I did this to myself. That’s the worst thing I ever did to myself.”

Andy Cohen Revealed K. Michelle Reached Out To Him

Following the confirmation that Michelle had joined “The Real Housewives of Atlanta,” Andy Cohen shared his thoughts on “Radio Andy,” revealing that she had previously direct messaged him about joining. He said, “I have never seen one frame of ‘Love & Hip Hop.’ Now, once we started filming and I was reading hot sheets from Atlanta, I DM’d K. Michelle to say, ‘you’re so great. I’m so glad you’re on the team.”

Cohen went on, “What did I find but a DM from K. Michelle from like 2023 or something, being like ‘I need a peach. This is the show that I belong on.’ Somehow, I had missed this.” He then praised her confessional interviews featured on the show.

“The Real Housewives of Atlanta” airs on Bravo Sunday nights.

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Even if you’ve never seen a popular sci-fi film or TV series, certain genre quotes have gained such omnipresent prominence within the cultural lexicon that there’s a good chance you’ve heard them and recognize their origins. Look no further than the plethora of options provided by Star Wars or Dune, for instance. Where television is concerned, there’s no saga more preeminent than the grandfather of them all, Star Trek, and no shortage of famous words within its 60-year history, either.

Despite facing decent competition, between his philosophical insights, his sneaky repartees, and the fan-traumatizing rite of passage that is Star Trek II: The Wrath of Khan‘s “You have been and always shall be my friend,” Spock’s (Leonard Nimoy) quote collection reigns supreme. Arguably the franchise’s most defining and recognizable character, no Spock phrase from Star Trek: The Original Series is more recognizable to the general culture or more defining to Star Trek‘s enduring ideals than “live long and prosper” — four words coined by writer Theodore Sturgeon in his screenplay for the Season 2 episode “Amok Time.”

“Live Long and Prosper” Embodies ‘Star Trek’s Core Values

A deservedly iconic highlight of The Original Series, “Amok Time” houses several Trek firsts beyond originating “live long and prosper.” The Enterprise visits the planet Vulcan for the first time, dives into their cultural conventions and biology (that pesky pon farr mating drive), and provides the first glimpse at Spock’s private life through his fiancée, T’Pring (Arlene Martel). “Live long and prosper,” usually paired with the Vulcan salute, doubles as a benediction and a traditional Vulcan greeting or farewell.

Spock speaks the words before he returns to the ship near the episode’s conclusion. After giving his well-wishes to T’Pau (Celia Lovsky), the Vulcan official overseeing his failed wedding, and receiving hers in return, Spock solemnly states, “I shall do neither. I have killed my captain and my friend.” It’s an unexpectedly heartfelt moment for a character known for his cool-headed stoicism, stripping away Spock’s cerebral mystique and replacing it with vulnerability. He’s spent “Amok Time” alternatively embarrassed, delirious, and resigned to his fate, which already subverts expectations. Once his senses return, he believes he murdered Captain Kirk (William Shatner) during their ceremonial combat. Unlike the rest of the episode or his rare outbursts throughout Season 1, Spock’s visible regret isn’t a side effect of either pon farr or outside manipulation. His response to T’Pau’s “live long and prosper” reflects the depth of his capacity to feel grief, loyalty, and affection.

Following “Amok Time,” the phrase and the Vulcan salute were formally integrated into the species’ society and sprinkled throughout the spin-off movies and series. Outside the screen, the combination adopted a life of its own, transforming into a signature catchphrase and a greeting that fans exchange. An easy shorthand for fan enthusiasm, “live long and prosper” also resonates once it’s applied to a wider context. It speaks to Trek‘s optimism, compassion, and acceptance, a galaxy where celebrating differences is a form of empowerment. “Amok Time” doesn’t assign that framework to its most famous four words, but the relevance being retrofitted doesn’t deprive the words of their deeper sentiment.

Leonard Nimoy’s Input and Experience Expanded Spock’s Character

As for Spock, for all his credentials and the admiration bestowed upon him by his fellow officers, he’s a permanent outsider. His parents’ marriage bridges two worlds, neither of which he can fully fit within. Even among the Enterprise‘s interspecies crew, he either symbolizes professional balance or alien oddity, depending on the officer’s perspective and prejudice. Spock’s inner conflict takes decades to align into a balance between his human heart and his Vulcan head. “Live long and prosper” reverberates on a deeper level when coming from a wise, dignified, deeply feeling individual of mixed heritage.

Besides being the main speaker and keeper of those words, Nimoy applied his own sense of alienation to the role through his performance and by improvising the Vulcan salute. He based the sign on the Jewish Priestly Blessing, a benediction performed by the Kohanim upon their congregation. “[Director Joe Pevney] had me approach T’Pau and I felt a greeting gesture was called for,” Nimoy reflected in a 2012 guest blog post for Star Trek.com. “So I suggested it to Joe, who accepted it immediately.”

After Nimoy’s parents, both Ukrainian Jews, immigrated to Boston, Massachusetts, the household spoke fluent Yiddish and actively attended Orthodox synagogues. In the same blog post, Nimoy shared how strongly the blessing ceremony affected him once he witnessed it as a child:

“I still have a vivid memory of the first time I saw the use of the split-fingered hands being extended to the congregation in blessing. […] I was entranced. I learned to do it simply because it seemed so magical. It was probably 25 years later that I introduced that gesture as a Vulcan greeting in Star Trek and it has resonated with fans around the world ever since. It gives me great pleasure since it is, after all, a blessing.”

The only Trek actor nominated for an Emmy Award and in many ways the keeper of the franchise (a leading aspirational image, at least), Nimoy naturally integrated a cherished cultural and religious practice into a series that’s become an empowering balm for those who experience ostracism. Those four excellent words, paired with an intentional but incidental moment, did what fiction does best: coalesced into something greater. There’s no better legacy for Trek‘s iconic phrase and its most famous face to embody.

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Star Trek: The Original Series

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Release Date

1966 – 1969-00-00

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Showrunner

Gene Roddenberry

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Directors

Marc Daniels, Joseph Pevney, Ralph Senensky, Vincent McEveety, Herb Wallerstein, Jud Taylor, Marvin J. Chomsky, David Alexander, Gerd Oswald, Herschel Daugherty, James Goldstone, Robert Butler, Anton Leader, Gene Nelson, Harvey Hart, Herbert Kenwith, James Komack, John Erman, John Newland, Joseph Sargent, Lawrence Dobkin, Leo Penn, Michael O’Herlihy, Murray Golden

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