Brittany Cartwright is speaking up about Jax Taylor’s romance with their once-shared publicist, Lori Krebs.

Chatting to Zack Wickham on the Friday, July 17 episode of her “When Reality Hits” podcast, Brittany, 37, vowed to share how she really felt about it all when the time was right.

“All I’m going to say about this at this moment is I will be speaking my truth — the truth — on this matter very soon whenever I’m ready,” Brittany said. “As of right now, I am focusing on me and the most important thing in my life, which is my beautiful son. And as of right now, I’m just trying to protect my son and my peace and very soon I will be telling [my story].”

The Valley star added, “I mean, I think everybody kinda understands what’s going on.”

Related: Brittany Cartwright Is ‘Sick to Her Stomach’ Over Jax Dating Publicist Lori

The Valley star Brittany Cartwright was caught off-guard by the recently surfaced photos of estranged husband Jax Taylor cozying up to their once-shared publicist, Lori Krebs, but according to an insider, she questioned for years whether there was more than a professional relationship and friendship between the two. “Brittany had her suspicions for years but […]

Jax, 47, was married to Brittany for five years before they separated in 2024. They share 5-year-old son Cruz.

Us Weekly exclusively confirmed earlier this month that Lori was recently spotted with Jax in Puerto Vallarta, Mexico, to celebrate his birthday. An eyewitness claimed that the duo packed on the PDA at the Hotel Mousai pool one day and told individuals that they were both “happily divorced.”

An insider told Us earlier this week that Brittany was caught off-guard by the photos. According to the source, Brittany questioned for years whether there was more than a professional relationship and friendship between the two.

“Brittany had her suspicions for years but always trusted that Lori had her best interest at heart and believed she wouldn’t do such a thing,” a source exclusively told Us of Brittany. “There were rumors about them for years and Brittany always brushed them off. She always had Lori’s back and trusted her. They were very good friends and did not have a typical professional relationship.”

The insider told Us that Brittany felt “extremely betrayed” over the surprise romance and Jax and Lori’s PDA pictures.

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“It’s very upsetting to her and she is sick to her stomach over it,” the insider added. “She is shocked that photos surfaced and that they are out in public. Lori was with Brittany through dark days.”

Brittany and Jax wed in 2019 during their time on Vanderpump Rules. The former couple departed the show in 2020 before taking their marriage to The Valley in 2024. When the show’s second season aired earlier this year, fans watched Brittany and Jax’s marriage crumble.

As of April, their divorce had yet to be finalized as they were working toward amicably coparenting Cruz.

Jelly Roll and Bunnie Xo have legally ended their marriage.

According to court docs obtained by TMZ on Friday, July 17, the exes privately finalized their divorce earlier this month.

The exact details are confidential, but the outlet claims the pair are splitting several items, including an aircraft, cars, homes and their intellectual properties.

The Grammy winner, 41, is also reportedly set to pay a one-time lump sum payment to his ex-wife, 46, as part of their settlement agreement. The amount is confidential, and there won’t be any alimony claims to fight over in court.

Related: Country Star Jelly Roll and Wife Bunnie XO’s Relationship Timeline

Jelly Roll and Bunnie Xo were brutally honest about the ups and downs of their relationship throughout their near decade-long marriage. Following two stints in jail — Jelly Roll (real name Jason Bradley DeFord) was arrested for aggravated robbery at 16 and served one year before being incarcerated for drug dealing at the age of […]

The agreement includes a provision prohibiting either from talking poorly about the other.

Us Weekly has reached out to Jelly Roll and Bunnie Xo’s attorneys for comment.

On June 15, Us confirmed that the musician filed to end his marriage one month prior, submitting a divorce petition in Tennessee on May 18. He was seen at the 2026 CMA Fest in Nashville earlier in June, where he performed on stage without a wedding ring on.

The pair have vowed to remain cordial and assured fans that the split was amicable.

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Related: All the Signs Jelly Roll and Bunnie Xo Were Heading for Divorce

Jelly Roll and Bunnie Xo‘s divorce comes as a shock to many — but there were clues about their split leading up to the news. The pair got married in 2016 before Jelly Roll became a household name. Amid his rise to stardom, Bunnie supported Jelly Roll as he used his platform to candidly address […]

During the June 18 episode of her “Dumb Blonde” podcast, Bunnie Xo broke her silence on the split and confirmed that Jelly Roll was back on the market.

“Daddy Roll is probably in his finest season. He looks so good. He is healthier than he’s ever been,” the podcast host said before making it clear she didn’t mind one bit if he moved on romantically. “He’s even started dating, which is great. I love that.”

That same day, Jelly Roll revealed during his concert that he supported everything his now ex-wife said in her podcast episode.

“Me and my wife are best friends. We will always be best friends. We just got off the phone earlier today,” he shared. “Nobody cheated on nobody. She just did a whole podcast about it. You can go watch it. Every word of it is the truth. That will be my best friend forever. This is the only time I will ever speak about it.”

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Related: Inside Bunnie Xo and Jelly Roll’s Shocking Split: What Went Wrong?

Bunnie Xo is ready to shine a light on what went wrong in her nearly 10-year marriage to Jelly Roll. “My family was always so important to me, and when I said those vows with him, I really meant them,” Bunnie, 46, shared on the Thursday, June 18, episode of the “Dumb Blonde” podcast. “J […]

Jelly Roll continued, “Bunnie, I love you baby. Thank you for those 10 years. They were incredible. Thank you for the next 10 years of friendship and 20 beyond that.”

Although Bunnie Xo took down her podcast episode where she addressed the split, it wasn’t because what she said is no longer true. Instead, the media producer explained that she didn’t “want one of the hardest moments of my life to become a permanent headline.”

“If I’m being real, I don’t want the divorce to become my entire personality,” she added. “I don’t want to be the poster child for divorce. That episode served a purpose for me at that time, and it was real, it was honest, and it came from exactly where I was emotionally in that moment. But I’m not in that same place anymore.”

Taylor Frankie Paul’s exes Dakota Mortensen and Tate Paul are breaking their silence after the Division of Child and Family Services raised concerns about her parenting.

“Tate Paul and Dakota Mortensen have remained publicly silent throughout these proceedings to avoid having serious private family matters turned into more of a public spectacle than they already have due to the insatiable appetite of others to share private family information online to promote views and publicity,” Dakota, 33, and Tate said in a joint statement through counsel to Us Weekly on Friday, July 17. “However, they are deeply concerned that Taylor’s statement minimizes the gravity of the action filed by DCFS and her many underlying actions that prompted such.”

“The petition filed by DCFS this week is not a routine transition to juvenile court or an opportunity for personal growth,” the duo added in their statement. “DCFS has asked the Court to find that the children are abused and has requested an expedited hearing concerning their immediate protection.”

Us Weekly has reached out to Taylor’s attorneys for comment.

Dakota shares son Ever, 2, with Taylor, 32, whom he dated on and off for several years before they split earlier this year. (Their tumultuous relationship made headlines in March when they were involved in an alleged domestic violence dispute. The district attorney later decided not to charge Taylor in the alleged incident.)

Tate, meanwhile, was married to The Secret Lives of Mormon Wives star from 2016 to 2022. The exes split after Taylor crossed a line during their soft-swinging agreement, which she later confessed to via a TikTok video. The former spouses share two children, Indy, 8, and Ocean, 6.

Over the past few months, Taylor has found herself battling over custody with both Dakota and Tate.

Amid the legal disputes, Utah’s division of the DCFS filed a petition asking a juvenile court to find that her three children are “abused, neglected or dependent.”

TMZ reported on Wednesday, July 15, that DCFS also asked the judge to order protective supervision services, appoint a guardian ad litem to represent the children and issue any additional orders deemed to be in their best interests.

“Tate and Dakota are grateful that DCFS has taken these concerns seriously and is stepping in to protect the children,” Taylor’s former partners said in their statement. “They share the serious concern that the family court system, law enforcement, prosecutors, and child-welfare agencies need meaningful coordination necessary to understand the situation and act in a manner most likely to protect the children. Serious warning signs went largely unaddressed for far too long, even after the passage of Om’s Law.”

Tate and Dakota’s statement noted that both fathers “remain focused on protecting the children, giving them the time and space they need to heal, supporting meaningful accountability, and using what their families have experienced to help improve coordination between these systems in the future.”

“Despite the myriad false accusations published online and on social media about them by Taylor and others, Tate and Dakota have chosen to not participate in the often misconstrued social media and other online activity surrounding their cases,” the statement continued. “They have remained silent to protect their children, not because they have nothing to say. When the time is right, they will tell their story in their own words in the appropriate forum.”

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Related: Judge Rules on Taylor Frankie Paul and Dakota Mortensen Protective Orders

A judge has issued a big ruling regarding Taylor Frankie Paul and ex Dakota Mortensen’s ongoing legal battle. “This has been a very toxic relationship. It’s beyond the pale in a lot of ways, the toxicity,” a judge said during a protective order hearing on Thursday, April 30, regarding the pair’s custody arrangement. “What I’ve seen […]

Taylor, for her part, reacted to DCFS stepping in on Thursday, July 16, telling Us in a statement, “It was recently decided that the ongoing custody actions would be best suited for juvenile court, a common step for families engaged in highly contentious, complex custody matters.”

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The reality star’s attorney added, “Taylor is not deterred by this transition; she welcomes the added structure and oversight it provides and looks forward to continuing her progress toward normalizing custody and becoming the healthiest version of herself.”

The statement concluded: “Taylor remains fully committed to doing whatever is necessary to reach that goal and will not be swayed from it. Taylor appreciates the professionalism of DCFS and its representatives.”

If you or someone you know is experiencing child abuse, call or text Child Help Hotline at 1-800-422-4453. If you or someone you know is experiencing domestic violence, please call the National Domestic Violence Hotline at 1-800-799-7233 for confidential support.

By Chris Snellgrove
| Published 8 seconds ago

So far, it seems that James Gunn has a very complicated relationship with the failed DCEU. On paper, it’s his job to create his own cinematic universe (the DCU) that avoids all the major mistakes of its predecessor. Because of this, it’s in the director’s best interest to distance his DCU from the DCEU however and whenever he can. Nonetheless, Gunn can’t stop creating connections between these universes, from connecting Peacemaker to The Suicide Squad to casting Aquaman actor Jason Momoa as Lobo. Now, he’s one-upping himself in the loudest possible way by putting a very obscure star of a failed DCEU film into his next blockbuster film.

Xolo Maridueña starred as the titular hero of Blue Beetle, a 2023 DCEU film. When the movie came out, it was generally well-liked: it had a 78 percent on Rotten Tomatoes from the critics and a whopping 90 percent from the fans. However, not that many fans actually saw the movie, and it became one of multiple DCEU projects to actually lose Warner Bros. money. Because of that, it seemed like we’d never see this hero (or at least, this version) on the big screen again. Nonetheless, Gunn is bringing back Maridueña’s Blue Beetle for his upcoming sequel Superman: The Man of Tomorrow.

Meet The Beetle

This news comes to us courtesy of Deadline, which heard about it from insiders who are close to Gunn’s Superman sequel. This is obviously big news for Xolo Maridueña, who seemed like he’d never reprise this role again. Neither Gunn nor Warner Bros. has commented on the matter. However, Deadline’s report indicates that one or both of these entities are fond enough of the actor to bring him over to the DCU. How will he fit into this new cinematic universe, though? Chances are that, like Peacemaker before him, Blue Beetle will simply be a DCU version of his familiar self, complete with a very similar backstory.

While fans of Blue Beetle will be happy to see the hero onscreen again, it’s not clear how much of a role he will have. Right now, Superman: The Man of Tomorrow is very crowded with both heroes (including Superman, Guy Gardner, Hawkgirl, and Mr. Terrific) and villains (including Lex Luthor, Brainiac, and newcomer Maxima). Because of this, some have claimed the sequel feels more like a Justice League movie than a Superman sequel. That’s good news for anyone who enjoyed watching the Man of Steel and his Superfriends kick butt in the previous movie. However, the sheer number of characters appearing in this film may cut into Blue Beetle’s overall screentime.

Avoiding The Sequel Blues

However, having a large roster of heroes is only appropriate for Superman: The Man of Tomorrow because the Big Bad is Brainiac, and he represents a threat to the entire planet. It would only make sense that Superman has to rally as many allies as possible in the fight against an existential threat to all of humanity. It’s also possible that Gunn will be using this Superman sequel to lay the in-universe groundwork for an eventual Justice League team. After all, an individual hero may be enough to save the city most of the time. But when it comes to saving the entire world, even Superman can’t be everywhere at once.

Speaking of possibilities, James Gunn might eventually give Blue Beetle his own spinoff movie or series. This would help the DCU win over younger audiences, and it would fit Gunn’s recent MO of shining a spotlight on the more obscure characters within this colorful universe. We won’t know exactly what will happen to this former DCEU character until we see him on the big screen again. So, mark your calendars, fanboys: Superman: The Man of Tomorrow flies into theaters on July 9, 2027. Its titular hero may be more powerful than a speeding locomotive, but only time will tell if he’s more powerful than something much stronger than a train: superhero fatigue.

Plenty of movies stumble at the box office only to find a real audience once they land on streaming. That is just the state of cinema right now. Annihilation failed at the box office before turning into a genuine cult favorite on streaming. The Suicide Squad had a similarly rough theatrical run before streaming gave it new life. Now, three years after struggling in cinemas, one of Paramount’s most criminally underseen fantasy adventures has officially found redemption on streaming.

The film follows Chris Pine as a charming thief and a band of unlikely adventurers as they undertake a heist to retrieve a lost relic, only for things to go dangerously wrong when they run afoul of the wrong people. It was meant to launch a massive multi-platform universe complete with spin-offs, but those plans quickly fell apart after its disappointing theatrical run. The film made just $208.2 million worldwide against a $150 million production budget. Since the general rule of thumb is that a movie needs to earn about twice its budget to be considered a real success, that box office haul left it well short.

The film is Dungeons and Dragons: Honor Among Thieves. Jonathan Goldstein and John Francis Daley directed it from a screenplay they co-wrote with Michael Gilio, based on the titular tabletop game. The movie dropped on the free streamer Pluto TV on June 1, and even a month later, it is still holding the spotlight. According to FlixPatrol, it is currently the #9 most popular movie on Pluto TV in the United States.

Why Did ‘Dungeons and Dragons: Honor Among Thieves’ Fail at the Box Office?

The movie’s box office stumble is even more baffling considering how good it actually is. It is incredibly funny, backed by great CGI and phenomenal action sequences. It very much feels like a Guardians of the Galaxy movie set inside the D&D universe. The film opened to raving reviews and still holds a 91% critic rating along with an even stronger 92% audience score on Rotten Tomatoes. Fans have spent plenty of time speculating about why it flopped, and most of the blame lands on weak marketing. Many people still do not know this movie exists, and even fewer did when it actually released in theaters.

The trailers also made it look like a run-of-the-mill MCU copycat when it actually turned out to be leagues better. And it also didn’t help that it came out alongside The Super Mario Bros. Movie, which ended up becoming 2023’s second-highest-grossing movie. Whoever is really to blame, Paramount clearly does not think it was the directors’ fault. Since the movie’s release, Goldstein and Daley have gone on to find great opportunities in Hollywood. The duo is currently developing Paramount’s next Star Trek movie. And Apple TV just unveiled the first trailer for their upcoming Cold War action-comedy Mayday, starring Ryan Reynolds and Kenneth Branagh.

Dungeons and Dragons: Honor Among Thieves is available to stream on Pluto TV. Stay tuned to Collider for more updates.

Ash Williams has survived Deadites, medieval armies, and enough supernatural disasters to make most horror protagonists call it quits. Across the Evil Dead franchise, Bruce Campbell‘s chainsaw-handed hero has evolved from an unlucky cabin visitor into one of horror’s most recognizable icons, with Army of Darkness cementing his status as an action hero as much as a scream king.

That larger-than-life personality has made Ash a favorite for collectors for decades, whether through action figures, statues, or replica props. Now, fans will be able to bring the S-Mart employee-turned-medieval warrior into their Halloween displays in a much bigger way.

Dozens of Horror Icons Join the Animatronic Lineup

Image via HalloweenCostumes.com

HalloweenCostumes.com has officially unveiled a new six-foot Ash Williams animatronic inspired by Sam Raimi‘s 1992 cult classic Army of Darkness. Standing at life-size, the decoration recreates Ash’s unforgettable medieval look complete with his signature chainsaw hand. Fans who prefer another of his iconic weapons can also swap the chainsaw for his metal gauntlet using an interchangeable arm. The animatronic also features motion activation, allowing Ash to spring to life with movement and dialogue inspired by the movie. Designed for Halloween displays, it combines animated movements with light and sound effects to recreate the swagger that made Campbell’s performance such a fan favorite. The decoration is available to preorder now for $349.99 ahead of the Halloween season.

Ash isn’t the only movie icon joining HalloweenCostumes.com’s lineup this year. The retailer has launched more than 75 new animatronics for Halloween 2026, including new decorations based on The Texas Chain Saw Massacre, Coraline, The Lord of the Rings, Ghostbusters, Alien, Batman: The Animated Series, The Dark Knight, Poppy’s Playtime, and Edward Scissorhands. Among the largest additions is a towering 14.5-foot Balrog, billed by the retailer as the biggest licensed retail animatronic it has produced.

For horror fans, though, Ash may be the standout. While The Evil Dead series has never slowed down when it comes to collectibles, a full-size animatronic feels like a fitting tribute to one of the genre’s most quotable heroes. Whether it’s greeting trick-or-treaters from the porch or standing watch over a haunted display, the legendary Deadite slayer looks ready for another battle. The Evil Dead franchise also has another chapter on the horizon. Following this year’s Evil Dead Burn, the series will continue in 2028 with Evil Dead Wrath, a prequel set in 1972 that explores events leading up to the original movie. Until then, horror fans can settle for letting Ash guard the house this Halloween.

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Release Date

October 31, 1992

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Runtime

81 minutes

Director

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Sam Raimi

Producers

Robert Tapert

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The middle installment of a movie trilogy is by far the hardest to get right. In the case of sequel follow-ups that aim to capitalize on smash-hit originals, they face the daunting task of being compared to what was likely a universally adored box office hit. When it comes to the mid-section of set, pre-determined trilogies that unfold with one narrative vision, the second film is forced to play a bridging role without the luxury of introducing viewers to the world nor delivering the grand conclusion of the story at large.

However, there have been a number of mid-trilogy movies that have thrived in their station. Many of them excel by doubling down on the defining qualities of their predecessors, but others recontextualize central themes, make bold tonal changes, or even shift genres entirely to rise to a new level. From classics of superhero cinema to invigorating horror gems, and even to one of the greatest movies ever made, these middle chapters mark triumphant high points of the trilogies they belong to.

8

‘The Godfather’ Trilogy (1972-1990)

Image via Paramount Pictures

Heralded by many as being the greatest movie sequel of all time and entrenched in the conversation of the finest picture ever made, The Godfather Part II is a dazzling crime epic defined by its ageless thematic resonance, astonishing cinematic craft, and its ability to build on its astonishing predecessor. Running as both a sequel and a prequel, the 1974 masterpiece switches between new Corleone crime family boss Michael (Al Pacino) as he seeks to expand his empire, and the rise to power of a young Vito Corleone (Robert De Niro) in the criminal underbelly of early 20th century New York.

Its dual narrative imbues it with an ambition and drive that not even its masterful 170-minute predecessor can match, but it also eclipses The Godfather with the depth of its thematic convictions. In many ways, The Godfather Part II is a two-pronged character study of gangland morality, the isolating corruption of power, and the sacrifice of aspiration. Granted, anyone who claims The Godfather is the greater film can certainly mount a compelling case, but The Godfather Part II weaves one of the most arresting visual experiences in cinematic history as well as a dark descent into the intricacies of the human condition that explores power, faith, and enterprise against the backdrop of the brutality of the American dream.

7

The ‘Blade’ Trilogy (1998-2004)

Image via New Line Cinema

Released in 1998, Blade helped pioneer the wave of superhero cinema that audiences have enjoyed in the 21st century. Anchored by Wesley Snipes’s captivating performance, it successfully brought one of the most interesting and beloved comic book characters to life on the big screen with a ferocious marriage of action intensity and Gothic horror that embraced the grit of its R-rating. Endowed with Guillermo Del Toro’s impressionable visual style and penchant for Gothic allure, Blade II took those defining qualities and enhanced them.

When a mutation gives rise to a new form of savage and primitive vampires known as the “Reapers,” the titular vampire hunting superhero enters an uneasy alliance team of vampire warriors to eradicate their mutual enemy. The visceral action choreography blends beautifully with Del Toro’s trademark aesthetic to create an absorbing and deliciously dark action-horror propelled by its savvy integration of practical effects and CGI. With 2004’s Blade: Trinity dwindling as a calamitous misfire, Blade II has overcome its initially mixed critical reception to stand as the defining highlight of the trilogy, one that many today still regard as being one of the most visually striking and tonally captivating superhero movies ever made.

6

‘The Hobbit’ Trilogy (2012-2014)

Image via Warner Bros. Pictures

The Lord of the Rings is the greatest film trilogy cinema has ever seen, an engrossing fantasy epic of ceaseless perfection that achieves the rare feat of having all three of its movies being classic masterpieces in their own right. Ten years later, audiences were taken back to the realm of Middle Earth with Peter Jackson returning to adapt J. R. R. Tolkien’s The Hobbit, though the decision to make it another monumental trilogy raised some eyebrows given its source material’s much smaller story. This issue became apparent in The Hobbit: The Battle of the Five Armies, with the finale’s strenuous efforts to fulfill its 144-minute runtime producing an underwhelming conclusion that saw many dismiss the trilogy as a whole.

However, while they’re not comparable to the brilliance of The Lord of the Rings, the first two installments in the trilogy do deliver a lively brand of wondrous adventure as they follow Bilbo Baggins (Martin Freeman) and the dwarves as the trek through Middle Earth to reclaim the kingdom of Erebor. The Hobbit: The Desolation of Smaug is particularly vibrant with its energetic pacing, effervescent set pieces, and its brilliant realization of the dragon, Smaug (Benedict Cumberbatch). While still flawed, it is the movie in the trilogy that best captures the story’s adventurous spirit and fantasy world-building while striking an invigorating marriage between inviting fantasy fun and mythic suspense.

5

Sam Raimi’s ‘Spider-Man’ Trilogy (2002-2007)

Image via Sony Pictures Releasing

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Another early triumph of the modern craze of superhero action, Sam Raimi’s Spider-Man trilogy excels at juggling the innate spectacle of the genre against the human drama of Peter Parker’s (Tobey Maguire) journey as Spider-Man. While 2002’s Spider-Man is a brilliant introduction to the character in this regard, it is Spider-Man 2 where these thematic ideas are truly fleshed out and dissected, with his battle against Doc Ock (Alfred Molina) combining beautifully with Peter Parker’s own internal struggles stemming from real-life hardships.

Perhaps better than any other film in the genre, let alone the Raimi trilogy, Spider-Man 2 illustrates the hope of superhero drama, particularly in how Spider-Man’s good-nature and unyielding endeavor to help people inspires heroism and resolve in others. It is a point beautifully emphasized by the film’s climactic train fight scene and even Doc Ock’s own villain arc of obsession, unwitting corruption, and tragedy rather than outright evil. Emotionally charged, perfectly paced, and flaunting timeless thematic points of responsibility, sacrifice, and the symbolism of a hero, Spider-Man 2 remains one of the greatest superhero movies of all time and the definitive highlight of Raimi’s groundbreaking trilogy.

4

The ‘Evil Dead’ Trilogy (1981-1992)

Image via New Line Cinema

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Marking another iconic trilogy directed by Sam Raimi, the Evil Dead trilogy is a fascinating procession of creativity, filmmaking resources, and tonal experimentation. Between the succinct demonic horror of the low-budget classic The Evil Dead and the gleefully absurdist entertainment of Army of Darkness, 1987’s Evil Dead 2 stands as something of a perfect middle ground within the trilogy’s bold evolution, an entrancing marriage of terrifying undead tension and comedic indulgence that makes for one of the most enjoyable horror movies ever made.

It sees Raimi’s hyperkinetic directing style and Bruce Campbell’s scene-chewing presence utilized not only as attention-grabbing qualities, but as perfect accessories to the story. Running as both a sequel and a partial remake of The Evil Dead, Evil Dead II follows Ash Williams (Campbell) as he and his girlfriend travel to a remote cabin for a holiday only to accidentally unleash a horde of undead, demonic entities when they discover an audio tape of recitations from a book of ancient texts. Thrilling, exciting, and delightfully chaotic in all its monster horror and slapstick brilliance, Evil Dead II is the best picture in the ongoing Evil Dead franchise at large and the clear high point of the original trilogy.

3

The ‘Mad Max’ Trilogy (1979-1985)

Image via Warner Bros.

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Not at all dissimilar to the Evil Dead trilogy, the original Mad Max movies began as a low-budget genre hit that rose in spectacle, ambition, and eccentricity over the course of the next two movies. 1981’s Mad Max 2: The Road Warrior finds the perfect marriage between the gritty wasteland intensity of its predecessor and the sheer stylistic bombast of Mad Max Beyond Thunderdome. The result is a frenzied hit of action carnage that follows Max Rokitansky (Mel Gibson) as he helps defend a peaceful, oil-rich settlement from a band of ruthless marauders led by the despicable Humungus (Kjell Nilsson).

With its far more substantial budget compared to Mad Max, the sequel sensation delivers an unrestrained descent into the desolate lawlessness of post-apocalyptic Australia armed with an insatiable appetite for eye-popping action given tremendous weight by its visceral practical effects and George Miller’s astute direction. In terms of tone, spectacle, and ferocity, it is the movie most akin to 2015’s blockbuster classic Mad Max: Fury Road, and while it’s debatable if The Road Warrior is the greatest movie in its wider franchise, it is irrefutably the best and most bombastic of the initial trilogy.

2

‘The Dark Knight’ Trilogy (2005-2012)

Image via Warner Bros. Pictures

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It turns out superhero trilogies have a happy knack for reaching their peak with their middle chapter, perhaps as a greater license is granted to pursue stylish flourishes and thematic depth after the world-building and character establishment of the first film. That is certainly the case with Sir Christopher Nolan’s iconic The Dark Knight trilogy. Wedged between two outstanding action-propelled blockbusters, the 2008 classic marks a defining triumph for 21st century cinema as it follows Batman’s (Christian Bale) efforts to protect Gotham City from the reign of anarchy and terror being imposed by the Joker (Heath Ledger).

While its thrilling and propulsive sense of narrative momentum and Ledger’s awe-inspiring performance are among the most impressionable qualities of the film, The Dark Knight also soars above Nolan’s other two Batman movies with its complex exploration of symbolism, sacrifice, morality, and the escalation of chaos in a terrified society. Only bolstered by the depth and tragedy of Harvey Dent’s (Aaron Eckhart) rise-and-fall subplot, The Dark Knight thrives as a gripping crime thriller, a superhero stunner that captivates with its dark maturity, and one of the greatest mid-trilogy movies of all time.

1

The Original ‘Star Wars’ Trilogy (1977-1983)

Image via Lucasfilm

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It is quite extraordinary how, despite mid-trilogy movies often marking a lull in an overarching story, several of the standout ones stand not only as great feats of filmmaking, but as some of the greatest, most culture-defining pictures of all time. Few would deny that is the case with Star Wars: Episode V – The Empire Strikes Back, with the sequel to the groundbreaking success of the first Star Wars movie elevating the spectacle and expanding the story world while taking a dark and subversive turn from the triumph of its predecessor.

From the opening battle sequence on Hoth, The Empire Strikes Back captures an air of operatic grandeur, one it maintains as it follows Luke Skywalker’s (Mark Hamill) Jedi training on Dagobah while seeing his friends fall into a trap orchestrated by Darth Vader (James Earl Jones). Flaunting one of the all-time great movie duels, cinema’s most iconic plot twist, and a brilliant ending that is as dark as it is compelling, The Empire Strikes Back builds on its predecessor while boldly shifting its tone to deliver what is an outstanding movie in its own right, but the crowning glory in the Star Wars franchise and the original trilogy as well.

Get a rundown of Us Weekly‘s top stories making headlines in celebrity news, sports and entertainment on July 17, 2026. Here are the key takeaways:

• Ariana Grande and former dancer Ricky Alvarez have rekindled their romance and are “the real deal“, a source tells Us. The insider stressed that Alvarez is “far from a rebound,” noting Grande and ex Ethan Slater split long before the public knew.

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• Taylor Swift and Travis Kelce were caught on video dancing to “Swag Surfin’” at JuJu Smith-Schuster and Laura Kruk‘s July 10 wedding. The newlywed footage surfaced just one week after Swift and Kelce tied the knot at Madison Square Garden on July 3.

• Kim Kardashian shared the final text messages her family exchanged with late grandmother Mary Jo “MJ” Shannon, who died at 91. The screenshots show Kris Jenner sending Bible passages in the days before Shannon’s death, with her grandmother replying “Amen.”

Edited by Samantha Benitz. Story produced with AI assistance

The next Avatar film, the franchise’s fourth installment, isn’t expected to arrive until December 2029, four years after Avatar: Fire and Ash premiered in 2025. A fifth and final film is also planned for a December 2031 release. While details about the upcoming sequels remain scarce, filmmaker James Cameron has previously revealed that he’s still writing portions of the later films, adding that advances in filmmaking technology will make production more efficient.

Fortunately, fans won’t have to wait until 2029 to return to Pandora. PlayStation has announced that the franchise’s biggest video game is joining PlayStation Plus this month alongside several other notable titles, including a few you may have forgotten about. Developed by Massive Entertainment and published by Ubisoft, the game originally launched in 2023 for PlayStation 5, Windows, and Xbox Series X/S to mixed reviews, with critics overall widely praising its breathtaking visuals and immersive recreation of Pandora.

According to PlayStation, Avatar: Frontiers of Pandora joins the PlayStation Plus Game Catalog on July 21. The game will be available globally on PS5 and via PlayStation Portal. For those anticipating this fantastic release, it is set in the previously unseen Western Frontier of Pandora. The first-person action-adventure game puts players in the role of a Na’vi who was abducted by the Resources Development Administration (RDA) and raised to serve its interests. After 15 years in captivity, you finally escape, only to find yourself a stranger in your own homeland. As you reconnect with your heritage, you’ll unite with other Na’vi clans to defend Pandora from the RDA while uncovering what it truly means to be Na’vi.

Are ‘Avatar 4’ and ‘Avatar 5’ Already Filmed?

Back in April, Avatar star Trinity Jo-Li Bliss, who plays Tuk, shared a production update on Avatar 4 during the Saturn Awards. The actress revealed that only a portion of the fourth film had been filmed before teasing an “epic time jump” that would dramatically expand the story. According to Bliss, the time jump will allow audiences to explore Pandora’s characters, cultures, and ecosystems on a much larger scale. “We barely touched the tip of the iceberg for what we know about this world, and these characters, and how deep they can go,” she said. Bliss also explained that Avatar: The Way of Water and Avatar: Fire and Ash were designed with the fourth and fifth films in mind, describing the final two installments as the beginning of an entirely new chapter for the franchise.

Avatar: Frontiers of Pandora joins the PlayStation Plus Game Catalog next week. Stay tuned to Collider for more updates on the Avatar franchise.

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Release Date

December 19, 2029

Director

James Cameron

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Writers

James Cameron, Josh Friedman

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Producers

Jon Landau

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No one mastered the whodunit with quite as much cerebral agility as Agatha Christie. That’s the furthest thing from a controversial statement, but widespread celebration doesn’t make the mind of the world’s most popular fiction author less singular. Given the wealth of spine-tingling mysteries in her catalog, there’s an excellent chance that more adaptations of the Queen of Crime’s bibliography exist than entries in her formidable catalog (66 novels, dozens of short stories). It’s fitting, then, that no novel has been more riffed upon than 1939’s And Then There Were None — the best-selling book of all time and the epochal classic regarded as Christie’s crowning jewel.

When it comes to elegant production or fidelity to the material, few onscreen interpretations surpass the BBC’s 2015 miniseries of the same name. And Then There Were None distinguishes itself within Christie’s work; it’s bleak and unforgiving, populated with irredeemable individuals, and devoid of a heroic detective’s intervention. Writer Sarah Phelps, director Craig Viveiros, and an all-star cast hold fast to Christie’s sinister, deliberately cruel cultural critique — the relevance of which hasn’t aged a day.

Apropos of seemingly nothing, 10 people accept an invitation to stay on a small, secluded island. Their host’s name, U.N. Owen, rings no bells, and they’re all strangers to one other. As they seat themselves around the dinner table, a gramophone recording brazenly declares their respective lethal crimes. Cue the ensemble dropping like flies. Part of And Then There Were None‘s brilliance is its time-honored format. For all intents and purposes, Christie invented the slasher horror-thriller: the mechanics of targets trapped inside an isolated location, a vindictive assailant hiding amongst his victims as he fells them one by one.

Any adaptation of Christie’s most acclaimed and ingenious creation must respect her narrative intricacy. She crafted an impenetrable yet plausible plot that stands the test of time. Simplifying the exceptional architecture undermines her achievement. The same faithfulness should apply to the novel’s foreboding tone, frank nihilism, and psychological emphasis. Many movie adaptations lessen the overarching despair or change the melancholy ending; Christie herself made the latter palatable for war-weary audiences of the 1943 stage play, which was completely understandable. Later films following suit, however, sanitize her scathing intentions.

Phelps doesn’t dull that serrated edge. She captures the book’s ruthlessness through horror motifs — crashing ocean waves, jolts of roaring thunder, potential danger lurking around every candlelit corner — and by accurately preserving how Christie interrogates England’s social hierarchies through a brutal character study. Set one month before the United Kingdom declared war on Germany’s Third Reich, the majority of Christie’s characters present themselves with self-righteous integrity. Behind their common courtesies, they either waver on the edge of collapse or are rotten to the core.

Human selfishness takes different forms throughout And Then There Were None: sadism, bigotry, negligence, greed, lust, and proselytizing. A respected judge (Charles Dance) hands down close-minded sentences, a doctor (Toby Stephens) imbibes alcohol before an operation, a jealous schoolteacher (Maeve Dermody) lets her charge drown, a police officer (Burn Gorman) commits a hate crime, a decorated World War I general (Sam Neill) betrays a fellow soldier and romantic rival, a mercenary (Aidan Turner) murders for profit, a spoiled socialite (Douglas Booth) simply doesn’t care, and a religious devotee (Miranda Richardson) cloaks her prejudice in piety.

‘And Then There Were None’ Amplifies the Book’s Ruthlessness

Even though these reprehensible individuals have escaped due process, does And Then There Were None‘s vigilante mastermind accomplish any lasting worth by operating outside the broken judicial system? Are they merely quenching their own violent thirst? That’s a (potentially unanswerable) question for audiences to ponder. Christie’s world and its citizens reek of hopelessness. Nevertheless, her characters can’t outrun justice, no matter how much they scramble. They descend into conflict and paranoia, cling to the honorable reputation they’ve manufactured, and argue their truth as fact. Even those afflicted with remorse can’t face themselves in the mirror long enough to admit their wrongs — until consequences strike, that is, and the well of justifications runs dry.

Even when Phelps strays from the source material, her deviations both amplify Christie’s subtext surrounding class and gender and adjust it to reflect current issues. The distressing immediacy of the cast’s past violent crimes removes the ambiguity without simplifying all that drives their respective psychologies. Two characters acting upon their sexual tension change nothing fundamental; it’s a rare intimate moment and another example of decadent indulgence.

We’re not invited to like these people or see our daily thoughts reflected back to us. Christie and Phelps splay the characters’ souls out on a surgical table so viewers can dissect their broken humanity, recognize their darkest impulses, and sit with the ramifications of their unchecked narcissism. Christie did cozy mysteries. Christie did brain-twisters. She did uncompromising fictional cruelty for a purpose. Phelps’ superb interpretation — and more harrowing resolution — denies her audience even a sliver of hope. The deeds are done, but human narcissism lives on.

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And Then There Were None

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Release Date

2015 – 2015-00-00

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Network

BBC One

Directors

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Craig Viveiros

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  Justice Lawrence Wargrave

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  Maeve Dermody

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  Vera Claythorne

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  Paul Chahidi

  Isaac Morris

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  Celia Henebury

  Leslie MacArthur (voice)

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