By Jonathan Klotz
| Published 44 seconds ago

Fan theories can range from the plausible and very likely, such as the “Pixar connected universe,” or “Elsa and Anna’s brother is Tarzan,” to the unbelievable, “Snowpiercer’s Wilford is Wily Wonka,” or “Jar Jar Binks is a Sith,” but there’s one that’s so perfect, it has to be true: Event Horizon is set in the Warhammer 40k universe.

This theory makes sense from the very beginning, when the titular spaceship activates its gravity engine and travels through a nightmarish dimension that’s full of demons and cosmic horrors. That’s exactly how ships travel in the world of Warhammer 40k, and it’s only the start of the connections. 

Event Horizon Traveled Through The Warp

Event Horizon takes place after the ship mysteriously reappears after it was missing for years, with the entire crew dead, and as the Captain’s log reveals, it was the crew themselves that turned violent and killed each other. The Captain, having ripped out his own eyeballs, issues a warning, in Latin of course, to “Save yourself from Hell.” It’s a gruesome, bloody sequence filled with rapid flashes of violence that make it hard to focus, and the first time seeing the film, it’s hard to comprehend what you’re even seeing. 

The rescue crew ends up giving into the spreading madness themselves, or rather, Dr. Weir (Sam Neill, the perfect star for a film about cosmic horror), the designer of the Event Horizon, goes mad and has to be put down by the rescue ship’s Captain Miller (Laurence Fishburne). And he is, but after he’s sucked into space, Weir comes back having embraced the strange and bizarre Hell-like dimension, and he taunts Miller by showing him visions from the Hell dimension. It’s a dark and disturbing moment, but it’s also an amazing live-scene depiction of Warhammer 40ks The Warp, a strange dimension in which time and space have no meaning, that happens to be filled with Daemons and, in Games Workshop’s universe, is used by humanity as an intergalactic superhighway. 

The Influence Of Chaos

The Warp is a dangerous dimension that exists outside of four-dimensional space, but it’s also able to be navigated by psychic humans called Navigators who use the Astronomican, a massive psychic beacon waypoint that you think of as a transdimensional lighthouse, to remain safe while traveling through. In Event Horizon, set in the year 2048, it’s the experimental gravity engine that pulls the ship out of our reality and into The Warp, making it humanity’s first experience with Chaos Deamons and the horrors that lurk outside our universe. Those dangers include the Chaos Gods, Tzeentch, Khorne, Nurgle, and Slaanesh, and amazingly, Paul W.S. Anderson’s sci-fi horror even implies the influence of these beings on the ship’s original crew. 

While the rescue crew from the Lewis and Clark is watching the original Captain’s video, it’s clear that the crew is killing each other (that would be Khorne, the Blood God, encouraging slaughter and destruction), but at the same time, it’s clear that Slaanesh, the Prince of Pleasure, is involved since some of the crew to be “enjoying” themselves. The other two, Tzeentch and Nurgle, may be sitting this one out, but Event Horizon includes one other story beat that touches on the technology of Warhammer 40k. Weir implies during the back half of the film that the ship itself has become possessed by a Deamonic spirit, and of course, that’s a huge part of the Warhammer 40k setting where humanity believes machine spirits power all machines. ]

The Machine Spirits

In the grim darkness of the far future in Warhammer 40k, technology is incredibly advanced but also oddly primitive, with Tech Priests rubbing ointments and saying prayers over military vehicles before they go to war to embolden the machine spirits within. The denizens of The Warp are able to possess technology and infect with their own Daemonic spirits, giving players the option to use twisted versions of the Imperium of Man’s own weapons against them. If that sounds like exactly what happens to the ship in Event Horizon, well, that’s another reason why this is secretly a Warhammer 40k film.

The Event Horizon fan theory may not even be a fan theory, and is instead confirmed thanks to screenwriter Philip Eisner commenting on Twitter in 207 that “I played the sh*t out of 40K, so it was definitely an influence, conscious or otherwise.” Writers who went on to work at Games Workshop to help shape the universe returned the favor, with an attempt to name-drop the ship in one of the game’s official codexes, but the U.K.-based company stopped it from seeing print. Still, it’s a comment straight from the twisted mind behind the film that the classic tabletop miniatures game’s gothic setting had an impact on the film.

Event Horizon Is A Gateway To Warhammer 40k

When Henry Cavill and Amazon bring Warhammer 40k to life, it won’t look like Event Horizon, but there’s no doubt that, intentionally or not, the 1997 sci-fi horror is the perfect companion piece to the grimdark future franchise. If you enjoy the movie, there are multiple Black Library novels out there that you should check out, starting with Xenos by Dan Abnett, the first of the Eisenhorn novels, which isn’t nearly as bloody and gruesome as the movie, but it nails the dark, ominous feeling of something being very, very wrong that first half of the movie does so well.

The Event Horizon/Warhammer 40k fan theory has existed since the film first hit theaters, over a decade after Games Workshop released Rogue Trader, the first game set in the world of 40k. It’s been an enduring fan theory because it honors both the film and the gaming franchise, and it doesn’t demand either one of them, and simply says, “Hey, this would be really cool.” The best fan theories are just that, they’re fun, but this time around, the Sam Neill horror film is also a perfect introduction to how crazy the Warhammer 40k setting can get, and given the cost of running a well-painted 3,000-point competitive army, that might be the most horrifying part of the movie.

By Jonathan Klotz
| Published 2 minutes ago

For the last decade as streaming has taken off in homes around the world, it’s become possible for films that lost historical amounts of money in theaters to find success, even if it might be the post-Mystery Science Theater 3000 trend of “so bad it’s good.” That’s why a massive flop, for example say, Morbius, and films that slightly missed the mark like The Fall Guy can turn it around and become a streaming success.

What’s even more impressive is the amazing turnaround of 2013’s Jack the Giant Slayer, which lost Legendary Pictures an alleged $200 million, only to end up topping streaming charts in 2025. 

The Classic Fairy Tale With A Twist

Everyone knows the story of Jack and the Beanstalk, the classic fairy tale about selling a horse for magic beans and climbing a beanstalk to find a giant living in the clouds.  It’s simple, contains multiple morals, and can be easily adjusted to turn Jack into the villain, but Jack the Giant Slayer instead asks, “What if there was no moral, and instead of one giant, there was an entire army of evil giants?” The movie is the classic story, as you’ve never seen it before, and it almost works. 

Nicholas Hoult plays Jack, the young man who finds himself trading his horse to a monk in exchange for beans that he can’t allow to get wet, ever. Like the rules in Gremlins, it’s not long before Jack accidentally gets the beans wet and a beanstalk grows under his house with the princess, Isabell (Eleanor Tomlinson), trapped inside as it grows into the sky. All the king’s men gather to rescue the princess, including Lord Roderick (Stanley Tucci), who, thankfully, Jack the Giant Slayer makes obvious is very evil, very quickly. 

It’s up to Jack, Isabell, and the loyal Knight, Elmont (Ewan McGregor) to save the kingdom and stop the invasion of giants led by Roderick and the giant two-headed General Fallon (Bill Nighy). If there’s one thing Jack the Giant Slayer does better than every other adaptation, it’s the third act featuring a full-blown war between humans and giants, with a touch of humor and absurdity. Watching a giant toss a windmill like the glaive from Krull is the perfect amount of off-beat to distract from a surprising amount of body horror in both the giant’s designs and Fallon’s ultimate fate. 

A Movie For No One

Jack the Giant Slayer looks too good, and the star-studded cast is having way too much fun for it to be a truly bad movie. The problem is that the pacing is off: it takes a little too long to get to the good stuff, then it feels a little too rushed, and though it is a fun adventure, it’s also, like the source material, simplistic. It’s not like the movie wasn’t watched in theaters; it made $197 million worldwide, which would be a great haul except it cost $185 million to make, and that’s not including the extensive marketing campaign.

The push and pull of director Bryan Singer’s vision of a dark take on the fable, complete with actual people-eating on screen, and the sanitized version that hit theaters, which was still too dark for children, since the film is surprisingly rated PG-13, meant it ended up being a film for no one. The Rotten Tomatoes ratings, of 52 percent from critics and 55 percent from the audience, are proof that the final product is not great, but not bad; it’s a movie that will keep you watching for a few hours and then leave no lasting impression. These days, Lionsgate and Sony wish they’d release a movie that is that well-received, as even Jack the Giant Slayer looks like a masterpiece compared to Borderlands or Kraven the Hunter.

Streaming is the perfect home for Jack the Giant Slayer, and 10 years later, it no longer matters that the movie lost hundreds of millions in theaters. It finally gets to stand on its own as a fun, if unremarkable, fantasy adventure.

Over the course of the last 15 years, the world has been treated to some of the best television dramas of the entire 21st century. Medical shows, thrillers, big chapters of sci-fi franchises—these are all small-screen masterpieces which demonstrate the full power of the medium at its most serious. But while there have been countless excellent TV dramas since 2011, only a handful of them can truly be considered perfect.

Shows like Game of Thrones and True Detective are undoubtedly among the best TV dramas of the last 15 years, but they’re not really perfect. The most flawless TV dramas from 2011 to the present are about as close as television comes to perfection, extraordinary examples of their respective genres which don’t really have any significant flaws beyond any nitpicking that viewers may engage in.

8

‘Hannibal’ (2013–2015)

Image via NBC

Part psychological thriller, part psychological horror, and a hundred percent one of the most shocking things that have ever been allowed to air on American broadcast television, Hannibal is a must-see for all those who love The Silence of the Lambs. It’s one of those thriller shows that has aged like fine wine, a cult classic whose cancellation after three short-lived seasons still remains one of NBC’s biggest crimes ever.

But even though it ends on a frustrating (though meaningful) cliffhanger, Hannibal is still essential viewing for people who like their TV dramas with a side of disturbing horror elements. Bolstered by Mads Mikkelsen‘s intense, elegant, and perfectly calculated lead performance, it’s a brutal yet strangely satisfying televisual masterpiece through and through. Visually stunning, sophisticated in its writing, and reliant on the electric dynamic between Hannibal himself and Will Graham (Hugh Dancy), it’s one of those unfairly cancelled shows that are still worth watching years after their conclusion.

7

‘The Americans’ (2013–2018)

Image via FX

One of the very few drama shows that have ever received two Peabody Awards during their run, The Americans is undoubtedly one of the greatest TV series of all time. It’s one of those TV dramas where every episode is a masterpiece, using an enthralling espionage story as a vehicle to explore themes of marriage, parenthood, and identity.

The show’s balance between being a spy thriller and a family drama is unexpectedly perfect. Critics called it this decade’s The Sopranos, and frankly, it’s not that far-fetched of a comparison. Beautifully slow-burning, perfect in how it uses its genres, and full of fascinating characters, it’s a gem supported by Keri Russell and Matthew Rhys at the top of their games. From emotional payoffs to deep character arcs, there’s nothing to not love about The Americans.

6

‘Andor’ (2022–2025)

Image via Disney+

A prequel spin-off show centered on a random character from a prequel spin-off movie? On paper, Andor sounded like it would either prove to be a cash-grab or a time-wasting disaster. Instead, the Star Wars franchise hasn’t been this great since the ’80s. What Tony Gilroy and his team created here is far more than just the best piece of content in the galaxy far, far away since Return of the Jedi: It’s one of the most perfect modern sci-fi TV shows out there.

On the one hand, Andor is a sharp and thought-provoking critique of authoritarian power and celebration of rebellion in the face of fascism. On the other hand, it’s an endlessly entertaining space opera full of interesting characters (played by excellent performers), shocking twists, and emotionally riveting moments. Fans would never have complained if it had run for another dozen seasons, but the two seasons that do exist are some truly top-tier television.

5

‘Severance’ (2022–Present)

Image via Apple TV

With only two seasons released so far, Severance is still one of the best sci-fi shows to binge-watch in one week. Honestly, that feels like the only right way to go with this masterful “mystery box”-type series, one of the most addictive genre shows streaming has had to offer throughout this decade. For every narrative answer that Severance provides, another four questions pop up.

But that’s precisely the show’s puzzling appeal, an appeal further supported by top-notch production values and an exceptional ensemble cast. Though definitely not without a sense of humor (sometimes dark, sometimes offbeat, always effective), Severance is nevertheless a drama at heart. And what a thematically nuanced, emotionally compelling, twist-filled drama it is. The character arcs are engaging, the mysteries are all nail-bitingly intense, and the way the show comments on modern corporate culture couldn’t possibly hit harder.

4

‘The Pitt’ (2025–Present)

Medical dramas have a very long history on both cable TV and streaming, but it’s a genre that lends itself perhaps a bit too well to feeling contrived and trite. The Pitt hasn’t given off any semblance of those qualities for a single second of its run. Designed from the get-go as the most realistic medical drama the small screen has ever seen, a mission it succeeds at almost the entire time, it’s also one of the most perfect TV dramas of the last 10 years.

The Pitt may be entirely committed to raw realism and genuineness, but that doesn’t mean that it doesn’t find plenty of time to explore emotionally stirring character arcs and dynamics. It’s a refreshingly believable medical show, incredibly well-staged and well-paced; but it’s also one of the most engaging character dramas television viewers have gotten in years, and that is perhaps the key to its feeling like it’s full of heart.

3

‘Succession’ (2018–2023)

Image via HBO

One doesn’t just watch Succession in order to get to what’s easily one of the greatest series finale masterpieces ever. It’s all about the journey, not the destination; and in the case of the Roy dynasty and their story, what a journey it is. It’s a show so steeped in dark humor that some may go so far as to call it a dramedy, but at its core, this HBO masterpiece is one of the most dramatic and powerful Shakespearean shows out there.

It’s all about the power dynamics here. Through the flawlessly written and endlessly quotable dialogue, the many sharp-edged jokes and insults, the surprising amount of perfectly-executed plot twists, and all the emotionally stirring character moments, Succession constantly sees the power dynamics between its characters shift and twist and transform. It’s an absolutely fascinating spectacle to watch unfold.

2

‘Chernobyl’ (2019)

Image via HBO

It’s a miniseries, but there’s no denying that Chernobyl is one of the greatest TV dramas not just of the last 15 years, but perhaps even of all time. It’s one of the darkest HBO shows ever, and definitely not for the faint of heart. Its exploration of the events leading up to the disaster in the titular Ukrainian city, of the event itself, and of its ghastly aftermath never hold back a single punch. It’s a grim, brutal, incredibly hard-hitting drama, but one that’s essential viewing for all those who like well-made television.

There’s the actual physical disaster, the institutional precedent and response, and the philosophical and thematic arguments at the core of it all. On all three levels, Chernobyl is an engrossing masterpiece. Full of complex characters played by some of the most talented actors on Earth, the show allows a feeling of slow-burning dread to make its way into the viewer’s mind gradually but oh so potently. It’s an intelligent, well-researched, mostly quite accurate and insightful look at how dangerous a system built on lies and institutional rot can be.

1

‘Better Call Saul’ (2015–2022)

Image via AMC

Back in 2008, Breaking Bad was born. It was once the show started streaming on Netflix that people around the world started coming to a realization: Vince Gilligan‘s crime thriller wasn’t just a great show, but rather one that promised to become the best TV drama in history. Indeed, that’s what many people today would say to describe the story of Walter White (Bryan Cranston), his family, and those who helped him in his journey to becoming the drug kingpin Heisenberg. Among those people was Saul Goodman (Bob Odenkirk), a character that was originally designed to just be a comic relief character for a few episodes. Instead, Bob Odenkirk’s character became such a fan favorite that he had to stick around for the rest of the show.

Fans grew to like the character of Saul so much that he ended up becoming the lead of Better Call Saul, and the rest is history. Part legal dramedy, part crime thriller, this is not only one of the most perfect crime shows of all time, but also the best television prequel in history. It’s the most formally-precise character study ever created for the small screen, a slow-burning Shakespearean tragedy where every plot development feels like a seismic shift. It’s television at its best, and undoubtedly the best TV drama of the last 15 years.

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Better Call Saul

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Release Date

2015 – 2022-00-00

Network

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AMC

Showrunner

Peter Gould

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Directors

Vince Gilligan, Thomas Schnauz, Peter Gould, Michael Morris, Adam Bernstein, Colin Bucksey, John Shiban, Michelle MacLaren, Daniel Sackheim, Jim McKay, Minkie Spiro, Terry McDonough, Larysa Kondracki, Melissa Bernstein, Gordon Smith, Andrew Stanton, Bronwen Hughes, Giancarlo Esposito, Keith Gordon, Michael Slovis, Nicole Kassell, Norberto Barba, Rhea Seehorn, Scott Winant

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By Chris Snellgrove
| Published 46 seconds ago

Star Trek: Deep Space Nine is considered the best show in the franchise by many fans, myself included. The show focused on extensive characterization, long-running arcs, and fairly dark plots, including the Dominion War story that dominated the last two seasons. Decades later, NuTrek shows like Discovery, Picard, and Starfleet Academy fizzled, leaving the frustrated fandom to ask a simple question: why can’t these newer shows be more like Deep Space Nine?

However, here’s a troubling fact: NuTrek sucked so much precisely because the creators were trying to make shows like DS9. Obviously, they didn’t do a very good job, mostly because executive producer Alex Kurtzman is a complete hack. But if you pound a few shots of Romulan Ale and squint, you can see that the architects of NuTrek went all-in on the idea of creating “darker” Star Trek shows in a failed attempt to recapture the magic of what made Deep Space Nine so special.

Star Trek Into Darkness

Deep Space Nine is considered the dark (if not the darkest) Star Trek show for many reasons. It doesn’t feature the squeaky-clean heroes of The Next Generation; instead, our heroes include a former terrorist (Kira), a former spy (Garak), and an angry widower who ends up becoming a reluctant Space Jesus (Sisko). His chief foe is basically Trek’s closest analog to Adolf Hitler (Gul Dukat). Even the relatively “normal” characters get dark backgrounds and plots. For example, fresh-faced medical prodigy Dr. Bashir is revealed to be a Khan-like augmented human. Affable everyman O’Brien, meanwhile, gets physically and mentally tortured at least once a season.

The show also used its Dominion War arc to test the boundaries of Star Trek’s endless idealism. Sisko becomes an accessory to a murder, but he never admits it because this act finally gets the Romulans to join the war. He also discovers that Starfleet has a secret wetworks division known as Section 31, which handles everything from assassinations to genocides. Odo gets so distracted by shapeshifter sex that he becomes a collaborator with monsters (again). Oh, and Worf murders Gowron (with Sisko’s blessing!) so he can install his buddy as Chancellor of the Klingon Empire.

NuTrek Is An Edgerlord’s Paradise

Obviously, DS9 had dark characters and storylines, but what does that have to do with NuTrek? In short, the entire Kurtzman era of this franchise has been filled with lame, edgelord attempts at making the franchise darker. The first season of Star Trek: Discovery, for example, centers on a mutineer who started a war as its main character. It’s a season where Klingons eat their dead foes and strip down to engage in sex that’s half play, half intimate assault. An evil Starfleet captain tortures a tardigrade before the good Starfleet captains one-up him with a plan to blow up an entire planet in an attempt to end a costly war.

Star Trek continued going (ahem) into darkness with other spinoffs. Picard inexplicably features a beloved Voyager B-lister getting tortured and murdered while Picard cozies up to a Romulan swordsman whose only solution to any problem is cutting someone’s head off. They’re fighting to save a Federation that is now cool with creating synthetic slaves. Later, Season 2 has our heroes fighting ICE, watching Q die, and discovering that a young Picard accidentally helped his mother unalive herself. Even the relatively lighthearted Starfleet Academy had the good guys put the entire Federation in danger because they meddled with and accidentally weaponized the most dangerous molecule in the galaxy. 

It’s All About Testing Characters’ Morality

In retrospect, it’s clear that Alex Kurtzman and his writers thought they could recapture the old Deep Space Nine magic by throwing a bunch of grimdark characters into gritty situations and calling it a day. However, this didn’t work because DS9’s characters weren’t inherently dark; instead, they were good men and women forced to weigh their morals against the greater good. In the classic episode “In the Pale Moonlight,” Sisko isn’t compelling simply because he’s a morally murky character. No, what makes this episode fascinating is that he’s a good man forced to do bad things, with the fate of potentially billions of lives riding on his decision.

Similarly, Worf doesn’t kill Gowron because of petty vengeance or a haunted past. Instead, he weighs his cultural values as both a Klingon and a Starfleet officer, ultimately deciding it’s better to kill a tyrant than let him continue getting others killed. Even plain, simple Garak seems happy with his life as a tailor, and he’s only reluctantly drawn back into active spycraft because he realizes the best way to save his homeworld is to save it from the Cardassians who have sold its soul, one alliance at a time.

This obviously extends to the Dominion War arc as a whole. We see the toll the war has on good men and women: Nog becomes a wounded and disillusioned war veteran, and Rom nearly gets killed trying to save the Alpha Quadrant. Jadzia Dax does get killed fighting superpowered space Hitler, and Odo begins to question his loyalties. However, characters retain their morality throughout every ordeal. Bashir repeatedly refuses to join Section 31, and Odo saves the Changelings from that organization’s attempted genocide. Standing victorious on Cardassia, Captain Sisko and Admiral Ross refuse to toast their victory, instead choosing to mourn this utterly senseless and completely preventable loss of life.

NuTrek Made Its Worst Villain Into A Hero

Compare that to NuTrek, where the Klingon War hardens hearts and makes the wisest people lose their moral compass. Both Sarek and Starfleet are willing to blow up the Klingon homeworld and kill billions in order to end the war. Starfleet has suddenly decided to trust its war planning to Mirror Universe Georgiou, a woman who has terrorized the entire galaxy while murdering countless people. Later, she’s put in Section 31 (a DS9 invention NuTrek tried very hard to capitalize on) so the entire Federation can continue to benefit from her completely amoral advice. That’s because the Feds believed the same thing that Picard suddenly starts believing over a century later: violence is great as long as the ends justify the means.

This is basically the problem with NuTrek in a nutshell. We don’t get fully fleshed-out characters whose morality is tested by unthinkable scenarios. Instead, we get one-dimensional characters who are dark and compromised from the beginning. Michael Burnham is meant to be the embodiment of Starfleet ideals, but she comes to us as an angry, nearly broken mutineer who, in her guilt, saves an alternate universe’s most murderous monster from certain doom. Even formerly complex characters like Picard are made dumb, violent, and impulsive by writers who value blunt spectacle over elegant storytelling.

Star Trek Needs More Than Darkness

Alex Kurtzman tried to copy the Deep Space Nine formula for NuTrek, but, in typical fashion, he went about it in the stupidest possible way. It’s not enough to give us dark settings and plots; we need well-developed characters whose morality is an idealistic counterpart to the darkness around them. Stories needed to reinforce Star Trek’s hopeful ethos and reward audiences who never lost faith in the greatest sci-fi franchise of all time. Instead, what we got was a collection of dark characters, pointless action scenes, and endless violence, all wrapped up with another snoozeworthy Michael Burnham speech.

This is Kurtzman’s warped idea of what makes Star Trek so great. Is it any wonder that every one of his NuTrek shows has been a colossal failure?

Christina Aguilera and her fiancé, Matthew Rutler, enjoyed a rare red carpet date night — complete with plenty of PDA.

Aguilera, 45, attended the Breakthrough Prize Ceremony in Los Angeles on Saturday, April 18, where she walked the red carpet with Rutler, 41, on her arm.

The pop star looked radiant in an off-the-shoulder black Salih Balta gown and wore her signature blonde tresses in a vintage-inspired bob. Rutler, for his part, opted for a classic black suit.

As Aguilera and Rutler posed on the carpet, he planted a kiss on her cheek for the cameras.

Related: Christina Aguilera and Fiance Matthew Rutler‘s Relationship Timeline

Christina Aguilera and Matthew Rutler have been going strong for more than a decade. Aguilera started dating the MasterClass executive in 2010 amid her divorce from Jordan Bratman (with whom she welcomed son Max in 2008). By 2012, insiders told Us that Aguilera and Rutler’s relationship had “turned into something special.” The singer and Rutler […]

The couple have been together since 2010 and got engaged four years later, though haven’t been in a rush to tie the knot.

“There are no wedding plans at the moment. [Christina] and Matt are happy the way they are,” a source exclusively told Us Weekly in August 2022. “They’re one of those couples who don’t need a document to prove their love for each other.”

The “What a Girl Wants” singer and Rutler have also been busy raising their blended family. The pair share daughter Summer, 11, while Aguilera is also mom of son Max, 18, from a previous relationship.

According to Aguilera, her kids are already aware that their mom is a bona fide star.

“She’s so enraptured by the world behind the scenes and the production of everything, and she loves the band and the background singers,” the singer told Vogue in January 2024, referring to Summer. “She wants to take drum lessons — she is about it. She gives me so much love and support. Before I go on stage, she knows I get nervous, and she’s like, ‘You’re going to do great, mama.’”

Summer is even hoping to become her mom’s next manager.

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“On the way to school the other day with her dad, [Summer] said, ‘When I grow up, I want to either be mama’s photographer or mama’s manager.’ It’s so funny,” Aguilera added at the time. “So we told will.i.am that [when he came to see my Las Vegas show], and he was like, ‘Oh, my God, she’s your daught-ager.’ So daught-ager is the word of the year. It’s just so cute.”

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Related: Christina Aguilera’s Sexiest Style Moments Through the Years

Christina Aguilera has left her mark in the fashion world. From barely-there crop tops to figure-hugging gowns and racy leather frocks, Aguilera always delivers drama on the red carpet. Her early 2000s style — including low-waisted skirts, halter tops, hats and more — has inspired celebs including Kylie Jenner to recreate her iconic look. While […]

Aguilera, for her part, finds the combination of “daughter” and “manager” perfectly described Summer’s personality.

“If I’m running late for something or have an appointment, she’s like, ‘You know they’re waiting, Mama. We need to go,’” Aguilera explained to Vogue. “I was [previously] working with someone who predicted her birth to me, a very intuitive person, and she said, ‘You’re going to have a daughter, and she’s going to be your protector. She’s going to be on this earth to watch over you and protect and support you.’ And I’m like, ‘Oh, really?’ And literally she’s embodying that, and it’s just the most beautiful [thing].”

T.I. and Tiny Harris have fans feeling real old after videos surfaced showing some sweet moments from their youngest son Major Harris’ senior prom send-off. Videos show Major and his date leaving the house and making their way to their limo, leaving fans to ask, “Where has the time gone?”

RELATED: Dad To The Rescue! Body Cam Footage Captures T.I.’s Arrival Amid King Harris’ Recent Arrest In Georgia (VIDEOS)

T.I. & Tiny Go All Out For Major Harris’ Prom Send-Off

Folks online are in their feelings as a video showed Major Harris gearing up for his senior prom. A clip sees Major and his date making their way out of a home, and course a red carpet was rolled out for them. T.I. and Tiny Harris were front and center to watch their baby boy pop out for his school dance. Major’s date looked stunning for the night in a teal blue strapless dress, while Major was sharply suited in black. Tiny looked like a prom mom during the celebration. She made sure Major and his date went to prom in style, walking them up to a jet black limo. Peep the video below.

The Internet Can’t Believe Major Is Off To Prom

Reactions to Major’s prom send-off kept rolling in over in The Shade Room’s comment section. Some folks said seeing Major head to prom doesn’t sit right with them, while others said they still remember when Major was just a baby on T.I. and Tiny’s reality show, ‘The Family Hustle.’

Instagram user @princezz2011 wrote, “I love Major he always been so sweet i hope he stay this way 🥰🥰🥰” 

Instagram user @_datruth wrote, “The lawyer of the family 🫶🏾” 

While Instagram user @mingdaking_ wrote, “They got the most money and they had a regular send off! 🫱🏾‍🫲🏽 wealth ain’t loud! ❤️❤️❤️🫶🏾🫶🏾” 

Then Instagram user @wiganometry wrote, “He’s the version of T.I. that has the encyclopedic words. Warms my heart. He’s our baby too!!” 

Instagram user @ tatybody__ wrote, “Major going to prom just doesn’t sit well with me😭 we oldddddd.” 

Another Instagram user @coolinandpoolin wrote, “These babies met in the computer lab! I KNOW it! My Boy Major!!! 🫱🏾” 

instagram user @amiragelt wrote. “Major for president 😩😍” 

Then another Instagram user @shaytrending wrote, “Awww he found the girl version of himself so cute 😍” 

While another Instagram user @thevaginaliberator wrote, “Can’t be the same baby who drew on the white couch 😩😩” 

Finally, Instagram user @_chelsear0se wrote, “Love the fact they still look like innocent kids 🥹” 

T.I.’s Daughter Also Gears Up For A New Chapter

Major Harris isn’t the only one stepping in a new chapter — his sister Deyjah Harris is on the same wave. She recently became a member of the Delta Sigma Theta Sorority, Inc. at Clark Atlanta University. Video footage showed Deyjah’s big moment where she hit a whole routine to her dad’s song, ‘Bring Em Out.’ See the clip below.

RELATED: Oop! Tiny Harris Addresses Rumor That T.I. Isn’t King’s Father

By Jonathan Klotz
| Published 36 seconds ago

Ask anyone on the street to name the greatest movie of all time, and you’ll get a wide range of answers, from Avengers: Endgame to Gone with the Wind, but ask someone to name the greatest sequel ever, and it narrows the field. Star Wars: The Empire Strikes Back is in the conversation, Star Trek II: The Wrath Of Khan is a classic, but nothing compares to The Godfather: Part II, not only is the best sequel ever made, it’s one of the greatest movies in history. Both sequel and prequel, the return of Michael and Vito Corleone pulled off the rare feat of improving on the near-perfection of the original. 

The Godfather Part II Is A Cinematic Masterpiece

The Godfather: Part II splits its narrative along two timelines: first, the rise of Vito Corleone (Robert De Niro) in Italy as he takes his first steps into the Mafia. De Niro’s award-winning performance shows the struggle of the future Don as he tries to do right by his family when life keeps kicking him down. When we first met Vito, as played by Marlon Brando in the original, he was confident and in control, ruling an empire, but as we learn in the sequel, it’s an empire doomed to fall. 

Vito’s sons, Michael (Al Pacino) and Fredo (John Cazale), struggle to hold onto the Corleone’s top spot in the Mafia amid assassination attempts and a traitor from within the family. While Vito’s story is about building an empire, Michael’s is about the struggle to hold onto one, and you can see how the sons of an immigrant are losing touch with their homeland. The Godfather: Part II is, at its heart, a story about the immigrant experience, which also happens to be the movie that defined crime movies for decades. 

Defining A Genre

Impressively, The Godfather Part II earned $93 million worldwide in 1974, which is unadjusted for inflation, which means 50 years later, Francis Ford Coppola’s masterpiece outgrossed Borderlands. At the time of its release, the sequel/prequel was slammed by critics for being overly slow, and no less a critic than Roger Ebert slammed the dual-narrative. It didn’t take long, though, for the film to be rightly recognized as a landmark achievement in movie history, to the point that not even Megalopolis could diminish the legend of Coppola.

Every Mafia movie that has come after The Godfather Part II is standing on the shoulders of a giant. The Sopranos owes it a debt for building off of Michael’s story, Boardwalk Empire contains echoes of Vito’s struggle to build his Empire, and even the legendary Goodfellas pulls from the tragedy of Fredo. Few films are so successful that they define an entire genre, but that’s exactly what Coppola’s magnum opus has achieved.

The luxurious pacing of The Godfather Part II sticks out even more today in the era of rapid-fire mini-climaxes every 20 minutes. It isn’t a weakness, though; it’s a strength, because when you give the film all of your attention, each and every detail, every subtle interaction, every inflection of De Niro and Pacino carries weight and meaning. Francis Ford Coppola is one of the greatest directors in history, The Godfather is one of the greatest films in history, and yet, its sequel is required viewing by everyone who has even a passing interest in crime cinema.

The Godfather Part II is now streaming for free on Pluto TV.

By Chris Snellgrove
| Published 12 seconds ago

Growing up as an ‘80s kid, I had a fairly awesome childhood (thanks, mom and dad!). My nostalgia for that era is quite strong, which is why I’m typing this while surrounded by a small army of GI Joes, Transformers, and Ninja Turtles. It’s no surprise, then, that when friends ask me what movies they should show their children, I typically recommend films from the decade that brought us everything from the Ghostbusters to Big Trouble in Little China.

When a friend recently asked what she should show her two kids, I didn’t hesitate to recommend Labyrinth. Cute songs, wacky muppets, wacky David Bowie, and Jennifer Connelly in a breakout role; what’s not to love? Soon, she reported that her kids were having nightmares about the Goblin King and his monstrous minions. I felt bad for about two seconds before realizing the problem: Jim Henson’s Labyrinth is still a perfect children’s movie. Unfortunately, Hollywood has transformed modern kids’ movies into vibes-based screensavers that no longer allow children to safely explore crunchy concepts like love, death, and even human mortality.

Ziggy Stardust And The Goblins From Mars

After my friend chided me about my recommendation, I had to be honest with myself: Labyrinth is a pretty scary movie. The central plot involves a mysterious man kidnapping a small child, and poor Jennifer Connelly must navigate a world of increasingly nightmarish Muppets in order to rescue him. The titular labyrinth often feels like a prison with no way out, and things like the “Helping Hands” scene and the masked ball are the stuff of fever-dream nightmares. Hovering over all of this is the fact that the Goblin King is a middle-aged menace trying to secure a child bride, one played by a girl who wasn’t even old enough to get her learner’s permit.

Despite all of that, though, I still think Labyrinth is a great film to share with children. To me, the scary aspects mentioned above are a feature, not a bug. It may be “only” a kids’ movie, but these frightening features infuse Labyrinth with a sense of genuine tension from beginning to end. Tension is, of course, the secret ingredient of any good story because it provides the narrative with real stakes for the characters that we care about. Those characters grow through tension and conflict, but most modern children’s movies have surgically removed everything scary and tense in an effort to make their films less offensive and more palatable.

A Star Is Born

In A Minecraft Movie, for example, no kid thinks the malevolent Malgosha is going to take over the world; they understand the plot is just window dressing for a film trying to squeeze in as many game references as possible into the runtime. Similarly, no youngsters watching Sonic the Hedgehog think Dr. Robotnik will win the day. They’re just here for the in-jokes and slick special effects that precede the inevitable happy ending. Furthermore, no children think Bowser, Jr. is going to conquer the universe in Super Mario Galaxy; they’re just here to appreciate the parade of Nintendo memes onscreen and hope their favorite Smash Bros. characters pop up. 

These movies are not designed to challenge children; instead, they serve as two-hour distractions for parents who need some peace and quiet. Unfortunately, the concerted Hollywood effort to make these films inoffensive has also made them bland and creatively bankrupt. It’s functionally impossible for children to enjoy these works as films: instead, they are designed as just another bit of colorful stimuli for an ADHD generation raised more by their iPads than their parents. But Labyrinth is proof that it doesn’t have to be this way and that we can (and should) be giving our children plenty of substance to go with their spectacle.

The World’s Creepiest Muppets

Why, specifically, do I think children should watch Labyrinth? The first reason is that, at the risk of sounding overly blunt, fear is something that everyone must deal with every single day. Watching a spookier children’s movie allows kids to microdose fear and learn to process it within the context of a story that ultimately offers an inevitably happy ending. You know how some people are so nervous that a loud noise can ruin their entire day? That’s what happens when you lead a sheltered childhood protected from all things scary. Conversely, a regular diet of mildly frightening kids’ movies can help the audience grow into well-adjusted adults.

On a related note, movies like Labyrinth are a safe, controlled way to introduce kids to important real-world topics that might just save their lives. This is a film about child abduction, extortion, power imbalances, and so many other ‘dark’ topics, but it’s all wrapped in a shiny wrapper that includes cute songs and cuter creatures. Take it from a parent: you’ll eventually have to talk with your children about how all of this works in the real world to keep them safe. That conversation will be a lot easier for you (and more believable for them) if they have had time to process these scary ideas within a fictional context.

Teaching Kids Lessons (One Scream At A Time)

Finally, if you actually watch the movie with your kiddo instead of just using the TV as a babysitter, you can help teach them the most elusive skill of all: critical thinking. Every moment that makes them cover their eyes in fright is an opportunity for an open and honest conversation, with leading questions like “why did that scare you?” and “what do you think that character should have done instead?” This teaches children to actually engage with and learn from media, all while improving their self-confidence by helping them get over their fears. Not for nothing, they’ll also feel a sense of pride for emerging from a scary movie, stronger than ever.

Want to teach your own child a few important lessons? Or want to relive the glory days of weird ‘80s cinema? Heck, do you just want to jam out to the Goblin King’s impossibly catchy tunes? No matter your motivation, you’re in luck: Labyrinth is streaming on Netflix today. It’s a scary good time that, regardless of what my friend might tell you, is fun for the whole family. Fair warning, though: you might want to make sure nobody’s around before you start dancing your own magic dance in the living room!

Netflix has quite a few fantasy shows to boast of, ranging from The Witcher to Shadow and Bone to Arcane, but few, if any, are quite as good as The Dragon Prince. The 2018 animated fantasy series may not be the most widely known, but it has a 100% on Rotten Tomatoes, which it certainly earned. Over the course of seven seasons, the series takes the characters on a sprawling adventure full of magic and danger as they attempt to unite a divided world and bring peace after a thousand-year-old conflict. Balancing humor and heart, the story explores loyalty, empathy, and how to break the cycle of violence in a way that is accessible to fairly young audience members.

Created by Aaron Ehasz, who is best known for his work as the head writer on Avatar: The Last Airbender, the series thrives on its complex magix system and dynamic characters. The Dragon Prince not only lasted a considerable time, but in July 2025, it was announced that a sequel series titled The Dragon King is in the works. This proves the lasting love for this world, and it’s not hard to see why. With its lovable characters and impeccable worldbuilding, few shows can compete with The Dragon Prince.

What Is ‘The Dragon Prince’ About?

The Dragon Prince stands out because there is no show quite like it. The series tells an ambitious story of friendship and acceptance as it brings together an unlikely group to solve the world’s problems. Following a brutal war between the human kingdoms of Katolis and Xadia’s Dragon King, Moonshadow Elf assassins are sent to kill Katolis’ king, Harrow (Luc Roderique), and his son, Prince Ezran (Sasha Rojen). Though Harrow doesn’t survive the attack, Ezran and his half-brother, Callum (Jack DeSena), escape the attack and discover Dragon King’s unhatched egg. With this, the pair manages to change the heart of the youngest assassin sent after them, Rayla (Paula Burrows), and perhaps, change the course of the war. Ezran, Callum, and Rayla must work together to return it to its mother in hopes of creating a lasting peace, forcing them to set aside their differences and trust each other.

However, their mission is not simple, especially with Harrow’s advisor, Viren (Jason Simpson), angling for power and sending his loyal and talented children, Soren (Jesse Inocalla) and Claudia (Racquel Belmonte), after the trio. However, that is only the beginning of the journey. Throughout the series, Ezran, Callum, Rayla, and their allies must contend with ruthless dark mages, embittered dragons, and a godlike elf set on revenge, which raises the story’s stakes as the characters make difficult decisions. Yet, even with all the danger, the characters never lose their humor. Callum has a never-ending capacity for sarcasm, Ezran carries his grumpy Glow Toad, Bait, with him everywhere, and the magic they encounter doesn’t always make sense. Ultimately, the light-hearted tone and epic story balance each other out, making the series both thrilling and hilarious.

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‘The Dragon Prince’ Sets Itself Apart With Compelling Characters and an Intricate World

Image via Netflix

There is a lot to love about The Dragon Prince, but what stands out the most is its lovable characters and epic worldbuilding. The characters carry the series, with redemption arcs and meaningful development for each of the central players. Ezran, in particular, is forced to take on more responsibility as he becomes the next king, while Callum undergoes important self-discoveries, and Rayla must contend with her past. Yet, none of those contend with Soren’s fascinating arc. Despite being used for comedic relief, Soren slowly becomes one of the most well-rounded characters in the series. These characters are easily the highlight of the series, but their story largely works because of the sprawling magical world they are in.

The Dragon Prince slowly takes the audience to every corner of the world, making Xadia an expansive and captivating world. The kingdoms of Katolis and Xadia couldn’t be more different, as Katolis’ mages are rare, while Xadia is brimming with magic. However, each region has different rules based on six different Primal Sources of magic, and the series slowly explores them all. Moonshadow, Skywing, Sunfire, Earthblood, Tidebound, and Startouch Elves all have different societies and abilities that the characters learn from, showing just how intricate the world is. With its fascinating world and endearing characters, The Dragon Prince proves itself to be an excellent but underrated fantasy series.

The Dragon Prince is streaming on Netflix in the U.S.

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Release Date

2018 – 2024-00-00

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Netflix

Showrunner

Justin Richmond

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Directors

Justin Richmond

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Writers

Justin Richmond

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• 

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From LAPD officer Jack Traven’s (Keanu Reeves) race against time in Speed and the true story of a plan to break free in The Great Escape, to a battle of minds between Neil McCauley (Robert De Niro) and Vincent Hanna (Al Pacino) in Heat, to the effort to foil a Christmas terrorist plot in Die Hard, some of the very best movies of all time are action thrillers.

Perhaps the finest pure action thriller ever made debuted in 1993, storming to box office triumph and even making its mark at the Academy Awards. The movie in question is The Fugitive, released at the height of Harrison Ford‘s fame and starring the Star Wars icon as Richard Kimble, a man wrongly accused of murdering his wife. Attempting to escape the law, Kimble finds himself tracked in a gripping game of cat-and-mouse by the unflinching Deputy Samuel Gerard (Tommy Lee Jones). If Ford was the draw for the movie, it was Jones who stole the show, even winning the Academy Award for Best Supporting Actor for his trouble.

This was one of seven nominations The Fugitive received at the 66th Academy Awards, including a nod in the coveted Best Picture category. Sadly, The Fugitive came out empty-handed from the biggest category of the night, losing to Steven Spielberg‘s tearjerking masterpiece, Schindler’s List. Just over 32 years since The Fugitive‘s single Oscar win in March 1994, the film is still proving popular. At the time of writing, the film is one of the ten most-streamed films on the free streaming site Tubi in the U.S.

‘The Fugitive’ Smashed Box Office Expectations

1993 was a strong year at the box office, with theaters dominated by the global phenomenon Jurassic Park. With Mrs. Doubtfire finishing the year in second, it was The Fugitive that surprised most by taking third place in the end-of-year box office ranks. Against a reported budget of $44 million, the movie grossed $354 million worldwide, split between a domestic haul of $184 million and a further $170 million from overseas markets. Alongside Ford and Jones, the movie also features Sela Ward as Helen Kimble, Joe Pantoliano as Cosmo Renfro, and Jeroen Krabbé as Charles Nichols.

Harrison Ford’s The Fugitive is one of the ten most-streamed movies on Tubi, and is available to stream now. Make sure to stay tuned to Collider for more streaming stories.

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Release Date

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August 6, 1993

Runtime

131 minutes

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Director

Andrew Davis

Producers

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Arnold Kopelson

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