Latto just put the world on notice about her pregnancy, and now it looks like her loved ones are receiving customized announcements. A newly surfaced video shows an adorable package that could be anything from a pregnancy keepsake to a gender reveal invite or baby shower save-the-date! The clip shows the arrangement fully decked out in cheetah print, which fans know is Big Mama’s whole vibe, but 21 Savage also made an appearance in the new video!

RELATED: Alleged Mom Of 21 Savage’s Two Oldest Children Seemingly Reacts To Latto’s Pregnancy Reveal (PHOTO) 

Are Latto & 21 Savage Hosting A Baby Event?

Fans are speculating the announcement could be official confirmation that 21 Savage is the father of Latto’s unborn baby. Instagram account @babyjade first shared the preview of the package early Sunday, though her relationship to either rapper is unclear.

In the clip, a box displays a baby cheetah stuffed animal alongside what appears to be a note. But what folks didn’t miss were Latto and 21’s government names, Alyssa and Shéyaa, at the front of the setup.

Latto and 21 have not publicly confirmed whether they’re expecting a child together. Still, fans started speculating that 21 is the daddy after a man’s tatted arm in Latto’s new ‘Business & Personal’ music video appeared to resemble Savage’s. Also, folks peeped his baby photos in the scrapbook that the raptress was putting together in the visuals.

Latto Confirms She’s Now Big Mama With One Kid

Latto broke the internet when she returned to social media with two MAJOR announcements on Friday, March 20. The Atlanta femcee dropped her new single, ‘Business & Personal,’ and showed off her baby bump in the music video. Fans started speculating that she was pregnant ever since she went off the grid. In the visuals, She gives viewers a closer look at her growing belly. At one point, a man appears to caress her bump, but his full face isn’t shown in the visual. The moment had folks doing detective work and later claiming that the man’s arm matched 21’s.

Latto BEEN Said 21 Was “Her Man, Her Man, Her Man!”

Despite the confusion and concerns, Big Mama has made it clear that 21 Savage holds the key to her heart. In September 2025, TMZ caught the ‘Georgia Peach’ femcee out in NYC. When she was asked if she ever gets tired of hearing about 21, Latto responded saying, “Nope! My man, my man, my man!”

RELATED: Mariah The Scientist Has Fans Cuttin’ Up Over Her Reaction To Latto’s Pregnancy Announcement (PHOTO) 

The season finale of The Madison introduced a surprising conclusion after shocking onscreen deaths and some major moves to Montana — but did the show end on a satisfying note?

Season 1 concluded on Saturday, March 21, with Stacy (Michelle Pfeiffer) and the other members of the Clyburn family still dealing with Preston’s (Kurt Russell) death. They remained in Montana but ultimately they had to pack back up for New York. It was an adjustment for most of them — with Paige (Elle Chapman) nearly getting arrested and Stacy remaining in therapy.

Ultimately, Stacy returned to Montana while the rest of her family stayed behind in New York — for now.

The Madison follows the Clyburn family from New York City, who “relocate to the Madison River valley of southwest Montana for emotional recovery following a tragedy that shattered the family.”

In addition to Russell, 74, and Pfeiffer, 67, the show stars Patrick J. Adams, Elle Chapman, Matthew Fox, Beau Garrett, Alaina Pollack, Amiah Miller as members of the Clyburn family, Ben Schnetzer, Kevin Zegers. Rebecca Spence and Danielle Vasinova make up the rest of the cast.

“Taylor has a wonderful knack of putting what he wants to be known from the script into the script. There is always a specificity to what locations are — to what moment of the scene is the most resonant to character descriptions,” executive producer and director Christina Alexandra Voros told Us about collaborating with Sheridan, 55. “There’s so much DNA in the scripts themselves that there are fewer conversations than you would think [between us]. We’ve been working together for a very long time. I feel lucky enough to have been trusted with interpreting his writing for screen for a very long time.”

Voros addressed the decision to show Preston’s death on screen — and the aftermath.

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Related: Meet the Cast of ‘The Madison’ After Shocking Deaths: Who Does Everyone Play?

Taylor Sheridan has assembled a star-studded cast in his newest hit The Madison — but who does each actor play after numerous shocking onscreen deaths? According to the official synopsis, The Madison follows the Clyburn family from New York City, who “relocate to the Madison River valley of southwest Montana for emotional recovery following a […]

“The experience of grief is something that’s universal. The way it becomes personal is in the specificity with which it is examined,” Voros exclusively told Us Weekly. “Part of the reason the show is so resonant to me is because I think anyone who watches it can see themselves in these characters — or see loved ones resonating in these characters. We feel more for a character and characters make us feel more for ourselves when those experiences are very specific.”

It was always the plan to show every aspect of losing a loved one.

“Living with a character in a moment — waiting for luggage at an airport or standing in a coroner’s office — are the quiet moments where you do not have the distraction of anything else other than the enormity of what you are dealing with,” she continued. “The emotional space is a very resonant place for storytelling to live.”

The Madison is currently streaming on Paramount+.

Jana Kramer has thoughts about ABC’s last-minute decision to cancel Taylor Frankie Paul’s season of The Bachelorette.

“Abuse is never great TV,” Kramer, 42, said on the Thursday, March 19, episode of her “I Do, Part 2” podcast. “Where it’s being physical, that is not something that our children need to see. … When you have to grab someone, hurt someone, push someone, verbally, physically, that is not something to get viewership for.”

Taylor, 31, was named as the next Bachelorette in fall 2025, with her season scheduled to premiere on ABC Sunday, March 22. Days before the premiere, footage leaked of Taylor assaulting and throwing several chairs at ex-boyfriend Dakota Mortensen in 2023 while in the presence of her daughter. (Taylor shares Indy, 8, and Ocean, 5, with ex-husband Tate Paul, as well as son Ever, 2, with Dakota, 33.)

In light of the video’s release, ABC pulled the plug on Taylor’s season.

Related: ABC Was ‘Livid’ Over Taylor Frankie Paul Drama Before Cancellation

The powers that be at ABC were not impressed with the drama surrounding Taylor Frankie Paul. “ABC is livid over the situation,” a source exclusively shared with Us Weekly. “Taylor had a breach of contract, and they are internally investigating.” Before Disney Entertainment Television confirmed to Us on Thursday, March 19, that ABC would not […]

“DV is not something to joke about [or] to get viewership,” Jana, who previously claimed to suffer domestic abuse during her first marriage, stated on Thursday. “It’s just not at all, and if it was a guy, they would have shut it down immediately.”

ABC has not addressed their specific reasons for waiting to scrap Taylor’s journey until the video was released, though a rep did issue a statement addressing the cancellation itself.

“In light of the newly released video just surfaced today, we have made the decision to not move forward with the new season of The Bachelorette at this time,” a spokesperson for Disney Entertainment Television told Us Weekly in a Thursday statement. “Our focus is on supporting the family.”

Taylor is also a star on Hulu’s The Secret Lives of Mormon Wives, which also ceased production on its fifth season.

“I’m proud of the [other] girls for not filming The Secret Life and being, like, ‘You guys need to figure this out,’” Jana said, referring to the reports that Taylor’s costars met with Disney execs to express their alleged desire to no longer filming with her. “You’re just enabling a situation that is not healthy and is not safe for anybody.”

According to Jana, ABC would have been “feeding into this really awful narrative” glorifying domestic violence had they not canceled the show.

“It’s not acceptable on the side, whether violent resistance or not,” the One Tree Hill alum stressed on her podcast. “Defend yourself to get out of a situation if that’s the case, but it’s not something where you should be highlighting [on television] or saying that behavior is OK. It’s not OK.”

After Taylor’s season of The Bachelorette was axed, she released a statement.

“Taylor is very grateful for ABC’s support as she prioritizes her family’s safety and security,” a rep for the MomTok creator said in a Thursday statement. “After years of silently suffering extensive mental and physical abuse as well as threats of retaliation, Taylor is finally gaining the strength to face her accuser and taking steps to ensure that she and her children are protected from any further harm.”

Related: Taylor Frankie Paul Says She Would Have Filmed ‘Bachelorette’ Pregnant

Before her season of The Bachelorette was canceled, Taylor Frankie Paul said she would have filmed even if she was pregnant with ex Dakota Mortensen‘s baby. In a profile published by Vulture on Friday, March 20 — which was conducted before ABC canceled the season — the reality star, 31, was asked about Dakota’s onscreen […]

The statement concluded, “She is currently exploring all of her options, seeking support and preparing to own and share her story.”

Dakota, meanwhile, has denied any accusations against him.

“As anyone who has seen the video will understand, this is a deeply upsetting situation,” Dakota said in a separate statement on Thursday. “I am, unfortunately, used to these baseless claims about me and our relationship, which I categorically deny. I am focusing on our son and his safety, and hope that Taylor will do the same.”

The next day, Us confirmed that Dakota was granted a temporary protective order barring Taylor from coming within 100 feet of her ex or having any online communication before a court hearing scheduled for early April. The order also granted Dakota sole custody of Ever for the time being.

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.

A great thriller does not just keep you engaged. That phrase is too weak for what the best ones do. The best thrillers invade your nervous system. They make your shoulders tighten without permission. They make ordinary objects feel loaded. A hallway becomes a threat. A phone call becomes a trap. That is what this list is about.

Not thrillers with one amazing sequence and a soggy middle. Not thrillers that coast on premise. Not thrillers you respect more than you feel. I mean movies that lock in early and never lose the line. Movies that know exactly when to push, when to withhold, when to mislead, when to let a performance take over the room, and when to stop before one twist too many turns electricity into a gimmick. These are the ones that do not ask for patience. They command it. And because this list is about thrillers, I do not care only about plot. I care about pressure. These ten absolutely understand that.

10

‘Blue Ruin’ (2013)

Image via RADiUS-TWC

So many revenge thrillers pretend they are showing cost while secretly making vengeance look like an underground superpower. This movie does not do that for a second. What wrecks me about Blue Ruin is how little glamour it allows revenge. It shows revenge as clumsy, sad, badly planned, emotionally unhealed behavior carried out by a man who looks like life has already taken too much out of him before the blood really starts flowing. Dwight (Macon Blair) is one of the most quietly devastating thriller protagonists of the last decade because he does not enter the movie with mythic force. He feels fragile from the beginning. Not weak, fragile.

That is why the suspense works so well. Every move feels like it could go wrong because Dwight feels like someone who would absolutely be capable of getting in over his head. The violence lands harder because it is ugly, awkward, panicked. The emotional force comes from knowing the movie is not building toward triumph. It is building toward damage spreading. Blue Ruin is amazing because it knows a thriller can be intimate, brutal, and deeply mournful at the same time.

9

‘Prisoners’ (2013)

Image via Warner Bros.

This movie feels like grief dragging itself through rain and concrete. From the first disappearance, Prisoners does not simply become tense. It becomes morally contaminated. It understands that a thriller about missing children cannot just be gripping. It has to feel like something sacred has been ripped out of the world, and every scene afterward has to live in the shadow of that rupture. The film follows Keller Dover (Hugh Jackman), a man whose entire identity is built on preparedness, protection, control, and moral certainty, and the film slowly forces all of that into a furnace instead of just making him a desperate father.

He’s like Liam Neeson in Taken. He is loving and terrifying in the same body. You understand him even when you start fearing what he is becoming. That is the kind of character work thrillers often skip in favor of momentum. This film doubles down on it. Loki (Jake Gyllenhaal) is one of my favorite thriller investigators because he feels haunted before the case even solves anything. And that is why the film is so effective from start to finish.

8

‘The Fugitive’ (1993)

Image via Warner Bros. 

There is something almost holy about how cleanly The Fugitive moves. It does not waste time, and yet it never feels rushed. It understands that one of the purest pleasures in thrillers is watching intelligence operate under pressure. Richard Kimble (Harrison Ford)’s character is smart, resourceful, and driven, but the movie never lets him float into action-star invincibility. He looks tired. Cornered. Furious in a way that keeps having to stay practical. That practicality is the whole magic of the film.

Then Samuel Gerard (Tommy Lee Jones) shows up and turns the whole film into a duel of professional energies. He is sharp, dry, relentless, and fully alive in his own movie. The brilliance is that The Fugitive does not need the marshals to be stupid or corrupt to make Kimble sympathetic. Both sides have competence. That creates momentum with actual teeth. And that’s why it holds all the way through. It is one of those thrillers where every scene either traps, frees, or redirects the protagonist without ever feeling mechanical. The movie trusts velocity, but it earns it through character.

7

‘Gone Girl’ (2014)

Image via 20th Century Studios

This is one of the nastiest American thrillers of the century, and I mean that lovingly. Gone Girl is amazing because it understands that marriage, performance, gender expectations, and media spectacle are already full of thriller energy before anyone starts disappearing. What makes the film sing is how cruelly precise it is about surfaces. Nick Dunne (Ben Affleck) and Amy Dunne (Rosamund Pike) are spouses in crisis. They are image managers, fantasy collaborators, mutual disappointments, and eventually each other’s most intimate enemies.

Affleck is perfect casting because his natural ambiguity becomes part of the movie’s design. He can look guilty, blank, aggrieved, stupid, and sincerely blindsided in the same scene. Pike, meanwhile, gives one of the great ice-blooded thriller performances. But the genius is that Amy is not merely a monster of intelligence. She is also a creature of humiliation, ego, theatricality, and rage. The performance works because she is horrifyingly alive. And once the film pivots, it never lets up. Every media beat, every false note of sympathy, every recalibration of power inside the relationship feels like poison becoming more concentrated. This is a thriller that keeps asking: what if the performance is the prison? What if winning means staying in the lie forever? That is such an ugly question, and the movie squeezes it until it sings.

6

‘No Country for Old Men’ (2007)

Image via Miramax Films

This film scares me in a way very few thrillers do because it does not behave like it owes you moral structure. It gives you money, pursuit, law, evil, and survival, and then steadily strips away the comforting idea that any of those things will arrange themselves into a shape you recognize. That is why the movie feels so cold. Not because it lacks feeling, but because it refuses false reassurance. Llewelyn Moss (Josh Brolin) is one of the smartest characters in any thriller on this list.

And then there is Anton Chigurh (Javier Bardem), who is terrifying precisely because Bardem never pushes him into flamboyant villain theater. But what deepens the film beyond pure dread is Sheriff Bell (Tommy Lee Jones). Bell is the soul of the movie. He can name the fatigue that comes from living long enough to realize the world no longer fits the moral equipment you brought into it. That sadness hangs over everything in this film.

5

‘Zodiac’ (2007)

Image via Paramount Pictures

There are thrillers about catching a killer, and then there is Zodiac, which understands that obsession can become the real killer long before the case closes. This is one of the most hypnotic procedural thrillers ever made because it treats uncertainty not as a narrative inconvenience but as the whole emotional catastrophe. The killer is terrifying, yes. The inability to turn fragments into finality is even worse.

What makes the film so special is the way it keeps changing who the emotional center belongs to without ever losing pressure. Robert Graysmith (Jake Gyllenhaal) becomes the most obvious vessel for obsession, but the movie has already seeped into everybody long before he fully takes over. Dave Toschi (Mark Ruffalo) carries the fatigue of professionalism under absurd pressure. Paul Avery (Robert Downey Jr.) has all that wit and velocity curdling into corrosion. The whole film feels like talented men being slowly unstitched by the refusal of reality to become solvable. And the suspense is extraordinary. Hardly anything happens in the conventional sense, and your body still forgets how to relax.

4

‘Oldboy’ (2003)

Image via FilmDistrict

Oldboy does not unfold. It stalks, taunts, humiliates, and detonates. Park Chan-wook makes the entire film feel like a revenge mechanism built by a sadist with a poet’s eye and a grudge against ordinary storytelling. It is operatic, ugly, stylish, sick, and emotionally ruinous in a way very few thrillers dare to be. What gives it its force is Oh Dae-su (Choi Min-sik) himself. Choi Min-sik plays him with such wounded animal intensity that the movie never becomes just a formal stunt. He is funny, pathetic, enraged, degraded, determined, and increasingly shattered as the truth tightens around him. You feel how imprisonment has curdled him. You feel how revenge gives him direction without giving him dignity back. That emotional degradation is crucial.

The film’s most disturbing revelations land because they do not just surprise him. They annihilate the parts of him that were still trying to remain human. And yes, the corridor hammer fight is iconic for a reason, but what makes the movie great is that its violence is not there merely to excite. Every blow feels like part of a larger moral architecture of punishment. By the end, Oldboy has become one of the bleakest thrillers ever made about what vengeance really wants: not balance, not justice, but total psychic occupation. It is relentless, and I love it for that.

3

‘The Silence of the Lambs’ (1991)

Image via Orion Pictures

This movie is so completely in control of its own dread that revisiting it almost feels like revisiting a sacred object. The Silence of the Lambs is not just suspenseful. It is intimate with fear. It understands that terror gets worse when it is forced into conversation, when politeness and appetite share a room, when intelligence becomes a form of predation. Clarice Starling (Jodie Foster) is the heart of the film, and the reason it never becomes merely a serial-killer showcase.

And then there is Hannibal Lecter (Anthony Hopkins). What more can even be said at this point except that Hopkins somehow makes stillness feel carnivorous? The scenes between him and Clarice are iconic to this date because he sees too much, speaks too precisely, and turns language into touch. The film is amazing from start to finish because every scene either deepens Clarice or sharpens the shape of evil around her. Nothing is wasted. Not a glance. Not a pause.

2

‘Se7en’ (1995)

Image via New Line Cinema

Another David Fincher addition to this list. And while some thrillers feel dark, Se7en feels damned. From the opening credits onward, the movie behaves as if the city has already surrendered to rot and the investigation is simply forcing two men to walk through the smell of it. This is one of the best character pairings in thriller history. Somerset (Morgan Freeman) and Mills (Brad Pitt) give the movie its weight in a way that any lesser actor might not have been able to. They are rival ways of surviving a world that seems spiritually diseased. Freeman gives Somerset a tired precision that kills me every time. Pitt, meanwhile, makes Mills hot-blooded enough to be reckless and sincere enough to be tragic. The movie needs both energies. Without Mills’ emotional impatience, the film becomes all despair. Without Somerset’s old grief, it loses its depth.

And then the murders. What makes them horrifying is not only their invention, but the way the movie turns each crime scene into a moral atmosphere. It makes you enter philosophies of punishment. The apartment of Sloth. The library nights. The long drives. The rain. The way John Doe’s (Kevin Spacey) logic keeps pressing inward until the film stops feeling like a manhunt and starts feeling like an argument with God.

1

‘Heat’ (1995)

Image via Warner Bros. Pictures

I love Heat with the kind of intensity that makes me want to defend it before anyone has even criticized it. This is not just one of the greatest thrillers ever made. It is one of the most complete. It has scale without bloat, character without softness, action without stupidity, and melancholy running through it like a private current. It is a thriller about professionals, yes, but what makes it immortal is that it is also about loneliness becoming a life philosophy. Firstly, its star-studded cast is unmatched. Neil McCauley (Robert De Niro) is one of the greatest movie criminals. Vincent Hanna (Al Pacino) is on the other side of the same wound.

Both these men know what the other has sacrificed to become this exact kind of person. And that is why Heat is number one. Not just because the bank robbery and shootout are still among the greatest action sequences ever filmed, though they are. Not just because Michael Mann directs cities better than most people direct actors, though he does. It is number one because it circles its characters again and again until the suspense becomes emotional, existential. That final airport runway sequence destroys me every time. Two men stripped of all the noise, all the systems, all the teams, all the urban architecture, just one chasing, one fleeing, both having followed their own nature all the way to its end. When that hand reaches out in the dark, Heat becomes more than a thriller. It becomes a tragedy that happened to carry a gun. And that, to me, is perfection.

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Heat

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Release Date

December 15, 1995

Runtime

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170 minutes

Director

Michael Mann

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Writers

Michael Mann

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Less really is more, just ask Kathy Hilton.

The Real Housewives of Beverly Hills star spilled the effortlessly chic beauty and style tips she passed down to daughters Paris, 45, and Nicky, 42, while hosting a fête for LoveShackFancy’s Sweetheart fragrance at her Bel Air, California home on March 20.

Though Hilton loves a glamorous moment (and throws a party like no other), she’s all about keeping things polished, and never overdone.

“A classic rule I’ve told Paris and Nicky is to be comfortable. I’d rather be a little underdressed than overdressed because you can always throw on fun earrings or change your shoes if you’re leaving work or getting off a plane,” she tells ET.

“You don’t want to come in with the whole kitchen sink and make a fool out of yourself. Dim it down a little bit. Just be fresh, pretty, and confident. That’s the best,” the entrepreneur continues.

Naturally, the mother-daughter trio shares more than just style advice, they share closets too.

“They can’t wear my shoes because I have a smaller foot, but they wear my jewelry, my accessories, and my handbags. … I recently borrowed a bag that was so cute from Paris. She was calling every day saying, ‘I’m going to come by and get my bag.’ … She knows her inventory and doesn’t forget, but I’m happy that she takes care of her things and that she’s appreciative,” the Bravo star says.

When it comes to what Hilton actually keeps in her purse, she leans into easy and practical items.

“I carry an eye mask that I found years ago at a drugstore in New York, pale pink silicone foot pads for comfort, my little fan, and my Lorna Murray hat because it gives an outfit a great look, makes me look a little bit taller, and keeps the sun off my face,” she explains.

“I’m also always trying the latest and newest product to moisturize my lips because they’re chronically dry, and I love the Revive neck cream and can’t put on makeup without it.”

Beyond her essentials, one thing Hilton never leaves the house without is a signature spritz.

“I spray my perfume at the end, but I make sure I don’t have pearls on. … I have a collection of fragrances. … There are ones I would wear to a ladies’ lunch, and others that are romantic and sexy that I would wear after 5 p.m. for dinner with my husband.”

Luckily, her current favorite works for just about any occasion. 

“Sweetheart is so fruity and floral, and the bottle is the pinkest, most sparkly, and gorgeous. … It’s perfect for spring and summer because it’s happiness in a bottle. … I like to bring a little bit of summer everywhere I go. … Hot girl summer every day, even in the winter,” Rebecca Hessel Cohen, founder of LoveShackFancy, notes.

“It can take you anywhere. … It’s so beautiful that you want to just hold it or keep it on your dressing table,” Hilton continues.

Still, there is one area where Hilton doesn’t hold back: health and wellness.

“I do TruNiagen IV treatments every week and take two of their supplements every day to give me energy. … I’m a mad professor with putting things together. I always have my lotions and potions, and everyone loves it. … My girls are very into it and it’s fun to compare notes.”

Through it all though, her philosophy stays grounded.

“I’ve always mixed high and low. I’m as happy at Target and Walmart as I am on the seventh floor of Bergdorf Goodman.”

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By Robert Scucci
| Published 1 hour ago

2018’s Distorted, starring Christina Ricci and John Cusack, has an 18 percent critical score on Rotten Tomatoes. As somebody who genuinely loves bad movies, I had to check it out. What really caught my eye, though, was the 74 percent Popcornmeter score supported by over 500 ratings, suggesting this low-budget flop might actually be better than critics would have you believe. My takeaway is that it’s a pretty run-of-the-mill, boilerplate psychological thriller. It’s adequately acted, shot well, and sells its paranoid premise like any other film cut from the same cloth.

The screenplay, on the other hand, doesn’t do the film any favors. Cusack and Ricci play off each other tremendously, and there’s a lot to be said about their on-screen chemistry as they unpack a conspiracy involving a suspicious luxury apartment, subliminal mind control, and mental illness. It’s a great concept with solid production values, and everybody on screen is doing what they can with the material. But it also feels like they were working from a first draft that wasn’t fully realized before going into production.

When Bipolar Paranoia Becomes Justified

Like most second-rate psychological thrillers, our unreliable female protagonist has to have some sort of mental illness. Lauren Curran (Christina Ricci) suffers from bipolar disorder, which concerns her husband, Russel (Brendan Fletcher). Since Russel is a successful businessman, though you never actually see him working, he decides they need to move out of the city and into a futuristic apartment complex off the beaten path. These smart homes are everything you could possibly want, with top-notch amenities and security, which is especially important to Lauren because an earlier home invasion resulted in the death of their child, rightfully triggering her illness.

Right away, nothing is as it seems in Distorted. Lauren, and only Lauren, hears strange buzzing noises and sees odd images on her television screen. When she checks the CCTV feeds she can access through her iPad, she witnesses other tenants behaving strangely. Her paranoia is fully primed after speaking with a resident named Phillip Starks (Vicellous Reon Shannon), who works in consumer psychology and talks endlessly about subliminal messaging.

When Lauren expresses her concerns to Russel, they’re written off as bipolar delusions, making him question her mental state. Of course, there are plenty of shots of Lauren staring down a pill bottle, likely Lithium, as if taking an extra dose or skipping one would send her into a psychotic break, which isn’t really how that works. Her suspicions, however, are validated by John Cusack’s Vernon Sarsfield, a journalist, hacker, and conspiracy theorist who’s been keeping tabs on her apartment building for his own reasons.

In so many words, Lauren isn’t paranoid. Vernon is about to expose a massive subliminal mind control conspiracy that’s using her and her fellow residents as human test subjects, and he needs her help to dismantle it before it’s too late. Meanwhile, Russel tries checking her into a psychiatric hospital because, to his credit, Lauren has had episodes like this before, and he’s not seeing what she sees.

You Get What You Get

Though Distorted tries hard to play with the “unreliable female protagonist with a mental illness” setup, it doesn’t hold up under scrutiny. Christina Ricci does an excellent job acting terrified when the moment calls for it, and Cusack delivers at a high level as well, but the story is structured in a way that makes any seasoned psychological thriller fan immediately clock what’s going on. You’re not left wondering if Lauren is crazy. You’re thinking, yeah, something weird is happening here, and she will eventually be vindicated.

Because of this, there’s no real tension. Lauren’s “hallucinations” are visually interesting, but I never bought them as hallucinations. It’s obvious she’s being manipulated, and picking up on that early completely shatters the illusion Distorted is trying to sell.

My experience watching Distorted is one of those rare instances where the critic versus audience split actually favors the critics. I wouldn’t call it 18 percent bad because it’s shot and acted well, and it has enough striking visuals to keep things engaging. But the story is both sloppy and obvious, which is a death sentence for any psychological thriller.

If you’re a fan of the talent involved, it’s worth a watch, but it’s not going to rock your world. It’s still way better than The Glass House, though. 

As of this writing, Distorted is streaming on Netflix.

“One Tree Hill” alum Jana Kramer is voicing her opinion on the ongoing controversy surrounding Taylor Frankie Paul and her two reality shows, “The Bachelorette” and “The Secret Lives of Mormon Wives.”

For those unfamiliar, Paul has been the center of negative attention over the last week after a video of her appearing to assault her ex-boyfriend, Dakota Mortensen, was shared online. Before that, Paul’s “Secret Lives” co-stars reportedly went on strike, refusing to film with her over her alleged involvement in another domestic dispute in 2026.

ABC cancelled Taylor Frankie Paul’s upcoming season of “The Bachelorette” earlier this week; however, Kramer believes the network waited too long to pull the plug.

Trigger Warning: This content includes discussions of domestic violence, which may be distressing or triggering for some individuals.

Jana Kramer Seems To Slam ABC For Waiting To Cancel Taylor Frankie Paul’s Season Of ‘The Bachelorette’

“Abuse is never great TV,” Kramer said during a recent episode or her “I Do, Part 2” podcast. “Where it’s being physical, that is not something that our children need to see. … When you have to grab someone, hurt someone, push someone, verbally, physically, that is not something to get viewership for.”

Kramer went on to discuss ABC’s decision to pull what would have been Paul’s season of “The Bachelorette.”

“DV is not something to joke about [or] to get viewership,” she said. “It’s just not at all, and if it was a guy, they would have shut it down immediately.”

Kramer References Taylor Frankie Paul Appearing To Assault Her Ex-Boyfriend In A Shocking Video

ABC addressed its decision to axe the previously filmed season of “The Bachelorette” in a statement, saying the company’s focus “is on supporting the family.”

According to a previous report from The Blast, Paul was observed in a horrifying video released earlier this week, appearing to assault her ex and the father of her son, Mortensen.

In the video, Paul seems to strike Mortensen, pull his hair, and choke him. She also hurled two heavy metal chairs at him, one of which hit her daughter in the head.

“This is called physical abuse. This is all you do,” Mortesen cried out in the clip. “It’s the only thing you know how to do is hurt me. You think this is OK? It’s not OK. Holy sh-t.”

Kramer Sounds Off On ‘Secret Lives’ Co-Stars Refusing To Film With Taylor Frankie Paul

On her podcast, Kramer also commented on the reports that Paul’s “The Secret Lives of Mormon Wives” co-stars have refused to film season 5 with her.

A source told Us Weekly that the cast has met with Disney, Hulu’s parent company, about pausing production.

“The girls know they can continue without Taylor and want to keep going,” the source said. “This has brought them closer in a way, and they all have been leaning on each other, checking in. They want to make it work and finish out season 5 on a high note.”

Regarding their reported decision, Kramer said she was “proud” of the women for standing up to Disney, adding that filming with her is “just enabling a situation that is not healthy and is not safe for anybody.”

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Some Believe Paul Has ‘Tainted’ The Bachelor Franchise With Abuse Allegations

Kramer is not the only public figure with strong feelings about Paul’s controversy.

“I think it’s over,” former “Bachelor” star Rachel Lindsay said, according to The Blast. “I was trying to think of a scenario where it could be different, because this isn’t just, ‘Oh, we put it all on a person. This person did this.’ This is the system that allowed this to happen.”

According to Lindsay, Paul’s situation has “tainted” the franchise like never before.

Paul Breaks Silence After ABC Pulls ‘The Bachelorette’

While Paul has not spoken publicly since the video surfaced, a representative for the reality star issued a statement, slamming Mortensen’s “desperate, attention-seeking, destructive campaign to harm Taylor without any regard” for their minor child, Ever.

“Releasing an old video, which conveniently omits context, on their son’s birthday is a reprehensible attempt to distract from his own behavior,” the rep continued.

Despite the drama, the rep said Paul is “grateful for ABC’s support” as she navigates the heavy situation.

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“After years of silently suffering extensive mental and physical abuse as well as threats of retaliation, Taylor is finally gaining the strength to face her accuser and taking steps to ensure that she and her children are protected from any further harm,” they said.