Taylor Sheridan has unleashed several massive TV shows into the world this year, and it all started with a pair of neo-Westerns, Marshals and The Madison. The former is a Yellowstone spin-off starring Luke Grimes, but it was the first Sheridan-produced show to air on CBS and not straight to streaming on Paramount Plus. The Madison is a much slower paced, more emotionally charged Western featuring big stars like Kurt Russell and Michelle Pfeiffer — despite varying reviews, though, both shows were picked up for Season 2. Sheridan further expanded the Yellowstone story with Dutton Ranch, another spin-off coming back for Season 2 at a currently undisclosed date. The Yellowstone scribe is also returning to his screenwriting roots for his new action movie, F.A.S.T., which was recently delayed to May 2027 after originally being slated to premiere in April.

Just a few days ago, Sheridan finally brought back his black ops CIA thriller, Lioness, for its third season. The show went on hiatus for two years after airing its last season in 2024, but it’s finally back and firing all cylinders after its Season 3 premiere. Led by Zoe Saldaña and featuring other stars like Nicole Kidman and Morgan Freeman, Lioness is like a blend of Zero Dark Thirty and Yellowstone, perfect for fans who love intense espionage thrillers set against a dusty neo-Western backdrop, similar to Sheridan’s original Western hit. After the first episode of Lioness Season 3, “The Spider and the Fly,” premiered on August 2, the show quickly surged into the top spot as the most-watched title on Paramount Plus around the world at the time of writing.

Taylor Sheridan Has Prime Real Estate in the Paramount+ Top 10

Not only is Sheridan’s Lioness the #1 show on Paramount right now, but he’s also taking up the third spot thanks to Yellowstone, the sweeping Western starring Kevin Costner. The show is streaming on Peacock in America. Sitting at #7 in the Paramount Plus top 10 is Tulsa King, Sheridan’s Sylvester Stallone-led crime thriller that’s expected to return later this year with its fourth season. Even Dutton Ranch, which is now over a month removed from its Season 1 finale, is still hanging around in the #8 spot on the Paramount Plus top 10 right now.

Check out the new season of Lioness on Paramount Plus, and stay tuned to Collider for more updates and coverage of the series.

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Release Date

July 23, 2023

Network

Paramount+

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Directors

John Hillcoat, Anthony Byrne, Paul Cameron, Stephen Kay, Taylor Sheridan

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  Laysla De Oliveira

  Cruz Manuelos

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We all know and love The Silence of the Lambs, one of three films ever to win all five major categories (Best Actor, Actress, Director, Screenplay, and Picture) at the Academy Awards. However, Jonathan Demme‘s groundbreaking crime drama/thriller was not the first time the work of author Thomas Harris, creator of the horrifying, cannibalistic Dr. Hannibal Lecter, was adapted for the big screen. Five years earlier, Michael Mann — the hyper-stylized and cinematic poet laureate of men who are incapable of compartmentalizing their professional and personal lives — directed Manhunter, the first Hannibal Lecter movie, adapted from Harris’ most famous novel, Red Dragon. Dismissed upon release in 1986, the film, which starred William Petersen as Will Graham and Brian Cox as Lecter, has become more than a cherished entry in the Mann filmography; it also helped set the template for our current obsession and consumption of serial killer-related media.

Now available in a remastered 4K director’s cut — which will be playing in a limited theatrical run — there’s never been a better time to hop on the Manhunter bandwagon.

‘Manhunter’ is a Quintessential Michael Mann Film

Image via De Laurentiis Entertainment Group

Thanks to its cult reappraisal, the film, which follows FBI profiler Will Graham returning to service to pursue a deranged serial killer known as the “Tooth Fairy,” is no longer the overshadowed little sibling of the more widely acclaimed Silence of the Lambs. In certain instances, Mann’s film — his third feature following Thief and The Keep — explores human psychology and the grisly effects of plunging into a murder investigation to a depth that Demme never could have in Lambs.

Red Dragon, or any book by Harris, was practically tailor-made for Mann, a director whose filmography is synonymous with slick, emotionally operatic crime sagas. On one hand, Mann’s visual acumen was responsible for the culturally defining neon-soaked aura of the 1980s with Thief and the Miami Vice series, which he produced. He pushed the envelope even further in the 2000s with his foray into digital filmmaking and high frame rates with Collateral and Public Enemies. But at his core, no matter the formalist direction, Mann loves nothing more than cops and crooks whose obsession with their respective professions compromises their personal relationships — and even their own well-being — from the dueling detective and bank robber in Heat to the determined Big Tobacco whistleblower in The Insider.

Manhunter is a maximized charge of both aspects of Mann, combining the glossy visual euphoria of his ’80s work with the gritty character drama of his most acclaimed ’90s films. Will Graham’s relationship with Dr. Lecter, spelled “Lecktor” in this film, is an intoxicating insight into the perverse bonds between people on opposite sides of the law. Graham’s use of his former nemesis, the one who nearly killed him, as a consultant in his Tooth Fairy investigation makes us question the FBI agent’s motivations and the sacrifice required to fulfill justice. The collision of Mann’s virtuosic style and poignant themes coalesces into a painterly cinematic experience, which enforces the idea that, in the best cases, style is indeed the substance, as the varying color palettes reflect moods of sensual warmth and sheer terror.

Today, audiences can’t get enough of anything related to crime, especially serial killer cases of both the fictional and nonfictional varieties. Between movies, TV, books, and podcasts, true crime reigns supreme in the media landscape. As disturbing as it sounds, diving into the minds of sociopaths, hearing graphic details of a horrific crime, and following a case as mock detectives have become forms of escapist entertainment for many. If you watch any of Michael Mann’s films, you’ll have a clearer understanding of why society has embraced, if not glorified, serial crimes.

Despite being an actual officer of the law, Will Graham resembles the average consumer of a 10-part true crime documentary series more than a venerated detective. His determination borders on an unhealthy obsession with the case, so much so that he begins identifying with Lecktor and Francis Dolarhyde, a.k.a. the Tooth Fairy, played brilliantly by the late Tom Noonan. Graham loses sight of reality and his values, particularly his family (overlooked wives and children are a Mann staple), during a thorough investigation that often sees him entering an inescapable dark void. Manhunter‘s methodical attention to detail and deliberate use of jargon and procedure were highly influential to the future of crime media 40 years later, just as Mann’s calculated writing and directing are fundamental to your average network cop drama today.

When a film is as visually and thematically striking as Manhunter, watching it in the sharpest format is essential. Soon enough, the film will enter its place as a canonical classic among all audiences.

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Manhunter

Release Date

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August 15, 1986

Runtime

119 minutes

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Director

Michael Mann

Writers

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Thomas Harris, Michael Mann

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Rihanna fans may finally have a reason to get excited about new music. During a recent interview, A$AP Rocky teased that the Grammy-winning singer is working in the studio, leading many to believe her ninth studio album is on the horizon. While the rapper stopped short of revealing details, his comments have sparked fresh excitement among fans.

It has been more than a decade since Rihanna released her last studio album, and fans have eagerly been awaiting her next release, dubbed “R9.” As previously noted by The Blast, fans begged the singer to release new music on the ninth anniversary of “Anti,” but so far, nothing has been announced.

It appears there’s cause for celebration, though, as the singer’s longtime partner, A$AP Rocky, shared that Rihanna is busy working in the studio. In an appearance on “The Jason Lee Show,” the rapper was asked whether he was the reason why Rihanna has not released an album in 10 years.

He answered in the negative, adding that Rihanna was currently in the studio. “Yeah, I said it. Sorry, babe… Bro, she working. She cooking, no funny sh-t. D-mn, I’mma get in trouble for this. Her fans are going to kill me,” A$AP Rocky said.

Rihanna’s Last Album Was Released More Than 10 Years Ago

Rihanna has released eight studio albums since her 2005 debut, with the gaps between releases ranging from seven months to three years. Her most recent album, “Anti,” arrived on January 28, 2016, meaning fans have now waited more than a decade for its follow-up.

Three singles from the album dominated music charts, including “Work (featuring Drake),” “Love on the Brain,” and “Needed Me.” She also received six Grammy nominations for specific singles and the album.

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While A$AP Rocky’s latest comments sparked excitement among some people, others are proceeding with caution. “She’s been in the studio for 10 years,” one user commented. “We will believe it when the album is on Spotify,” another wrote, followed by a crying emoji. “She been ‘cooking’ since Anti dropped and we still starving,” said another.

The Singer Is Juggling Her Career And Motherhood

Rihanna and A$AP Rocky began a romantic relationship in 2020, and they share three children: 4-year-old RZA, 3-year-old Riot, and 9-month-old Rocki. In previous interviews, Rihanna shared that she balances her career with motherhood.

In 2024, the singer caused a frenzy after she was photographed wearing a shirt that read, “I’m Retired,” leading many to believe she was making a statement. She later clarified that she was not officially retiring from making music, but she had to make some changes to be present in her children’s lives.

Throughout the years, Rihanna has also emphasized her desire to be a hands-on parent and have quality time with her children.

Rihanna Has ‘Cracked’ Her Next Album

Rihanna has been repeatedly asked about her ninth album over the years, but it seems she’s taking her time to figure out what style of music she wants to release.

In an interview with Harper’s Bazaar in 2025, the singer shared why, despite spending time in the studio, she hasn’t come up with a concept. “Every time, I was just like, ‘No, it’s not me. It’s not right. It’s not matching my growth. It’s not matching my evolution,” she said.

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Rihanna also noted that her next album must be worth the time she took away from music, saying, “I have to show them the worth in the wait.” She did, however, reveal that she finally “cracked it,” teasing that her upcoming music is “not anything that anybody expects.”

In February, she sent fans into a frenzy after posting a video of herself working in a recording studio, per The Blast.

Rihanna Released Some Songs Since Her Last Album

Despite not releasing a full album, the singer and entrepreneur dropped some songs over the years. In 2022, two of her songs, “Lift Me Up” and “Born Again,” were included in the “Black Panther: Wakanda Forever” soundtrack.

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In 2025, she recorded the song “Friend of Mine” for the animated film “The Smurfs Movie,” in which she also voiced the character of Smurfette.

In addition, she also collaborated with Kendrick Lamar, N.E.R.D., PartyNextDoor, and DJ Khaled.

George R.R. Martin‘s favorite Game of Thrones spin-off, which he has praised as one of the most faithful adaptations of his work, is officially making progress on its highly anticipated return. Following a successful Season 1, A Knight of the Seven Kingdoms is set to continue the adventures of Ser Duncan “Dunk” the Tall and his young squire, “Egg.” The debut season premiered on January 18, 2026, earning strong reviews from critics and becoming a major viewership success for HBO Max, making history for the service. The 94% Rotten Tomatoes series also went on to receive nine Emmy nominations, including Outstanding Drama Series.

Even before its premiere, HBO renewed A Knight of the Seven Kingdoms for Season 2, which will adapt The Sworn Sword, the second novella in Martin’s Tales of Dunk and Egg series. Peter Claffey and Dexter Sol Ansell are set to reprise their roles as Dunk and Egg, while the new season will introduce several notable characters. Joining the cast are Lucy Boynton as Lady Rohanne Webber, Babou Ceesay as Ser Bennis of the Brown Shield, and Peter Mullan as Ser Eustace Osgrey.

Although HBO has yet to announce an official premiere date for the fantasy show’s sophomore chapter, Ansell recently shared an encouraging production update. Posting to his Instagram Stories, the actor confirmed that A Knight of the Seven Kingdoms Season 2 has officially wrapped filming. Production had originally been expected to conclude in June before encountering delays, but the series now appears to be back on schedule and remains on track for an early 2027 return, assuming post-production proceeds as planned.

How Did ‘A Knight of the Seven Kingdoms’ Season 1 End?

Unlike the typical war-driven Game of Thrones finales, A Knight of the Seven Kingdoms concluded its first season on a quieter, more emotional note. After surviving the Trial of Seven, which claimed the life of Prince Baelor Targaryen, Dunk declines the opportunity to enter royal service, choosing instead to remain a humble hedge knight. He and Egg reaffirm their bond as knight and squire and continue their journey together, while Egg’s father, Prince Maekar Targaryen, realizes his son has disappeared, though suspects that he has left with Dunk. The ending sets the stage for The Sworn Sword, which follows the pair as they enter the service of Ser Eustace Osgrey of Standfast during a bitter period in the Reach.

A Knight of the Seven Kingdoms Season 1 is streaming now on HBO Max.

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Release Date

January 18, 2026

Network

HBO

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Showrunner

Ira Parker

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Directors

Owen Harris

Writers

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George R. R. Martin, Ira Parker

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  Peter Claffey

  Ser Duncan ‘Dunk’ the Tall

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Joe Jonas thought he was ready to make it on his own after years of chart-topping success with the Jonas Brothers. Instead, his first solo album became a career setback that would ultimately change both his outlook and his life.

In a recent interview, Joe recalled how the experience pushed him to seek professional help and rethink how closely he tied success to his sense of self.

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Joe Jonas is opening up about one of the toughest chapters of his career, revealing that the disappointing performance of his first solo album sent him into a mental health spiral and eventually led him to therapy.

Speaking on the “Hey Jonas” podcast alongside brothers Kevin and Nick Jonas, the singer reflected on the release of his 2011 solo debut, “Fastlife.”

He admitted he expected the project to match the massive success the Jonas Brothers had enjoyed at the height of their fame. Instead, the album peaked at No. 15 on the Billboard 200, while its lead single, “See No More,” reached No. 92 on the Billboard Hot 100.

Joe said the results hit him harder than he expected because he had tied the album’s success to his own sense of value. “I had a lot of high expectations of success without you guys,” he said, explaining that deep down he believed proving himself alone would mean “I matter.”

The disappointment soon became physical. Joe revealed he began experiencing panic attacks and recurring pain that prompted repeated doctor visits and extensive medical testing. After confirming there was no underlying physical illness, one doctor urged him to consider therapy, setting him on a path he says ultimately changed his life.

How ‘Fastlife’ Struggled To Match Expectations

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When “Fastlife” arrived in October 2011, Joe wasn’t venturing too far from what dominated pop radio at the time. The album reportedly leaned heavily into EDM and dance-pop, with much of its sound shaped by producer Danja, a longtime Timbaland collaborator.

Ahead of the release, early reactions to lead single “See No More” were largely optimistic, with some fans and critics praising Joe’s move toward an R&B-infused sound. But the promising start did not carry through the rest of the rollout. “Just in Love” and the album’s other releases passed without giving Joe the solo breakthrough he was chasing.

Whatever the reason, “Fastlife” became a short-lived chapter that Joe would later credit with reshaping both his career and his outlook.

DNCE Gave Joe Jonas A Fresh Start

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Joe had to wait a few more years for his next breakthrough, which ultimately came after he hit the reset button with DNCE. The dance-pop band exploded onto the charts with “Cake by the Ocean,” a global hit that spent 19 weeks on the Billboard Hot 100 and earned multi-platinum success in multiple countries.

Looking back, Joe credited more than timing for the turnaround. He said the music felt closer to his heart and was built around having fun rather than chasing expectations.

The fresh start also brought a different audience. Joe revealed DNCE initially released music online without revealing he was in the band, allowing listeners to discover the songs on their own instead of through his Jonas Brothers fame.

By 2017, Joe described DNCE’s success as especially meaningful because it proved he could build something new outside his family’s band.

Joe Recalled ‘Fastlife’ Setback In Earlier Interview

Joe first opened up about the emotional fallout from “Fastlife” years before revisiting it on the “Hey Jonas” podcast. Speaking with Jay Shetty in 2022, he admitted the album’s reception left him questioning himself after assuming the Jonas Brothers’ success would naturally continue on his own.

“I took it really hard,” Joe said. “I didn’t realize how I actually felt in the moments.” As criticism mounted, he recalled convincing himself he was physically sick before doctors found nothing medically wrong.

Looking back, Joe said he eventually understood how deeply he had internalized the setback. “I saw a headline like, ‘Failure,’ and I took that word, and that was my identity with that album,” he said.

Joe Jonas Couldn’t Listen To ‘Fastlife’

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Joe told Shetty the disappointment surrounding “Fastlife” lingered long after the album cycle ended, so much so that he admitted he couldn’t even bring himself to revisit the record for years after its release.

“I wouldn’t even listen to the songs,” Joe recalled, explaining that it took years of personal work before he could hear the album again with a different perspective.

Before therapy, he searched for another way to cope. Joe said he would spend entire days riding his bike through New York City, leaving home around 8 a.m. and not returning until evening. “It was an escape for me,” he said, adding that being away from his phone helped him avoid thinking about the album and the reaction surrounding it. Looking back, though, Joe realized he wasn’t healing. “I was still running away, avoiding the problems,” he admitted.

One of the greatest appeals of human nature lies in its ability to, on the one hand, conceive the most depraved thoughts and yet, on the other, the most virtuous and morally upright actions. Both sides have been the colors used to depict human history and even present-day life. Wars are a product of one of those sides and, as deadly as they are, there is a version of human depravity that is even more sinister. Terrorism. The horrors of these acts turn normal days into living nightmares for those who experience them, scarring the targeted nations and cities for years. The Twin Towers terror incident in Manhattan in the September 11 attacks often spring to mind for many. But over the years, there have been several similar incidents that have shocked the world.

While terror attacks occur ever so often across the globe and in multiple nations these days, the scale of some simply stick with you. Western civilizations like the United States and European nations are often prime targets and this was the case on December 21, 1988, when Pan Am Flight 103 en route from London to New York went down over Lockerbie, Scotland after a bomb went off. The resulting death toll was 270 fatalities, including 259 passengers and crew members, as well as 11 residents on the ground. 190 of those were American citizens and the incident became the deadliest terror attack in British history. An investigation would be launched immediately, with the results ultimately connecting back to Libyan intelligence operatives.

This horrifying tale arrived on Netflix in the 6-part miniseries titled The Bombing of Pan Am 103 on July 30 as part of the streamer’s push to expand its catalog. This marked the series’ international debut after airing on the BBC in the UK last year. In less than a week on the streaming giant, The Bombing of Pan Am 103 has become a global streaming hit. The series debuted with 5 million views while racking up an impressive 30 million hours viewed in just three days. While The Bombing of Pan Am 103 is appearing on Top 10 charts around the world, it is not performing as well in the United Kingdom. This, perhaps, might be linked to many seeing the limited series on the BBC.

The Tragic Tale of ‘The Bombing of Pan Am 103’ Has Been Retold Before

​​​​​The Bombing of Pan Am 103 is not the first retelling of the terror attack and the investigation that trailed it. A limited series, Lockerbie: A Search for Truth, was released in January 2025 by Peacock and opted for a more personal story. While The Bombing of Pan Am 103 takes a more holistic approach, Lockerbie: A Search for Truth follows Jim Swire (Colin Firth), the father of a young medical student named Flora (Rosanna Adams), who was killed on the flight, and his mission to understand what had happened that day. Jim would work with local journalist Murray Guthrie (Sam Troughton), meet with Libyan political leader Colonel Gaddafi (Nabil Al Raee) and even encounter the suspected terrorist Abdelbaset al-Megrahi (Ardalan Esmaili).

The Bombing of Pan Am 103 is co-created by Jonathan Lee and Adam Morane-Griffiths. Patrick J. Adams puts on another suit as he seeks answers for the public as part of the bureau. Other cast members include Tony Curran, Merritt Wever, Eddie Marsan, Peter Mullan, and Kevin McKidd. Connor Swindells features in this series as an investigating officer.

The Bombing of Pan Am 103 is currently streaming on Netflix. Stay tuned to Collider for updates.

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Release Date

2025 – 2025-00-00

Network

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BBC One

Directors

Michael Keillor

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Cast

• 

  Patrick J. Adams

  Dick Marquise

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  Connor Swindells

  Ed McCusker

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Editor’s Note: This interview contains spoilers for Star Trek: Strange New Worlds Season 4, Episode 3, “Human Best Friend.”

After delivering a perfectly classic Star Trek episode with its season opener, followed by a twisted horror episode, Strange New Worlds has delivered its first comedy episode of the season. In “Human Best Friend,” the crew of the USS Enterprise takes some much-needed shore leave on a wild pleasure planet where even the atmosphere itself is intoxicating. While Scotty (Martin Quinn) and Ortegas (Melissa Navia) take center stage for the episode in a bid to become the Geordi and Data of Strange New Worlds, Spock (Ethan Peck), La’an (Christina Chong), and a very real Kirk (Paul Wesley) take turns stealing the show with their laugh-out-loud performances.

I recently caught up with Peck, Chong, and Wesley to unpack their jump into comedy this week. During our conversation, Peck and Wesley spoke about how this intimate experience between Spock and Kirk lays the groundwork for their friendship in the original series​​​​​​. They also discussed filming the slap at the end of the episode when Kirk is trying to prove to Spock that he’s not a hallucination. Chong spoke about getting to learn new fight choreography and letting La’an indulge in her sillier side while processing her pent-up anger. Finally, the trio all shared their reaction to Rebecca Romijn’s Klingon rendition of “Total Eclipse of the Heart.” You can watch the interview in the player above or read the full transcript of our conversation below.

Ethan Peck and Paul Wesley Unpack Kirk and Spock’s Newfound Intimacy

“I just love the idea of that being one of the catalysts for this great friendship that we all know so well.”

Image via Jan Thijs/Paramount+

COLLIDER: This is one of my favorite episodes of the season that I’ve seen so far, and I love the reveal that Kirk was really there the whole time.

CHRISTINA CHONG: So funny, it’s so funny.

It’s so good. Ethan and Paul, how would you say that the relationship between Kirk and Spock has shifted after such a vulnerable experience on Spock’s end?

ETHAN PECK: Yeah, there might be a bit of reticence and withdrawal from Spock because he’s been so exposed in this episode. And then Kirk, you know, is so warm and welcoming of him. So that’s what I anticipate.

PAUL WESLEY: Yeah, it’s really cool. It becomes a part of canon, right? It’s like we sort of, like, begin to understand why these two have such a connection. And it’s because they shared these, like, intimate moments together, revealing, you know, things about one another. Or maybe it was just you revealing things to me, and I didn’t say anything.

PECK: It was mostly just me revealing things to you.

WESLEY: I was like your therapist. No, it’s great. And, you know, I just love the idea of that being one of the catalysts for this great friendship that we all know so well.

Besides 3D chess, what board games do you think they might have played?

WESLEY: Twister!

PECK: Definitely Twister.

I love that. Christina, what do you think it says about La’an that her “journey” on this planet is essentially to teach a gang of thieves to stand up for themselves? Especially on the heels of an episode where she’s so scared of becoming a monster.

CHONG: Yeah, I think for La’an, because she is, you know, ultimately, she’s a security officer. Her job is to look after her family and keep them safe and so on the planet, that’s kind of the gang becomes her family on that planet. And because she’s dealing with a lot of anger right now, I think that’s why that comes out with the drug exposure. And yeah, it’s something she’s working through throughout the season.

I like that; that’s a good tease. At the end of the episode, Kirk slaps Spock to prove that he’s there. And I have to give you both kudos, because that’s a great, well-acted slap. How hard was it to nail that moment?

PECK: I remember it so well because you, Paul, you were like, is this funny? Like, does this work? Because you don’t often do things like that. It’s, you know, it’s like Three Stooges-ish. And, you know, we don’t work in that sort of clownish way too often. And, I actually, I saw this; I thought it was awesome, and it worked so well, and you were so funny. It can be difficult to find the groove of comedy in some of these episodes because we’re so serious — well, I am so serious so often as this character, and it can be quite a challenge to like, still be him while being a bit clownish.

WESLEY: I actually didn’t see that. So I—

PECK: I think you’ll like it.

WESLEY: I can’t wait.

CHONG: It’s very funny.

WESLEY: Really? Okay, good.

CHONG: Very funny.

WESLEY: Did I get close to slapping you in real life?

PECK: It looks like you slapped…Did you— Did you actually slap me? I don’t know, I guess you didn’t. Because it looks like it does look real.

It absolutely does.

Jumping Genres Is as Rewarding as It Is Challenging for the Cast of ‘Strange New Worlds’

“You just never know what you’re going to get.”

Christina, speaking of being so serious and then getting to play fall camp, this episode really sort of lets you lean into La’an’s sillier side like, screaming, “Avenge me!” as she’s dragged out of the bingo hall. For you, what was the most exciting part of showing that more funny side for her?

CHONG: I think for me it was the stick, learning that stick fight routine, the fact that she goes over and completely gets the guy on the floor with the stick and then comes back and she’s like, “Yeah!” [and sort of] becomes the leader of the gang. That was a really cool element of that episode for me. And yeah, just going full on rage. You know, she’s never really gotten to do that before.

PECK: I remember the table read being really funny with your performance, hearing that for the first time, yeah, and being like, “That’s awesome.”

For all of you, sort of building off of that, Strange New Worlds takes such big genre shifts between episodes. I’m curious what’s the most rewarding part for jumping between those, like, different tones? You have a horror episode right back to back with this really silly, fun episode. So what’s the most rewarding part and the most challenging part of that as an actor?

CHONG: I think it’s the variety, that it doesn’t get boring. You know, you’re doing horror, and then we’re preparing for a classic Trek episode, and then we’re going on to a — I’m not sure what I can say here, but, puppet episode — so, you know, it’s just the variety that’s fun for me.

WESLEY: Yeah. I mean, as an actor, that’s all you want to do, and I, you know, I’ll say that the original series, if you watch the original series, it also, you just never know what you’re going to get. I mean, there’s like, really like, it’s like you get classic Trek and then you get kind of goofy or kind of, you know, Tribbles and like, that’s what I love about the show. It’s deeply imaginative, and we take it even further, you know, and, yeah, as an actor, you’re just constantly wanting to flex your muscles. And so this show allows you to do that.

PECK: The challenge is the different genres. I mean, that’s right there. And if I’m being frank, what’s great about it is finishing those different genres, because every time I’m like, “I don’t know how this is going to work. I don’t know how I’m going to do this.” And I find it to be quite intimidating and frightening. And so a successfully completed episode is a wonderful relief and reward, you know?

Absolutely. I have to ask, did you get to watch Rebecca do “Total Eclipse of the Heart” in Klingon, and how hard was it to keep a straight face?

CHONG: Yeah. She, I mean, that was [incredible]; I can’t believe she did that in such a short amount of time. I think they gave her a few days with the lyrics or something, and I just remember her being so proud of herself for doing that, and rightly so. And she let us listen to the recording pretty much straight after she’d done [it; it was] super impressive.

WESLEY: I just remember Akiva blasting it on the San Diego Comic-Con bus. I don’t know if you guys were there; he was like blasting it. He was like, she was singing “Total Eclipse of the Heart” in Klingon. It was awesome. Over and over, too.

New episodes of Strange New Worlds arrive weekly on Paramount+ every Thursday. Stay tuned at Collider for more.

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Release Date

2022 – 2027-00-00

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Network

Paramount+

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Showrunner

Henry Alonso Myers, Akiva Goldsman

Directors

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Dan Liu, Amanda Row, Maja Vrvilo, Akiva Goldsman, Dermott Downs, Eduardo Sánchez, Jeffrey W. Byrd, Jonathan Frakes, Jordan Canning, Leslie Hope, Valerie Weiss, Sydney Freeland, Christopher J. Byrne, Rachel Leiterman

Writers

Onitra Johnson

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Rapper Kurupt is recounting his journey to sobriety and the people who helped him along the way. During a recent interview, the Death Row Records veteran credited fellow hip-hop icons Eminem and Dr. Dre for supporting him throughout his addiction recovery, sharing how they played meaningful roles during one of the most challenging periods of his life.

Kurupt, born Ricardo Brown, rose to fame as a member of Tha Dogg Pound, one of Death Row Records’ flagship acts. He has a long history with Dr. Dre and Eminem, and in a recent interview, the rapper revealed how the two icons supported him through a difficult time.

Kurupt had an alcohol addiction, which eventually led to multiple health conditions. His latest health scare resulted in damaged organs and multiple seizures, and he had to be put on a medically induced coma for three weeks. The 53-year-old rapper is now sober, thanks in part to the support of Eminem and Dr. Dre.

Amid his addiction struggle, Kurupt said Dr. Dre called him offering his support and told him that Eminem wanted to pay for his rehab. “You know, these things cost bread, so Em put the cheese up for it and said, ‘Tell Kurupt I love him’,” the rapper shared on “Sway in the Morning.”

The Rapper Appreciated The Meaningful Gesture From His Fellow Rappers

Kurupt expressed his gratitude to the two rappers, saying Dr. Dre’s call came out of the blue. “That was real special to me. I appreciate both of them so much.”

He shared that Eminem put him in contact with people he knew and made sure that Kurupt had privacy while recovering. “Like, ‘Okay, Kurupt going through that? Bam. Boom I’ma do that for him, man. Tell Kurupt get well, we love him.’ That’s deep’,” the rapper said.

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The recovery wasn’t easy, and Kurupt said he was initially in denial, but he is now completely sober. “I stopped drinking and believe it or not, it was Dr. Dre and Eminem who came to the table and got me a place where I could be and get away from everything,” he said in another interview with BigBoyTV.

Eminem Helped Another Rapper Through Sobriety Journey

Kurupt isn’t the only rapper who credited Eminem. In 2018, rapper Royce da 5’9″, born Ryan Daniel Montgomery, gave a shoutout to Eminem through his song “Stay Woke.” In it, he said, “Thanks to Marshall I’m sober doing what I enjoy doin’,” referring to Eminem’s birth name.

Royce da 5’9″ was an alcoholic, and even before he hit rock bottom, he said Eminem told him that he could give him a call anytime. After experiencing blackouts and getting into legal trouble, he realized it was time to clean up his act.

He contacted Eminem, and the rapper immediately went into action. “He linked me up with my therapist, who is still my therapist today, and my sponsor today. I haven’t had a drink since. That was 6 years ago,” Royce da 5’9″ said in a 2018 interview.

The Rapper Shared His Own Experience With Addiction

Eminem also had struggles with addiction, as he shared in past interviews. As reported by The Blast, he suffered a near-fatal accidental overdose in late 2007. At the peak of his addiction, he took massive amounts of Vicodin, Valium, and Ambien.

Fortunately, he recovered and later shared that “Relapse,” his first album after getting sober, marked the first time he had recorded music with a clear mind and genuinely enjoyed the process.

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Eminem discussed his addiction and recovery in his 2025 documentary “STANS,” and shared the moment he realized he had to make a difference. “I realized I’m not embarrassed anymore about it, and I started treating sobriety like a superpower. I was proud of the fact that I could quit,” he said.

Eminem Turned To Elton John For Guidance

Unbeknownst to many, Eminem and Elton John have a close relationship. The two first collaborated at the Grammy Awards in 2001 when they performed the rapper’s song “Stan,” with John stepping in to perform Dido’s vocal parts.

Years later, when Eminem started his journey to sobriety, he called John, who has been sober since 1990. “He’s somebody who’s in the business and can identify and relate to the lifestyle and how hectic things can be. He understands… the pressure and any other reasons that you want to come up with for doing drugs,” the rapper shared in 2009.

In April, Eminem celebrated 18 years of sobriety and showed off his chip on Instagram, per The Blast.

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The Shards is Ryan Murphy‘s newest highly anticipated series, but how is the spooky — and star-studded — teen slasher related to Bret Easton Ellis‘ hit American Psycho?

According to the official synopsis, The Shards is set in Los Angeles in 1981 and follows “a 17-year-old version of Ellis during his final year at the elite Buckley prep school.” His world is upended by the arrival of a mysterious new student, Robert Mallory, whose “unsettling presence coincides with the activities of a serial killer known as The Trawler.”

Igby Rigney portrays Ellis, now 62, alongside costar Homer Gere as Robert. The cast includes Graham Campbell, Hayes Warner, Wes Bentley and Kaia Gerber, as well as Evan Rachel Wood, Jordan Roth, Owen Painter and Daniel Dale in supporting roles.

The Shards is based on Ellis’ book of the same name, which is a fictionalized memoir about his upbringing. The 2023 release was Ellis’ first in 13 years. Ellis is best known for his book American Psycho, which told the story of a fictional Manhattan investment banker who lives a double life as a serial killer.

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American Psycho was transformed into a movie starring Christian Bale as Patrick Bateman. Other works by Ellis include Less than Zero, The Rules of Attraction, The Informers, Glamorama, Lunar Park and Imperial Bedrooms.

The Shards is the only book of Ellis’ to feature himself as a character, but he issued a disclaimer stating that all the major players in The Shards are fictional — apart from the narrator.

“The last time I thought about this book, this particular dream, and telling this version of the story — the one you’re reading now, the one you just began — was almost twenty years ago, when I thought I could handle revealing what happened to me and a few of my friends at the beginning of our senior year at Buckley, in 1981,” reads an excerpt from the novel.

Ahead of the show’s debut, Campbell, who plays Thom, teased how other characters exist on the page and on screen, telling Us, “What’s interesting because we’re seeing the story through Bret’s eyes is that you kind of tap in and out of other people’s story lines and a lot goes down behind the scenes.”

Daniel Dale had a similar experience while bringing Ryan to life.

“I’ve never worked with a book before as a source material,” he noted to Us. “So we had that and it talks a little bit about Ryan’s upbringing, the character of Ryan’s upbringing, his family and what that was all like. I brought all of that with me to the show — not knowing whether that would stay when we adapted it — but it kind of informed a lot about just the way he stands and the way he talks.”

Dale continued: “I feel like it was very clear to me. I could see him when I read the book. So I tried to really embody that.”

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Filming The Shards also involved a lot of creativity for Painter, especially when it came to exploring his character Matt’s motivation between the lines.

“I thought a lot about who Matt was. In the book — at least to me — [it] shaped up to be about identity and imagination and what happens when you impose your own perspective on other people,” he said. “I honestly didn’t make any hard line decisions. I just kept thinking about it.”

The Shards airs Wednesdays on FX.

Some books are just waiting to be adapted into a movie or TV show. Just this year, we had two incredible book-to-movie adaptations, with Project Hail Mary and The Odyssey both breaking box office records and earning universal acclaim from critics and audiences. Indeed, many books seem tailor-made to be translated into either the big or small screens, with storylines that perfectly benefit from the adaptation treatment. However, many other books remain elusive and unknowable, avoiding the straightforward conventions that would make them ideal for an adaptation. Such is the case for Hyperion.

Written by the late Dan Simmons, Hyperion is a challenging yet immensely rewarding sci-fi epic and one of the best reading experiences of the last century or so. The word “masterpiece” is certainly overused, but if there’s one book that earns the title, it’s this one. Yet, what makes Hyperion special on the page is also what would make it impossible for anyone to do it justice in either film or show form. This ambitious triumph of the written word is perfect in its current form, and while many talented creatives could certainly take a chance and test their mettle by adapting it, there’s a strong chance they would simply fail to recreate what Simmons so effortlessly captured on the page.

What Is ‘Hyperion’ About?

Artwork by Noriyoshi Ohrai

Hyperion borrows the structure of the classic by Geoffrey Chaucer, The Canterbury Tales, to tell its fascinating story. First, the basics of worldbuilding: in the far future — the year 2732, to be exact — thousands of planets across the universe make up the Hegemony of Man, each one connected by a farcaster portal. Other players include the TechnoCore, a civilization of advanced AIs, and the Ousters, a group of modified humans living in space stations and in constant conflict with the Hegemony.

Now, for the actual plot: a framing device presents a group of pilgrims sent to the planet of Hyperion, which exists outside the Hegemony. Because it has farcaster, one cannot visit Hyperion without incurring severe time dilation. The pilgrims mean to visit the Shrike, a powerful and dangerous metallic creature said to be capable of granting a wish to each of them. The Shrike, in turn, is the guardian of the Time Tombs, structures that are moving backwards in time.

As an Ouster invasion prepares to attack Hyperion, the pilgrims go on this final voyage, each one with a story to share about how and why they were chosen. They are: Lenar Hoyt, a Catholic priest in his 30s; Fedmahn Kassahd, a Martian of Palestinian descent who is part of the Hegemony’s military; Brawne Lamia, a private detective; Martin Silenus, a poet; Sol Weintraub, a Jewish scholar; Het Masteen, the ship’s captain; and the Consul, an enigmatic man. As for the Shrike, it remains elusive throughout the narrative, appearing constantly yet remaining shrouded in mystery regarding its origin, nature, and motives.

Is ‘Hyperion’ Truly Unadaptable?

Image via Spectra

Some books would never work as movies, and Hyperion is one. For starters, the structure itself is an issue. Divided into a prologue, an epilogue, and six chapters, Hyperion dedicates these six sections to exploring each of the pilgrims’ backstories, each one with a different genre. For example, Fedmahn’s chapter is a classic military sci-fi story, in keeping with his background as a colonel, while Lamia’s chapter is a hard-boiled detective story that uses noir conventions.

Thematically, Hyperion juggles a lot of very big ideas. Religion is a huge theme, mainly embodied by the character of Lenar and his predecessor, Paul Duré, the first Catholic priest to visit Hyperion. Particularly, Simmons’ book is concerned with the very nature of religion and faith, and how their purpose clashes with the institutions meant to uphold them. Lenar and Duré’s stories are a highlight of Hyperion, blending body horror with profound philosophical questions regarding humanity’s place in a larger universe that seems indifferent to suffering. There are no easy answers here — there’s hardly any answers at all. Instead, Simmons allows his prose to awaken something in us as readers, our curiosity to not only come to our own conclusions but to also look beyond what’s on the page and inwards.

Time is the other major theme in Hyperion. Simmons treats time as something unknowable, a primal force that simply cannot be understood, much less manipulated or toyed with. The book uses the concept of “time debt,” caused by the use of the farcasters and interstellar travel. Yet, the actual debt is more emotional and psychological, resulting in “unlived” time that literally separates an individual from everything they know. The universe of Hyperion is populated by people displaced from their origins, literally lost in space, existing outside of their time, drifting aimlessly in a vast and unforgiving universe that couldn’t care less about them.

All of these heady themes translate beautifully into the page thanks to Simmons’ insightful, soulful writing. The book allows him to explore these ideas in detail, and the use of a first-person perspective adds a layer of intimacy that makes the reader connect to the characters on a more personal level. Any movie or TV show would likely fail to replicate this approach, try as they might. Sure, a talented director or showrunner could easily nail the themes, but it’s the execution that would elude them. There’s a rawness to Simmons’ writing that makes Hyperion impactful, a poetic lyricism that allows him to find unexpected beauty and unembellished truth in heavy themes like grief, love, and sacrifice.

Will We Ever See a ‘Hyperion’ Adaptation?

As early as 2009, there were talks of a Hyperion adaptation. Scott Derrickson was attached at one point, and currently, Bradley Cooper is supposedly adapting it as a movie for Warner Bros. Yet, one can’t help but hesitate because both the TV and film mediums have limitations. If there needs to be an adaptation of this masterpiece, then it should be a TV show. The episodic nature of television would be better suited for Hyperion‘s structure, allowing each character an episode to themselves to truly capture the richness of their narratives. Yet, the book’s universal scope and the ambitious, terrifying nature of the Shrike would work better on a big screen and with the larger resources usually reserved for major blockbusters.

In other words, a Hyperion TV show would be too expensive, and a movie would be too constrictive. Will we ever see an adaptation? Maybe, but I wouldn’t hold my breath. After all, some works of art exist in their ideal form from the get-go, and Hyperion is one. The literary medium is the perfect home for this larger-than-life, genre-bending, once-in-a-lifetime work, a pillar of modern science fiction that has inspired countless writers and will inspire a thousand more.