By Chris Snellgrove
| Updated 12 seconds ago

There’s one decade that movies and TV shows never get sick of: the ‘80s. The wildly popular show Stranger Things kept the Reagan era in pop culture for nearly a decade. And long before Eleven first showed her chopped haircut, Hollywood began bringing ‘80s franchises like Ghostbusters, Transformers, and G.I. Joe to the big screen. While this was certainly an iconic time period, it was enough to make this ‘80s kid (class of 2000, baby!) wonder when a much better decade will finally get its due.

If we can’t celebrate the ‘90s, though, we can do the next best thing: laugh at the ‘90s.  Recently, standup comedian Rob Anderson released a special, Are You Afraid of the ‘90s, and it basically gives the Bo Burnham treatment to our favorite overlooked decade. With killer punchlines, catchy songs, and perfectly timed video clips (not to mention several healthy heapings of raunchy humor), this is one special that’s guaranteed to leave millennials howling.

The Decade That Time Forgot

The formula for Are You Afraid of the ‘90s is simple but entertaining. Host Rob Anderson (who channels the self-deprecating, self-aware humor of Taylor Tomlinson and the manic, animated delivery of Gianmarco Soresi) brings up various arcane knowledge of the ‘90s and riffs on how weird these moments were. The result is a surprisingly fun performance that feels like the lovechild of Joe Bob Briggs’ How the Rednecks Saved Hollywood and the dankest memes in your favorite group chat.

Part of what makes Anderson’s humor so effective is how hilariously specific he gets. This isn’t just him saying “wow, that was crazy” and then moving on. Instead, he’ll pull up niche video clips of some of our favorite ‘90s protagonists and riff on how weird these moments are. For instance, in commenting on an awful anti-drug special, he points out the absurdity of just how quickly Simon from Alvin and the Chipmunks recognizes marijuana. In one of my favorite bits, he also talks about the weird visual similarities between the Burger King Kids, Captain Planet’s Planeteers, and Mrs. Frizzle’s kids. Like, it really was just genuinely bizarre!

From Stand-Up To Singing

Speaking of Mrs. Frizzle, Rob Anderson has an extended bit about Magic School Bus guaranteed to make you chuckle. This includes highlighting an episode where she forces the titular school bus into a kid’s body, leading to horrifying moments like them staring at this boy’s butthole from the inside. Strangely enough, the horrors of this pale in comparison to another episode where the children huddle in protective pods while a fish fertilizes them. Yes, it’s exactly what you think it is, and it looks just as insane as you imagine. Anderson really goes for it with the raunchy jokes, ensuring that you’ll never look at this beloved children’s cartoon the same way again.    

I don’t want to say too much more about the jokes in Are You Afraid of the ‘90s? (seriously, go watch it, the link is at the bottom!) because it’s worth experiencing all of this delightful weirdness with an open mind. However, I do want to comment a bit on Rob Anderson’s comedic style. Basically, he pairs hyper-specific pop culture references with an energetic, almost manic delivery, and the result is downright infectious. While his subject matter can get a bit naughty, he never punches down, and the audience is always in on the joke. Plus, he’s a genuinely gifted singer, and the demented musical sections are far catchier than they have any right to be.

As luck would have it, this New York Times best-selling comedian has made his entire comedy special available for free on YouTube. That means Are You Afraid of the ‘90s is just a click away, and it won’t cost you a thing to enjoy this relentless riffing on the decade that time forgot. That leaves you with more spare cash to go mindlessly spend on your favorite collectibles from that era. If you snag some Burger King Kids toys and some Captain Planet toys, be sure to have them fight in a big, Avengers-style crossover. Trust me: it’s what Rob Anderson would want!

ARE YOU AFRAID OF THE ’90S SCORE

Stephen King has been writing horror books for well over half a century at this point, since the likes of Carrie and ‘Salem’s Lot were originally published more than 50 years ago, and The Shining is coming up on its 50th anniversary, too. Owing to those first three books, and then a bunch more that came after, King’s been linked to the horror genre more than any other, but he’s also made his mark on some other genres, writing fantasy, sci-fi, and some thriller books, too.

The thriller genre often gets tied to the horror one, for obvious reasons, and so King’s arguably written almost as many iconic thrillers as he has scary books. Misery rides the line well, and then something like 11/22/63 is more of a sci-fi/thriller novel than it is a work of horror. But if you’ve made your way through all his thrillers, or if you like thrillers but don’t really love Stephen King, then maybe the following books are worth tackling. These aren’t necessarily the best non-King thrillers, but they are all well-regarded thriller books not written by Stephen King (with some deservedly being considered classics, too).

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‘Watchers’ (1987)

Image via Putnam

This one’s here mostly because Dean Koontz’s work often gets compared to Stephen King’s. The two are almost the same age, they’re both very prolific, and they tend to write horror/thriller books, albeit neither does so exclusively. Koontz isn’t quite as well-known as King, with part of that being the fact that his work hasn’t been adapted nearly as often as King’s, but he certainly has a sizable fanbase regardless.

And with a big fanbase, it’s ultimately going to be hard to single out one Dean Koontz book as his “best” or “most important,” but Watchers is probably up there, for what it’s worth. It is the Koontziest of the Dean Koontz books, with a sentimental streak throughout that’s almost a bit much, though it does contrast with the more suspenseful and frightening moments in a sometimes interesting way. And it’s also about a (very unusual) dog, and Koontz loves his dogs, so yay. There’s that. Woof.

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‘The Trial’ (1925)

Image via Knopf

It’s a bit hard to categorize The Trial into a single genre, but singling it out as something of a psychological drama/thriller book feels perhaps most appropriate. The Trial is kind of in a genre of its own, and that’s not said pretentiously, but more because Franz Kafka told a certain kind of story in a certain way, and Kafkaesque became an adjective used to describe such a story, so The Trial is indeed Kafkaesque.

That is to say, it feels a bit like a waking nightmare for its protagonist, with some absurdity that’s played more for unease and horror than it is for laughs. A man is put on trial, but doesn’t know what he’s been accused of, and the whole process just gets more confusing and surreal the longer it goes on. So, The Trial is not really a fun read, and it’s got very little to offer by way of answers, yet it is compelling, rewarding, and undeniably influential, so it earns its classic status, in any event.

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‘The Wolf’s Hour’ (1989)

Image via Pocket Books

The Wolf’s Hour is really cool, and also really silly, but in a way that works. It’s a pulpy novel about a spy during World War II, working for the Allies, and he also happens to be a werewolf. So, he does spy and werewolf stuff behind enemy lines, taking on – and taking down – various high-ranking members of the German army, while some chapters also deal with his life some years in the past, back when he was first given (or cursed with) werewolf abilities.

Maybe someone once thought, “What if I made a werewolf/spy/World War II story?” before, but if they did bring about that vision, then they didn’t do so as well as Robert R. McCammon. The commitment to the bit is quite stunning, and The Wolf’s Hour really does remain entertaining throughout. If you’re more into old horror movies than books, then comparing this to one of the movies in The Invisible Man series, called Invisible Agent, might be useful. That one’s got the grandson of the original Invisible Man using invisibility to be an Allied spy during World War II. Swap out an invisible guy with a werewolf, and make everything a good deal racier and more violent, and then you’ve pretty much got The Wolf’s Hour.

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‘No Country for Old Men’ (2005)

Image via Alfred A. Knopf, Inc.

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Cormac McCarthy is one of those rare writers who’s written something that some people have suggested might be the fabled “Great American Novel.” That book is Blood Meridian, which is a Western and sort of a horror book at the same time, but not really a thriller. He’s also done a post-apocalyptic book, The Road, but you can’t really call that a thriller, either, even if it does inspire dread and a persistent sense of unease, and they’re things you get from thrillers, obviously.

So, here’s No Country for Old Men instead, which is maybe his third-most iconic book, after those other two. This one is more within the bounds of thriller territory, though it does take place in a similar area to Blood Meridian, albeit it’s a neo-Western this time, thanks to the early 1980s setting. It involves a large amount of cash being found at the site of a drug deal gone wrong, which a man takes, and then he becomes the target of a ruthless hitman who’s trying to get that money back. And that hitman, Anton Chigurh, is similarly terrifying and unstoppable as Judge Holden in Blood Meridian. Chigurh is a big reason why No Country for Old Men is as unsettling and intense as it is, though McCarthy’s willingness to have shocking things happen almost out of nowhere helps in that regard, too.

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‘The Black Dahlia’ (1987)

Image via The Mysterious Press

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Compared to some of James Ellroy’s later books, The Black Dahlia is a rather straightforward affair. It’s the first book in the L.A. Quartet series, and stands out among them for just having the one protagonist, and also for being written in the first-person. This is stylistically different from his Underworld U.S.A. trilogy, too, which feels in line with the other L.A. Quartet books, albeit taking place from the late 1950s to the early 1970s, while the L.A. Quartet series spans from the late 1940s until the late 1950s.

So, if you want extra ambition and more complexity, you can find that to a greater extent in other Ellroy novels, but The Black Dahlia is compelling and direct, making it an ideal “first” James Ellroy novel to read. It’s about the titular case, which involved the infamously grisly murder of Elizabeth Short, and how it affects a pair of detectives (though mostly the one narrator) who get involved in the whole confounding investigation. It works as a psychological drama/thriller book as much as it works as a crime/mystery thing, and is also easy to recommend if you found the 2007 film Zodiac compelling. Similar things – like uncertainty, anxiety, and obsession –are unpacked extensively in both.

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‘The Talented Mr. Ripley’ (1955)

Image via Coward-McCann

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The Talented Mr. Ripley holds up well, even compared to other legendary books that were published in the 1950s. It’s about a young man named Tom Ripley who becomes obsessed with another young man named Dickie Greenleaf, and begins to involve himself in Dickie’s life more and more. Once Tom starts to realize just being acquaintances or friends probably isn’t enough, then things get complicated and a good deal messier.

If you’ve seen the movie adaptation of the same name, or Purple Noon, or the more recent series just called Ripley, you’ll know where things are going. Still, the first time you experience this story, regardless of whether you tackle the source material or one of those adaptations, The Talented Mr. Ripley proves undoubtedly surprising and nerve-wracking. It’s a story told in an incredibly clever and rather effortless way, and then it’s got even more to offer beyond its story (as a character study for the titular character, it’s also remarkable).

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‘Libra’ (1988)

Image via Viking Press

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Best known for his postmodernist novels, Don DeLillo strayed a little out of that kind of zone when he wrote Libra, which isn’t as postmodern as something like Underworld (1997). Libra is kind of a thriller, or at least more thrilling than most of DeLillo’s other works, as it’s a piece of historical fiction that paints a portrait of the assassination of John F. Kennedy in a way that intentionally diverges from what the official story is.

Importantly, it doesn’t say that this is definitely what happened. Liberties are taken, and Libra is most concerned with unpacking the state of mind of various characters, including some based on real-life people (Lee Harvey Oswald is probably the closest thing to a central character here). It uses a real historical event to unpack troubling and unsettling ideas about history and how fragile everyone’s grasp on reality, and everyone’s understanding of the “real world” and its history, really are.

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‘And Then There Were None’ (1939)

Image via William Morrow

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While there are a few Agatha Christie books that could be considered all-timers, And Then There Were None is the one that stands the best chance at being considered, well, her best. Especially if you’re looking at her standalone novels, since the likes of Murder on the Orient Express and Death on the Nile (both part of the Hercule Poirot series) are strong contenders. Still, And Then There Were None is something kind of special.

Maybe not having Poirot or Miss Marple at the center of it all makes things feel more suspenseful and dangerous. 10 people show up on an island, and they keep dying one by one, with the lack of a clear central character – and the title suggesting there could well eventually be none – making anything possible. It’s a murder mystery where there isn’t one wholly heroic detective character who you can (almost certainly) trust is not involved. It’s perfectly suspenseful, undoubtedly intense, and, in the end, one of the absolute greatest thrillers ever written.

Former “Vanderpump Rules” star Tom Sandoval filed for a restraining order in June 2026, claiming his now-ex, Victoria Lee Robinson, and her father had been abusive toward him. Since then, more has transpired, including, most recently, she’s made similar accusations against the Bravo alum and also requested a restraining order.

This comes after Sandoval was seen with the police as she moved her items out of their rental home, where her father had also been staying leading up to the split.

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According to TMZ, Robinson filed for a restraining order against Sandoval on July 3. In the filing, she stated that the “Vanderpump Rules” alum had exhibited forms of abuse against her on multiple occasions in the past. This includes their previously reported altercation at their rental home on June 3.

Before the June 2026 fight, the 34-year-old model claims Sandoval shoved her to the ground, elbowed her in the chest, locked her out of their hotel room, and rummaged through her personal items in May 2026.

Robinson also says he pushed her down the stairs on August 30, 2025. She stated in the filing that the attack left her with “visible injuries” on her knees.

Regarding the May 2026 attack, Robinson stated Sandoval screamed at her, gaslit, and manipulated her while she was in Nashville visiting her grandfather, who is terminally ill.

Victoria Lee Robinson Says She Endured Verbal Abuse

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Elsewhere in the legal filing, Robinson claimed that she has faced verbal abuse from Sandoval throughout their relationship, which began in early 2024. The model recalled in the filing that she had been referred to as “stupid,” “dumb,” and “a coward.”

Regarding the restraining order, Robinson is hopeful that the judge will also add protection for her father, despite him having already filed for one on his own. She wants the extra measure out of fear that the “Vanderpump Rules” alum may seek out her father with the desire to harm him.

Victoria Wants Tom Out Of The Home

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Per TMZ, Robinson has also requested that Sandoval move out of the home they had been sharing. She claimed in the legal filing that she had a right to the home as she had been paying rent. It’s unclear whether she meant the total amount of the rent or if she and Sandoval had been splitting it.

Robinson also stated in the legal filing that her name is present on the lease for the home. The model is even willing to forgo the Mercedes they leased together if it means she can retain the house. Robinson is also requesting a no-contact order from the court, which would render Sandoval unable to contact her or her father, with the required distance being 100 yards.

Tom Sandoval’s Restraining Order Was Approved

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Sandoval requested and had his restraining order against Robinson and her dad approved on June 25. However, according to PEOPLE, she returned to retrieve some of her items from the home the following day. Sandoval then called the police to ensure that she and her father left the property.

This comes after the reality star accused Robinson of being abusive toward him, including by punching him in the face on June 3.

He also claimed that Robinson’s father “lunged.” According to the filing, “[Victoria] and her father continue to reside in our rental home, which I am presently paying for. Meanwhile, I have been completely displaced from my home. I am bringing this request because I cannot tolerate [Victoria’s] abuse any longer.”

However, it’s also important to note that footage released from the fight shows him screaming into her face about recording him and then pushing her father into a lit fire pit.

Victoria’s Dad Also Provided His Account Of The June Fight

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Per PEOPLE, Robinson’s father filed a civil harassment restraining order against Sandoval on June 26. In discussing the June 3 altercation, he claimed Sandoval “overpowered’ Robinson and also recalls being pushed into the fire pit. He also stated that the “VPR” alum “began talking about himself having a gun.”

The man also said that Sandoval’s attack “seriously injured” him, causing a ruptured disk, a broken thumb and elbow, and a laceration on his right heel. Robinson’s father also accused Sandoval of returning to the home and “starting trouble,” resulting in the police being called.

The United Cajun Navy has reportedly called off its search for Nolan Xavier Wells. At first, it was unclear whether this meant the other Mississippi agencies involved in searching for the missing 18-year-old had also ceased their search. The update came after reports of a body being found on Horn Island, where Nolan was last seen on July 4. Hours after that update, Wells’ family identified the body as his and confirmed his death.

RELATED: Mississippi Authorities Search For Nolan Xavier Wells After He Goes Missing During A Boat Trip To Horn Island

Body Reportedly Found On Horn Island Belongs To Nolan Xavier Wells (UPDATE)

According to WLOX, a park ranger discovered the body at around 8:45 a.m. on Monday (July 6), two days after Nolan Xavier Wells first went missing. The body was not immediately identified, but it was found on the northwest end of Horn Island. Additionally, Sheriff John Ledbetter reportedly confirmed it matched the description of the missing 18-year-old. The condition of the body found and whether the death was foul play is unclear. At this time, the Jackson County Sheriff’s Department, which oversaw the multi-agency search, has not provided any other details.

As mentioned, the United Cajun Navy announced on Facebook that the search for Nolan Xavier Wells “has been called off.” The agency offered thoughts and prayers for the teen’s family while sharing a link to WLOX’s body discovery update.

“At this time, officials have not confirmed the identity of the individual found. We will continue to provide updates as officials release a statement. Our hearts are with Nolan’s family, friends, the first responders, and everyone impacted as they await official confirmation. Out of respect for the family and the ongoing investigation, we will continue to defer to law enforcement for any additional updates. Please keep everyone affected in your thoughts and prayers,” the United Cajun Navy wrote.

Nolan’s Parents & Coroner Speak Out

Nolan was first reported missing on the night of July 4 by his mother, Christine Wonsley. By that point, the last time he has reportedly been seen was 3 p.m. that day on Horn Island. Local police described him as standing 6 feet tall and weighing 180 pounds. He was last shirtless, wearing blue swim trunks and sunglasses. He was a student at Southwest Mississippi Community College and played the position of wide receiver on their football team.

In an social media emotional post on Monday, Nolan’s mother described him as a “special soul.” She also thanked all the agencies and volunteers who aided in the search of her son.

“His father, our family, friends and I are absolutely devastated. My heartbroken for my sweet son who was always willing to cheer and uplift others,” Christine Wonsley wrote, per the New York Post. “Nolan was a special soul, God took his time creating our son. I ask that you please give me and my family time to grieve.”

Early Monday afternoon (Eastern Time), Jackson County Coroner Bruce Lynd told WLOX that DNA testing will confirm the body discovered is Wells’. However, Lynd added: “There is no reason to believe it is not him.” 

What About The People Last Seen With Nolan?

Photos shared hundreds of times on social media appear to show that Wells might’ve been the only Black person enjoying the holiday among a group of white males. The internet has speculated that he was part of their friend group. However, at this time, the police have not shared details about Nolan’s relationship to the people he traveled to Horn Island with. Additionally, there hasn’t been online or media commentary from the men in the viral photos alongside Nolan. It’s unclear whether local police have questioned anyone in the group Wells traveled with. While the case is an active investigation, it also appears no arrests have been made.

RELATED: Prayers Up! Lil Jon Breaks Silence After Son Nathan Smith’s Body Found In Pond Following Missing Person’s Report

Yung Miami has shared a message amid the chatter over her song ‘Spend Dat,’ and she is thanking Monica for her support. ‘The Boy Is Mine’ singer performed at the Essence Festival of Culture in New Orleans on Saturday, July 4, and she incorporated the controversial hit into the show.

RELATED: India Arie Doubles Down On Her Comments About Yung Miami’s ‘Spend Dat’ & The TL Is Divided (PHOTOS)

Yung Miami Thanks Monica For Dancing To ‘Spend Dat’ During ESSENCE Fest

Monica delighted the crowd at the ESSENCE Fest when she incorporated ‘Spend Dat’ into her performance on Saturday night.

The move comes amid the controversy surrounding Yung Miami’s latest single, ‘Spend Dat,’ which features about spending money and scamming. As previously reported, one critic called out the song for being “degrading to our culture.” And India Arie’s weigh-in response prompted an online debate.

Several backup dancers joined Monica on stage as she danced to ‘Spend Dat,’ and Yung Miami was thankful for her support amid the drama.

The 32-year-old artist, whose real name is Caresha Romeka Brownlee, shared a video of the performance on Instagram. Caresha also thanked Monica in the caption.

“Ahhhh…. This is what an OG look like!!! Thank you @monicadenise for hitting that sh*t one time and showing ya girl some LOVE. We can celebrate each other’s wins and just have a good time! This is sisterhood this is black excellence!! 🤍🤍🕺🏽🕺🏽Thank you Monica you’ve truly always been a REAL ONE & stay embracing and pouring into the girls! A ICON, A LEGEND 🙏🏾🤍”

Monica Replied With More Support As Roomies Weighed In

Roommates also reacted after the video was shared on The Shade Room‘s Instagram page.

User @tsx2__  replied, “Yeah cause I don’t understand all the hate. The songs back in the day were way worse.”

@dana__denise joked, “boycott isn’t going so good huh?”

@_klassycapricorn agreed. “Real is so rare these days! Monica always been a REAL one.”

However, not everyone supported the video.

India Arie’s Comments About ‘Spend Dat’ Went Viral

After a fan called for a boycott of ‘Spend Dat,’ Arie’s response went viral.

“I spent my entire adult life, caring way too much,” wrote Arie in part. “Because I finally learned that not everybody Cares ( with a capital C) And explaining it to them is not gonna make them care. Everything you listen to see or eat is going to influence you. So make wise choices y’all. The mass acceptance of this song itself is a CRYSTAL CLEAR sign of the bigger problem.”

After folks began saying Arie supported a boycott, she clarified her comments.

“FOR CLARITY!! I did not say that I think anyone needs to boycott this song,” she wrote. “I said it is a sign of where we are as a culture that this song has been accepted so widely. And… THATS FACTS.”

RELATED: ‘Spend Dat’ Producer Blends India Arie’s Record With Yung Miami’s Track As Celebs Join The “Influence” Convo (VIDEO)

By Chris Snellgrove
| Published 17 seconds ago

You ever think about Will Smith’s greatest mistake? I’m not talking about his marriage, though I’ll probably go to my grave still trying to figure out how that sh*tshow actually works. No, I’m talking about Wild Wild West, the 1999 blockbuster which became a critical and commercial flop. On paper, this movie had everything going for it. The film had a huge budget, ambitious special effects, and was directed by Barry Sonnenfeld, the man who brought us ‘90s bangers like The Addams Family and Men in Black. Speaking of which, Wild Wild West starred Will Smith, whom Men in Black had cemented as a bankable action star.

However, this film was absolutely dead on arrival. Over on Rotten Tomatoes, it has an abysmal 16 percent critical score, which is low enough to make recent flops like Supergirl look downright good. So, what the heck happened here? How did a summer blockbuster from the hottest director and actor of the ‘90s become the cringiest punchline in all of Hollywood? It all began with a script in which four (!!!) screenwriters couldn’t figure out what kind of movie they wanted to make. And it ended with a fight against a giant mechanical spider that a producer spent years trying to inexplicably turn into the greatest Big Bad of the ‘90s.

Have Gun, Will Babble

Wild Wild West is a loose adaptation of the ‘60s show The Wild Wild West. The plot involves an Army captain (played by Will Smith) and a US Marshal (played by Kevin Kline) hunting down the ex-Confederate general who killed the captain’s parents (played by Ted Levine). Along the way, they find a bigger foe: a former Confederate science genius (played by Kenneth Branagh) turned technological terrorist. Our two heroes are ultimately the only ones who can stop this mad scientist’s plan to divide America, effectively finishing the Confederate Army’s goal of destroying the United States as we know it.

Based on the cast, Wild Wild West seemed like it would be a winner. Its primary star was Will Smith, the beloved Fresh Prince of Bel-Air alumnus who had become a breakout movie star thanks to the success of films like Men in Black and Independence Day. His costar was Kevin Kline, a veteran performer and Oscar winner. Their Big Bad was played by Kenneth Branagh, a man who has dedicated his life to bringing Shakespeare’s most complex dramas to life. Heck, it even starred Salma Hayek, the talented hottie that nobody could take their eyes off in From Dusk Till Dawn.

How The West Was (Not) Fun

Throw in the fact that this was a high-budget ($170 million) Western in a decade where cowboy movies (like Unforgiven, Tombstone, and The Quick and the Dead) made a huge comeback, and it seemed like Wild Wild West was destined for greatness. But the movie lost money and was absolutely bodied by the critics. Where did everything go wrong? As usual, it started with the writing. This blockbuster inexplicably had four different screenwriters, and it often seemed like they were all tugging the film in different directions. This was most apparent with the humor in Wild Wild West, which oscillated from completely tone deaf to completely cringe.

The biggest change from the original TV show was making Captain Jim West a Black man. That was downright progressive for the ‘90s, but the writers then proceeded to add the worst racial humor to the film. For example, Will Smith’s character escapes a lynch mob by doing a bizarre smooth-talking bit involving complimenting his attacker’s Klan-style hoods. Oh, and when one of them says they want to teach his character a lesson, Smith sarcastically replies, “Don’t grab a white lady’s boobies at the big redneck dance?” There’s nothing inherently wrong with racial humor, but Wild Wild West makes the cardinal mistake of being just painfully unfunny with it.

The South Will Raze Again

Another bizarre element is how hard this movie tried to bite the style of James Bond, a character who had his own ‘90s revival with GoldenEye. Unfortunately, it sucks at that, too. The spy banter is unworthy of even the worst 007 film. Furthermore, the gadgets (and my God, does this movie have a lot of gadgets) are goofy instead of cool. Plus, if you were in any danger of thinking this was a cool spy movie, Smith ruins it with one of his signature moves: an end credits rap song that retells the entire film in an even more forgettable way.

Wild Wild West failed to be a Blazing Saddles-style racial comedy, and it failed even harder at being a 007-esque spy thriller. Sadly, it failed at its last endeavor, too: being a steampunk-powered sci-fi Western. This genre crossover is mostly exemplified by a climactic fight against a giant mechanical spider, which feels as over-the-top as it is unnecessary. The original TV show had nothing like this, and “robot spider” isn’t exactly a cowboy’s natural enemy. How the heck did this end up in here? Simple: producer Jon Peters had spent most of the late ‘90s trying to put a giant spider in a movie, and he was done waiting.

Does Whatever A Spider Can

Back in the late ‘90s, Warner Bros. was in serious talks with Neil Gaiman about adapting The Sandman into a feature film. According to the author, Jon Peters wanted to include a giant mechanical spider in the film. In 2002, Clerks director Kevin Smith revealed that when he was writing Superman Lives, Peters requested the Man of Steel fight a giant spider. That Superman film was officially scrapped in 1998, and Wild Wild West came out one year later. Considering that Peters produced this failed blockbuster, it seems reasonable to assume he’s the reason it ends with a notoriously stupid fight against a giant robot arachnid.

This is sad because, in other creators’ hands, Wild Wild West should have been a masterpiece. It was an update of a classic TV show with a hit director and a cast of insanely talented performers. Unfortunately, the writers couldn’t decide if they were making an edgy comedy, a spy thriller, or a sci-fi adventure. The result was a movie with an identity crisis so massive that it destroyed the entire franchise. But are you morbidly interested in watching the trainwreck unfold, or maybe you just want to return to the glory days of Will Smith’s career? Maybe, like Smith, you need something to watch while your wife is with her boyfriend? Good news, then: Wild Wild West is currently streaming for free on Tubi.

One of the most surprising announcements of the last 12 months was the confirmation that a new Lord of the Rings film was in the works, but this time, from the pen of one of television’s most famous late-night hosts. No, David Letterman isn’t writing a Tom Bombadil movie, but Stephen Colbert is taking one of the forgotten early chapters from The Fellowship of the Ring, and going back a quarter of a century to re-tell an important part of the story featuring Frodo Baggins, Samwise Gamgee, Meriadoc Brandybuck, and Peregrin Took.

That setup has naturally led to speculation about whether the original Hobbits could return, especially after Elijah Wood, Sean Astin, Dominic Monaghan, and Billy Boyd appeared on IMDb listings tied to the project. But Wood has now made it clear that any return as Frodo Baggins remains very far from official. Speaking to The Direct while promoting Among Us, Wood said the project has not reached the stage where casting is locked in, or even where he has a script to consider.

“Okay. Well, it hasn’t… We’re not there yet… But listen, I think the implication is that the stories that Stephen [Colbert] wants to tell, which are the six chapters that were not committed to film in Fellowship of the Ring, largely because they would have slowed the process of the journey down, because when he leaves Bag End and the Shire, and he has to get to Bree, if it had gone the meandering way that it does in the books, it just would have taken a long time to get to Bree, and… it would have killed momentum.”

Is Elijah Wood Returning for ‘Lord of the Rings’?

Wood did not rule out returning, though. In fact, he sounds genuinely excited by the prospect of Colbert tackling some of Tolkien’s more wandering, strange, and fan-beloved material. “But I think the idea of telling the story of what happens in those six chapters is really exciting, and I think really exciting for fans, and I think what Stephen and his son have crafted and what they’re working through is really rich and interesting, and it certainly includes all those characters,” he added. “So, a script has to be written, we have to go through a process and read it, and it has to get a green light and all those things, but certainly in theory, yeah. And I’m beyond thrilled that it’s Stephen and his son doing it. It’s in the best Tolkien scholarly hands.”

The big catch is right there: Shadows of the Past is not yet greenlit, meaning there is no confirmed cast, production timeline, or release date. Peter Jackson and Fran Walsh are reportedly attached as producers, but the project still has several major hurdles to clear before fans can start imagining Frodo heading back through the Barrow-downs. Wood is, however, set to return for The Hunt for Gollum, the Andy Serkis-helmed movie in which he will also star, with Jamie Dornan and Anya Taylor-Joy among the new names joining Middle-earth.

Stay tuned to Collider for more updates.

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Release Date

December 19, 2001

Runtime

178 Minutes

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Writers

Fran Walsh, Philippa Boyens, Peter Jackson, J.R.R. Tolkien

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Producers

Barrie M. Osborne, Bob Weinstein, Harvey Weinstein, Mark Ordesky, Robert Shaye, Tim Sanders

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By Chris Snellgrove
| Published 15 seconds ago

For the most part, the Star Trek movies are generally self-contained adventures, which is a good thing: it’s possible for a newcomer (likely dragged to the theater by a superfan) to enjoy these films without having watched the 100+ episodes that came before. That’s a big part of what made Star Trek (2009) so fun: packed with action scenes and unforgettable characters, this movie appealed to everyone, including those who never watched so much as a scene of The Original Series. But decades before that, Paramount gave us something that most fans didn’t even notice: a secret trilogy of interconnected films centered around the franchise’s most iconic character.

Taken on their own, the first three Star Trek movies (The Motion Picture, The Wrath of Khan, and The Search for Spock) are very different. The first is a slow, big-budget episode of TOS, the second is an action extravaganza, and the third is a character-driven, world-building drama. However, there’s something powerful that unites these movies, and once you notice, it will completely change how you view them. Here it is: for all their differences in story, theme, and tone, the first three Trek movies are a secret trilogy based around Leonard Nimoy’s Spock. Furthermore, it’s a trilogy designed to give him more character growth than anyone in the franchise!

Spock Was A Changed Man

At the beginning of Star Trek: The Motion Picture, Spock is very different from the way we saw him in The Original Series. In that show, he periodically showed emotion, whether it was extreme sadness (like crying due to a creepy space virus in “The Naked Time”) or extreme happiness (like bursting into a huge grin when he discovered Kirk was alive in “Amok Time”). When TMP begins, he is undergoing the Kholinahr ritual, which is intended to fully purge him of emotion. This would make him the ultimate Vulcan, one who has chosen logic over everything else. However, he interrupts the ritual because he receives telepathic signals from V’ger.

V’ger is, of course, the giant, unstoppable space entity headed straight for Earth. Spock rejoins Kirk on the Enterprise, which is tasked with saving the planet. Everyone is happy to see him, but he is short and rather rude with them as a lingering effect of Kholinahr. Later, Spock gets in an EV suit and actually mind-melds with V’ger; when he recovers, he actually laughs at the irony that the giant vessel is like himself: a sentient being who aspired to pure logic, only to realize how little he actually understood. V’ger is haunted by questions that presumably haunt Spock, too: “Is this all that I am? Is there nothing more?”

The Needs Of The Many

In true Star Trek fashion, they reach a kind of diplomatic solution with V’ger, effectively saving the Earth. But what does this franchise history lesson have to do with Trek’s secret trilogy? In The Wrath of Khan, Spock is effectively a new man, one transformed by his contact with V’ger. He still loves logic, claiming he has no ego to bruise and famously claiming that the needs of the many outweigh the needs of the few (or the one). But he pairs that with light humor in some of his interactions with Saavik (“You lied!” “I exaggerated”) and humanity in his interactions with Kirk (“I have been…and always shall be…your friend”).

Spock ultimately dies, poisoned by the radiation he received when saving the ship. It’s a touching moment, but most Star Trek fans don’t realize its significance. Spock has spent the film low-key exploring his half-human heritage: he enjoys reconnecting with his human friends, ribbing Kirk about his “shall we say, unique?” solution to the no-win scenario and even making gallows jokes before his death (when McCoy tells him no human can survive the radiation, he replies, “As you are so fond of observing, doctor, I am not human”). But he dies embracing the pure Vulcan logic of meeting the needs of the many (the entire crew) rather than the one (himself).

Somehow, Spock Returned

In Star Trek: The Motion Picture, Spock went from wanting to embrace pure logic to realizing that even logic has limitations. In The Wrath of Khan, he was happier because he was gently indulging in his human tendencies. Still, he died by the dictates of Vulcan logic. What happens in the next film? In The Search for Spock, we find out his body was resurrected by the Genesis device. Eventually, Kirk gets him to Vulcan, where his mind is safely transferred out of Dr. McCoy. Afterward, Kirk gives his very human reason for saving his oldest friend: “Because the needs of the one …outweigh the needs of the many.”

Spock learned the importance of emotions to understanding the universe in The Motion Picture, but he died following the dictates of Vulcan logic in The Wrath of Khan. After being reborn in The Search for Spock, he learned that logic doesn’t always tell us the right thing to do. Sometimes, it’s worth it to sacrifice your life to save your closest friends; other times, it’s worth it to throw your entire career away because a buddy needs you. Spock is half-human, half-Vulcan, and he finally realizes that understanding the universe means fully embracing the wisdom inherent in both logic and emotion.

Only The Beginning Of Wisdom

That’s what makes the first three Star Trek movies a secret trilogy: if you look past the colorful villains and all the Kirk drama (and boy, is there a lot of it), you’ll find that these movies are all about transforming Spock and deepening his character. That depth is evident in the final TOS film, The Undiscovered Country. There, he tells another Vulcan protege (who, notably, was originally written as Saavik) “that the universe will unfold as it should.” When she asked if this was logical, he responded, “Logic is the beginning of wisdom, Valeris, not the end.”

It’s something that Spock of The Original Series would never have said, and Spock at the beginning of The Motion Picture would have considered downright obscene. But thanks to the secret Star Trek trilogy, this Vulcan has realized that Kholinahr is basically a lie: embracing pure logic means blinding yourself to the greater mysteries of the universe. Perfectly combining logic and emotion, however, allows him to achieve insights that elude most of his entire race. If you want to see this famous character learn this powerful lesson, you don’t need to travel to Vulcan. Just travel over to the remote and head over to Tubi, where the first three Star Trek films are currently streaming for free!

Social media users are goin’ IN after Hazel-E showed off her new man, musician Mike Moore.

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Hazel-E Shows Off Her New Man, Musician Mike Moore

Over the weekend, Hazel-E took to Instagram to share a joint photo. Furthermore, the photo showed her posing alongside a man as they stood in what appeared to be a crowded stadium. Additionally, the man appeared to have his hand on her waist.

“Yup with my 🥷 he killed the Ye show! It’s been a minute with us but I love him!😍 we just some 80’s babies. 15 yr block spin goes crazy 🤪 @therealmikemooreshow,” Hazel captioned the photo, revealing the man to be musician, drummer, and producer Mike Moore.

Social Media Users Are Goin’ IN After She Showed Off Her New Man, Mike Moore

Social media users slid into TSR’s comment section with reactions to Hazel-E and her new man, Mike Moore.

More On When Hazel-E Last Made Headlines

As The Shade Room previously reported, Hazel-E last made headlines in April. At the time, she had popped out with a man rumored to be the father of Nevaeh Akira’s son. This, amid Akira being linked and expecting a baby with Hazel’s ex, Blueface.

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