Aww, Roomies! Fans are clapping for Waka Flocka after he announced that he’s expecting his first child. The rapper dropped the big news while celebrating his 40th birthday on Sunday, May 31.

RELATED: Tammy Rivera Reflects On Past Relationship With Waka Flocka & Reveals What Really Ended Their Marriage (VIDEO) 

Big 4-0 & Big Baby News! Waka Flocka Gears Up For Daddy Duties

Waka Flocka popped out with not one, but TWO reasons to celebrate. On his 40th birthday, he hopped on Instagram to tell fans he’s expecting his first child — a baby boy. The Atlanta emcee dropped the announcement by sharing a photo of a J sculpture that also seemed to reveal his son’s name, Juaquin Jr., written at the bottom. Fans know that Juaquin is actually Waka’s real name as he formerly goes by Juaquin James Malphurs. In his caption, he told fans he’s super excited to meet his son. “Just waiting for you to come home Jr. Best gift a man could ever ask for 🤲🏽👨🏽‍🍼 I walked 40yrs on earth!!” Additionally, he reposted a message on his IG Story that read, “I can’t wait to HOLD and SMELL our newborn baby.” 

Tammy Rivera’s Daughter Reacts To Waka’s Baby Announcement

Although this marks Waka’s first biological child, fans already know he’s been in daddy mode for years. He’s served as a father figure in Tammy Rivera’s daughter, Charlie Rivera’s life for years. In a past interview, Tammy shared that she met Waka when Charlie was just four years old, and he’s stayed in her life ever since. Waka often shares heartfelt moments with Charlie on Instagram. In 2025, he posted photos after reportedly buying her first condo. Charlie celebrated the milestone in her caption writing, “✨ No mortgage… just HOA fees 😌 Forever grateful to God for blessing me and my parents 💘 especially my dad ✨” After Waka made his baby announcement, Charlie jumped in the comment section to celebrate and said she’s ready for the big sister duties, adding, “My baby already lol 😍” 

Fans Are Ready To See Waka In Full Daddy Mode

Once The Shade Room shared Waka’s big news, fans flooded the comment section with congratulations and said they were excited to see him step into daddy duties for his own child, especially since he’s already been a strong father figure to Charlie. Peep some of the reactions below.

Instagram user @iammel425 wrote, “Congratulations 🎈 Finally got his baby 💙🦋💙” 

Instagram user @money.powerr wrote, “He’s already an amazing Father to a child he didn’t Birth I know he abt to step CRAZY behind his Jr 😂😍” 

While Instagram user @justjess_209 wrote, “He’s going to be an amazing father too that baby is going to spoiled and so loved 😍😍😍 awww.” 

Then Instagram user @kween.ronnib wrote, “Congrats to Waka because he has wanted a child for years and he is having one of his own. I know Charlie will be a great big sister ❤️” 

Another Instagram user @7alaina_ wrote, “Awwww congratulations we know he been wanting one for the longest and it’s a boy lol he big hype 💙🙌🏾” 

Instagram user @zevarra_ceo wrote, “💙💙 Aww he’s going to have a mini me.” 

Then another Instagram user @_lovenene wrote, “Watching how good he was wit Charlie he fasho deserved this 🥰” 

While another Instagram user @forever_e_reign wrote, “He is not gonna be able to put the baby down 💙 love this for him.” 

Finally, Instagram user @msmani.b wrote, “I love this for Waka 🥹🫶🏽” 

RELATED: Birds Of A Feather? Waka Flocka Sparks Reactions With Message For NIcki Minaj Amid Shade Over Trump Support (PHOTO)

Rod Stewart is not flouting the doctor’s orders, not even by a minute!

The British singer has yet again struck out not one, but two Las Vegas shows just hours before the start of his performance, adding to quite a list of shows he has had to rule out in the past due to health issues.

Rod Stewart previously canceled six of his United States tour shows last year, although he did not disclose if it was due to an illness or doctor’s orders.

The legendary singer, who was set to take down the roof with two shows in Las Vegas at the Colosseum at Caesars Palace on May 29 and 30, dashed hopes of his fans as his team announced that the show would no longer go on.

A representative from the rockstar’s team revealed that he was simply following the “doctor’s advice” and will be back to sing with the fans in shows starting from June 2. The star apologized to his eager fans and their families for the huge disappointment that came just hours before he went live.

“My apologies to my family of fans. I am on vocal rest as I recover from a sinus infection. I look forward to seeing you at a future show at Caesars Palace or on tour this summer,” the team stressed, as shared by Page Six. 

The 81-Year-Old Went On A Show-Canceling Spree In 2024

Fox News stated in 2024 that the singer postponed two more shows alongside his 200th Las Vegas show, citing illness. Stewart’s team shared the news on social media, expressing his regret, adding that the postponement was due to his recovery from a summer strain of COVID-19.

The team promised to make up with fresh dates in August 2024 and advised ticket holders to maintain the status quo. However, the news was received with a mixed response from social media users, who were frustrated by the timing of the cancellation.

Some commenters slammed the singer for choosing to wait for four hours before the show before announcing that it would no longer hold. Others called Stewart’s team out for being insensitive towards the resources and time that have gone into fans planning for the concerts and then disappointing them.

When he announced that he was canceling his 200th show, Stewart made it clear that his strep throat had made it difficult for him to perform and promised his fans a better time in 2025.

Rod Stewart Also Had Show Cancellations Last Year

PEOPLE shared last year that Stewart canceled and postponed several concerts slated for June 2025 as he continued to recover from the flu. The cancellation reportedly sparked questions about his readiness to perform at his scheduled Glastonbury performance later that month.

The singer also announced on Saturday, June 7, 2025, that six upcoming shows in Nevada and California would be affected. Four concerts were canceled, while two others were also postponed till September.

The update followed earlier cancellations at Caesars Palace in Las Vegas, including a June 5 show that Stewart revealed was called off on doctor’s orders. At the time, the singer was scheduled to perform in Glastonbury’s Legends slot on June 29, 2025.

The Father-Of-Eight Revealed His Strep Diagnosis Amid Donald Trump’s Feud

As noted by The Blast, after commenting on the former president’s “orange” color, Stewart fell ill, sparking the latest talking points among Trump’s supporters, who used his strep throat illness as an opportunity to criticize him.

The counter-reaction came after Stewart came out with a public attack against Trump for commenting on Kamala Harris’ ethnicity, hailing the singer’s diagnosis as “karma”. Shortly following the controversy, Stewart said he will not be able to perform at a milestone show because of strep throat.

In a statement posted on Instagram, he revealed that he is absolutely gutted to miss this 200th show celebration, saying most people can get by with strep throat, but not him. The music star also expressed his excitement, saying that he was looking forward to the event but was upset that he had disappointed the fans.

From Canceling Shows To Canceling Friendships: A Tale Of Rod Stewart And Donald Trump

The Blast noted in 2025 that the politician revealed that he no longer recognized Trump, stating that their friendship had ended. The singer shared that he and Trump were once close neighbors and social acquaintances, often attending each other’s gatherings. 

Stewart continued that he was initially impressed with Trump’s assertiveness and manliness, but his respect for Trump has now eroded over time, especially regarding his treatment of women. Stewart added that after Trump got into politics, his personality changed, and he felt a disconnect with the person he knew before.

The musician has had doubts about Trump’s political ambitions for a long time. In 2016, when Trump started his first presidential bid, Stewart wondered if his buddy had the temperament and traits for the presidency.

He was also critical of Trump’s environmental policies in 2020, when the United States withdrew from the Paris Climate Agreement. Stewart warned that humanity’s continued mistreatment of the planet could have irreversible consequences and suggested the damage may already be difficult to undo.

Get well soon, Rod Stewart!

There’s a certain corner of TV history where the best stuff isn’t loud; it buzzes low, waits for you to remember it exists, and then taps you on the shoulder with a line or a look that shouldn’t still sting, but does. Firefly’s “Objects in Space” lives in that exact neighborhood — the same back alley where Buffy the Vampire Slayer’s “The Body” hides when no one’s speaking its name, or where Battlestar Galactica keeps its late-night paranoia episodes — the ones you don’t recommend casually because you know they’ll crack something open in a person. It’s the vibe you get rewatching Lost’s “The Constant,” when the emotional gravity sneaks up on you even after the eleventh viewing, or the way The X-Files used to hit you with a bottle episode that suddenly felt like a thesis statement. This is the space where a show’s intentions get a little clearer — the space between plot and pulse.

That pulse suddenly feels louder now, with Nathan Fillion confirming that a new animated Firefly spinoff is in advanced development — one that could bring much of the original Serenity crew back into orbit. And with Firefly, that revelation comes at the strangest possible moment: right when the show was about to disappear from television altogether. There’s something bittersweet about that timing, like finding a handwritten letter months after the sender’s long gone.

“Objects in Space” was the final broadcast hour, the last breath before Fox yanked the plug, and instead of a barn-burning finale or some frantic backdoor pilot energy, the show went small. Not fragile — small. Intimate. The kind of quiet that’s so self-assured it almost feels defiant. If you stacked it next to most sci-fi finales of that era — the operatic bloat of Farscape, the propulsive cliffhangers of Stargate SG-1, the monster-of-the-moment flourishes of Angel — the contrast is almost charming. Firefly chose stillness… and somehow made that louder than any shootout.

‘Firefly’s “Objects in Space” Feels Like a Dream You Only Half Remember

If there’s a paradox at the heart of “Objects in Space,” it’s this: the episode is tiny on paper and absolutely massive in feeling. The plot, on paper, feels almost too simple — the kind of thing someone would pitch when they’re told there’s no money left in the budget: a bounty hunter slips on board, pokes around, grabs for the girl. But the episode doesn’t land the way that summary suggests. It drifts. It sort of shuffles around instead of marching forward, like the whole ship’s stuck in a weird lull. There’s that early-morning hush to it, the kind you get when you’re awake before everyone else, and the place feels off by just a hair. River’s (Summer Glau) sensing the ship more than she’s moving through it — a flash of dread here, a whisper of somebody else’s worry there — and the story stops pretending it belongs to anyone but her.

Series creator Joss Whedon leans into her interior static with the kind of confidence you only get when you stop worrying about plot mechanics and start trusting a character to carry the whole episode on her heartbeat. One moment, she’s drifting barefoot like the ship’s made of warm dust, the next she’s holding a gun she doesn’t perceive as a weapon at all. Everyone else is trying to keep their reality straight; River’s quietly proving that the frame they think they’re standing inside might not be the real one.

And then there’s Early (Richard Brooks). He’s got this unsettling way of talking like he’s explaining a children’s book, only he remembers reading, drifting from room to room as if gravity doesn’t apply to him quite the same way. He doesn’t have to raise his voice — doesn’t even seem interested in the performance of intimidation. He whispers, he muses, he circles you with these offhand observations that feel like secrets you didn’t know you had. On any other sci-fi show, he’d be a loud, armored bruiser. Here, he’s just this quiet, unnerving presence — not loud, not dramatic, just a guy who talks like he already knows how the night ends. By the time things finally settle, it stops feeling like a chase at all and more like the episode nudging everyone to look at themselves without the usual noise drowning them out.

‘Firefly’s Finale Is When River Finally Comes Into Focus

Image via Universal Pictures

Until this point in Firefly’s run, River is almost treated like a narrative wildcard — brilliant, damaged, unpredictable, occasionally dangerous, and often pushed to the side whenever the plot needs to snap back into place. “Objects in Space” doesn’t just bring her into the light; it lets her speak in her own language.

There’s a moment — small, quiet, easy to miss — where she tells Early, “I can win.” It isn’t a boast or a threat. It’s a realization. She’s been treated like everyone’s question mark for most of the season — smart, unpredictable, handled like she might go sideways at any moment — so watching her take the wheel here feels different, like she finally catches up to herself. And she stops being the crew’s problem to tiptoe around and turns into the one person who actually understands what’s simmering underneath everyone else.

She clocks Kaylee’s (Jewel Staite) fear before Kaylee even finishes the thought. She feels Simon’s (Sean Maher) panic tugging at the edges of the room. She can tell what Mal’s (Nathan Fillion) bracing himself for before he even says anything. And Jayne’s (Adam Baldwin) guilt — the thing he pretends isn’t there — shows on him for half a second, just enough for her to catch it. The ship’s layout hasn’t changed, but for River it’s suddenly readable — a kind of living diagram she can slip through with her eyes closed.

There’s a version of Firefly — the version we never got — where the show slowly drifts into River’s orbit. Not the River of Chaos, but the River that could see the shape of things before they happened. “Objects in Space” feels like the pilot of that show, tucked quietly at the end of Firefly‘s first and only season, like someone hid the real blueprint under the mattress.

‘Firefly’s Final Hour Redefines What the Sci-Fi Show Could’ve Been

Image via 20th Century Fox

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If Firefly had survived, this episode would’ve been the pivot — the moment the show tilted toward the introspective, the surreal, the spiritual. The early episodes are loud with frontier swagger: train heists, gunfights, banter that slides around the room like a bar fight waiting to break out. It’s fun as hell, but it’s also familiar. “Objects in Space” suggests something else was brewing.

The silence lands heavier. The camera hangs back just a beat longer. Characters speak less, listen more. Even the ship feels different — not in how it looks, just in the mood of the place. The halls feel a little longer, like everyone’s moving through them more carefully than usual. People tread more softly. The air has that charged stillness you get right before a storm decides whether it’s actually going to break.

And it hits you, maybe an act or two in, that this was the last hour anyone saw on broadcast. There’s something quietly heartbreaking about that — the idea that the show’s final note wasn’t a blaze of glory but this fragile, introspective murmur. It plays like the confession of a series that finally figured out what it wanted to be… right as the lights went out.

This Forgotten ‘Firefly’ Episode Is a Hidden Gem That Deserves a Louder Echo

For a series that lasted only 14 episodes, Firefly has accumulated a mountain of lore — the cancellation stories, the resurrected fandom, the movie that arrived like a second chance ten sizes too small. In all that noise, “Objects in Space” gets weirdly lost.

It isn’t flashy. It doesn’t have the most quotable lines. It’s not the episode that gets trotted out for cosplay montages or convention shout-alongs. What it does offer is a glimpse of the more unguarded version of the show — the one that wasn’t worried about pleasing anyone and finally trusted itself enough to go quiet, go strange, go inward. It plays like a finale by accident — not because it ties anything off, but because it drops the performance and lets the truth seep out.

Rewatching it now, the episode sits differently. There’s a weight to it you don’t catch the first time around, like everyone knew they were reaching for something the show might not get to follow through on. The ambition’s there, but it’s quiet, more like a steady pulse under the scenes than anything the episode asks you to notice. It’s not the flashiest hour of Firefly, not the one fans quote, but it sticks with you anyway. You remember it days later for reasons you can’t quite pin down. It feels like a last note the show didn’t intend to play, but somehow ends up saying the most.

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Release Date

2002 – 2003-00-00

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Network

FOX

Showrunner

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Joss Whedon

Directors

Allan Kroeker, David Solomon, James A. Contner, Marita Grabiak, Michael Grossman, Tim Minear, Vern Gillum

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Writers

Cheryl Cain, Drew Z. Greenberg, Jane Espenson

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By Chris Snellgrove
| Published 1 hour ago

Disney originally intended for The Mandalorian and Grogu to be a crowd-pleasing movie that would bring the fandom together. After all, this was the first Star Wars film since 2019, and one that brings the most popular franchise characters from Disney+ to the big screen. Unfortunately, it didn’t take long before everything started falling apart. The movie got dragged by critics and had a worse opening weekend than Solo, making this the lowest-ever opening for a live-action Star Wars movie. After that poor opening, Disney had just one hope: that The Mandalorian and Grogu would get such positive word-of-mouth that the second weekend would bring in more money than the first weekend.

That’s exactly what happened with Obsession, making it the first horror movie of the millennium to earn more in its second weekend. As for Disney, it looks like the studio should have bought a One Wish Willow and made a wish. Right now, The Mandalorian and Grogu’s box office is set to drop at least 69 percent in its second weekend, which will be the biggest drop in Star Wars history (previously, Solo was the biggest loser with a 65 percent drop). Even worse, this latest movie set in a galaxy far, far away is likely to get blown away at the box office by Backrooms, another tiny horror movie with barely any marketing.

This Is Where The Fun Begins

Why is the second weekend box office for a film so important? Basically, it helps fans and filmmakers alike estimate how much money a movie will make before it leaves theaters. Outliers like Obsession notwithstanding, movies almost always lose money in their second weekend; therefore, it’s not a question of if the box office drops than how much the box office drops. A smaller drop indicates that a movie has legs and will likely make a major profit. A major drop, however, indicates that a movie won’t be nearly as profitable and will likely end up on digital and streaming that much sooner.

Right now, Deadline reports that The Mandalorian and Grogu will have a box office drop of at least 69 percent for its second weekend. That’s especially bleak for the franchise, as Star Wars films were once considered reliable, billion-dollar blockbusters (yes, even The Last Jedi and The Rise of Skywalker). The poor box office performance of Solo: A Star Wars Story forced Disney to pivot and turn multiple intended film projects (like solo movies for Boba Fett and Obi-Wan Kenobi) into Disney+ TV shows. The studio knew things would be bad when Solo’s box office dropped 65 percent in its second weekend. Therefore, Mandalorian and Grogu’s 69 percent drop is absolutely devastating.

They’ve Got A Bad Feeling About This

In a vacuum (including the cold vacuum of space), The Mandalorian and Grogu’s box office failure would be very embarrassing for Disney. However, it’s almost impossible to avoid comparing this sci-fi film’s failure to the inexplicable success of the two major horror films it’s currently sharing a multiplex with. You see, Disney reportedly spent almost $100 million domestically to market its latest Star Wars movie. Meanwhile, Backrooms reportedly had a marketing budget of a little over $10 million, and it’s likely to beat The Mandalorian and Grogu’s box office this weekend. The House of Mouse spent 10x more and may ultimately lose its top spot at the box office to a low-budget horror movie.

Speaking of low budgets, Obsession was made for under a million dollars, and it’s currently earned over $108 million. What’s the secret with these horror films? Obsession director Curry Barker and Backrooms director Kane Parsons both got their start on YouTube, where they achieved a mass following before setting out to make major motion pictures. YouTube taught both filmmakers how to make the most of a limited budget, and they are now utilizing those skills to make horror movie history. As for Star Wars, its producers are spending a small fortune to budget an aggressively disappointing movie to an increasingly shrinking number of fans.

Help Me, Indie Filmmakers: You’re My Only Hope

There’s a bitter lesson in all of this for Disney: ever since they took control of the Star Wars franchise, they have been pissing away the goodwill of the most loyal sci-fi audience in movie history. The Sequel Trilogy was a disappointing bust, and the TV shows on Disney+ have been very hit or miss. Plus, producers used their popular platform to absolutely ruin the magic of this franchise. Star Wars no longer feels special; it’s just more crappy streaming content you put on while you’re doing the dishes. After more than a decade of creative mismanagement, Disney has driven away countless fans through one sh*tty movie and even sh*ttier show after another.

The fandom will never completely die out, of course, and loyalists whose walls are lined with action figures will always support new Star Wars films. But there are only so many loyalists left, and the dwindling numbers for The Mandalorian and Grogu prove that there aren’t enough fans to turn these movies into blockbusters like A New Hope, The Empire Strikes Back, or even The Phantom Menace. The only way forward for the franchise is to hire young filmmakers with a distinct creative vision. But that won’t happen because talented directors focused on their own IPs have done what the Star Wars fandom cannot: left their favorite childhood toys firmly in the past.

Marilyn Monroe is a cinematic icon and the epitome of Hollywood glamor, who gained notoriety for her comic blonde bombshell roles and was one of the most popular sex symbols of the 1950s and early 1960s. Born June 1, 1926, in Los Angeles, Monroe found initial success as a pin-up model before making her feature film debut in the Oscar-winning film, All About Eve, starring Bette Davis, Anne Baxter, and George Sanders. By the mid-1950s, Monroe had starred in a variety of films, but her performances in classic comedies such as The Seven Year Itch and Some Like It Hot essentially elevated her to silver screen stardom.

Over the years, Monroe’s legacy has been overshadowed by her personal life and untimely death, which continue to be shrouded in mystery and speculation, but in recent years, more information about her has been brought to light, revealing a starlet who was far more than just a pretty face. This year marks what would have been Monroe’s 100th birthday, and what better way to honor the starlet than to highlight her most perfect pictures. From the romantic comedy How to Marry a Millionaire to her legendary performance in Gentlemen Prefer Blondes, these are six of the most perfect Monroe movies, ranked!

6

‘How to Marry a Millionaire’ (1953)

Image via 20th Century Studios

The 1953 rom-com classic, How to Marry a Millionaire, ranks as one of Monroe’s best films because it captures almost every version of her screen persona at once: the comic genius, the vulnerable romantic, the glamorous movie star, and the self-aware parody of fame itself. Monroe stars alongside Lauren Bacall and Betty Grable as three Manhattan models who are all in search of landing a wealthy husband, but while they track down men with fat pockets, they unexpectedly find love and eventually learn the true meaning of life and happiness.

Unlike some Monroe films that rely heavily on her sex appeal, How to Marry a Millionaire allows her to be funny in a relaxed, confident way and effectively turns physical comedy and foolish moments into something precise and effortless. Another reason the film endures is that Monroe’s character is sweeter and more emotionally intelligent than the stereotype of her character suggests. Her character may seem ditsy at first, but audiences gradually realize that she is observant, sincere, and surprisingly practical. Monroe quietly reveals the loneliness underneath the performance of beauty, which became one of her signature trademarks.

5

‘Niagara’ (1953)

Image via 20th Century Studios

Henry Hathaway‘s classic film noir, Niagara, stands to be one of Monroe’s finest films and ultimately showcases the exact moment when she transformed from a rising star into a cinematic myth. The movie follows the story of a newlywed couple, Polly (Jean Peters) and Ray Cutler (Max Showalter), who, while on their honeymoon in Niagara Falls, New York, begin to suspect that something is amiss between a young wife, Rose (Monroe), and her older husband, George Loomis (Joseph Cotten). Niagara presents Monroe as something more dangerous, mysterious, and hypnotic compared to her traditional persona as the loveable blonde, and is built around her presence in a way few of her films are.

Niagara proved to critics and audiences that Monroe could anchor a darker, adult-oriented story, and revealed how powerful her presence could be when directors stopped using her merely as comic relief or sensual eye candy. Monroe delivers a powerful and restrained performance, appearing both highly controlled and completely uncontrollable while carefully shaping every gesture and glance, yet the effect still manages to feel spontaneous and volatile. It may not be her funniest or most beloved film, but for many classic film fans and Monroe admirers, Niagara is the movie that most purely reveals why Monroe became one of the defining screen presences in Hollywood history.

4

‘The Seven Year Itch’ (1955)

Image via 20th Century-Fox

Billy Wilder‘s The Seven Year Itch was one of Monroe’s biggest box office successes and is recognized as one of her warmest, funniest, and most deceptively intelligent performances, which led to her becoming a full-scale cultural symbol. Set in New York City during a summer heat wave, Tom Ewell stars as a middle-aged publishing executive, Richard Sherman, who, after sending his wife and son off for the summer, meets an unnamed young woman (Monroe) and is immediately infatuated by her undeniable beauty and contagious charm.

The moment became larger than the movie itself and eventually larger than Hollywood, crystallizing Monroe’s public image into one instantly recognizable symbol of glamour, playfulness, and American pop culture. Wilder understood something essential about Monroe’s on-screen appeal: audiences were drawn not just to her beauty but to her vulnerability. Even in a bright romantic comedy like The Seven Year Itch, there’s a softness and loneliness beneath her charm that prevents her character from becoming merely symbolic. Unlike some later Monroe performances that carry visible sadness or exhaustion, The Seven Year Itch preserves her at a moment of luminous confidence and control, effectively shaping her image into cinematic art.

3

‘The Misfits’ (1961)

John Huston‘s romantic drama, The Misfits, is based on a short story written by Arthur Miller, who was married to Monroe at the time, and features a performance by Monroe that feels less like a movie star playing a role and more like a real person exposing her inner life on screen. Set in Nevada, Monroe stars as a recent divorcee, Roslyn, who, on a whim, moves in with an aging cowboy turned gambler, Gay Langland (Clark Gable), and a World War II veteran, Guido Racanelli (Eli Wallach), and eventually decides to go into business together, capturing wild horses with a rodeo rider, Perce Howland (Montgomery Clift).

The Misfits is a bittersweet entry in Monroe’s career that not only marked her final film appearance but also features her most emotionally complex and captivating performance audiences have ever seen. Unlike the glamorous comic roles that made her famous, her performance as Roslyn feels deeply human and psychologically rich, and even reflects aspects of her own struggles, notably her longing for love and search for belonging. Today, many critics and film historians consider The Misfits to be one of Monroe’s most perfect films because it brings together her star persona, dramatic talent, and real-life vulnerability in a way few of her other movies do, making it one of Monroe’s greatest masterpieces.

2

‘Some Like It Hot’ (1959)

Image via United Artists

Monroe stars alongside Jack Lemmon and Tony Curtis in one of the greatest comedies of all time, Some Like It Hot, which tells the hilarious story of Chicago musicians, Joe (Curtis) and Jerry (Lemmon), who, after witnessing a mob hit, quickly skip town by disguising themselves as women and join a traveling all-girls band headed for Florida and unexpectedly meet a stunning singer in search of a rich husband, Sugar Kane (Monroe). Although her character seems to be very similar to her usual roles, Monroe’s portrayal of Sugar is funny, glamorous, romantic, and surprisingly touching, making the character more than a stereotypical “blonde bombshell.”

Director Billy Wilder crafted a fast-paced comedy that remains remarkably modern and has remained popular across generations, with Monroe at its emotional center. The film plays with Monroe’s public image and reveals the loneliness and longing beneath it as Sugar dreams of finding love and stability, giving the character warmth and humanity. Monroe effortlessly balances her comedic chops with genuine emotional depth, which fits seamlessly into the film’s sharp humor and sophisticated storytelling. Some Like It Hot captures the full range of Monroe’s gifts, highlighting not only her beauty and charisma but also her intelligence as a comic performer, proving she was one of Hollywood’s most skilled and enduring stars.

1

‘Gentlemen Prefer Blondes’ (1953)

Image via 20th Century-Fox

Howard Hawks‘ Gentlemen Prefer Blondes is without a doubt a quintessential Monroe film that crystallized her star image while revealing how clever, funny, and self-aware her presence was on the big screen. Monroe stars as a showgirl, Lorelei Lee, who, after becoming engaged to the wealthy Gus Esmond (Tommy Noonan), sets sail on a lavish cruise with her friend and fellow showgirl, Dorothy Shaw (Jane Russell), but unbeknownst to the women, Esmond’s father (Taylor Holmes), who believes Lorelei is after his son’s money, hires a private detective to follow them and report back any behavior that would support Mr. Esmond’s claims.

As the vivacious Lorelei Lee, Monroe embodies the glamorous blonde persona that made her famous, but she plays her character with wit and intelligence rather than simple naïveté and surprises audiences with her understanding of exactly how the world works and how she uses that knowledge to her advantage. Monroe’s timing, facial expressions, and line delivery are consistently sharp, ultimately proving that her success was based on genuine comedic skill, not just screen presence. Another notable moment of the film is Monroe’s performance of “Diamonds Are a Girl’s Best Friend “, which became one of the most famous moments in Hollywood history and remains inseparable from Monroe’s legacy, ultimately solidifying Gentlemen Prefer Blondes as one of her most timeless classics.

By TeeJay Small
| Published 53 seconds ago

If you’re a sucker for a good crime thriller, you’re probably already aware of the hit 1993 movie True Romance. This genre-defining film is packed to the gills with foul language, graphic violence, and some supernatural themes that make the whole thing feel like a fever dream lost in time.

Though it was considered a box office failure in its day, True Romance has since garnered a massive cult following. If it’s been a while since you’ve seen it, or you’ve streamed it, now is the right time. Netflix just added True Romance.

Long before True Romance was dancing across the silver screen and upsetting the prudes at the MPAA, the film was being penned by a young, up-and-coming Quentin Tarantino. This is the very first feature-length screenplay the Pulp Fiction filmmaker ever wrote. Portions of the first act and some of the pop culture-focused dialogue were lifted right out of Tarantino’s own unreleased short film, My Best Friend’s Birthday, which he made while working at a video rental store in Los Angeles.

Tarantino originally intended to direct True Romance himself, but by the time the script was gaining traction with producers, he had already moved on to a new project that would ultimately become Reservoir Dogs. So he sold the screenplay, used the money to finance his own debut, and let Top Gun director Tony Scott take the wheel.

This has become the subject of tons of debate among film nerds, as some fans believe True Romance is a shadow of what it could have been with Tarantino behind the wheel. Others, including Tarantino himself, have lauded Tony Scott for bringing the intense screenplay to life and offering a more saccharine ending than what was originally on the page.

The plot of True Romance centers on a young couple named Clarence and Alabama. They meet at a movie theater, quickly fall in love, and decide to skip town together after a whirlwind date. The only problem is, Alabama is a woman of the night, and her pimp Drexl Spivey doesn’t take kindly to the loss of revenue.

Prompted by the ghost of Elvis Presley, Clarence murders Spivey and snags a duffle bag of blow from his workplace, hoping he can sell it off to finance his new life. Predictably, the young couple’s troubles don’t end there, as they contend with gang members, police, and a world that seems to want to keep them apart.

The whole adventure feels like a very 90s take on the classic tale of Bonnie and Clyde, complete with some added racy elements. For many fans, True Romance represents the gold standard of crime thrillers.

Christian Slater gives a career-defining performance here, alongside top-tier showings from Patricia Arquette, Dennis Hopper, Val Kilmer, and Christopher Walken. Several big-name actors appear in minor bit parts as well, including Brad Pitt, Samuel L. Jackson, and the late James Gandolfini, of The Sopranos fame.

Whether you’re a die-hard fan or you’re looking to catch it for the very first time, you can watch True Romance on Netflix today. Just prepare to hear some really outlandish stuff, especially if you’ve got any Sicilian ancestry.

TRUE ROMANCE REVIEW SCORE

I have rewatched The Lord of the Rings trilogy so many times that I already know entire scenes before they even begin. I know exactly when Sam will give his speech, when Gandalf will arrive at Helm’s Deep, and when the music will start swelling. Yet every few years, usually during winter or after a stressful week, I still end up going back to those films again. There is something strangely relaxing about spending eleven hours inside a story (you already know the ending of).

However, very few trilogies have ever given me that same feeling. Most franchises lose something after the second installment, but the trilogies on this list somehow avoid that problem completely. Back to the Future, for instance, still feels fun every single time Marty jumps back into the DeLorean. So after all these years, these are the only three trilogies I replay more often than The Lord of the Rings.

3

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

Image via 20th Century Fox

You don’t really “rethink” about The Original Star Wars trilogy when you rewatch it; you just fall back into it. Even if you know every twist and every outcome, it still has that pull where you end up watching longer than you planned.

A big part of that comes from how naturally the story grows across the three films. Luke Skywalker (Mark Hamill) starts off unsure of everything, and you can actually feel that shift as the world opens up around him. Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) bring their own energy into it, which keeps things from feeling too focused on just one character. Nothing feels forced just for impact, and even the quieter moments don’t feel like they’re dragging. It all fits together in a way that still works, even after you already know the story.

2

‘The Indiana Jones Trilogy’ (1981–1989)

Image via Paramount Pictures

It’s easy to forget how simple the Indiana Jones movies actually are when you’re watching them, because they move so quickly. There’s always something happening, but it never feels messy or hard to follow. You just get pulled into the adventure without thinking too much about it.

Indiana Jones (Harrison Ford) works so well in this space because he’s not built like a typical hero. He makes mistakes, he gets dragged into situations, and most of the time he’s just trying to keep up. Across all three films, that energy never really changes. Whether he’s chasing relics or dealing with dangerous groups, the tone stays light but focused. That consistency is what makes the trilogy so easy to rewatch. You don’t need to “get back into it,” you’re already there within minutes.

1

‘The Back to the Future Trilogy’ (1985–1990)

Image via Universal Pictures

The funny thing about this trilogy is how complicated the idea is, but how easy it feels while watching it. Time travel could easily turn confusing, but here it never really does. You’re always following what matters in the moment.

Marty McFly (Michael J. Fox) and Doc Brown (Christopher Lloyd) carry the whole thing with their dynamic. It never feels like they’re trying to explain the rules too much; you just learn them as the story goes. What makes it so rewatchable is how often small moments from earlier films come back later in a way that actually makes sense. You notice new links every time you watch it again. And instead of feeling tired, it actually feels better with time, which is rare for a trilogy this popular.

Ashanti is fully in her mommy era and soaking up every minute with baby KK. The singer recently took over timelines after sharing sweet moments with her son Kareem Kenkaide Haynes, and fans are eating up every photo and video.

RELATED: It’s The Haynes! New Video Has Social Media Saying Nelly “Hasn’t Stopped Smiling” Since Spinning The Block With Ashanti 

Ashanti Shares Precious Mommy-And-Son Moments With Baby KK

Fans are dropping nothing but heart eyes after Ashanti shared the most sweetest photos and videos of her son, Kareem Kenkaide Haynes, on Instagram. The first-time mom gave her followers a little life update through a carousel post that she admitted came a little late since it featured moments from April. Throughout the post, Ashanti gave fans a peek into some vacation vibes before baby KK popped up stealing the whole show in a few adorable clips. Ashanti didn’t show baby KK’s face in the recap, but she did give fans a preview of his full head of hair in one adorable video that shows him hanging out at what looks like a birthday party, while another catches him checking out a few Easter baskets. But that wasn’t the only moment fans couldn’t get enough of.

Ashanti also dropped a sweet father-son photo of Kk sleeping peacefully right on his daddy Nelly’s chest. The photos and videos has fans loving every second of Ashanti in mommy mode. And from the looks of it, she’s soaking up every moment right along with them. She event let them know in her caption writing, “yeah I’m a lil late, but Life has been life-ing 🥰 in the most Amazing way! ❤️” 

Social Media Went Crazy After Ashanti Gave A Peek At Baby KK

After The Shade Room dropped the new flicks and videos of Ashanti and KK, fans ran straight to the comment section with reactions. Plenty of folks couldn’t stop talking about how adorable he is, with many saying they’re ready for Ashanti to finally show his cute little face.

Instagram user @niece_mac_ wrote, “Aww look at all that hair I just know the baby is gorgeous 🥰🥰” 

Instagram user @ziahne wrote, “Lovely family !! 😍😍😍😍😍😍😍😍😍” 

While Instagram user @launica_natie wrote, “It’s like we reliving in the early 2000’s through their relationship and I’m here for it! 🥹💙🥰” 

Then Instagram user @sexyblue109 wrote, “Damn I feel like she just had him 🥰🥰🥰” 

Another Instagram user @yagirlshayx3 wrote, “I just know he’s so adorable 😍” 

Instagram user @_thats.brookes.alexandria_ wrote, “Ashanti and her baybeeeee babyyyy bayyyyy-beeeee. Okay I’ll leave 🤭” 

While another Instagram user @bzebarbie wrote, “imagine saying Ashanti your mom and Nelly ur daddy 😍” 

Then another Instagram user @iam_the_only1 wrote, “He’s handsome 😍 I know Shan did her thang..” 

Instagram user @theblacklawyerspodcast wrote, “We wanna see his face 😍🥹but we understand privacy.” 

Finally, Instagram user @lylisha_ wrote, “Baby kk look so cute 😍😍😍😍😍😍”

From Lambos To Crowns — Fans Previously Got A Peek At Baby KK At His First Birthday Party

Fans first got a little preview of baby Kareem during his first birthday celebration last July. Ashanti posted photos on social media of her and Nelly celebrating alongside family and friends. More footage showed Kareem pulling up to his party in a mini white Lamborghini with sunglasses and a crown on his head.

C’mon family!👏🏾 Nelly and Ashanti were all smiles for their son KK’s first birthday celebration.🥳💙 (📸: @people @soulbphotos)✍🏾:#TSRStaffJR pic.twitter.com/RcnWRLO7aJ

— TheShadeRoom (@TheShadeRoom) July 28, 2025

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By Chris Snellgrove
| Published 9 seconds ago

To this day, William Shatner remains the face of Star Trek. It was his weirdly compelling performance that helped transform The Original Series into a breakout pop culture hit. Later, it was Shatner’s charisma that gave the TOS movies their charming mainstream appeal. Shatner’s Captain Kirk is such an iconic figure that the franchise has tried to bring him back to life with multiple actors. But for all their talents, performers like Chris Pine and Paul Wesley could never match Shatner’s iconic (and certainly iconoclastic) performance. Because of that, the producers of the most popular current Trek show did their best to put Shatner’s Kirk onscreen again.

We first found out about this when Shatner himself mentioned being approached by some unnamed Star Trek producers. Recently, NuTrek guru Alex Kurtzman and some of his fellow producers gave an interview to Polygon where they admitted that they made an effort to bring Shatner back for Season 4 of Strange New Worlds. It would have been quite fitting: not only is SNW one big love letter to The Original Series, but this year is the 60th anniversary of the franchise. Unfortunately, Kurtzman and company couldn’t make it happen, which makes it official: after decades of producers trying to bring him back, William Shatner will never return to Star Trek, the franchise that made him famous.

Strange New Worlds And A Familiar Actor

Strange New Worlds is a prequel to Star Trek: The Original Series that focuses on the adventures of Captain Pike, who commanded the Enterprise’s first five-year mission. The show features several new actors playing familiar characters, including Ethan Peck as Spock and Anson Mount as Spock. Paul Wesley plays the younger Kirk, which leaves the obvious question: how, exactly, was the show going to bring back the 95-year-old William Shatner to play the same character? Through the magic of the multiverse, of course!

In an interview with Polygon, Strange New Worlds co-showrunner Akiva Goldsman said that his biggest regret was that they never managed to bring William Shatner to homage the Original Series episode “City on the Edge of Forever.” This is the famous episode where Kirk falls in love with a woman whose activism keeps America out of World War II, allowing the Nazis to rule the world. To save the future, Kirk is forced to let her die. Goldsman wanted an SNW episode portraying Shatner as a version of Kirk who had stayed in the past to stay with the woman he loved, the future be damned.

Mirror, Mirror, On The Screen

According to Akiva Goldsman, the Strange New Worlds writers developed several scripts and tried to bring William Shatner each season, but it never happened. Now that Strange New Worlds has wrapped production, and no new Trek series is on the horizon, it’s unlikely we’ll see Shatner play Captain Kirk on the small screen again. Plus, given that Paramount wants to reboot Trek as a film with completely new characters, we’re equally unlikely to see Shatner’s Kirk on the big screen again. This is doubly sad because different Star Trek producers have been trying to bring him back for decades.

When Star Trek: Enterprise was first airing, William Shatner himself approached Trek guru Rick Berman with an idea. Over lunch, the actor pitched the idea of a two-part episode that returned to the Mirror Universe and showed the evil version of Captain Kirk as an older man. It was a great idea, but there was just one problem: Shatner was asking for too much money. While he didn’t name an exact amount, Berman told The Shuttlepod Show that “the number was probably 8x more than the studio had any interest in.” However, Manny Coto liked Shatner’s idea, which is why we did eventually get a two-part Mirror Universe episode, albeit without Captain Kirk.

He’s Not Dead, Jim!

After Enterprise prematurely ended, fans worried that the franchise might be dead. Fortunately, Star Trek (2009) brought everyone’s favorite Original Series characters back with new actors, new stories, and an entirely new universe (the Kelvinverse) to play in. Leonard Nimoy appears to help pass the baton to yet another new generation of Trek performers, and writers Roberto Orci and Alex Kurtzman originally wrote a scene where Spock had a pre-recorded “happy birthday” message from Shatner’s Kirk. But Shatner wanted a prominent role where Kirk was somehow still alive, suggesting the writers canonize his novels where Kirk is resurrected. Feeling that more Shatner would overshadow the younger performers, Orci and Kurtzman wrote him out of the film altogether.

Without William Shatner, Star Trek would likely have never become such an outsized pop culture phenomenon. Previously, his returns (first, in The Animated Series, and again in the TOS movies) helped reinvigorate the franchise, and he played a major part in helping the Next Generation cast transition their characters from TV to film. Clearly, Shatner never lost his love for Kirk: not only did he make multiple attempts to return via TV and film, but he wrote (along with Judith and Garfield Reeves-Stevens) an entire series of books about Kirk coming back to life and having more crazy interstellar adventures.

Outside of books, though, it seems like Kirk’s Star Trek adventures have come to an end. He won’t pop up in Strange New Worlds, and he’s deeply unlikely to make any kind of appearance in Paramount’s upcoming reboot film. That’s unfortunate for all of us who would love to see this iconic performer play his most famous character, one last time. Whether or not Shatner ever makes a triumphant return, though, we’ll always remember him for two things. First, boldly going where no actor has gone before. And second, letting generations of fans tag along for the ride!