In terms of immediate recognition combined with consistent quality and influence throughout the gaming industry, no singular video game franchise comes close to the impact and importance of the Super Mario series. Whether it be the hundreds of memorable spinoffs or the timeless platforming experiences that made the character an icon, each generation of gaming manages to have its own must-play Mario masterpiece that defines the generation.

These platformers, both 2D and 3D, are often the immediate examples of perfection within the genre, elevating and defining the strengths of the genre as they influence just about every other platformer ever made. Many of Mario’s most acclaimed and recognizable outings have stood the test of time as some of the greatest video games ever made. Video gaming as an art form simply wouldn’t be the same without Nintendo’s iconic plumber mascot, as these games see the character at his absolute best.

10

‘Super Mario 3D World + Bowser’s Fury’ (2021)

Image via Nintendo

Super Mario 3D World was already a prominently underrated entry in the Super Mario franchise, building upon the strengths of the level-based 2D platformers while utilizing seamless controls in a 3D multiplayer environment. It was massively limited due to its release on the failing Wii U console, making its Nintendo Switch port all but inevitable. Super Mario 3D World + Bowser’s Fury proves to be much more than just a simple port, however, including an entirely new 3D Mario experience alongside the original underrated gem.

Bowser’s Fury takes a completely different approach to 3D Mario compared to 3D World, acting as a short yet highly engaging proof of concept for an open-world Mario game, where all of the levels and platforming seamlessly connect in a single area without any major loading screens. While this concept will hopefully be explored even more in the next big 3D Mario game, it still stands now as one of the best games that the Switch has to offer.

9

‘Super Mario Bros. Wonder’ (2023)

Image via Nintendo

After so many 2D Mario games under the “New Super Mario Bros.” banner were released and felt like extensions of the same game, Super Mario Bros. Wonder reintroduced vibrant creativity and originality to 2D Mario not seen since the SNES era. It takes the best attributes of modern and classic Mario platformers to create a true evolution of the formula, with each level delivering an unpredictable blast that constantly reshapes gameplay mechanics and rules.

It also helps that the game has a truly stellar art style, overflowing with personality and charm in every way, even to the point of actual gameplay with goofy new power-ups like Elephant Mario. It made for a truly great return to form for 2D Mario that paints a great picture for the future of the character in the post-New Super Mario Bros. and post-Super Mario Maker world.

8

‘Super Mario Sunshine’ (2002)

Image via Nintendo

While considered by some to be the black sheep of 3D Mario platformers due to several distinct choices it makes in its design and evolution of the formula, Super Mario Sunshine has grown to be an undeniable fan favorite for many fans, as an absolute must-play GameCube title. The game sees Mario traversing the tropical Isle Delfino, clearing his name as he is framed for the crime of polluting the island while collecting Shine Sprites and restoring the Island’s beauty.

It’s all the little things that come together to make Super Mario Sunshine such a memorable and endearing experience, from the core dynamic of utilizing the water jetpack F.L.U.D.D. for platforming to the intricate worldbuilding of each of the main levels of the game. Even if some of its gameplay elements haven’t aged the best, there’s so much underlying charm and passion to this game that it still makes it a delight to revisit all these years later.

7

‘Super Mario Bros. (1985)

Image via Nintendo

It’s impossible to have a list of the best Mario games without including the one that put him on the map as an inescapable icon of gaming. While not his first appearance in a video game, Super Mario Bros. is a platformer so timeless and exceptional in its craft that it nearly single-handedly revitalized the entire video game industry following its notorious crash in 1983. The game’s influence and stature in the realm of platformers and video games as a whole are still felt to this day, with it easily being one of the most important video games of all time.

The only thing that holds it back in the context of this list is that Mario as a franchise has evolved and grown so much since these humble early days. That isn’t to take away from the timeless strengths and impactful level design of this original masterpiece, only to say that this formula has grown and evolved so much that what was originally a savior of the industry helped pave the way for games even greater and even more exceptional.

6

‘Super Mario Galaxy 2’ (2010)

Image via Nintendo

One of the only times that a 3D Mario platformer received a direct sequel, Super Mario Galaxy 2 really can just be boiled down to more of what made the original game such a masterpiece. While some may look at the game and take issue with it not forging its own identity or doing much to separate itself from the original, the absolute fun factor that comes from playing Super Mario Galaxy 2 cannot be ignored. With even more creative galaxies to explore and new power-ups galore, the game continued to deliver the same greatness as the original in the eyes of many gamers.

The game features constant memorable levels back to back to back, always keeping things fresh and finding ways to be inventive with the level design to keep the game from feeling too similar to the original title. The level of polish is also absolutely immaculate, having some of the best graphics on the Nintendo Wii and adding small quality-of-life improvements to the flow and feel of the game.

5

‘Super Mario Odyssey’ (2017)

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After a long string of more linearly designed 3D Mario games, Super Mario Odyssey was a glorious return to form for the classic style of 3D Mario platformer, with vast open worlds filled with collectibles and secrets to explore. With exceptionally fluid controls and personality exuding from each of the game’s worlds, Super Mario Odyssey is a 3D platformer delight that may just be the most approachable and endlessly replayable Mario game to date.

The movement controls play a major part in the game’s continued success and legacy, finding this perfect balance between being simplistic enough for those unfamiliar with platformers to enjoy while having the depth that allows skilled gamers to express themselves in the game’s movement. Time has only been kind to this icon of modern Nintendo mastery, with this easily being one of the best Nintendo games of the past 10 years.

4

‘Super Mario World’ (1990)

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Upgrading the classic 2D Mario style into 16-bit graphics and the new SNES system, Super Mario World is, to many, still the absolute standard for 2D Mario platformers, as one of the most timeless and well-crafted platformers ever made. This amazing Nintendo game delivers exactly what one wants out of a 2D Mario experience, with a wide variety of levels and a great progression of difficulty, making it an unmistakable classic of the era.

From the introduction of beloved series icon Yoshi to the exceptional execution of its level design and visual charm, Super Mario World is one of the most important Mario games ever released and still greatly influences the entire franchise all these decades later. There is a good reason that there are still original ROM hack experiences that utilize Super Mario World as the baseline game, as it executes upon classic 2D platforming gameplay better than any other game of the 90s and beyond.

3

‘Super Mario 64’ (1996)

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With the advent of 3D graphics in the 90s completely revolutionizing the gaming industry, it soon became the standard for many popular franchises to make the jump to 3D. Super Mario 64 is arguably the absolute best of these shifts to 3D, with the platforming fun and vast creative worlds of the Mushroom Kingdom working perfectly for a 3D platforming collectathon. The game is undeniably the most important and influential 3D platformer ever made, completely revolutionizing the concept in the same way Super Mario Bros. did for 2D platformers 11 years prior.

While other early 3D games have faced some difficulties with stilted and awkwardly aged controls, Super Mario 64 is still incredibly fluid and fun to play in the modern day, feeling timeless in its execution as it perfectly understood how to make platforming in 3D both fun and engaging. While the game technically received a remake in Super Mario 64 DS, its lack of analog controls makes it pale in comparison to the fluid feeling of the original game.

2

‘Super Mario Galaxy’ (2007)

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More than just one of the greatest Mario games ever made, Super Mario Galaxy is an absolute masterpiece of the platformer genre that is often celebrated as one of the greatest gaming achievements of the 21st century. With exceptional gravity physics complementing the level design and platforming perfectly, Super Mario Galaxy is a constant display of creative ideas brought to life with even more impressive execution. Its more linear design sets it apart from previous 3D Mario games while allowing for even more variety of levels and worlds to explore.

The space thematics and otherworldly feel of the game prove to be much more than just gravity gameplay mechanics, as it works in tandem with the tone and feel of the game to create one of the most beautiful gaming experiences that Nintendo has ever released. The game has been celebrated as one of the very best Nintendo games ever since its release, to the point of it even being the focal point of the second animated Mario movie, The Super Mario Galaxy Movie.

1

‘Super Mario Bros. 3’ (1988)

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With so many masterpieces to choose from, it really does feel like any number of these games have a justification for taking the top spot on this list thanks to their endless qualities and strengths. However, in terms of which singular Mario platformer most distinctly exemplifies and symbolizes the greatness of the Mario series as a whole, it’s difficult to deny the stature of Super Mario Bros. 3. One of the very best games on the NES, Super Mario Bros. 3 pushed the console to its absolute limits and improved upon the already influential previous games in every possible way.

The controls and gameplay mechanics are more responsive and fun to play; the worlds and level design are much more varied, with each level and world feeling vastly different from the last; and the game helped define and set in stone the visual style that would define the franchise going forward. When gamers think of truly great Mario games, Super Mario Bros. 3 is one of the first that comes to mind, whether it be the NES original or one of the many great remasters for the SNES and Game Boy Advance.

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Super Mario Bros. 3

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Released

October 23, 1988

ESRB

E For Everyone

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Developer(s)

Nintendo R&D4

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Publisher(s)

Nintendo

Multiplayer

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Local Multiplayer

Franchise

Super Mario

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Director Florian Zeller isn’t exactly known for making movies about happy homes. After The Father and The Son, the playwright-turned-filmmaker is back with Bunker, another story about a family struggling behind closed doors. This time, though, we get real-life couple Javier Bardem and Penélope Cruz as Miguel and Sofia, a long-married pair living in London with their two daughters. They’re the epitome of big city wealth, hiring a nanny to look after their kids, going to art gallery openings, and mingling with folks who come from old money. From the outside, they have everything — but on the inside, things are far less settled.

Those “things” suddenly take a turn when Miguel, a “starchitect,” receives an unusual request from an elusive, Elon Musk-type tech billionaire named Andrew (Paul Dano). Andrew wants Miguel to design a massive bunker that will protect a chosen group of wealthy people when the world falls apart. While the job becomes one source of trouble, the family’s other issues also keep mounting. Sofia feels stuck at her literary agency job, while Miguel soon suspects she’s spending too much time with the new, young author James (Patrick Schwarzenegger) her company just signed. On top of that, their neighbor Toby (Stephen Graham) has knocked a hole through his wall to install a window that overlooks their property. Nobody outside the couple’s house is entirely trustworthy, especially after their cat Blue unexpectedly vanishes.

Zeller makes good use of that slow-simmering uncertainty, allowing the smallest of interactions and unclear intentions to keep the film tense. Though not every idea in Bunker is explored as fully as it could be and some of its supporting characters are noticeably thin, Bardem and Cruz make the troubled marriage hard to look away from. At 126 minutes, Bunker is a thoughtful, suspenseful thriller with a tinge of dark comedy that may not floor audiences, but it’s well-made, sharply acted, and definitely worth your time.

What Is ‘Bunker’ About?

On paper, Bunker looks like a story about an architect building some fancy HGTV-style shelter for a billionaire. But Zeller is more interested in what happens when two people who’ve built a life together stop agreeing on what that life is. Miguel (Bardem) and Sofia (Cruz) have been married for 17 years, with five of them now spent in London after leaving Madrid to advance Miguel’s career. While the move worked for Miguel, Sofia’s career as a literary agent stalled. When she advocates for a promotion, she meets a prejudiced response. It finally confirms her fear that London is Miguel’s home, but it will never fully be hers.

And that bunker project only widens the gap. Miguel and his business partner (Mark Gatiss) see the assignment as a chance to earn enough money to empower their next move. But Sofia can’t ignore the disparity of the project itself, which will help wealthy people escape to a private spot while everyone else is left behind. Not to mention, the job would separate Miguel from his family for months, at a time when their daughters are already having complex reactions to their presence. Their teenage daughter Lucia (Chloe Conh) already keeps both parents at a distance, usually disappearing behind her headphones, while young Rosa (Leah Conh) still misses them whenever they are gone and has a tinge of loneliness. Sofia’s doubts deepen after meeting James (Schwarzenegger), whose outlook on life reminds her of choices she could have made if her own life didn’t revolve around Miguel.

And finally, there’s Toby’s (Graham) window, which Miguel sees as an invasion of privacy. While the neighbor insists he needs natural light for his studio, Miguel sees it as anything but an innocent request. Already uneasy about what’s happening in his home life, he responds by installing state-of-the-art security systems and begins watching everyone around him more closely. This tightened grip pushes Sofia to pull away. Soon, that growing doubt between husband and wife erupts in a genuinely terrifying conclusion that will leave you at the edge of your seat, absolutely stunned. It’s at this moment Zeller keeps the audience trapped in fear and unsure of what will happen next or who they can truly trust. Best of all, nothing about this sequence is rushed, as the film’s quieter anxieties turn into full-blown terror, creating a climax that’s stronger for it.

‘Bunker’s Writing Keeps Everyone Under Suspicion

Image via Sony Pictures Classics; Everett Collection

Zeller, alongside his co-writers Louise Krieger, Mariano Cohn, and Gastón Duprat, builds the film’s suspense by making sure everyone’s intentions are slightly out of reach. This is best seen when Graham’s character is viewed through Miguel’s eyes while in his own house, so that the audience is encouraged to share his distrust. That uncertainty runs through the film, especially when we meet James, who’s attentive to Sofia but also represents life outside her marriage, or Andrew, who convinces Miguel enough that he too shares similar concerns. Zeller also slips dark humor into these uncomfortable exchanges, preventing the movie from becoming too grim while still leaving everyone under some distrust.

But the script is less successful when it tries to connect some of those personal fears to larger ideas about wealth. Toby’s anger over gentrification or the billionaire’s plan to abandon society create a sharp argument about inequality, but Bunker never digs deeply into either. Whereas Toby is frustrated over people like Miguel transforming neighborhoods and pricing them out for those who grew up there, that resentment only appears threatening because it’s one-sided. Meanwhile, the billionaire is even more removed, and though he speaks of social collapse, we only see him briefly through Miguel’s one conversation with him.

Where the writing lands best, though, is with Miguel and Sofia. These are two people who love each other even as they become less certain of their life together. Zeller never turns either spouse into the obvious villain. Miguel’s desire to protect his family is logical, but that concern blends quickly with jealousy and a need for control. Sofia has every reason to talk to her husband about her sacrifices, but we see that she struggles with it. The most lived-in aspect of their relationship is in the conversations and arguments that begin with smaller things, like work or children, before they really blow up. That attention to detail and escalation gives Bunker its emotional weight and makes everything, specifically its terrifying final act, hit harder.

Javier Bardem and Penélope Cruz Are ‘Bunker’s Greatest Strength

Image via TIFF 2026

One of the reasons Bunker remains so compelling from start to finish is Bardem and Cruz. With the pair knowing when to push against each other and when to step back, the couple gives both characters room to exist without ever outdoing the other. This dynamic also makes up for some of the script’s holes, as neither performer needs dialogue to prove this marriage has changed. Bardem’s Miguel is grounded and logical, making sure his concerns for the family are genuine. But as his character changes and his confidence slips, you see his body stiffen, and his attention shift toward his family’s growing discomfort. Cruz is equally expressive as she internalizes Sofia’s unhappiness through her eyes or posture. Their real-life relationship adds a natural familiarity and, of course, chemistry, but it’s never a gimmick.

The supporting cast is a bit bumpier. While Graham is elusive as Toby, playing him with enough hostility for us to understand Miguel’s upset, Dano is detached and almost too one-dimensional — though that can be argued as what billionaires actually project. Schwarzenegger is just fine as James, even if his character is more of a plot device than a memorable presence who creates his own tone. That said, none of these characters sink the film, but they do depend heavily on Bardem and Cruz to keep it afloat. Bunker may not break new ground or explore every idea as deeply as it should, but it remains a well-made and consistently engaging thriller with Bardem and Cruz, who alone make it worth your time.

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Release Date

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February 19, 2027

Runtime

126 minutes

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Director

Florian Zeller

Writers

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Florian Zeller

Producers

Alice Dawson, Federica Sainte-Rose, Fernando Bovaira, Florian Zeller, Simón de Santiago

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Pros & Cons

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• Bardem and Cruz share compelling, perfectly balanced chemistry.
• The slow-building suspense pays off in a terrifying final act.
• Its striking glass-house design reinforces the themes of privacy and isolation.

• The class commentary is introduced but never fully developed.
• Dano and Schwarzenegger’s characters feel thin and one-dimensional.

Shemar Moore addressed the decision to bring S.W.A.T. back with a completely new cast.

“I’m so proud that we call the old S.W.A.T. We called it the mothership. In my career, one thing led to another, and you can always appreciate the whole journey,” Moore, 56, spoke exclusively to Us about returning to the Starz revival.

The actor clarified that the series had to evolve, adding, “If the old show wasn’t going to continue [on CBS] — and that decision was made — then why bring it back and just do the same thing? If you’re going to bring it back and do the same thing then you should have just continued what we had jiving.”

Moore defended the new take on S.W.A.T, which airs Fridays on Starz. “Business is business. It was tough. It was tough to say goodbye — even though this is a hello and it’s a wonderful hello,” he continued. “Trust me, it’s a reintroduction just on a deeper level.”

S.W.A.T., which premiered on CBS in 2017, followed a police Special Weapons and Tactics (SWAT) team named Twenty Squad that operated in Los Angeles. The procedural faced its fair share of battles to remain on the air when CBS picked S.W.A.T. up for a seventh and final season. The network ultimately reversed that decision due to strong ratings in addition to viewer demand and S.W.A.T. returned for season 8.

But the celebration didn’t last long — the network canceled the show for a second time in March 2025. S.W.A.T seemingly came to an end two months later when the series finale aired on CBS. Days later, however, Sony Pictures Television picked up a spinoff titled S.W.A.T. Exiles which is set to star Moore, who publicly campaigned for the show’s comeback, and a new SWAT unit.

“We lost some folks as we knew it,” Moore noted. “Sony and now Starz believes in the franchise, which is amazing because that doesn’t always happen in Hollywood.”

While some viewers were surprised that Moore’s character is the only one returning full-time, the actor urged fans to give the new series a chance.

“My life and career has been about defying odds. So I’m so grateful, so proud and inspired to to prove Starz right. But it is always tough to say goodbye because when you work with people for for eight years, you become family,” he told Us. “And we’re still friends to this day. But nobody likes change. In life — and especially Hollywood — nothing lasts forever. So you got to ride that ride until the wheels fall off.”

For now, Jay Harrington, Patrick St. Esprit and David Lim are the alums who are expected to make an appearance in season 1. Moore, however, hinted that more surprises will be included when S.W.A.T: Exiles, which has already been renewed for season 2, premieres.

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“I was like, ‘OK, if it’s going to be different then what’s going to be different?’ It looks darker, it feels darker and it’s edgier. The writing is different and I believe a little more grounded and a little more intense in storytelling and character development,” he teased. “It’s multi-layered in the storytelling.”

He continued: “There’s going to be a lot of badassery. There’s going to be super cops. We’re going to have helicopter chases, motorcycle chases and car chases. We’re gonna be in there throwing fists and hand to hand combat. We are going to do that. But there’s also a lot of layers in the characters that you get to meet in the chemistry dynamic.”

S.W.A.T: Exiles airs on Starz Fridays at 10 p.m. ET. New episodes stream the next day on the Starz app.

Keke Wyatt is a free woman again. At least, for now. The singer, who just released new music with Remy Ma, was recently in jail over serious allegations, including aggravated assault and child cruelty. She’s now responding to the charges cited by multiple outlets, claiming her only offense is “simple assault.”

RELATED: Keke Wyatt Shares Steamy Footage With Her Man & Fans Are Cuttin’ Up (VIDEO)

Details About Keke Wyatt’s Arrest

According to The Georgia Gazette, Wyatt was booked into Henry County Jail in Georgia on Sept. 20, 2026, under her legal name, Ketara Wyatt Darring. Booking information for the 44-year-old cites her charges as aggravated assault, terroristic threats and acts and cruelty to children (third degree witness). That last charge appears to indicate that a child witnessed or heard a violent offense, including a forcible felony, battery or family-violence battery, according to Georgia law. However, in this case, the alleged child involved was not publicly listed. It does not automatically mean Wyatt committed any abusive acts toward said child.

Wyatt Released From Jail On Bond

Details about the incident that led to the arrest are not yet available. Also, Keke Wyatt has not publicly responded to the reports of her detainment. However, Wyatt is out. She reportedly spent two days in jail before officials released her on a $1,050 bond, per TMZ. Her mugshot has been stirring reactions as the singer appeared to slightly smile during its capture.

 

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RELATED: Fresh Out! Hairstylist Jonathan Wright Turns Heads With His First Photos Since Prison Release

“There used to be a pillory in every town. Now there’s a television in every home.” The line, delivered by Robert Pattinson’s Chris Hansen near the end of Primetime, is as close as you’ll get to a thesis statement from the film. Primetime is a deep dive into the 2000s TV phenomenon To Catch a Predator, exploring the controversial program at its peak while examining themes of vigilante justice and true crime as entertainment, delivering its thoughts with an effortless blend of dark comedy and psychological thriller.

Though it’s director Lance Oppenheim’s first narrative feature, one can’t imagine a better fit between director and material: His extensive experience in the documentary space — having helmed stories about everything from Florida retirement communities to the upcoming Elizabeth Holmes documentary alongside Nathan Fielder — makes him especially suited to take on an untraditional portrait of an enigmatic egomaniac such as Hansen. The same can be said for Pattinson, whose resume has recently been filled with experimental, larger-than-life roles. Together, the two deliver one of the most unusual and unique films of the year.

What is ‘Primetime’ About?

Primetime doesn’t just center on Hansen’s story, however. In fact, things don’t really get started until we meet Dan Plumb (Skyler Gisondo) as he prepares to audition to play one of the decoy actors the show uses to trap pedophiles. With a young, boyish look, innate earnestness and naivety, and the ability to pitch his voice higher than his natural tone, producer Andie Bender (Merritt Wever) proclaims him a perfect fit and throws him to the wolves. Though he immediately thrives in the abnormal environment, the lack of appropriate support and preparation takes a toll, and he struggles both emotionally and morally.

Meanwhile, Hansen and Bender are having struggles of their own. With their ratings through the roof, NBC decides to move the show to a primetime slot, pitting them up against stiff competition like ABC’s Lost. It’s a big win for the show, but the pressure to grow its profile by catching more shocking, influential predators sows discord within the production team. Hansen’s personal life is also hanging on by a thread, with his wife (Anna Faris) frustrated by his absence and infidelity. While this is the weakest, least compelling thread of the film, it does contribute to his deteriorating state of mind.

‘Primetime’ Features Some of the Year’s Greatest Performances

Image via A24

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Between The Drama and The Odyssey, Pattinson has given some incredible performances in 2026 alone, but Primetime is arguably his best — not just of this year, but of his entire career. Yes, some of his choices and deliveries are incredibly memeable, but it never feels like he’s hamming it up purely for the purposes of internet virality, or even comedy. Hansen takes himself incredibly seriously, believing his own hype as a hero and crusader, and Pattinson takes him seriously, too, which ultimately exposes how unhinged and frankly pathetic he is at his core. His choices — while unpredictable and bizarre — are authentic to the character he’s created and fit into the heightened world Oppenheim crafts. He fully commits to each massive swing and, as a result, disappears into the over-the-top personality.

Gisondo is equally terrific; in many ways, it’s really his movie, as he acts as the heart, soul, and conscience of the story. His subtle performance is the perfect foil to Pattinson’s domineering presence, and his vulnerability and unflinching optimism make him impossible not to root for. He’s a fish out of water swimming with the sharks, from the predators he’s been hired to trap to the opportunistic producers who care more about ratings than protecting him. One can’t help but get the sense that he’s a victim of it all as well.

Phoebe Bridgers impresses in her first acting role, playing a fellow decoy — though one who’s part of the show because she believes in the cause, not because she has acting aspirations. We see her play both an underage girl and boy, luring pedophiles to meet her, and she sells each part thoroughly and plays off Gisondo especially well. It’s a solid debut performance — one that suggests more prestige projects could easily be in her future if she so chooses.

Wever has the unique ability to make any project she’s involved in better just by showing up, and Primetime is no different. She’s a silent killer, often using her naturally soft, soothing voice and reassuring, maternal presence to cunningly manipulate whoever she needs to in order to get the job done. She is, perhaps, the film’s most cutthroat and ethically shady character when you truly get down to it, but Wever infuses her with a depth that makes her anything but a straightforward villain. She’s addicted to the brand of chaos that Hansen and the show provide, choosing it even when there are healthier, more stable options handed to her on a silver platter. Someone needs to call her up for the inevitable UnREAL revival — she’d be right at home in that show.

‘Primetime’ Is a Fever Dream You Won’t Want to Wake Up From

In an age of flat, dark lighting and washed-out coloring, Primetime is a sight for sore eyes, leaning into intense practical lighting and saturation. During a Q&A at the Los Angeles premiere, Oppenheim revealed that they used around 25 different cameras — an impressive number, though not a surprising one. From grainy security and videocamera-like footage to surrealist sequences, there are several distinct looks editor Daniel Garber seamlessly combines to make a moving collage of a film. It frequently feels like a fever dream, though one that’s so riveting you won’t want to wake up from it. The film drags a little going into the third act, but it’s still interesting enough to justify its inclusion and ultimately sticks the landing.

The music, too, is a hodgepodge of genres and styles. From period-appropriate needle drops to Ari Balouzian’s score that combines smooth, nostalgic jazz and heart-pounding, borderline dissonant percussion, the sound acts as both a tone poem and a guiding force leading us through the film’s sharp shifts and turns. The film is more of a highly immersive experience than a simple watch, and the music plays a major role in elevating it to something truly one-of-a-kind. Alex DiGerlando’s production design and Alex Bovaird’s costuming deserve a shout out as well for skillfully capturing the essence and look of 2006 in every set and outfit choice.

From excellent performances across the board to phenomenal craftsmanship on set and clever work in post-production, Primetime is a film that fires on all cylinders. It’ll make you laugh, squirm, and think, all at the same time. With his debut narrative feature, Oppenheim proves that his talent extends beyond the documentary space and that his singular voice and vision are worth investing in. I, for one, am thankful we only have to wait a few weeks to see his follow-up project in the form of You Can See Everything.

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Release Date

September 25, 2026

Runtime

110 minutes

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Director

Lance Oppenheim

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Writers

Ajon Singh

Producers

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Ari Aster, Brian Kavanaugh-Jones, Brighton McCloskey, Fred Berger, Lars Knudsen, Robert Pattinson, William Iannaccone

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Pros & Cons

• Robert Pattinson gives one of the best performances of his career, with Skyler Gisondo and Merritt Wever pitch-perfect as well.
• The direction, editing, and score work together to create a singular, extraordinary viewing experience.
• The production and costume design immerse viewers in the setting and time period.

• Hansen’s family drama is less compelling than other plotlines.
• The pacing is a little sluggish going into the third act.

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Taylor Swift, thank you for the lovely bouquet — and four new bonus tracks on The Life of a Showgirl: The Encore.

Swift, 36, released her 12th studio album, The Life of a Showgirl, in October 2025, surprising fans with an extended version of the record almost exactly one year later.

“About a year ago, you guys did a truly unfathomable thing. Something that completely blew my mind … You gave The Life of a Showgirl the biggest first week for an album in history,” Swift wrote via Instagram on Wednesday, September 23. “I took a trip to Sweden to celebrate with Max [Martin] and Shellback, my two collaborators on this album.”

She continued, “Really we just wanted to reflect and take in how grateful we were for the moment we were in, but there was a studio there and we did what we do when we feel anything at all: We wrote more songs. I hope you love them, because they were born out of pure gratitude for your exuberance for and celebration of the album we made.”

Swift initially penned The Life of a Showgirl about her life behind-the-scenes of The Eras Tour and in her relationship with now-husband Travis Kelce. (The Grammy winner and Kelce, 36, got married in July after three years together.)

“I don’t necessarily know if I’ve ever been so happy about a record before,” she said on Audacy Check In in October 2025. “It’s kind of a foreign feeling for me to feel so joyful because usually there’s just a lot of stress in an album release week. This week, I just feel very uncomplicated feelings about this record.”

The OG album was comprised of love songs about Kelce, including “The Fate of Ophelia,” “Opalite,” “Wish List,” “Honey” and the racy, double entendre-filled “Wood.”

Scroll below for a complete lyrical breakdown of Swift’s new The Life of a Showgirl: The Encore songs — and what they are about:

‘Patient Zero’

The song opens with its chorus: “If you wanna party with somebody who might know / About the devil on his shoulder under his halo / When the toxins take their hold, you’d rather die than let it go / But if you’re sick of him, I got you, I was patient zero.”

Swift appears to be sending a message to the ex of one of her own former flames, noting she’s experienced the same things as the other woman. She hints, “It’s not for me to tell someone else what to do,” before sharing sharing some sage advice.

“I bet he burst into your life like fireworks / I bet he even said ‘I love you’ first,” she sings in the second verse. “And when you saw another woman coming out of his place / I bet he kissed the rain off your face.”

The bridge gets even more scathing as Swift hints that the mutual ex appears to be a bright light on his own — but he’s stealing the shine of the women around him “on a free solo social climb.”

While some fans have theorized the song could be a warning to Matty Healy‘s now-wife, Gabriette Bechtel, others have wondered whether the lyrics were inspired by Sophie Turner‘s divorce from Joe Jonas.

‘Cleveland!’

You don’t have to be a detective to figure out who this song is about.

Swift begins by taking aim at some of the unfounded criticism she’s received in recent years since being linked to Kelce. “She’s not as hot as she was, but she was only a four,” she sings. “She was never a girls’ girl, she was just a / And with all of that money, why’s she dressed like trash?”

The pop star ultimately decides that the rest of the world doesn’t matter — because she found a man who will take her to Ohio.

“Hate all you like / This is the love of my life,” she sings in the chorus after giving a shout-out to “The Heights,” Kelce’s hometown.

She delivers an even more direct message in the bridge. “You only need to find one person in this entire world / Who doesn’t find you completely insufferable,” she says in a spoken word moment reminiscent of “Shake It Off” (notably from Kelce’s favorite album, 1989). “And I have an important announcement to make / I found mine (That’s right).”

Related: Meet the Famous Men in Taylor Swift‘s Music Videos: Colin Farrell and More

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Taylor Swift‘s music videos have included many memorable appearances from famous men taking on the roles of her love interests. Over the years, the Grammy winner has enlisted many well-known actors to help make her visions come to life, including Stephen Colletti, who starred in the 2008 music video for “White Horse.” Thank You! You […]

‘Pink Clouding’

The phrase “pink clouding” is used in addiction recovery to describe a period of intense optimism or euphoria that can occur early on in a person’s journey before the reality settles back in.

In her new song, Swift uses the term as a way to explore regrets after a past relationship.

“But I was pink cloudin’ from the thrill of it / Skydivin’ as you wrapped your arms around my body,” she sings in the chorus. “Gray rockin’ where the arrow hit / Years later, I still wonder how to tell you sorry.”

She adds, “I didn’t wanna let you down / So I left you up there on a pink cloud.”

In the second verse, Swift hints that she met the ex in question “at a cursed time” but told them she was “fine.” She reflects on the parts of the relationship that were “so good” that they left her feeling haunted.

“I hope you realized my kind of trouble wasn’t worth it / And the way I treated you, you never deserved it / And I swear to God, to this day / I wake up scared that I left scars on a good person,” she sings in the bridge.

Fans quickly jumped to action in order to decipher which ex Swift might be sending her apology to. While some have guessed Tom Hiddleston, who she briefly dated in 2016, others claim all signs are pointing toward Joe Alwyn — her last long-term relationship before marrying Kelce.

‘Babylon’

The last of the four bonus tracks instantly gave some fans flashbacks to “Cowboy Like Me” when it was announced (“Now you hang from my lips like the Gardens of Bablyon”), but the connections appear to end there.

Swift sings about fleeing a small town that only looked better once it was in the rearview. “You never knew that it was Babylon till it was gone,” she admits in the chorus.

The song could also be interpreted as being about a relationship where one person is still looking for the next best thing.

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“She’s hangin’ Christmas lights with your son / Sneak into the bathroom to call her mom / And say, ‘It’s not workin’ / It’s just not worth it if we’re not what he wants,’” she sings.

Some Swifties have admittedly been confounded by this song’s meaning, with one asking on social media, “Babylon is cave paintings to me idk what the f*** she’s talking about.”

The Life of a Showgirl: The Encore is out now.

Jonathan Wright is turning heads immediately after his release from prison! The celebrity hairstylist announced his release on Thursday (Sept. 24), showing off the apparent transformation he underwent during his stint. And let’s just say abs have entered the chat, roomies!

RELATED: Whew! Megan Thee Stallion Jokes About Jonathan Wright “Tearing Up” The Place At Her Album Release Party (VIDEOS)

Why Was The Celeb Hairstylist Locked Up?

According to previous coverage from The Shade Room, Jonathan Wright was locked up over a gun charge. Outlets like social media blog Lemon8 further claim that the charge was tied to an incident involving having it at an airport. However, the airport’s location is allegedly in Texas, but the exact facility is unclear. He was reportedly arrested and sentenced to one year in prison in December 2025. In early January, his Instagram account shared a message claiming he was “doing very well” and in “good spirits.” The message also thanked “everyone who sent emails, text messages, calls, prayers and just all love to him.” 

Jonathan Wright Shares New Look & Mindset After Prison Release

On Thursday, as said, Jonathan shared his first feed post since October 2025. He indicated that he served his prison time and is ready to bring his “bigger vision” to life. He also plans to go on tour, though it’s unclear whether it will center on hairstyling or club appearances.

“I DID MY TIME… NOW IT’S MY TIME. 🥶🏆 I’m coming home with a different Mindset, a Bigger Vision & Something to Prove. THE RETURN STARTS NOW. 😈 The MF King Home 🏠🔥FDO. TOUR DATES COMINGGGG…”

The post included photos of Wright sitting inside a black truck with a large, JW diamond pendant and chain around his neck. His hair, formerly in locs, appeared to be in cornrows capped at the back of his neck. Meanwhile, the second photo in his slide showed the celeb hairstylist shirtless and showing off his abs while holding his chain. The other pictures show him posing with loved ones and what look to be gifts for his welcome home. And the very last slide of his IG post shows several folks wearing black hoodies with Jonathan Wright’s mugshot on the back.

Jonathan’s Fans Sound Off After His Release Announcement

And roommates, Jonathan Wright’s IG followers have wasted no time welcoming him home! Within 13 hours of sharing his release, the post was liked more than 360,000 times and boasts over 15,000 comments.

Even celebs are tapping in to salute the hairstylist! Phaedra Parks, for example, wrote, “WELCOME HOME.” Also, Lola Brooke added, “🔥🔥 Came wright back home.” And Brittish Williams, who was released from her own prison stint last year, commented, “Okay dennnnnn😍welcome home!” 

Tanisha Thomas, former ‘Bad Girls Club’ star, wrote: “Welcome home love 🥳🥳🥳✨.” 

Rubi Rose also added, “Welcome homeeeee.” 

Twitch streamer, Zoe Spencer, commented, “Yessss welcome home 😍🥳🥳🥳 looking tf good!!!” 

Erica Banks wrote, “Welcome home!!! 🥰🥰🥰.” 

Zeus star Scotty added, “He’s backkkkkk 👏❤️❤️ welcome home!”

Also, Monaleo said, “Let’s go friend.” 

For additional reactions, peep Jonathan’s post below. 

RELATED: Lil Durk Will Remain In Custody Pending The Outcome Of His Upcoming RICO Trial

This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.

Brandon Sklenar‘s next venture into the Western genre has officially pulled back the curtain. Paramount released the first trailer for its hotly anticipated new film, The Rescue, a thriller that casts the breakout 1923 star as a former rodeo cowboy turned Liam Neeson-like force of nature when he finds that his daughter has been kidnapped and held for ransom. When it’s clear the police will be of no help, he takes his loyal dog up the mountain to track her down and make whoever took her rue the day they crossed paths. It’s set to premiere on January 29.

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Release Date

January 29, 2027

Director

Potsy Ponciroli

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Writers

John Fusco

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This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.

While Widow’s Bay is officially returning, is every cast member coming back in season 2?

The Apple TV series, which premiered in April 2026, is set in a fictional New England island town plagued by a centuries-old curse, bringing various supernatural evils to the local inhabitants.

Shortly after the show aired, Matthew Rhys, Kate O’Flynn, Kevin Carroll, Dale Dickey, Kingston Rumi Southwick, Jeff Hiller, Stephen Root, K Callan and more received critical acclaim for their performances in the supernatural comedy.

Rhys later spoke to Us about the vision for season 2.

“The question I’ve been asking Yana Grebenyuk Katie [Dippold] the most is, ‘What is the curse? The monster? The island? What is it?’” he shared in August 2026. “So I’m so intrigued as to whether it’s something physical and tangible to be reasoned with or something inside us. I have no idea. I just know I’m glad I’m not writing it.”

He continued: “There’s a part of me that wants Hamish Linklater’s character, Richard, to come back. So I kind of want that to be the curse. He keeps knocking on my door and I’m always like, ‘What?’ And he is the curse and always ever present. I think there could be a lot of fun with that.”

Rhys noted he was just as nervous as fans about possible deaths, adding, “[Fans should be] terrified. No one is safe. Anyone can be taken down at a moment’s notice.”

At the time, the actor hinted that nothing was off the table. “The game is wide open for a big shocking death where everyone goes, ‘Oh my God, I didn’t think they would kill off Tom Loftis,’” he teased of his own character. “I have that worry. Present tense.”

Keep scrolling to see who is and isn’t coming back in season 2:

Matthew Rhys

There would be no Widow’s Bay without Rhys playing the mayor of the town.

Kate O’Flynn

O’Flynn’s fan-favorite character Patricia will be front and center in season 2.

Kevin Carroll

Despite Bechir’s (Carroll) attempts to get off the island, he will likely play a large role in season 2.

Dale Dickey

Dickey, who plays Rosemary, is expected to return for the show’s sophomore season.

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Kingston Rumi Southwick

Southwick’s role as Evan will likely be expanded in season 2.

Stephen Root

Root will be back as Wyck, who played a large part in season 1.

Jeff Hiller

Hiller was promoted to series regular for season 2 after portraying Dale.