September is expected to be an unprecedented month for massive video games. Just about every studio has rushed to get their latest titles out of the way of Grand Theft Auto VI, which is shaping up to be the biggest media release of the year and is bound to dominate the conversation once it drops in November. Capcom’s Onimusha: Way of the Sword, Nintendo’s Fire Emblem: Fortune’s Weave, Remedy’s Control Resonant, and Konami and Annapurna’s Silent Hill: Townfall represent just some of the notable launches due for September, with more set to follow in October. Smack in the middle of the month, on September 15, however, is a game that could arguably be the most anticipated of the bunch — Marvel’s Wolverine.

First announced back in 2021, coming off the success of Marvel’s Spider-Man, Insomniac’s take on Logan Howlett has been through the developmental wringer. The game was infamously caught up in the 2023 Rhysida hack and had developmental builds and early materials leaked online in the incident. Despite that, work continued from its reveal until the curtain was finally pulled back last September, and Wolvie was unveiled in full bloody glory, ripping enemies apart and clashing with classic foes like Omega Red and Sabretooth. Liam McIntyre will be voicing the character as players follow him on a mission with Task Force X to investigate Bolivar Trask’s kidnapping of mutants using his private militia. In preparation for its long-awaited release, Marvel and Insomniac have joined forces once more to expand the story a bit further.

Marvel Comics will be handing out an official Wolverine prequel comic they’ve been working on in secret at San Diego Comic-Con in two weeks. The cover even reflects that, featuring an image of Logan clawing through a classified information folder reading “priority clearance only for the players.” Little is known about the story, including who handled the artwork, but it’s penned by the game’s narrative director, Walt Williams, ensuring that it will stay true to the tone of Insomniac’s adventure. There’s no telling if this will take place in the time leading up to Wolverine’s departure from Task Force X or in the three-year gap between then and his decision to rejoin the fight during the game.

‘Marvel’s Wolverine’ Will Unveil More Details at SDCC

Image via Marvel Comics

A mystery comic isn’t all that’s in store for Insomniac’s latest at SDCC. Wolverine is also one of three Sony games set to get their own dedicated panel, joining God of War Laufey and the fighting game Marvel Tokon. The two Marvel presentations will take place on Thursday, with the first welcoming McIntyre back to the convention to share some new details, behind-the-scenes insights, and “exclusive never-before-seen content” with the audience in attendance. Last month’s State of Play presentation already had a few notable reveals, like the presence of Jean Gray, but there’s still plenty left unsaid about the violent Marvel video game.

Marvel’s Wolverine releases exclusively on PlayStation 5 on September 15. Check out the prequel comic cover above.

Whew! A woman named Martina Moss is speaking out after seeing the recent viral videos involving Big Tigger and his wife Alicia Brown. Moss says the footage immediately brought back memories of a 2015 case involving her son’s father, Ramon Joyner, and she’s now asking for help as she seeks a closer look at his conviction.

RELATED: Lil Scrappy, Lil Duval & King Harris Weigh In On Leaked Footage Of Big Tigger & Alicia Brown’s Confrontation Over His Phone

Big Tigger’s Wife Faces New Claims Online By Martina Moss

Martina Moss claims Alicia Brown accused Ramon Joyner of serious crimes in Delaware, which led to his conviction and a 25-year prison sentence. While Moss says she was not present for the events surrounding the case and acknowledges that Joyner had his own past mistakes, she says recent public moments involving Brown have raised questions she believes deserve further review.

After reposting a video of the dispute between Big Tigger and Brown inside their home, Moss took to Instagram with a lengthy message directed toward anyone connected to Tigger or his team. She asked for help getting her story seen and requested that someone take another look at Joyner’s case, saying her main focus is her son, who has grown up without his father, which she believes resulted from Brown’s alleged actions.

“He was convicted and has now spent 11 years in prison. My son has grown up without his father. I wasn’t there, and I can’t speak to everything that happened between them. But seeing recent reports has left me with questions that I never thought l’d have to ask. If anyone connected to Big Tigger or his team sees this, I’m simply asking that they look into my son’s father’s case. If there is information that deserves another look, then my son—and every family affected-deserves the truth, whatever that truth may be. My child father was no where near a saint and had done his dirt. But my son did nothing and has never gotten to hug his father in his life. Based on what seem to be a lie from the beginning…I’m not big on putting my business out but this woman needs to be stopped. Cause she really ruined a lot of people’s lives including my own. If anyone has anymore information on this woman it would be helpful as well,” Moss shared.

Moss Searches For Legal Support In Joyner’s Case

Moss later shared a public plea looking for a Delaware attorney, pro bono legal assistance, innocence organizations, or investigative journalists who could review Joyner’s case records. She said she is not asking people to ignore the court’s decision but wants to know whether any new information could support a post-conviction review.

Moss continued sharing her concerns online in the days that followed, posting screenshots of court documents she says are connected to Joyner’s case. She alleged that the records show Brown used the name Amanda Brooks and also shared an old photo of Brown, where she captioned the post, “This woman is a monster!!!!” In another post featuring Joyner, Moss defended her son’s father, saying he has made mistakes but does not deserve to spend more than a decade behind bars based on what she believes were false allegations. Moss accused Brown of causing lasting harm to her family and said she believes the case deserves another look.

Moss Continues Seeking Answers As Claims Remain Unverified

The claims made by Moss and Joyner have not been independently verified, and Alicia Brown has not publicly responded to the allegations. Moss has continued speaking out online, most recently sharing details she says highlight additional hardships Joyner faced while incarcerated, including a severe tuberculosis diagnosis that resulted in major health complications. As Moss continues calling for legal professionals to review the case, she says her goal is to find answers for her son, who she says has spent most of his life without a relationship with his father.

RELATED: Social Media Users Point Fingers Following Leaked Video Of Big Tigger & Alicia Brown’s Physical Struggle Over His Phone (UPDATE)

By Robert Scucci
| Published 37 seconds ago

2003’s The Room has gone down in cinematic history as one of the worst movies ever made. It stars Tommy Wiseau, who wrote, directed, produced, funded, and wore about 1,000 other hats to bring his ill-fated romantic thriller to life. He made myriad misguided financial decisions along the way, like buying cameras instead of renting them, and filming the entire thing in both HD digital and on 35mm film at the same time so he could choose either format for the final movie. An expensive custom-made apparatus was designed to house both camera types because almost nobody had been crazy enough to try combining them that way. Despite this bizarre bit of cinematic innovation, only the 35mm version of the movie was used for the final cut.

When all was said and done, The Room took about six months to film, and Tommy Wiseau spent over $6 million of his own money on the thing. The script makes no sense, the acting is terrible, green screens and sound stages were used when they could have shot on location for a fraction of the cost, and it’s an absolute punisher of a film that has dominated midnight screenings where people throw spoons and footballs, yell “You’re tearing me apart, Lisa!” and celebrate what’s known around the world as “the Citizen Kane of bad movies.

In other words, The Room is so terrible it’s awesome, which leads us to The Room Returns, directed by Brando Crawford and starring Bob Odenkirk in place of Tommy Wiseau’s Johnny.

The Room Returns is special because Crawford wanted to approach the film the exact opposite way Wiseau approached it. He reused the script word for word, and the entire thing, even the apartment interiors, appears to have been shot in front of a green screen. He cold-emailed Bob Odenkirk, telling him he wanted to remake The Room in a single day to see if great actors could elevate the original script into something more palatable, and Odenkirk said yes without hesitation.

While there is some hearsay surrounding The Room Returns’ delayed release, I’m not here to fuel or dispel any rumors, but legend has it that Mr. Wiseau didn’t want this film, which was shot in 2023, to be released because it would undermine his own. It’s now available to rent for $7.99 thanks to Crawford, and all proceeds go to The Foundation for AIDS Research and the nonprofit Blue Collaborative, which supports independent artists. I got through my rental last night, and it’s better than anything I could have imagined.

The Room But With Less Rooms

Shot entirely in front of a green screen in less than 12 hours, The Room Returns is an absolute punisher. Beat for beat, line for line, it’s the same movie, but Brando Crawford was kind enough to spare us the sex scenes, instead preferring to show a black background with white text telling us who’s supposed to be having sex with who. In the original film, 11 percent of the runtime was devoted to a kind of unwholesomeness you need to be specially built to handle.

Like the original, The Room Returns follows Johnny (Bob Odenkirk), a wealthy investment banker who’s about to marry Lisa (Bella Heathcote), who’s having an affair with his best friend Mark (Brando Crawford). It’s a story about passion, betrayal, and, oh yeah… Denny (Cameron Kasky), who’s also in love with Lisa, but also mixed up with a violent drug dealer named Chris R. (portrayed by none other than The Room’s Greg Sestero) for reasons never explained in either film. The story still makes no sense, and the dialogue is still wooden, but Odenkirk really brings the goods here.

Every interview I’ve seen with the Better Call Saul star says pretty much the same thing. He’s reciting the script verbatim, either from memory or a teleprompter, and his whole method for elevating the dialogue is to space out the emotions to give the lines room to breathe. After claiming that “he did not hit her” in one of The Rooms most quotable scenes, he looks down, slowly raises his eyes, and sadly says, “Oh. Hi, Mark.” It’s the same lines, but delivered by somebody with some serious acting chops.

Now you may be asking, does this improve The Room? Absolutely not. The film is so far beyond saving, but you really can’t fault anybody working on The Room Returns. The acting only seems marginally better because they’re trying to stay faithful to the source material, which is an absolute wreck. What it does do, however, is add another layer of enjoyment to The Room because there’s a level of earnestness coming from Odenkirk that simply didn’t exist in the original film.

A Perfect Disasterpiece

If you’re not a fan of the original film, either in earnest or ironically, your mileage may vary with The Room Returns. I’m notoriously cheap, but I had to shell out the money to rent this because I knew it’d be a memorable watch. I also watch The Room once or twice a year and quote it until my wife kicks me out of the living room. It’s really cool that Brando Crawford just went for it, and even cooler that Bob Odenkirk immediately got on board to participate in the project.

It’s a fever dream that doesn’t really improve upon or detract from the original film. It simply exists, and I’m so glad it does. Now I know a new way to say “do you understand life?!” the next time I get into an argument. I now know that I can probably shoot a feature-length film using the stock backgrounds from Google Meet. And I can rest easy knowing that some insanely talented people tried to do the unthinkable for a great cause, and exceeded every expectation I had while I waited to finally feast my eyes on it.

The Room Returns is available to rent through Brando Crawford’s Gumroad site, and it supports a great cause. It’s also way more amusing than it has any right to be.

“Selling Sunset” star Mary Bonnet has to adjust to a new normal following her exit from the reality series.

Bonnet has pulled back the curtain on the rules she now has to follow as she is no longer part of the cast. Adhering to the restrictions, which seem very unnatural to her owing to her longtime relationship with former co-stars, has been a hard pill to swallow.

“Selling Sunset” producers recently axed a chunk of the familiar faces from the show just ahead of the airing of its tenth season. This move sparked reactions and questions about what the future looks like for the Netflix reality series.

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Bonnet has revealed that all isn’t fun and roses since her exit from the “Selling Sunset” cast. She disclosed that as it stands, she is not “allowed” to be near the Oppenheim Group, around the office during production, or go other places with the cast.

She recalled the heavy feeling when the restrictions were brought to her notice, describing the feeling in that moment as similar to being in an alternate universe. The changes would flip the switch on different aspects of her life, including activities she did with her friends from the show just for fun.

“Even for Rose Day — that Jason [Oppenheim] and I go to every year together — had the tickets and I wasn’t allowed to go,”  Bonnet told US Weekly in an exclusive interview. “They said, ‘No, Mary can’t come because they were going to film part of it.’ They don’t want anybody from the [past] cast overpower or overshadow the new cast,” she added.

Mary Bonnet Said The Whole Situation Is Sad And Frustrating

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While the production team for the reality TV show allegedly insists they do not want people taking the attention away from their storylines, Bonnet sees things differently. Limiting her interaction with the Oppenheim group when the cameras are rolling translates to keeping her away from her friends.

“So that part I was very frustrated about, and I’m sad about that. I have to be separated from my friends,” the reality TV star shared later in the interview. She went on to reveal that whenever they are filming, members of the former cast are not allowed in the office. While these new rules hurt, Bonnet has learned to see the silver lining in the situation.

“They will not allow us in the office. It’s my office, and it is bizarre, but it’s OK because I need to work from home anyway,” she noted before opening up about adapting to her new normal. The reality TV star says it has been a “bit of a grieving process,” but she is grateful for the experience she had on the show. 

The Netflix Real Estate Show Brought Back Some More Familiar Faces

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Just before Season 10, “Selling Sunset” axed Bonnet, who had been part of the show since it premiered in 2019. Other cast members taken off the series include Alanna Gold, Sandra Vergara, Chelsea Lazkani and Emma Hernan. Speculation that the clean house would be to bring new faces onto set was not entirely the game plan.

The Blast reported that the series brought back some older and more recognizable faces. Christine Quinn, who left the show in 2022 after explosive drama erupted following scathing accusations, was to return for the tenth season.

Bre Tiesi, Amanza Smith and Heather Rae El Moussa were also scheduled to return to the reality TV show. Bonnet at the time said that Quinn’s return was a good turn of events despite her messy exit. In her words, “Christine’s always, she’s good for the show. Wasn’t happy about the way she left, I mean the things before, but everyone grows, and hopefully she has.”

Fans Were Thrilled For Heather Rae El Moussa’s Return To ‘Selling Sunset’

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El Moussa left the show in 2023, towards the end of the 7th season, and was not called back after her maternity leave. It appeared that fans had been craving her return because the excitement when the media personality announced her comeback was through the roof.

To announce her return to the real estate reality TV series, El Moussa posted an iconic clip where she appeared to call Jason Oppenheim on her phone and informed him that she was back to give fans a show amid smiles. “See you at sunset,” the caption read, and the reactions wasted no time flooding in.

The Blast shared that the reality TV star had friends and fans in the comments declaring their excitement to see her back on the big screen.  “So iconic!! The OG is back!”  a fan wrote, while another noted that they were ready to be fully entertained by the new season with El Moussa as part of the cast.

Mary Bonnet Had To Pick Sides In Previous ‘Selling Sunset’ Drama

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Nearly two years ago, the screens were giving sparks after a cheating scandal made waves involving Hernan. The matter escalated after it was discovered that Nicole Young was spreading rumors about her co-star, as reported in The Blast‘s earlier release.

Bonnet found herself in the middle of the drama, having to take sides between Young and Hernan. Even though she was part of the group Young told the rumors to firsthand, Bonnet made it clear that she was on Hernan’s side. She stressed that she did not want any part in spreading whispers and was strongly against Young’s actions and decision to tell the rumor on air.

“I don’t want any part of this. Emma is a very sweet girl, and I feel bad for her being portrayed like that,” Bonnet said at the time, adding that Hernan did not deserve to be called out like that on TV. She explained that the story was twisted and portrayed her co-star in a negative light, which in her opinion was completely unfair.

Will “Selling Sunset” producers pull down their guard with time?

Editor’s note: The below interview contains spoilers for the Star City finale.

Over the last few weeks, Apple TV’s Star City has taken all the familiar ingredients that For All Mankind fans know and love and skillfully woven them into a backdrop of surveillance, paranoia, and espionage. Yet if there’s one plotline that bears the strongest resemblance to the original series, it’s the Chief Designer’s (Rhys Ifans) Venus mission, which launches in secret under the ever-watchful eye of Colonel Lyudmilla Raskova (Anna Maxwell Martin) and the KGB. While the fate of Valya Mironov (Adam Nagaitis), Sasha Polivanov (Solly McLeod), and Lakshmi Chadha (Priya Kansara) is ultimately left unknown as of Episode 6, “Awl in a Sack,” the season’s penultimate hour jumps forward six months later, culminating with the reveal that somehow, against all odds and a remote depressurization ordered by Lyudmilla, they’ve survived.

According to Star City (and For All Mankind) co-creators Ben Nedivi and Matt Wolpert, the season was always building toward the reveal that the Venera 7 crew survived their ordeal, but how they were able to make it back to Earth is a question that slowly plays out over the finale, culminating in a devastating loss that emphasizes the harsh reality of exploring worlds beyond our own. Below, Wolpert and Nedivi discuss the science behind the season’s most surprising twists, the ongoing conversation about when and where to seed in references to For All Mankind, the significance of Sasha and Anastasia’s (Alice Englert) evolving romance, and much more.

COLLIDER: I have to tell you both that my husband and I have watched every season of For All Mankind together, and we’ve been watching through Star City, and when the Venera 7 explosion happened, I held firm in my conviction that the crew had survived, so then when the penultimate episode ended with the reveal of the signal and the ship, I felt very vindicated.

BEN NEDIVI: That’s impressive, because even the people who are doubting it at the end of Episode 6… once you see the time jump, and you’ve moved on, by that point, our feeling was it’s totally out of mind as a possibility.

When did you come up with that twist, that the cosmonauts survive after all and complete the mission in one way or another?

MATT WOLPERT: We knew that we wanted to have that. We started with the drama of it, and we knew that we wanted it to be a moment of, “This mission is lost, and these characters we loved are gone,” and then a reveal later that they survived, and so we backed into the science from that.

In talking with our advisors, what came out of it was this idea that because the depressurization was occurring at that time, the oxygen was quite low in the craft itself and was being pulled out of the craft still, and so the fire actually would have been sucked out. It would have singed them, it would have had an initial burst, and then been sucked out the same way the air was being sucked out. So, it felt like it was kind of a nice dovetail where the technology and the drama kind of worked together.

Valya’s Sacrifice in ‘Star City’ Is a Mixture of Both “Horror and Wonder”

“… the reality of Venus is that you can’t survive on the surface.”

Image: Courtesy of Apple TV

Even once we get confirmation that they survived, it’s only Sasha and Lakshmi who are on their way back from Venus. I was very much reminded of the way that For All Mankind set up the fate of Danny Baldwin, where you don’t quite know what happened at first, and then the story slowly builds toward the moment. Here, it culminates in Valya making the sacrifice to land the bathysphere so that the other two can get home. He does land, but is that scene an approximation of how long he could reasonably survive after the initial crash?

NEDIVI: It’s one of these things that reminded me of our conversations about Gordo and Tracy’s duct tape on the moon. I remember when we found out you could actually survive on the surface of the moon for 15 seconds or thereabouts, we were like, “Now that’s something worth considering dramatically.” This one was similar. Early on, Venus was always, for us, the mission, because it was so central to the Soviet program, and they were so advanced with missions to Venus in reality, and so it made sense this would be the Chief Designer’s goal. But the reality of Venus is that you can’t survive on the surface. In the back of our minds, we were like, “Yes, but we want someone to get there, someone to touch ground,” and it felt like this kind of created a scenario where you could get the first man on Venus, but it’s a fleeting victory of landing on the planet, and he does it from a place of sacrifice.

It was one of those ideas that came together from every angle, where it felt like after what Valya had done, that sacrifice made sense, even though it’s tragic and hard to accept, but also the idea that you can’t survive on Venus, and he still manages to be the only man to ever land on Venus, even if it is just for a few seconds. We found it really kind of wonderful. And I have to say, the way Adam Nagaitis, the actor who played that scene, was so beautiful. The mixture of both horror and wonder that he conveys in that moment, really, for us, made the whole idea come to life in a way.

WOLPERT: You see the victory on his face when he first looks out and sees that, and he just laughs, and you feel this sense of achievement from him. It felt so powerful. And then, of course, sharing it with his wife through the photo, it had this romance to it that felt very of that world to us.

Since we’re already on the subject of romance, I’m going to just come out and say that the arranged marriage trope has always been catnip for me, so seeing how Sasha and Anastasia’s storyline has played out over the season… I just love how these characters that you think are polar opposites also feel like the only two people who really see each other. In the finale, Sasha chooses not to cross the border into Finland and lets himself be captured, even though Anastasia’s literally gone to such great lengths for him. What did you want to emphasize about how much that relationship has evolved to the point that we leave them at, heading into a potential Season 2?

WOLPERT: I thought Solly was amazing in that moment. You see everything on his face and the weight. When we were writing the script, we talked through that moment a lot and were like, “Can he go? Should he go?” Any version of him choosing to let her sacrifice herself for his own benefit, even if it was just about his survival, felt wrong. It felt like him turning back, like, “I’m not going to abandon her, just like she wouldn’t abandon me,” felt like the perfect ending to that part of the story.

I do think there’s something beautiful about his arc of a guy who’s really very self-interested in the beginning of the season when we meet him, and he learns to open himself up and be vulnerable, and learns to sacrifice for others over the course of the season. The two of them are so different, those characters and the actors, and they just kind of perfectly embody that. One of my favorite scenes, it’s one without dialogue, is all of them waking up in the morning in Episode 5, and you just see it’s all about vulnerability. It’s like neither of them has been vulnerable with someone, maybe ever in their lives, and they are there. That’s, I think, the root of the whole thing.

NEDIVI: This weird factoid that always stays with me is that, on the whole, arranged marriages end up being somehow more successful than ones based on love or love at first sight. There’s something to that thing that’s true, I think, to a lot of what we write, where if you put two different people together who normally would never be together, they’re exposed to something and someone that they otherwise never would have.

I think what they do to each other is build each other up. A lot of what’s missing in them, a lot of what they’re missing in their lives, you see that the other person is making them more of a real person. So, in a strange way, this arrangement ended up helping the two of them, and they ended up finding love, so that by the end of the season, you have this incredible romantic gesture that they’re both doing for each other.

It’s the thing about television I love more than anything else. To me, films are more about plot; TV is more about character. If I told you what was going to happen to these two in Episode 1, you would never believe me. Then, by Episode 8, you understand, you’re with them, and you totally believe that they would make these sacrifices. That’s the beauty of what these actors are able to accomplish, but also the storytelling we’re able to accomplish this season.

I love the Easter eggs that we get, and some of them seem more thematic than anything explicit. The moment when Sergei tries to leave Star City to be a teacher feels like a nod to what happens later in For All Mankind. Why did it make sense to plant that seed here and emphasize that, as much as Sergei loves his work, there’s also a part of him that believes he would be just as happy, if not more, elsewhere?

WOLPERT: It’s funny, watching that sequence in For All Mankind, he does not seem very happy teaching those kids in Iowa, or wherever it is. I do think that as much as he tries to make himself think that he would like it outside of the action of Star City, he is drawn and compelled to it in a way that really led to his fate, on some level, in the other show. I think where we like to do overlap, and Easter eggs and things, is when it’s about character, and you see an inclination in a character that makes it feel like it’s the same character in both shows. We love doing stuff like that.

The Chief Designer’s Final Scene in ‘Star City’ Was “Heartbreaking” for More Than One Reason

“Even if nobody knows about it and nobody will ever find out about it, they know about it.”

Image via Apple TV

This episode also includes the scene where the KGB and Lyudmilla basically manipulate Sergei into confessing by using a body double for the Chief Designer, but what’s even more powerful is that moment between them in the truck, when Sergei is sobbing in the Chief Designer’s arms. What did you want to emphasize about how close that relationship has become? It’s a progression of not just mentorship, but friendship, and it also feels like the breadcrumbs are being dropped for Sergei to lead Roscosmos later on.

NEDIVI: With For All Mankind, I think the storytelling became about seeing people’s lives and going more and more into the future. The gift this show gave us was the opportunity to now go back and see how people are formed into the people you see later on in For All Mankind. That was just really fun to dive into from a writing perspective.

Josef Davies, who plays Sergei, when we first saw him audition, the fact that he looks exactly like the actor, we held that almost against him, to be honest. Because it was like, “Okay, he looks so much like the actor; there’s no way he’s also the best actor for this.” But he ended up being that, as well. What he has, what we kept feeling with him, is an inherent intelligence, but also kindness. You’re on this guy’s journey. From the first frame, you’re with him. That moment at the end is these two brilliant men — who, in many ways, go back to Von Braun and Margo, the mentor/mentee, the complicated relationships that they have, and how they’re learning from their elder mentor, if you will. It’s the same as the dynamic with Irina and Lyudmilla.

I remember being there on the set that day, and everyone was sobbing. It was the Chief Designer’s final scene, Rhys’ final scene, and it was heartbreaking. Because you saw, in true Russian fashion, as anyone who knows For All Mankind knows, we don’t do happy endings just for the sake of happy endings, and it felt like that was the appropriate ending for these two characters, in terms of this season. Him comforting Sergei and saying, “Yes, I’ve been here. I’ve been to the gulag before,” that’s a famous story from the Chief Designer’s past, but also trying to let him understand the history they achieved. Even if nobody knows about it and nobody will ever find out about it, they know about it. Knowing Chief Designer and Sergei, that is a sign that they can take comfort in.

We’ve been talking a lot about when to include references to For All Mankind, but I feel like this show is resolving questions that those characters didn’t necessarily have answers to, like the failed Luna 17 mission that results in the crash site that NASA discovers. It recontextualizes our perspective on events. Looking ahead to Season 2, potentially, do you have plans to continue weaving in those elements between the shows? Could we end up seeing how the Russians hatch an idea to plant a listening device on Jamestown, for example?

WOLPERT: It’s so hard to say. Like we’ve talked about before, we’re just very conscious of not chasing the events of the other show. If there are continued overlaps, I think it would be in the vein of what we’ve seen now, which is small moments of character, or, like you said, recontextualization of something that happened that didn’t seem that big a deal in the main show.

The other funny thing is there’s a two-year time jump in For All Mankind to get to the lunar bases and everything, so there was a period where there were no events in that show, and Star City lives within that time period, as well. So, we have a lot of freedom to tell stories that people aren’t aware of.

I do have to ask about the last season of For All Mankind. Assuming you have the final season plotted out, do you know what the final song is going to be for the series finale yet?

NEDIVI: We will never tell, but I think what’s fascinating to me is what started as a thing we did in Season 1 has taken on a life of its own, to the point that I think now people understand the pattern of what type of song we would end the season on, and how it defines that era and the time jump in a way where you feel like you’re you’re embracing that time jump and you understand what we’re moving towards.

What’s especially fascinating about you talking about the end of For All Mankind is the idea of where we are now, in the present, in the final season, and close to the present. In terms of the songs, it gets trickier and trickier as we’re now talking about music that’s out now or around. It’s taken on an interesting challenge for our music supervisor, Christine [Greene Roe], but it’s also allowed Matt and I to explore music of today for the first time in a way that I think we’ve tended to avoid. I kind of enjoyed dipping our toes into the music of today. And I think that’s been our process in working on the last season, is embracing the today of it all.

All episodes of Star City are available to stream on Apple TV.

Teddy Swims is pouring his emotions into his art.

The two-time Grammy nominee, 33, released his powerful new single, “Break Up in Reverse,” on Friday, July 10, after revealing his split from his girlfriend, Raiche Wright.

The lyrics find Swims wishing to undo a failed relationship. “Every night would get better instead of getting worse / I’d watch you slowly slip back into my hands,” he sings during the song’s chorus. “Say goodbye to me in the beginning / And love me in the end.”

The “Lose Control” singer even references Wright’s home state, crooning in the track’s second verse, “You’d be on your way back from Massachusetts / Bet it breaks the hearts of stars when we use ’em as excuses.”

Swims confirmed on Friday that “Break Up in Reverse,” which follows the April release of “Mr. Know It All,” is autobiographical.

“‘Break Up in Reverse’ really hits home for me right now and where I am in my life. Upon writing this song and my next album, I’ve been going through it with my relationship with my baby’s mother coming to an end,” he said in a statement, referencing Wright, with whom he shares a 12-month-old son.

Related: Celebrity Splits of 2026

A slew of breakups rocked the celebrity world throughout 2026, beginning with Bill Hader and Ali Wong in January. In March, NFL quarterback Dak Prescott and his fiancée, Sarah Jane Ramos, called it quits. News broke in April that The Real Housewives of New York City stars Sai De Silva and her husband, David Craig, […]

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The “Bad Dreams” singer went on to share that “Break Up in Reverse” is also inspired by rapper Nas‘ 2001 song “Rewind.”

“We loved how the whole song takes place in reverse,” he explained. “So we thought, ‘How beautiful would it be if we took the same idea but wrote it about my relationship’ with the punchline being ‘Say goodbye to me in the beginning and love me in the end.’”

Swims first confirmed his breakup from Wright, 30, during a Q&A at Stagecoach in April.

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“I’m going through a bit of a situation with my baby mother, a little heartbreak going on,” he said at the time before assuring the crowd that he was still “in a good place” in his life. “I got a 10-month-old … and he’s the sweetest kid in the world. Trying to make [music] not about being a dad is the hard part because nobody wants to hear just nothing but dad tunes.”

Related: Artists Who Dedicated Entire Albums to Significant Others or Exes

Love and heartbreak. Throughout history, countless musical artists have dedicated entire albums to their significant others or exes and, as a result, created some of the greatest works of all time. One of the earliest and most renowned examples in popular music is Frank Sinatra’s 1958 album Only the Lonely, which he released after his […]

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Wright has also publicly addressed her separation from the musician, most recently sharing that the exes are still adjusting to being coparents.

“The thought of having to split time with my baby 50/50 has been the hardest reality I’ve ever had to face,” she wrote on her Instagram Story on Tuesday, July 7. “When I dreamed of becoming a mother and having children, I never imagined this would be my reality. My heart hurts, and my stomach is in constant knots. My heart goes out to anyone who is going through this, or who has ever had to.”

Roomies, a member of one of basketball’s most well-known families is making headlines after a recent legal development. While details continue to emerge, the latest update involves Zaire Wade, the son of NBA legend Dwyane Wade, following an incident that reportedly took place in California last month.

RELATED: Dwyane Wade’s Son Zaire Wade Reportedly Arrested On Suspicion Of Felony Domestic Violence (PHOTO)

Zaire Wade Faces Felony Domestic Violence Charge

According to court records filed Thursday in Los Angeles, 24-year-old Zaire Wade has been charged with one felony count related to domestic violence stemming from an alleged June 21 altercation involving someone with whom he was reportedly in a dating relationship. The charge comes weeks after Wade was arrested in Burbank in connection with the incident.

What Led To Zaire Wade’s Arrest?

According to NBC4 Investigates, Burbank police responded to a home around 5:30 a.m. on June 21 after a 911 caller reported hearing a woman screaming. Law enforcement sources told the outlet that officers arrived and found Wade and a woman who allegedly had lacerations on her face and body. After speaking with those involved, police arrested Wade on suspicion of felony domestic violence, criminal threats, and false imprisonment.

As previously reported, Paramedics evaluated the woman at the scene, but she was not transported to a hospital. Authorities also recovered a handgun from the residence and issued an emergency protective order. Wade was later released after posting a $50,000 bond. At this time, it is unclear whether he has entered a plea or publicly responded to the allegations.

Case Moves Forward As Questions Remain

As the case moves forward, authorities have remained tight-lipped about the investigation. A spokesperson for the Burbank Police Department said details are limited because detectives were preparing the case for filing consideration with the Los Angeles County District Attorney’s Office. Meanwhile, Dwyane Wade has not publicly commented on the allegations involving his son.

RELATED: Still THAT Couple! Gabrielle Union & Dwyane Wade Celebrate 11th Years Of Marriage, Leaving Us In Our Feelings (VIDEO)