Fantasy movies aren’t beholden to any borders. Many of them take place in completely fictional worlds based on an odd assortment of historical, folkloric, and mythological inspirations. Fantasy can come from anyone and anywhere, but in many films, especially those that are high fantasy, there’s a certain inherent antiquity. They take place in worlds that resemble Medieval England, with characters that speak with some semblance of an English accent.

That may be a narrow view of the genre, but it’s prevalent enough that, in 2026, viewers took issue with the actors in The Odyssey using American accents as opposed to English ones. Despite that strange association, many amazing fantasy movies were produced by the good old U.S. of A, and this is a list of the greatest of them. For simplicity, this list will stick to those that are majority American-financed and produced. Based on those criteria, Harry Potter belongs to the Brits, and The Lord of the Rings to the Kiwis, but there are still plenty of great American fantasy films, and these ten are the greatest.

10

‘Edward Scissorhands’ (1990)

Image via 20th Century Studios

Gothic fantasy comes to the suburbs in Tim Burton‘s romantic fantasy Edward Scissorhands, arguably his most personal effort that cemented his unique style as a filmmaker. The film is a wonderful modern American fairy tale that could have only come from the mind of Burton. Johnny Depp plays Edward, an artificial man built by an inventor (Vincent Price in his final film role), who is brought out of his castle home and into the brightly colored suburbs by a kindly Avon lady played by Dianne Wiest. Naturally, some of the suburbanites turn out to be far more monstrous on the inside than Edward outwardly appears.

Like much of Burton’s filmography, Edward Scissorhands appeals to those who feel like outsiders. While his aesthetics may have been co-opted by mainstream brands like Hot Topic and, ironically, mass-produced for merchandising, Burton’s legacy as an original voice of American cinema is assured by films like Edward Scissorhands.

9

‘Coraline’ (2009)

Image via Focus Features

Burton’s work in fantasy also expanded beyond live-action into the world of stop-motion animation. The unique medium lends itself to the genre, but the film most famously associated with it that bears Burton’s name, The Nightmare Before Christmas, wasn’t actually directed by him. It was the work of famed animator Henry Selick, who also gifted audiences with the whimsical stop-motion movies James and the Giant Peach, Wendell & Wild and his greatest masterpiece, Coraline, a vivid fantasy film filled with dark delights for children and adults.

The film follows the titular pre-teen (Dakota Fanning), who moves to a new home in rainy, grey Oregon with her parents, where she discovers a portal to an alternate universe. Her Other Mother (Teri Hatcher) seems perfect on the outside, but there’s more than meets the button eye. With incredible animation and design, the world of Coraline is both beautiful and unnerving, taking full advantage of the benefits of stop-motion and its inherent creepiness. Selick’s triumphant return to the medium was also the first film produced by animation studio Laika, who have continued the tradition with its own pantheon of fantastic fantasy movies.

8

‘Where the Wild Things Are’ (2009)

Image via Warner Bros. Pictures

As singular an American filmmaker as both Burton and Selick, Spike Jonze has brought a grounded naturalism to his films, be they a sci-fi romance like Her, a surrealist comedy like Being John Malkovich, or his overlooked fantasy adaptation Where the Wild Things Are. In bringing Maurice Sendak‘s classic children’s book to the screen, Jonze expanded it into a meandering journey of self-discovery and emotional maturity. Despite receiving the most mixed reviews of Jonze’s career, it’s a deeply moving movie that’s unlike almost any other kid’s movie.

The film maintains the same basic narrative of the short book, following hellion Max (Max Records) as he journeys into a fantasy world populated by the titular Wild Things. It’s a stunningly realized world, grounded in majestic Australian location filming and impressive creature effects which combine suits created by Jim Henson’s Creature Shop with expressive CGI. Where the Wild Things Are is a more deliberately paced fantasy film that demands deeper engagement but rewards it with pure inspiration and imagination.

7

‘Groundhog Day’ (1993)

Image via Columbia Pictures

Time loops are usually the result of some kind of sci-fi trickery, but there’s no such justification given for the loop experienced by Bill Murray in the romantic fable Groundhog Day. This comedy classic, directed by Harold Ramis, isn’t interested in the mechanics behind the repeated day, but the effect it has on one cynical man and how it inspires him to be better. While it wasn’t the first film to use a time loop as a plot device, Groundhog Day has become so synonymous with the concept that it’s often used as a shorthand description of repeating the same events over and over again.

Murray’s Phil Connors is one of the many sardonic protagonists the comedic actor became known for playing. His outlook isn’t helped when he finds himself repeating the titular day in the small town of Punxsutawney, Pennsylvania. The premise lends itself to all sorts of potential, and Murray and Ramis leave no comedic stone unturned, but it’s when the film begins to explore the deeper emotional turmoil of the time loop that it gets interesting. Phil’s arc, from cold-hearted cynic to a genuinely empathetic human being, is more effective through repetition, and Murray gives one of his most nuanced performances in the role.

6

‘The Princess Bride’ (1987)

Image via 20th Century Studios

For as much of a cult favorite turned canonized classic as Groundhog Day was, it can’t compete with the ultimate cult fantasy film, The Princess Bride. Eternally quotable and practically universally beloved, it’s inspired the kind of admiration that can often inspire a frenzied backlash. Certainly, there are some contrarians to it, but the overwhelming joy that Rob Reiner‘s film brings has conquered even the most hardened cynics. It’s got everything: fences, fighting, torture, revenge, giants, monsters, chases, escapes, true love and miracles.

The first miracle of the film is its pitch-perfect casting. Cary Elwes and Robin Wright make for adorable star-crossed lovers Wesley and Buttercup, while Mandy Patinkin is the most charming rogue out for revenge, Inigo Montoya, alongside André the Giant‘s soft-hearted Fezzik and Wallace Shawn‘s loquacious Sicilian Vizzini. The second miracle is the tone management of William Goldman‘s screenplay, which balances ironic humor with genuine emotion. The final miracle is Reiner’s direction, walking a fine line between whimsical and parodical that makes the film the perfect evolution of the classic fantasy adventure formula.

5

‘Who Framed Roger Rabbit’ (1988)

Image via Walt Disney Studios Motion Pictures

Speaking of miracles, Robert Zemeckis‘ cartoon noir slapstick fantasy Who Framed Roger Rabbit could have only been made at the exact time it was and by the exact creators behind it. While corporate consolidation has made it easier for some modern movies to bring different fictional characters together in a single film, it’s usually just a calculated act of franchise synergy. The act of bringing animated characters from the worlds of Looney Tunes and Disney together for this film was an act of creative passion, and was only accomplished through the sheer producing power of Steven Spielberg.

Zemeckis was the perfect director for such a technically precise film, aided tremendously by animation director Richard Williams. Equally important is the committed lead performance by Bob Hoskins as private eye Eddie Valiant, who gets mixed up in a toon-based conspiracy of greed, sex, and murder. Hoskins plays the role with a hard-boiled authenticity that makes the fantasy of the cartoon characters he interacts with all the more fantastic. Who Framed Roger Rabbit is a classic Hollywood fantasy made by some of the most talented filmmakers of ’80s cinema.

4

‘It’s a Wonderful Life’ (1946)

Image via Paramount Pictures

There have been many Christmas miracles featured in classic American movies—some on 34th Street, others in Whoville, and in more Hallmark movies than there may have been actual Christmases. The greatest Christmas miracle comes in the form of an angel sent to save the soul of one hopeless man named George Bailey, in Frank Capra‘s classic It’s a Wonderful Life. Only becoming beloved after years of perennial airings on television during the holiday season, it captures the kind of hope and magic that only a filmmaker like Capra, working with a leading man like James Stewart, could make feel genuine.

Stewart imbues Bailey with a selflessness and generosity that many actors, both of the same era and now, would have difficulty making feel authentic without tipping into pitiable naivety. It’s that balance that makes Bailey a paragon of his hometown, Bedford Falls, and what makes his depressive spiral into contemplation of suicide so effective. When he’s saved by the angel Clarence (Henry Travers) and shown the impact he’s had on everyone in the town, it’s easy to believe because of how effortlessly Capra and Stewart sell it. It’s a Wonderful Life is an aspirational American fantasy classic.

3

‘Pinocchio’ (1940)

Image via Walt Disney Studios Motion Pictures

There’s no discussing American fantasy films without bringing Disney into the discussion. For all the many faults of the company, it’s built on a solid foundation of classic storytelling and magical movie-making. Of the many fairy tales that it completely changed the cultural perception of, Pinocchio reigns supreme. Only the second feature film produced under the Disney banner, it’s become a pillar of American animation and the fantasy genre, inspiring hundreds of filmmakers and providing the foundation for every film version of the classic story that’s come since.

Carlo Collodi‘s The Adventures of Pinocchio provided the basic framework for the Disney directors and animators who brought the film to life. The rest is classic Disneyfication, turning the rude wooden boy of the book into a precocious hero and his talking cricket into his singing conscience. Ambitious, charming, and a little bit terrifying, Pinocchio is a classic fantasy for old and young alike, and it’s aged perfectly. The songs are classics, the animation is still astounding, and the fantasy still inspires wonder.

2

‘Star Wars: Episode V – The Empire Strikes Back’ (1980)

Image via Lucasfilms / courtesy Everett Collection

Not all American fantasies take place on our planet: some are set in a galaxy far, far away. George Lucas‘ original trilogy of space fantasies changed the cinematic landscape forever, ushering in an era of franchise filmmaking that has continued to evolve and dominate the box office. Beyond that blockbuster success, the films are also the best kind of fantasy storytelling, creating an entirely new world that feels lived-in and wholly unique. Every chapter has something to offer, but part five, The Empire Strikes Back, is the greatest American space fantasy of all time.

With Irvin Kirschner taking over as director from Lucas, the performances are all more natural, while the effects and action are bigger and better. From the opening battles on icy Hoth, to Luke training with Yoda on Dagobah, to Han and Leia lying low in Cloud City, The Empire Strikes Back is one iconic setting after another, adding to the larger universe. It’s the darker elements, the more personal stakes, that really make this sequel one of the best. It’s a far-flung fantasy that set a bar no Star Wars film has been able to clear since.

1

‘The Wizard of Oz’ (1939)

Image via Warner Bros.

The greatest fantasy adventure of all time in the land of Oz also just happened to come from the land of the U.S.A. The Wizard of Oz is paramount to American fantasy cinema, setting many of the storytelling techniques and visual techniques that would become standards in the genre. The transition from black-and-white Kansas into the Technicolor land of Oz is so iconic that it essentially became the official moment that movies went to color, even if it wasn’t.

That iconic status extends down through every aspect of the film’s production, from its makeup and costume design to its Oscar-winning score and songs. It’s the greatest American fantasy film ever made. Judy Garland, who endured well-documented abuse on set, is inimitable as Dorothy, the Kansas farm girl who gets sent spinning into the land of Oz by way of tornado and finds herself on a journey down the yellow brick road to meet the titular Wizard, joined by the Scarecrow, the Tin Man, and the Cowardly Lion. The setting and characters as depicted here may differ from their counterparts in the novel The Wonderful Wizard of Oz by L. Frank Baum, but they’ve become the standard representations by which all others are judged.

As we near the end of the year, it’s time to acknowledge how 2026 has been a pretty good year for comedy. From shows about middle-aged crises and unconventional careers to dysfunctional families and messy friendships, television has produced plenty of reasons to laugh. Some of these have had us cracking up from beginning to end, while others masterfully balance their comedy with stories about grief, relationships, and the general disaster of being a person.

Better still, the best comedies of the year haven’t necessarily been the loudest ones, either. They’ve found humor in awkward situations, deeply flawed characters, bizarre circumstances, and the uncomfortabilities of everyday life. So yes, while more comedies could very well bring us joy as the next few months go by, these are some of our favorites—as of right now.

6

‘DTF St. Louis’ (2026)

Image via HBO

As Clark Forrest (Jason Bateman) and Floyd Smernitch (David Harbour) befriend one another after bonding over their stagnant marriages, the two decide to experiment with a local app intended for extramarital hookups. But tensions soon escalate into a toxic web of lies as Clark begins a secret affair with his new friend’s wife, Carol (Linda Cardellini). Of course, things only get worse when Floyd suddenly turns up dead.

Don’t let the show’s color-grading confuse you. While it does place a murder mystery at its center, DTF St. Louis is much more interested in the absurdity of the people involved rather than crafting a conventional crime thriller. Indeed, the humor mostly stems from watching deeply flawed adults make spectacularly bad decisions, with Bateman, Cardellini, and Harbour playing their characters’ loneliness and terrible judgment completely straight. It’s dark, uncomfortable, and often very funny in the way only a comedy about sex, death, and middle-aged desperation can be.

5

‘Hacks’ (2021–2026)

Season 5

Image via HBO Max

As Deborah Vance (Jean Smart) and Ava Daniels (Hannah Einbinder) return to Las Vegas, the two quickly discover a smear campaign has been mounted against the legendary comedian. And yet, despite that (as well as a non-compete gag order), Deborah is determined to defy the odds and chase a career-defining goal: selling out a stand-up show at Madison Square Garden.

While it may be its fifth and final season, Hacks never seems to run out of ridiculous problems for Deborah to turn into her personal crusade. Whether she’s plotting around contracts, chasing the occasional milestone, or refusing to accept that the industry might not give her exactly what she wants, Deborah approaches every setback as though it were a declaration of war. Of course, Smart remains the show’s shining weapon, able to make a vicious put-down or completely unreasonable demand land with impeccable comic timing, while the supporting cast gets plenty of room for its own chaos. And even after all these years, Hacks still knows how to make the entertainment industry feel like the funniest and most dysfunctional workplace imaginable. A truly great send-off to a masterful show.

4

‘Margo’s Got Money Troubles’ (2026–Present)

Image via Apple TV

Margo Millet (Elle Fanning) is a college dropout and aspiring writer whose life takes an unexpected turn when she gets pregnant by her English professor. Now, abandoned by her baby’s father, she’s left facing mounting bills with very few ways to pay them. As a result, Margo returns to the orbit of her unconventional parents, while also exploring increasingly unconventional ways of making money—including starting an OnlyFans account.

On paper, the premise could’ve easily become a grim story about single-parenthood, but Margo’s Got Money Troubles somehow became so much more. For instance, rather than treating Margo’s decision as a punchline or a cautionary tale, the show takes her sex work seriously and instead finds plenty of comedy in the situations surrounding it. And let’s not forget how Michelle Pfeiffer and Nick Offerman make her parents’ eccentricity an attraction in its own right (along with some other surprising appearances). Yet another win for AppleTV’s growing catalog.

3

‘Shrinking’ (2023–Present)

Season 3

Image via Apple TV

Struggling to grapple with the death of his wife, Jimmy (Jason Segel) decides to abandon his professional boundaries as a therapist and start telling his patients exactly what he thinks—even if this creates chaos for his clients, loved ones, and himself. By the third season, Shrinking follows an overarching theme of moving forward as Jimmy and his tightly-knit circle are forced to brave other massive life transitions, whether that be about parenthood, illnesses, or careers.

Despite all the emotional upheaval, Shrinking remains one of television’s funniest shows as its characters are spectacularly incapable of dealing with serious situations normally. Jimmy is still impulsive, intrusive, and very good at making other people’s problems his own, while the show’s found-family dynamic continues to generate plenty of wonderfully awkward and chaotic comedy. At the same time, the season gives its characters room to change, making the jokes feel more meaningful because there’s actually something at stake beneath them. Funny, warm, and occasionally heartbreaking, season 3 has only left us begging for the next.

2

‘Adults’ (2025–Present)

Season 2

Image via FX

A tight-knit, co-dependent group of twenty-somethings—Samir (Malik Elassal), Billie (Lucy Freyer), Issa (Amita Rao), Anton (Owen Thiele), and Paul Baker (Jack Innanen)—live together in Samir’s childhood home in New York while attempting to figure out how to become functioning adults. Stumbling their way through life, their problems range from relationships to family, money, and the increasingly embarrassing realities of being responsible for themselves.

Adults truly stuck its landing this season as the show that perfectly encapsulates the Gen Z experience. For one, it completely commits to turning the mundane humiliations of your 20s into full-blown comic disasters. A fake ID, a dinner party, a workplace mistake, or even switching bedrooms can become the basis for an entire episode of increasingly stupid consequences. Season 2 also makes sure to give the ensemble more room to develop beyond the chaos, since the characters feel more like true friends rather than five people assembled solely to deliver punchlines. So let’s renew the show for season 3, okay?

1

‘Widow’s Bay’ (2026–Present)

Image via Apple TV

Set in a fictional New England town, Mayor Tom Loftis (Matthew Rhys) is determined to transform the struggling community into a tourist destination. But his plans bring renewed attention to the town’s strange traditions and long-buried secrets, forcing Tom and the locals to confront the unsettling forces that surround them.

After winning an egregiously record-breaking number of Emmys this year, it’s not surprising that Widow’s Bay has once again found itself on top. Rather than turning the horror into an excuse for constant jokes, the show lets the supernatural elements play out with genuine menace while also finding the comedy in the reactions of those caught within them. Rhys anchors the show with a stunningly straight-faced performance that makes the stranger moments even funnier. And of course, that humor is only amplified by the eccentric ensemble who all seem to have their own relationship with the town’s bizarre history. The result is a rare horror-comedy that truly leans into the creepy and the absurd—and somehow makes both sides work.

Advertisement

Widow’s Bay

Advertisement

Release Date

April 28, 2026

Network

Apple TV

Advertisement

Showrunner

Katie Dippold

Advertisement

Directors

Sam Donovan, Andrew DeYoung, Hiro Murai, Ti West

Advertisement

Advertisement

Advertisement

Meghan McCain has a few words to say about how she was portrayed on “Saturday Night Live.”

She recently argued that the long-running sketch comedy show treats conservative women far more harshly than their liberal counterparts. 

In the past, McCain has also publicly voiced disapproval over the public’s obsession with her body, noting that her body has changed over the years because she has had children. 

Meghan McCain Sharply Criticizes ‘SNL’ Portrayals

4

Reflecting on past sketches from her time on “The View,” the television personality highlighted comedian Aidy Bryant’s parodies as unnecessarily mean-spirited rather than genuinely clever. 

Speaking on her “Citizen McCain” podcast with guest Sarah Huckabee Sanders, McCain brought up their shared history of being impersonated by former “SNL” cast member Bryant. 

The host questioned why the series seems to treat liberal figures with a lighter touch while delivering harsher parodies of right-leaning women, noting that Bryant’s recurring depictions of her wearing a trademark pussy-bow blouse felt overly mockingly crafted.

“I found her interpretation of both of us to be cruel,” she said, as shared on X.

“You see how Saturday Night Live impersonates Democrat women compared to conservative women… I didn’t find it funny. I can laugh at myself. I didn’t find her impersonation funny,” she added.

In the same vein, Sanders, the former White House press secretary turned Arkansas governor, echoed McCain’s sentiment. She argued that the show has abandoned balanced political humor in favor of anger. 

“Saturday Night Live used to be funny, and now it’s just mean,” Sanders noted.

Aside from pushing back against television portrayals, McCain has also used her podcast platform to directly address criticism regarding her physical appearance and aging.

During a previous episode of “Citizen McCain,” the former television co-host responded to harsh online comments following a viral clip. She acknowledged that the wave of negative feedback broke through her usually thick skin, saying, 

“I am normally an Armadillo-skinned person, but there’s been a lot of commentary about how ‘old and ugly’ I am now.”

Advertisement

According to The Blast, the 41-year-old mother of three explained that her everyday look comes down to parenting priorities rather than professional hair and makeup teams.

She also shut down rumors of being on Ozempic, noting that while it is tempting, she is not on weight-loss medication.

The TV Personality Condemned Unsubstantiated Claims Involving Former Cabinet Official’s Family

4

In addition to addressing media commentary, McCain has also spoken out against hostile political tactics.

She recently publicly voiced support for former Transportation Secretary Pete Buttigieg after he disclosed that an anonymous, unfounded tip led child welfare officials to open an investigation concerning his children.

After law enforcement and Child Protective Services examined the situation and determined the report was false, McCain took to social media to condemn the incident.

Advertisement

“I am so sick of dirty, cruel politics and am truly deeply upset by the involvement of his children. It is wildly f-cked up,” she wrote, per The Blast.

The Podcast Host Rejected Body-Shaming Comments to Embrace Natural Aging

4

Focusing on personal growth and family life, McCain has also pushed back against commentary surrounding her age, refusing to apologize for natural physical changes.

After a viral video segment drew widespread remarks about her looks, McCain used her podcast to directly respond to online critics. The 41-year-old noted that many of the trolls who commented on her appearance do not even watch her show regularly.

She acknowledged that it was “challenging” to be under the spotlight, where people could have such “cruel” opinions about her body. She also noted that this was the first time she had gotten comments about looking older than her age, per The Blast.

Regardless of the negativity, she stood firm, defending her body and the natural aging process.

Advertisement

‘The View’ Was Reportedly Hesitant About Inviting Meghan McCain Back

4

Echoing the long history of scrutiny behind her public image, McCain’s past television career continues to generate headlines, with insiders alleging ongoing tension surrounding her time on “The View.”

As producers for “The View” prepared to mark the show’s 30th milestone season with potential guest appearances from past hosts, reports claimed staff members were reluctant to invite McCain. 

According to The Blast, anonymous sources said McCain’s four-season stint left lasting backstage strain, with show insiders expressing doubt she will be included in upcoming celebrations.

She was also reportedly described as the “most horrible, biggest pain in the -ss.”

Advertisement

With The Terminal List finally returning for a second season, fans are excited to see Jack Carr‘s sequel novel, True Believer, adapted on Prime Video. It’s been a long time coming after the first season of the Chris Pratt-led series aired back in 2022, and folks have been champing at the bit to see how James Reece’s journey might continue after completing his list of targets. But with Season 2, The Terminal List is expanding the roster beyond just returning cast members — which will no doubt bring in more viewers curious about the stars involved.

‘The Terminal List’ Is Stacking Its Cast Going into Season 2

One of the most exciting things about The Terminal List‘s new season is that plenty of new names and familiar faces are attached to the project, including some pretty well-known stars. Reprising their parts from The Terminal List: Dark Wolf prequel series, Tom Hopper is slated to return as Reece and Ben Edwards’ (Taylor Kitsch) SEAL brother Raife Hastings, alongside Dar Salim as Iraqi special forces operator Mohammed “Mo” Farooq and Luke Hemsworth as sketchy CIA operator Jules Landry. All three characters will intersect with James Reece again, further tying the world to the events of Dark Wolf — a show that will hopefully continue after that cliffhanger cameo — which took place seven years before the first season of the flagship series.

Among those being inducted into The Terminal List‘s cast are Diego Luna, who is set to join Season 2 as CIA operative Freddy Strain, Martin Sensmeier as Sergeant Major Otatkay, and Costa Ronin as former Russian operator Vasili Adrenov. While we don’t know the full extent of all of these roles at this point in the game — well, unless you’ve read True Believer, that is, which is said to be one of Amazon’s biggest television undertakings — there’s no doubt that these names will make a splash in the new season.

Also joining The Terminal List, in currently undisclosed roles, are stars like Olga Kurylenko (Quantum of Solace, Black Widow), Yul Vazquez (War of the Worlds, Severance), and Arnold Vosloo (The Mummy, Bosch). If anything, The Terminal List and Dark Wolf made enough waves for Prime Video to build out the cast further — and although we know very little about some of these roles, we do know that, somehow, they’ll all connect to Reece’s next mission, which centers on personal redemption.

What Can Fans Expect From ‘The Terminal List’ Season 2?

As for what to expect from The Terminal List Season 2, we’ll direct you to the official trailer first and foremost. Without spoiling any major plot points from the book, James Reece is haunted by his actions in Season 1 — especially by the ghost of Ben Edwards, whose betrayal marked a crippling moment for the show’s lead. After Season 1’s finale, viewers are only left to assume that Reece killed his former SEAL brother after discovering Ben’s role in the deaths of his wife and daughter. When a terrorist cell demands specific attention, Freddy Strain (Luna) brings Reece back into the fold with the promise of a presidential pardon for his actions.

If there’s anything to learn from last season’s divergence from the novel, fans can rest assured that the Prime Video adaptation will stay faithful to Carr’s text while still taking some creative liberties along the way. Even if you’ve read True Believer, the show will likely be different enough to build suspense — and there’s still no telling how some of these new cast members will factor into the finished product. With The Terminal List set to return next month, there’s no better time to revisit the first season and its prequel to gear up for more.

The Terminal List Season 2 premieres October 21 on Prime Video.

Advertisement

Advertisement

Release Date

June 30, 2022

Network

Prime Video

Advertisement

Showrunner

David DiGilio

Advertisement

Directors

Fred Toye, Sylvain White, Antoine Fuqua, Ellen Kuras, M.J. Bassett

Writers

Advertisement

​Chris Pratt2, David DiGilio

Advertisement

• 
• 

  Jeanne Tripplehorn

  Secretary Hartley

  Advertisement

Advertisement

Advertisement

Peter Krause and Hope Davis are speaking out after the premiere of Line of Fire concluded with a shocking plot twist.

The NBC series debuted on Monday, September 21, introducing Mike (Krause) and Jane’s (Davis) family, including Clare (Kat Cunning), Micah (Tommy O’Brien) and Russ (Taylor Bloom). Jack (Charlie Barnett) — Mike’s son from his first marriage — was mentioned as having died years prior.

In the last scene of the premiere, the audience learned that Jack was alive and well — and hiding in plain sight without his family knowing. His intentions remained unclear after he killed someone who was spying on his family.

“That is the overarching mystery of the season. Is it him? Is he alive? What is he doing? Who is murdering federal agents? And is he involved?” Davis, 62, teased exclusively to Us. “That’s something that is going to play out through the entire season — and we don’t know the answers to all those questions yet.”

Davis and Krause, 61, confirmed they were still in the midst of filming the show’s first season.

“We know some things that we’re not going to talk about yet, but we don’t know the whole story,” Davis said. “And we didn’t want to know the whole story. We want to see it unfold. We want to understand it as the audience does.”

Krause noted there were still many unanswered questions, adding, “We also don’t know if Jack is OK. Even if he’s alive or if he’s mentally and emotionally OK.”

He continued: “It’s funny sometimes making the show because I want to carry it with me all the time, but you can’t and perform in these other scenes. So there’s an odd letting go of Jack in a way that feels wrong sometimes when I’m doing these other scenes.”

The actor is just as invested in getting answers.

“He’s out there and it’s part of the show. We just have to let go of him when he’s not there,” he continued. “But it’s weird. … That’s a very different element in the show.”

Davis offered insight into Jack’s motivation, adding, “The underlying pain of [why] he chose to leave our family. He went undercover and he didn’t come back. It ripped the family apart. It is a source of incredible pain for the parents, certainly.”

Thank You!

You have successfully subscribed.

Advertisement

Line of Fire centers around a family of agents from various branches of law enforcement who find themselves tangled in a deadly conspiracy.

“[Creator] Joshua [Safran] is masterful at story architecture. I asked him not to tell us things that our characters did not know,” Krause recalled. “It’s helpful for us to move forward. Everybody has blind spots in life and I think that it’s important in terms of storytelling that these characters — like anybody — have blind spots too.”

Line of Fire airs on NBC Mondays at 10 p.m. ET. New episodes stream the next day on Peacock.

Zelda Williams is once again speaking out against AI videos featuring her late father, comedian Robin Williams, who passed away in 2014. The actress and filmmaker has criticized the use of artificial intelligence in the past, and she is making her feeling clear again. Her latest response comes from a deeply personal place, as she continues to push back against deep fakes of her father.

Zelda Williams Slams ‘Terrible’ AI Video Of Robin Williams

3

Robin Williams’ daughter, Zelda, took to social media after seeing a fake video of his father discussing conspiracy theories. The clip was falsely presented as a “private video” or “rare private footage” of the late actor that had supposedly been leaked.

Zelda clapped back, saying it was obviously AI-generated due to the “robotic and terrible” voice. The filmmaker addressed the creator of the video, writing, “leave him out of your delusional bullsh-t and let him rest. If you cannot make your case without making a dead man make it more convincing for you, then tell me: who’s the one manipulating the public thru media now?”

Zelda said she hates having to debunk AI slop but strongly feels the need to protect her father’s legacy. “I love him, so I will,” she wrote.

The Actress Reiterates Her Stance On AI

3

On an Instagram Stories post, Zelda underscored her position on artificial intelligence, writing she “abhor[s] AI in every form.”

She also raised concerns about the ethical side of replicating people using AI, writing, “if you use these ‘tools’ to recreate real people and make them do whatever you’d like, you are very much removing their consent from the equation.”

Speaking about recreations of people without their consent, Zelda noted that deep fake creators are “denying another person of their autonomy” for the sake of spectacle.

Zelda Williams First Spoke Against AI In 2023

3

In 2023, SAG-AFTRA went on strike over a labor dispute, including protections against artificial intelligence.

Amid the controversy, Zelda voiced her concerns on Instagram Stories, saying she was “not an impartial voice” in the fight against AI.

“I’ve witnessed for YEARS how many people want to train these models to create/recreate actors who cannot consent, like Dad,” she wrote. The filmmaker added that her concerns extend beyond her personal feelings about the matter.

William’s died by suicide on August 11, 2014 at 63 years old. The comedian struggled with health issues, which was later diagnosed as Lewy body dementia. His final Instagram post was a black-and-white photo with a young Zelda, shared on July 31, 2014, to celebrate his daughter’s birthday.

In August, Zelda, along with her siblings Zak and Cody, announced that they would be reviving their father’s Instagram account to share posts focusing on Robin’s comedic talent and humor.

Advertisement

“As technology evolves, we want this to be a safe, trusted place where the stories, photos, videos, and memories shared reflect his legacy with authenticity, warmth, and care,” the siblings wrote.

So far, the account has shared two new posts. The first one was a 1979 portrait of the comedian for TIME, and the second, a short clip of Williams as his alien character Mork from the sitcom “Mork & Mindy.”

The NO FAKES Act Bill Aims To Protect Against AI-Generated Replicas

Sean Astin, the President of SAG-AFTRA, recently testified before a U.S. House Judiciary subcommittee in support of the bipartisan NO FAKES Act.

The proposed law would protect everyone, not just celebrities, from unauthorised AI-generated replicas of their voice and likeness. pic.twitter.com/GnQmTOTY4D

— Tolkien World (@TolkienWorldG) July 2, 2026

Advertisement

The NO FAKES (Nurture Originals, Foster Art, Keep Entertainment Safe) Act is a proposed legislation designed to protect the voice of individuals, both private citizens and public figures, from unauthorized replicas generated by AI.

The proposed bill also covers post-mortem protection, allowing heirs or executors of estates to represent a deceased person.

Despite its purpose of protecting individuals against unauthorized use of their image and likeness, some have raised concerns that the proposed law could also restrict commentary and satire.

Advertisement

As we await a new reboot of the James Bond franchise, now is the perfect time to revisit the last reboot — and the ingenious way it tied itself to the larger history of the film series. Three months from now marks the 20th anniversary of Casino Royale, which debuted in theaters on November 14, 2006. The franchise reset starred Daniel Craig, portraying the new big-screen iteration of Bond, based on Ian Fleming’s original novel of the same name. Craig truly kickstarted his new era of the franchise with a bang. However, no Bond movie and performance is truly complete until the actor utters the iconic line first spoken by Sean Connery in Dr. No, “Bond. James Bond.” Craig’s iteration redefined the entire franchise.

‘Casino Royale’ Took James Bond Back to His Roots

Image via Sony Pictures

Advertisement

Casino Royale marked a much-needed reset for the 007 movie franchise. Pierce Brosnan did well as the MI6 agent with a license to kill, but towards the end of his run, his movies were descending into opulent, laughable self-parody, as demonstrated in his final entry, Die Another Day. Casino Royale, by adapting Fleming’s original novel, brought Bond back to his literary roots, taking a much more grounded spy-thriller approach. Brosnan’s movies had taken steps towards transforming Bond into something akin to a comic book superhero, with villains and plots to match, and that’s just not how Fleming originally conceived the character. Craig was the perfect actor to portray a more realistic version of 007.

Bond is best described by his original creator, Fleming, as “an anonymous, blunt instrument wielded by a government department.” In short, he’s a government-sanctioned assassin, with a license to kill. The blunt instrument term is even evoked by Bond’s superior, M (Judi Dench), during Casino Royale after Bond invades a foreign embassy and kills a wanted operative whom MI-6 was pursuing. Rather than a superhero fighting for queen and country, Craig’s Bond acknowledges that he might be working at the behest of the British government, but he’s still a killer operating in a morally gray world. Casino Royale, and Craig’s stint as the character, explore what a job as a government-sanctioned hitman does to a man’s soul, offering a strong level of depth and introspection into the character’s psyche.

‘Casino Royale’ Explores Bond’s Origins

Casino Royale depicts James Bond at the start of his journey as a 00 agent, with the exceptional black and white prologue showing Bond completing his mission to receive his license to kill. Moviegoers had never previously seen this side of Bond depicted onscreen; Bond’s license to kill and 00 agent status had been baked into the character going back to the 1960s. However, seeing his mission that led to the license was a monumental cinematic moment.

Elsewhere, Casino Royale plays with audience expectations of the Bond legend, except through the lens of Craig’s version of the character becoming the icon that legions of fans have come to know and love. This is shown through scenes such as when Bond dons his famous tuxedo for the first time. Also, when a waiter asks Bond if he wants his drink of choice “shaken or stirred,” Bond then bluntly answers, “Does it look like I give a damn?!” However, the coup de grâce of Craig’s performance is the movie’s ending, when he finally delivers his first utterance of the famous line, “The name’s Bond. James Bond.”

The moment occurs after Bond receives a parting message from his late girlfriend, Vesper Lynd (Eva Green), who gave Bond the phone number of Mr. White (Jesper Christensen), a high-ranking member of the international criminal organization QUANTUM. The movie ends with Bond discovering White’s location and shooting him in the foot before properly introducing himself as Bond for the first time, all while the classic Bond score starts blaring. The ending shows that Bond returned to MI-6, rescinding his earlier resignation, marking a new era for the character.

Daniel Craig Completes His Transformation into James Bond

Image via Sony Pictures Releasing

Advertisement

After his ordeal with Le Chiffre (Mads Mikkelsen) in Casino Royale, Bond attempts to quit the spy life and start over with Vesper. That comes to an end when it’s revealed that Vesper was a double agent, culminating in her death. Vesper’s betrayal and her subsequent death instead harden Bond, pushing him back toward the life of a spy and resuming his occupation as MI-6’s blunt instrument. His encounter with Vesper also shows why he struggles to settle down and form a long-term romantic relationship, as her betrayal and his career make it difficult for him to trust others.

Although Craig delivers the iconic line at the end of the movie, which concludes Casino Royale in an exciting, cool, and energetic moment, it’s also somewhat bittersweet. James Bond’s transformation into the MI-6 superspy is complete, yet it comes at the cost of knowing Bond can never truly know peace or happiness. However, the ending marks a triumphant moment for the audience, since it depicts that Daniel Craig has fully become James Bond, and a cinematic icon is reborn. With the ending, Craig’s journey as the legendary character finally begins, as James Bond’s origin story is now complete.

Advertisement

Advertisement

Release Date

November 17, 2006

Runtime

144 minutes

Advertisement

Director

Martin Campbell

Advertisement

Writers

Neal Purvis, Paul Haggis, Robert Wade, Ian Fleming

Advertisement

Advertisement

Advertisement

Jennifer Eckhart, a former associate producer for Fox Business, has died. She was 36.

Eckhart was found dead in her home in Martin County, Florida, on Saturday, September 19, according to a Martin County Sheriff’s Office incident report obtained by People.

Christine Christofek, a spokesperson for the sheriff’s office, said in a statement, “This death has been ruled a suicide.”

In a press briefing, Martin County Sheriff John Budensiek stated that Eckhart had been “‘Baker Act’ed” six times before her death. According to the Florida Department of Children and Families, the Baker Act “focuses on crisis services for individuals with mental illness, much like an emergency department is for individuals experiencing a medical emergency.”

Us reached out to the Martin County Sheriff’s Office for comment.

TMZ was first to report the news.

Eckhart, who was born and raised in Miami, earned a bachelor’s degree in telecommunications news from the University of Florida’s College of Journalism and Communications. She began her media career in the Sunshine State, working as an entertainment anchor for WUFT-TV, a PBS affiliate in Gainesville. She also worked as a correspondent for ESPN Radio, where she hosted the 2011 ESPN College Football Awards.

Eckhart worked at Fox Business from 2013 to 2020, producing programs such as The Claman Countdown and interviews with prominent figures in the business world.

Around the time of her departure from the company, Eckhart made headlines when she filed a lawsuit against former Fox News anchor Ed Henry and Fox News. She claimed that Henry, 55, sexually assaulted and raped her and used his position within the company to manipulate and control her. The lawsuit also alleged that Fox News promoted Henry even after receiving complaints of sexually inappropriate behavior.

“I think it’s safe to say that I was paralyzed by fear when I was working there [at Fox News Network]. I don’t know how you could continue to cultivate and foster an environment that rewards sexual predators consistently year after year,” Eckhart said in a 2020 interview on CBS This Morning.

She added, “I felt that [Henry] had the power to derail me, to destroy me, to ruin my career. And, I just, I didn’t have a voice until now.”

Henry denied all allegations. He was fired from Fox News in July 2020, with the network noting that it “strictly prohibits sexual harassment, misconduct and discrimination.” Fox News was dismissed from the case in March 2025. Three months later, Eckhart and Henry reached a confidential settlement before the case went to trial.

After leaving Fox, Eckhart launched the “Reinvented” podcast, dubbing the venture her “second act.” The podcast series focused on “inspirational tales of reinvention from some of the world’s most sought-after names in business, sports and entertainment who have overcome incredible obstacles and adversity on their journey to success,” according to Eckhart’s website.

The latest episode was released in March and featured former Florida State Senator and Palm Beach County prosecutor Dave Aronberg.

Thank You!

You have successfully subscribed.

Advertisement

Eckhart last posted on Instagram in June, writing, “Haven’t posted since the last time gas was under $4. 😮‍💨What a time to be alive. Glad to be sharing this weird little corner of the Internet again. Working on some exciting stuff that I can’t wait to share with you all!”

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.

If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673).