By Jonathan Klotz
| Updated 49 minutes ago

They say imitation is the sincerest form of flattery, which means John Carpenter has been flattered more than most people. The genius behind Assault on Precinct 13, Halloween, The Thing, and Big Trouble in Little China is one of the most imitated directors of all time. One film got a little too close for his tastes though and he took the writer to court, who happened to be another famous director, Luc Besson. Luc Besson’s 2012 film Lockout was derisively described as Escape from New York in space, and Carpenter agreed, taking the Frenchman to court over the movie. 

Escape From New York In Space

Escape from New York stars Carpenter’s frequent collaborator Kurt Russell as Snake Plisken, the eye-patch wearing convicted tough guy to take on a mission to save the President from a New York turned into a gigantic prison complex. Lockdown stars Guy Pearce as Marion Snow, a convicted felon sent to a gigantic space prison to save the President’s daughter, Emilie,  (Maggie Grace) and clear his name in the process. Don’t worry, it gets worse. 

Frank Doubleday’s great performance as the Duke of New York’s second Romero in Escape from New York is replicated in Lockout with Hydel, played by Joe Gilgun, the psychotic second in command who ends up stealing every scene he’s in. There’s also a ticking clock: in Escape from New York, it’s the impending murder of the President and then embedded explosives, while in Lockout, it’s a CIA officer willing to blow up the station to cover his tracks. Copying one or two elements could be overlooked, that’s how we got Torque, but following Carpenter’s suit, a French court ruled in his favor. 

Carpenter filed suit in 2015, three years after Lockout bombed in theaters but managed to make some money on home media. The French court ruled in his favor against countryman Luc Besson, who made the choice to appeal. Prior to the appeal, Besson and his production partners were ordered to pay €20,000 to Carpenter, €10,000 to his writing partner Nick Cave, and €50,000 to StudioCanal. After the appeal was struck down, the court increased the total damages to €450,000. 

Lockout Is Dumb Fun

Lockout isn’t a bad movie, it’s a perfectly fun dumb action movie. Guy Pearce does a great Kurt Russell impression, and the action set pieces are, again, fun but dumb. Had Luc Besson directed the film with the manic energy he brought to The Fifth Element and Lucy, it would have been far more over the top and memorable instead of the perfect lazy Sunday afternoon streaming movie for fans of the Cleveland Browns.

One particular cringey scene takes place after Marion has saved Emilie, where they have to disguise her. This involves a sudden cut to Guy Pearce with offscreen noises from Maggie Grace as he rubs black oil and cuts her hair, then she stands back up in the next cut with black hair and a short haircut. No one thought Lockout would have one of the most blatant edits in movie history, but here we are. 

Audiences largely avoided Lockout which was saved financially by the overseas market. Making $32 million, it didn’t lose money, but a budget of $20 million before marketing costs means the profit was very slim. We were never going to get another Guy Pearce Marion Snow film even before the lawsuit. 

The Future Of Escape From New York

Lockout is currently free to stream on Tubi and time has been kind to this film. It’s the type of sci-fi action we need more of, though Alan Ritchson’s War Machine on Netflix has helped fill that gap. It was a one-and-done, but on the other hand, Escape from New York is about to become more relevant. 

The good news for fans of Snake is that a sequel is in development. The bad news is that Zach Snyder is writing and directing it. Will it be the Snyder who gave us Army of the Dead and 300? Or the Snyder who wrote Sucker Punch and Rebel Moon?

Do you prefer cozy British whodunits, staple American television with the FBI involved, or a fresh take on the classic literary character, Sherlock Holmes? With these detective shows that will keep you hooked from start to finish, you’ll find all of these and more. You might even discover new shows you haven’t heard of before or be reminded of something you’ve had on your watchlist for a while.

All of these detective shows (and, to be honest, the best detective shows) have one thing in common: the exceptional ability to keep you glued to the screen from beginning to end. With these shows, you’ll notice that not all of them have ended yet, heightening the excitement for new episodes and seasons.

‘Father Brown’ (2013–Present)

Image via BBC

Father Brown is now the longest-running daytime drama in BBC history, having aired over one hundred episodes and still going strong, demonstrating its enduring comfort appeal. It’s not gritty or shocking, just endlessly watchable television, the kind that feels like a hot cup of tea (or cocoa if tea isn’t your thing). Mark Williams is excellent as the unassuming detective-priest, and the show’s pacing makes it an ideal palate cleanser between heavier dramas. It’s cozy, but it’s also addictive; each episode is a well-crafted mini-mystery that respects your intelligence while tucking you in for a relaxing night of binge-watching.

In the sleepy Cotswolds village of Kembleford, Father Brown (Williams) rides around on his bicycle, solving murders with a combination of keen insight, empathy, and a surprisingly sharp grasp of criminal psychology. He’s a Catholic priest first, a detective second, and his approach to crime is to understand the sinner rather than simply catch the culprit. Adapted from G.K. Chesterton‘s short stories, the show is packed with period details, witty humor, and deeply satisfying whodunit episodes. With a fantastic recurring cast, Father Brown presents a new case every episode, always with a moral compass pointing towards redemption.

‘White Collar’ (2009–2014)

Image via USA Network

White Collar was a hit for USA Network, running for six seasons and sparking persistent revival rumors, which culminated in a recently confirmed reboot featuring the majority of the original cast. Matt Bomer‘s charisma is undeniable, and the supporting cast, including the late, great Willie Garson as Neal’s partner-in-crime Mozzie, is universally adored. White Collar works because it never gets too dark or too silly but always gets right to the emotional core: an unlikely friendship between a man who believes in the law and a man who has spent his life breaking it. It’s a show you’ll fire up for the detective/mystery aspect and keep watching for the heart.

White Collar follows the charming and brilliant con artist Neal Caffrey (Bomer), who escapes from a maximum-security federal prison with only months left on his sentence and is quickly caught by the same FBI agent who put him there, Peter Burke (Tim DeKay). But Neal has a proposal: make him a consultant for the FBI’s white-collar crime division, and he’ll use his criminal genius to help catch other, more serious criminals. The chemistry between Bomer’s irresistible criminal and DeKay’s frustrated detective is what drives this glittering, fashionable caper-of-the-week series. Stretched into six seasons, it’s Catch Me If You Can with sleek suits, art forgery, hidden treasures, and the never-ending suspense of a con artist who might be planning his own great escape.

‘Poker Face’ (2023–2025)

Poker Face came with a bang, since Rian Johnson‘s reputation as a detective/mystery creator was still fresh after the Knives Out sequel, Glass Onion. Poker Face‘s first season was a critical success, with praise for its clever reimagining of the mystery-of-the-week formula. Each episode features a parade of fantastic guest stars as killers who vastly underestimate Natasha Lyonne‘s seemingly befuddled Charlie Cale. The show is a sun-drenched, retro-chic journey through America’s strange margins, anchored by Lyonne’s effortlessly cool performance. It’s a rare detective show that makes you feel like you’re simply hanging out with a very perceptive friend who also happens to solve murders.

Poker Face follows Charlie Cale (Lyonne), a woman on the run who possesses a supernatural ability: she can tell when someone is lying, though she’s not sure why. Running from a dangerous casino owner, she moves from one dusty roadside town to the next, working odd jobs in casinos, barbecue joints, and dilapidated motels while stumbling across a murder every week. The show is reminiscent of the great “howcatchem” shows of the 1970s, such as Columbo, in which the crime is revealed right away; the fun is watching Charlie uncover alibis with her great instincts and observation skills.

‘Young Sherlock’ (2026–Present)

Image via Prime Video

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Young Sherlock debuted on Prime Video in March 2026 and quickly became a global streaming hit, earning rave reviews and a quick second season renewal. Hero Fiennes Tiffin plays the young Sherlock Holmes with heart and energy, and the show’s gorgeous period production design creates a visual feast. Critics have praised its balance of intellectual deduction and genuine adventure, and Guy Ritchie’s signature style ensures that even the quietest scene hums with tension and a sense of playfulness. The cast is exceptional, with Tiffin’s uncle Joseph Fiennes playing Sherlock’s father, Silas, but the standout is Irish actor Dónal Finn, who portrays James Moriarty in a compelling and utterly captivating performance.

Ritchie’s return to Arthur Conan Doyle‘s world is a high-energy origin story in which Sherlock Holmes is portrayed as a brilliant, reckless nineteen-year-old employee at Oxford University, rather than a student. Young Sherlock finds the future consulting detective dealing with his first major mystery after Princess Shou’an’s (Zine Tseng) scrolls containing priceless scrolls of Sun Tzu‘s The Art of War are stolen. There is no Watson, either; the show delves into Holmes’ origin story with Moriarty, where rifts become more apparent over time, but the chemistry between Tiffin and Finn is so strong that you’ll wish their story could last a little longer. It’s a Sherlock who is still learning how to fight and demonstrates empathy, heart, and affection, drawing a distinction between Benedict Cumberbatch‘s sociopath and Robert Downey Jr.‘s rambling chaos.

‘Bosch’ (2014–2021)

Image via Prime Video

Bosch is a quiet hit that has amassed one of the most devoted fan bases in streaming history, having aired for seven seasons on Amazon Prime Video and spawning a thriving spinoff. Titus Welliver‘s Harry Bosch embodies the hard-boiled detective: terse, principled, and somewhat tragic. The procedural cases are compelling, but the serialized arcs are where the show really shines. It’s the definition of “just one more episode,” and with ten seasons (including Bosch and its sequel, Bosch: Legacy), it’s a lengthy, satisfying binge.

Harry Bosch (Welliver) is an LAPD homicide detective with a haunted past; his mother was murdered, and he spent his childhood in foster care. He is motivated by truth and justice, and he works on cases intuitively, relentlessly, and with determination. The seven-season series, based on Michael Connelly‘s best-selling novels, is a masterclass in slow-burn police work. Later, in the sequel series Bosch: Legacy, Bosch shifts to private investigation, still pursuing justice, except this time operating outside the system. It’s fun and the epitome of a hardworking detective show that delivers on all accounts.

‘Unforgotten’ (2015–Present)

Image via ITV

Unforgotten is widely regarded as one of the finest British crime dramas ever made. Nicola Walker and Sanjeev Bhaskar have the most natural, unforced chemistry of any detective pairing on television, and their calm, empathetic approach to policing contrasts sharply with the flashier, more violent procedurals. Unlike most short crime series from the UK, Unforgotten has had six seasons so far and has been renewed for a seventh in 2025. It is a show that depicts solving a crime as a long, slow process of bringing justice to those who have been forgotten, rather than the thrill of the chase.

Each season of Unforgotten begins with the discovery of a long-buried corpse, raising the question of who the person was and why they were killed. DCI Cassie Stuart (Walker) and DI Sunny Khan (Bhaskar) lead the investigation, gradually revealing decades of secrets while navigating their own personal struggles. The show is deeply compassionate, treating each victim as a human being whose life was important and each suspect as someone carrying the burden of the past. The show’s title refers to the long-gone victims, portraying them as “unforgotten,” as they are to their families and loved ones. It’s a fantastic work of detective fiction that will keep you hooked.

‘Blue Lights’ (2023–Present)

Image via BBC

Blue Lights premiered to rave reviews in 2023, and Seasons 2 and 3 followed, with a fourth on the way. Critics have praised this Northern Irish thriller as one of the best police dramas in years, citing its authenticity, lack of cliché, and deep empathy for both the officers and the communities they serve. The cast, led by Siân Brooke, is consistently excellent, and Game of Thrones fans will recognize Richard Dormer, who played Beric Dondarrion in the epic. Blue Lights is a detective show in the broadest sense; its protagonists solve crimes, but the true mystery is how to be a decent person in a world where decency is alien. It’s gripping, compassionate television that will captivate you from the start.

Blue Lights follows three rookie police officers in modern-day Belfast who discover that the job is less about catching masterminds and more about surviving each shift in a city haunted by the Troubles. Grace (Brooke), Tommy (Nathan Braniff), and Annie (Katherine Devlin) are probationary constables thrust into a world of paramilitary intimidation, community distrust, and a constant sense of danger. The show is a deeply human ensemble drama that follows their steep, often terrifying learning curve as they discover that policing is, at times, just about getting home at the end of the day.

‘Line of Duty’ (2012–Present)

Image via BBC

Line of Duty ended in 2021, with its finale attracting over 15 million viewers, breaking records and cementing the show’s legacy as one of the most successful British dramas of all time. The show’s popularity has remained high, and creator Jed Mercurio and stars Vicky McClure, Martin Compston, and Adrian Dunbar have agreed to make another season, set to premiere in 2027. Thanks to Mercurio’s brilliant pacing, each season of Line of Duty is a six-episode sprint with cliffhangers so brutal you’ll go through several episodes in one sitting. If you haven’t yet sweated through an AC-12 interview, clear your schedule. You’re about to.

Line of Duty is a crime thriller that follows AC-12, a unit tasked with investigating corrupt cops. Each season adds a new, complex case to a slowly unfolding conspiracy that reaches the highest levels of law enforcement. The interrogation scenes are long, tense, dialogue-driven standoffs in glass-walled rooms, representing television at its most electrifying. Superintendent Ted Hastings, DI Kate Fleming, and DS Steve Arnott became icons, and Dunbar received a mural dedicated to him and his character in his hometown of Enniskillen, which has a well-known mural walk.

‘Mindhunter’ (2017–2019)

Image via Netflix

Mindhunter is one of the best shows of the 21st century, but it’s not a traditional detective show; there are no car chases or last-minute evidence reveals. Instead, it’s a slow, deliberate journey through the psychology of murder. Fans continue to campaign for a third season, but the show remains in indefinite limbo, which somehow makes its 19 episodes feel even more precious; there have been recent discussions of a potential Season 3, but David Fincher, the showrunner, keeps things quite cryptic. Mindhunter is not a quick fix; it requires your full attention, rewards patience, and leaves you feeling unsettled in ways you can’t quite articulate, but you’ll feel hypnotized by its beauty and quality.

Mindhunter is set in the late 1970s and follows FBI agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), as well as psychologist Wendy Carr (Anna Torv), as they pioneer the art of criminal profiling by interviewing incarcerated serial killers. The interviews with real-life monsters like Ed Kemper, Charles Manson, and Son of Sam are unsettling and mesmerizing, shot with Fincher’s signature precision, dark sheen, and attention to period detail. If you want a detective show that delves into the minds of both the hunters and the hunted, this is it.

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Mindhunter

Release Date

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2017 – 2019

Network

Netflix

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Showrunner

Joe Penhall

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Directors

David Fincher, Carl Franklin, Andrew Dominik, Andrew Douglas, Asif Kapadia, Tobias Lindholm

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By Chris Snellgrove
| Published 30 seconds ago

Here’s a somewhat embarrassing connection: I’m a big fan of TV Tropes, the website that catalogues all of the different narrative building blocks that go into our favorite shows and movies. One of my favorite tropes is “Harsher In Hindsight,” which is pretty self-explanatory: this refers to media moments that didn’t seem so weird at the time but that are downright uncomfortable to watch now. Pretty much no show is safe from this trope, including Star Trek: The Next Generation. That’s because it has one episode that you pretty much can’t watch without thinking about the 9/11 terrorist attacks!

The episode in question is “The High Ground.” The show’s producers had insisted that TNG needed a little more action and adventure, so the writers busted out the most reliable TV villains of the ‘80s and ‘90s: terrorists! On paper, this episode was meant to be a callback to The Original Series, with a relatively simple framing of heroic good guys stopping sneering bad guys. Unfortunately, prominent plot points like enhanced interrogations, terrorist bombings, and even a hidden image of the Twin Towers all serve to retroactively make fans think of 9/11 and the subsequent War on Terror.

A Second Phaser Blast Has Struck The Bridge

The plot of “The High Ground” begins when the Enterprise delivers medical aid to a war-torn planet. Soon, terrorists set off a bomb, and when Dr. Crusher tries to treat the wounded, she gets abducted. At the terrorist base, Crusher discovers that their secret weapon is a special teleporter that serves as a double-edged sword: it allows them to circumvent shields and force fields, but it also damages their DNA. The terrorist leader unsuccessfully tries to bomb the Enterprise, but he does manage to abduct Captain Picard as a hostage. The crew discovers the terrorist base, and the planetary security chief saves Picard by killing the head terrorist.

Aside from the prominent inclusion of terrorists as villains (this is the one and only Star Trek: The Next Generation episode to do so), why does “The High Ground” remind fans of 9/11? For one thing, the alien planet’s response to a terrorist attack is an uncomfortable preview of America’s own actions during the War on Terror. After the initial bombing, the planet’s security chief orders very harsh interrogations of anyone she thinks is sympathetic to the attackers. This makes the Enterprise crew uncomfortable, and it makes viewers uncomfortable when they compare this to America’s notorious “enhanced interrogation” (read: torture) of terror suspects. 

“High Ground” Was An Inside Job

Questioning and potentially harming people for their alleged support of groups the government disapproves of is also an uncomfortable preview of our present world, too. Recent federal legislation like NSPM-7 has ensured that you might be added to domestic terrorism watchlists for engaging in activities or simply making social media posts that are deemed critical of the country or of capitalism. Even if you agree with the security chief’s interrogation of suspected terrorist sympathizers in “The High Ground,” this Star Trek: The Next Generation episode is a reminder that wars on terror never end; rather, the government simply broadens the definition of “terrorist” until nobody is safe.

Of course, the primary reason that “The High Ground” makes us think of 9/11 is because of a surreal cameo by the Twin Towers. When Picard and Riker visit the security chief, there are planetary surveillance monitors in the background that rotate through different images. Rather than create entirely new alien vistas, the producers decided to ever-so-slightly modify images of various Earth cities. Look closely, and you will see buildings that look uncannily like the World Trade Center’s famous Twin Towers. It’s uncomfortable enough to see them in the wake of 9/11; however, seeing them in the one and only terrorist episode of Star Trek: The Next Generation is downright insane!

Aside from its connections to 9/11, “The High Ground” is a weak episode. The producers got their wish: this episode is filled with exciting action. But the story had no cool twist or hidden message, and legendary Star Trek: The Next Generation writer Ronald D. Moore put it best when he said that “We didn’t have anything interesting to say about terrorism except that it’s bad.” Nobody really needed that message when the episode came out in 1990, and they definitely didn’t need it after 2001. As a lackluster episode with uncomfortable 9/11 parallels, “The High Ground” remains one of the weakest stories in what is otherwise the show’s strongest season.

By Robert Scucci
| Updated 1 hour ago

One of my biggest gripes about modern film discussion is how older generations always say that the new stuff coming out is never as good as the alleged Golden Age they came up in. One thing I’ve noticed, though, is that the falloff they’re talking about always seems to happen at the exact moment they stop digging deep. What’s even more amusing about this way of thinking is how conveniently everybody forgets that every single generation pumps out equal amounts of cinematic gold and crap, but we’re less inclined to remember lesser films like 1957’s The Unearthly, which you can currently stream for free on Tubi.

Looking back at The Unearthly as a modern viewer, it’s not terrible. At least not as terrible as the complete absence of critical ratings on Rotten Tomatoes, coupled with an abysmal 11 percent Popcornmeter score across more than 250 reviews, would suggest. My statement still stands, though: this movie came out during the Golden Age of cinema and is all but universally considered a total clunker.

Personally, I find The Unearthly’s availability on streaming refreshing. It’s easy to look at the past through rose-colored glasses when we only preserve the bona fide classics. Thanks to the film’s accessibility, we can now explore a completely different flavor of low-budget sci-fi horror B-movies, and for that I’ll always continue to root for Tubi for being brave enough to stream this stuff for all of us to enjoy.

The Unearthly Isn’t Nearly As Terrible As Its Reputation Suggests

At its heart, The Unearthly is a sort of Frankenstein story about a mad scientist named Dr. Charles Conway (John Carradine), who spends all of his time focused on longevity research. With the help of his assistant, Dr. Sharon Gilchrist (Marilyn Bueferd), his dim-witted enforcer, Lobo (Tor Johnson), and his supplier, Dr. Loren Wright (Roy Gordon), Dr. Conway tests his wild theories about gland manipulation on people he believes are transients with no meaningful familial connections. But he’s so blinded by his dedication to unethical science that he’s not particularly good at covering his tracks.

It doesn’t help that Dr. Wright’s approach to abducting humans involves offering treatment for what actually ails them before referring them to Dr. Conway. Grace Thomas (Allison Hayes), for example, is seeking treatment for depression and melancholy, but Dr. Conway couldn’t care less about actually helping his patients. He just wants to play God with their bodies now that he’s made some forward progress with his most recent case, Harry Jedrow (Harry Fleer), who is technically still alive, but hardly what one would consider a conscious human being. To make matters worse, Jedrow’s sister is actively searching for her missing brother.

Of course, for this film to work, we need even more people to disrupt the dynamic, and we’re introduced to Danny Green (Arthur Batanides), who wants treatment for his anger management issues, and Natalie Andries (Sally Todd), who hopes to recover from her most recent nervous breakdown. Joining in on the fun is an escaped convict named Frank Scott (Myron Healey), who, after being properly outed by Conway, can either agree to subject himself to his experiments or turn himself over to the authorities.

With the whole cast of characters primed to discover the truth behind Dr. Conway’s practice, we’re now ready to watch disaster unfold. This involves people suspecting foul play, lots of whispered conversations behind closed doors, active but secret test subjects refusing to stick to the script, botched escape attempts, and plenty of unintended comedy from Lobo lumbering around the place letting everybody know that it’s “Time for go to bed.”

Not High Art, But A Serviceable Relic

If I had to compare The Unearthly to anything modern, I’d say it plays more like a standalone episode of an anthology series than a full feature-length film. Clocking in at just 73 minutes, the movie doesn’t even have enough time to wear out its welcome, but it certainly spends all of that time being as melodramatic as possible. We have a bunch of cocksure gentlemen trying to figure out the depths of Dr. Conway’s insanity, and a bunch of hysterical damsels in distress getting shackled up and experimented on.

The film’s ending also plays out like something you’d see in The Twilight Zone or Black Mirror. The only difference is that the final reveal is supposed to be shocking and horrifying, but it’s delivered so flaccidly that it feels like an afterthought.

At the end of the day, nobody needs to watch The Unearthly because, in the decades before and since, there have been plenty of iterations of this kind of story, all of which vary in quality. It’s not terrible, though, and it’s worth a look if you want to see how low-budget sci-fi horror was made during this alleged Golden Era of cinema.

Or, who knows? The reason I have such an ongoing obsession with straight-to-video sci-fi thrillers from the late 80s and early ’90s is because there are so many hidden gems that never saw the light of day. The same can be said for any decade. While I don’t think I’ll be writing letters home about The Unearthly, it remains a fun blast from the past that doesn’t require much of a commitment to burn through on a rainy day, and it’s enough to keep me digging for some overlooked gold.

As of this writing, The Unearthly is streaming for free on Tubi.

Mel B is getting candid about how dance helped improve her mental health after leaving her reported abusive relationship with producer Stephen Belafonte. In a new interview, the Spice Girls group member also spoke about the key to staying physically and mentally healthy.

Speaking with PEOPLE, Mel B opened up about a recent Zumba class she led at the SXSW event on June 2. At the end, “Wannabe” singer said that dancing, especially Zumba, has been a life-changer for her.

“Because I had a 10-year very abusive marriage, when I got out of there, I had to piece my life back together,” she said. “Trauma doesn’t really leave you and your body keeps that trauma in.”

According to Mel B, real name Melanie Brown, dancing has given her a sense of “freedom” she didn’t have while in her relationship.

Mel B Opens Up About How She’s Stayed Healthy By Having An Active Lifestyle

Mel B is no stranger to dancing or being under the bright lights. She shared with PEOPLE that she was trained as a dancer; however, Zumba allows her to feel something entirely different.

“… this is just so much more free and you can just put your own personality on it, and it’s a good way of keeping fit and moving,” she said. ” And that’s what I love to do.”

For Mel B, she’s also discovered that staying healthy is easier than some might believe it to be. “I think just moving and keeping some kind of movement in your body is so key to being healthy,” she said, adding, “At the end of the day, who wants to be a couch potato?”

Zumba Makes Mel B Happy

In addition to finding freedom through Zumba, Brown, 51, said that the style of exercise just makes her “happy” and has had a positive impact on her day-to-day.

“It just makes you happier because you can choose your own music, you know, everything’s in the count of 8, so it’s really kind of easy to follow,” she said before sharing what she’s learned with those who are wanting to live a healthier life.

“Do something that speaks to you,” she stated. “I think just being able to get your body moving, however you interpret it, whatever music, it just makes you a little bit happier. I think that’s important.”

The Singer Detailed The Abuse She Suffered In A Past Relationship

During her appearance on a previous episode of the “Mad Sad Bad” podcast, Mel B opened up about the “manipulation” she dealt with while in a previous relationship.

The singer explained that she would often deal with her ex-partner doing things, such as moving her diamond earrings from the bed side table and placing them in the refrigerator, only to berate her about being “irresponsible.”

“… and I’d question myself, maybe I did put them in the fridge,” she said before admitting she dealt with upsetting manipulation tactics frequently.

“A lot of that went on and I literally felt like I was going mad and I would double check myself… almost like you were living in a fantasy world where I know that that wasn’t there before and I know where my coffee mug is,” she said.

According to Mel B, there’s a lot of “self-doubt” when you’re in an abusive relationship, considering abusers seek out people they can control.

“They find you when you’re either at your most vulnerable or when you’re at your happiest,” she said. “It’s a challenge to them to see how they can get you and how they can then start to manipulate and it doesn’t happen all at once.”

Scary Spice Wants A Reunion

According to a previous report from The Blast, Mel B is holding onto hope that she and her Spice Girls band mates will reunite one day for a massive tour featuring their biggest hits.

“In a perfect world, we’d already be on tour right now, touring the whole entire world,” she said. “I’m always ready to go on tour with the Spice Girls. I wouldn’t be sitting here if it weren’t for my other four girls, if I weren’t part of that kind of girl power crazy roller coaster ride.”

While the group had plans to reunite for a 30th anniversary, it all came crumbling down due to reported scheduling demands and group tension. However, stranger things have happened in the entertainment industry, so fans should never say never!

The internal investigation into the relationship between New England Patriots head coach Mike Vrabel and former Athletic NFL insider Dianna Russini reportedly remains ongoing nearly two months after its launch. 

The Athletic’s senior editor, Steven Ginsberg, held an all-hands meeting with the staff last week where he provided an update, according to a story published by Page Six on Sunday, June 7.

“It’s going to take a few more weeks,” Ginsberg reportedly told his staffers. “There’s just a lot to go through, and we obviously want to take our time and be careful doing that. We will update everybody when we get to the end of that. We’ve also said that if we find anything that needs to be corrected, we will correct it along the way.”

Us Weekly has reached out to The Athletic for comment. 

Related: Mike Vrabel Poses With Wife Jen as Their Son Tyler Announces His Engagement

New England Patriots head coach Mike Vrabel and his wife, Jen, posed together in celebration of their son Tyler’s engagement, in the shadow of the head coach’s scandal involving NFL reporter Dianna Russini.  “The most perfect engagement surrounded by the people I love most,” Tyler’s fiancée, Mariah Romano, shared via Instagram on Sunday, June 7.  […]

The outlet announced that an investigation had been opened on April 11, four days after Page Six published photos of Vrabel, 50, and Russini, 43, together at a luxury resort in Arizona in March. 

Vrabel has been married to wife, Jen, since 1999, while Dianna and husband Kevin Goldschmidt have been married since September 2020. Vrabel and his wife share two sons, Tyler and Carter, whom they welcomed in 2000 and 2001. Russini and Goldschmidt share sons Michael and Joey, born in August 2021 and October 2022.

“The Athletic is investigating the conduct of a senior N.F.L. reporter, Dianna Russini, after the publication of photographs that showed her with Mike Vrabel, the head coach for the New England Patriots, according to a person familiar with the inquiry,” The Athletic’s own reporting said. “The Athletic’s editorial guidelines require that their journalists avoid any activities that pose a conflict of interest or the appearance of a conflict, so as not to call into question their credibility.”

In a meeting with his staff later that month, Front Office Sports reported that Ginsberg “acknowledged that communications could have been more clear” when it came to the investigation into Russini and Vrabel. 

Ginsberg reportedly read from a prepared statement “lasting about 10 minutes” and did not take any questions from staffers. 

When the first batch of photos of Vrabel and Russini were published, Ginsberg supported Russini vehemently. 

“These photos are misleading and lack essential context,” Ginsberg said at the time. “These were public interactions in front of many people. Dianna is a premier journalist covering the NFL and we’re proud to have her at the Athletic.”

Subsequent photos were later released of Vrabel and Russini from over the years, including images of the pair kissing at a New York City bar in March 2020. 

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Russini resigned from her position as The Athletic’s senior NFL insider on April 14. 

“I have covered the NFL with professionalism and dedication throughout my career, and I stand behind every story I have ever published,” Russini said in a written statement shared via social media. “When the Page Six item first appeared, The Athletic supported me unequivocally, expressed confidence in my work and pride in my journalism. For that I am grateful. In the days that followed, unfortunately, commentators in various media have engaged in self-feeding speculation that is simply unmoored from the facts.”

Russini continued, “Moreover, this media frenzy is hurtling forward without regard for the review process The Athletic is trying to complete. It continues to escalate, fueled by repeated leaks, and I have no interest in submitting to a public inquiry that has already caused far more damage than I am willing to accept. Rather than allowing this to continue, I have decided to step aside now — before my current contract expires on June 30. I do so not because I accept the narrative that has been constructed around this episode, but because I refuse to lend it further oxygen or to let it define me or my career.”

By Robert Scucci
| Published 6 minutes ago

Every once in a while, I stumble upon a horror thriller that has all the mechanics of a great movie but is just a little too on the nose. 2023’s You’re Killing Me falls into this wheelhouse, making it a perfect primer for somebody who doesn’t watch a ton of thrillers but wants to familiarize themselves with all the tried-and-true beats. The acting is melodramatic, every single person is a caricature, and there’s never a moment in the film where you’ll find yourself confused about who the good guy or bad guy is.

On paper, You’re Killing Me doesn’t sound like a fun watch, but it’s the perfect crash course for a casual viewer looking for something a little more straightforward and a lot less cerebral than some of its contemporaries.

Daddy’s Baddy Patching Up A Boo Boo

You’re Killing Me starts with a house party and ends in a disaster you see coming from a mile away. Here’s what happens.

Eden (McKaley Miller) drags her friend Zara (Keyara Milliner) to a house party hosted by Barrett Schroder (Brice Anthony Heller). Barrett is the spoiled rotten son of Congressman Schroder (Dermot Mulroney), and he’s pulling out all the stops while his parents are out of town. Though Eden qualifies for a scholarship at Pembroke University, she’s been waitlisted and hopes Barrett can use his father’s influence to get her bumped up the list.

Since the party is at a prominent public figure’s house, Barrett’s friend Kendra (Morgana Van Peebles) collects everybody’s cell phones upon entry. How convenient!

At the party, Barrett is a total jerk, but he warms up to Eden, who refuses to take no for an answer. Meanwhile, Zara gets overserved by Barrett’s best friend Gooch (Wil Deusner), the kind of kid who seems like he regularly overserves guests at parties like these. Later in the evening, Gooch stumbles upon a sleeping Zara and starts taking selfies next to her for social media clout or something, but he gets startled and drops his phone when Eden walks in on him.

As luck would have it, Eden sees a video of Barrett, Kendra, and Gooch harassing a girl named Melissa, who recently went missing. Unable to finish the video before the battery dies, Eden reasonably assumes they had something to do with her disappearance and possible death. When Gooch realizes what happened, he fetches Barrett and Kendra, who quickly shut down the party and send everybody home, knowing that Eden and an unconscious Zara are locked in one of the bedrooms upstairs.

The rest of the film goes about how you’d expect. Eden and Zara have access to a video that could expose what Barrett and his friends may or may not have done to Melissa, and Barrett will stop at nothing to break the door down and destroy the evidence. With daddy’s reputation on the line, he’s willing to kill and fully aware that his family will cover it up if things go too far.

Everything Is Done Well Here, But…

When assessing movies like You’re Killing Me, I always try to think about the target audience. I watch more thrillers than anybody I know, so this really didn’t do much for me. I mentioned at the top of this piece that the acting is melodramatic, but I think that’s exactly what directors Beth Hanna and Jerren Lauder were going for. In other words, yes, some of the performances are unapologetically over-the-top, but I honestly couldn’t see this story playing out any other way. Everybody is reliably doing what they’re supposed to be doing, so I can’t really fault them for that.

As for the good guy/bad guy dynamic, this is where You’re Killing Me is at its most egregious. I totally get that the whole “affluent kid can get away with murder if he wants to” angle makes for a compelling story, but it’s beaten over our heads. Everybody is unbelievably evil here. If you’re looking for a real-life comparison, I’d tell you that the Schroder family dynamic mirrors many of the reports you’ve probably heard about Alex Murdaugh and his family, who have been the subject of countless documentaries and true crime podcasts at this point.

I believe people like this exist because we hear stories about them in the news all the time, but translated into fiction, the social criticism loses some of its impact because everybody is so cartoonishly awful. The film never truly examines the systemic issues that allow people like this to operate in the first place, so it always feels like it’s saying, “Yeah it’s like that sometimes, deal with it.” 

Then again, this is a breezy thriller, and it’s never not escalating. I was personally underwhelmed by You’re Killing Me, a title that’s worked into the dialogue by its primary antagonist enough times to make you say, “Really?” But if you’re looking for a straight-up hostage situation where the worst kind of people do something horrible and try to get away with it, it’s structurally solid enough to serve as a valid entry point to the genre.

YOU’RE KILLING ME SCORE

As of this writing, you can stream You’re Killing Me on Netflix.

For most of its run, NCIS has preferred stability, with characters coming and going, but the Major Case Response Team’s structure has rarely changed. There was always a clear hierarchy, familiar faces in the bullpen, and Leon Vance overseeing everything. Season 24 may be about to break that pattern.

Wilmer Valderrama recently teased “major changes” and “major additions” coming to the long-running procedural. On the surface, that sounds like business as usual because NCIS has weathered cast departures before. But with Vance gone and several unanswered questions lingering from the Season 23 finale, the upcoming season appears poised to do something bigger than simply replacing missing pieces. For the first time in years, the series may have multiple roles to fill at once — and that could fundamentally alter how MCRT operates.

Leon Vance’s Death Leaves A Vacancy Unlike Any Other

Image via CBS

Over the years, NCIS has become accustomed to saying goodbye to agents, but directors are another matter entirely. Rocky Carroll’s Vance spent nearly two decades serving as the bridge between field work and the politics surrounding the agency. While characters like Gibbs (Mark Harmon), Parker (Gary Cole), McGee (Sean Murray), and Torres (Valderrama) handled cases, Vance occupied a position few other characters could. He was one of the show’s constants.

Replacing a field agent is relatively straightforward, whereas replacing a character who has anchored the series since Season 5 is considerably more complicated. Whoever eventually steps into that position will inherit one of the most important jobs in the franchise, and that assumes NCIS even wants another Vance.

There is no doubt from Season 23 that Gabriel LaRoche (Seamus Dever) has his own interests, and there is no evidence that he is the steady hand the MCRT needs for overall direction in the future, given his political manipulations. In fact, it seems there could be a power struggle for control in Season 24 before the dust settles.

Image via CBS

Valderrama’s comments about “major changes” and “major additions” stand out because NCIS typically favors one-for-one substitutions. When Gibbs left, Parker took over; when Abby (Pauley Perrette) departed, Kasie (Diona Reasonover) stepped into the lab. Even Jessica Knight’s (Katrina Law) arrival maintained the familiar rhythm the series had relied on for years.

Vance’s death leaves one vacancy; the fallout from the Torres and Mateo (Patrick Keleher) cliffhanger could create another. Meanwhile, Valderrama’s suggestion that multiple additions are on the way raises the possibility that CBS isn’t simply looking to expand the ensemble, which isn’t something NCIS has done often. For much of the Parker era, MCRT has operated with a leader, three field agents, Jimmy Palmer (Brian Dietzen), and Kasie, which has worked well and is precisely why any attempt to alter it would represent one of the biggest changes the show has made in years.

Murray recently reflected on the show’s history of adapting to different casts and praised Cole’s arrival as an opportunity that gave the series “real stuff to work” with. His comments serve as a reminder that change has often helped NCIS rather than hurt it.

Season 24’s Biggest Question May Be Who Joins MCRT Next

Image via CBS

At this stage, the identities of those presumed additions remain a mystery. The more interesting question, however, is what kind of characters the series actually needs. A new director seems inevitable; beyond that, however, NCIS could benefit from another field agent, which would give the team more flexibility than its traditional structure allows. It could also introduce someone from outside the agency, creating friction with Parker and forcing the team to adapt to a different leadership style.

Executive producer Steven D. Binder has been careful not to rely too heavily on Gibbs, treating the character almost as a larger-than-life figure rather than someone who can simply return and restore the old days. Meanwhile, Murray’s memories of Harmon’s gradual exit and Parker’s arrival highlight just how much the series has already evolved.

Whatever route the series takes, the decision will reveal a lot about where NCIS sees itself after more than 500 episodes. For years, the show has focused on preserving what worked, and Season 24 may finally ask a different question.