It comes as no surprise that Martha Stewart was in attendance at the Super Bowl LX in Santa Clara, California. But something that did leave us a bit stunned? Her comfortable airport outfit, which included a pair of slip-on sneakers that we want as our new travel shoes. Stewart’s exact pick is available on Amazon, and the breathable option is something you’ll want in your rotation, whether you’re walking onto an airplane, gearing up for a road trip or simply commuting to work.

Stewart consciously chose the Skechers Slip-Ins Go Walk Flex-Relish Sneakers to go with her travel aesthetic. In an Instagram post caption, the lifestyle queen noted that the shoes matched her Louis Vuitton coat, proving that celebrities are pros at incorporating high and low pieces into their wardrobes.

Get the Skechers Slip-Ins Go Walk Flex-Relish Sneakers for $64 (originally $81) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

The magic of the Skechers slip-ins is that the laceless design lets you slide your feet in without bending down. That especially comes in handy at the airport when you’re going through security. These sneakers feature the brand’s Air-Cooled Memory Foam insoles, as well as Ultra Go cushioning and Flex Pillars for support. What also makes them top-tier travel shoes is that they’re safe to throw in the washing machine, so there’s no need to stress if you accidentally kick a dirty suitcase wheel or if they get dirty throughout the day.

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There comes a point when your “go-to” sneakers stop feeling your best pair and start feeling a bit . . . tired. The once-bright white looks a little gray, or the cushioning isn’t quite as comfy, and suddenly, you’re dreading having to slip your feet into your old favorites. Even Sofia Vergara has had to […]

Stewart wore the Olive colorway, an attractive earth tone that feels a bit more special than basic black. However, neutral lovers will be thrilled to find that the same pair of sneakers comes in black, off-white, navy, gray and more. We’re also big fans of the hot pink, red and purple shades for a stylish pop.

Between the slip-on design and serious comfort factor, it’s no wonder that Amazon shoppers are raving about these Sketchers sneakers.

“These are the best sneakers (shoes) ever. I wear mine every waking minute,” one happy buyer said. “After some foot problems a few years back, I am more comfortable with these sneakers than barefoot, so I wear an inside pair around the house. They are lightweight and fit perfectly.”

“I’ve tried countless walking shoes, but the Skechers Women’s Hands Free Slip-ins Go Walk Flex-relish Wide truly stands out!” a verified purchaser wrote. :These shoes are incredibly comfortable with their memory foam insole that feels like walking on clouds, and the slip-on design makes getting them on and off a breeze.”

Whether you need a pair of travel shoes like Stewart or prefer an easy everyday option, the price (and comfort!) is right when it comes to these Sketchers. Grab ’em while they’re still in stock!

Get the Skechers Slip-Ins Go Walk Flex-Relish Sneakers for $64 (originally $81) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more slip-on shoes here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

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Trends come and go, but sneakers are forever in style. Bonus points when they’re comfy, versatile and crowd-loved, and these top-rated sneakers hit every note. Many have stamps of approval from rich moms like Gisele Bündchen, Katie Holmes, Kate Middleton, Meghan Markle and more, so don’t just take it from Us! Whether you’re looking for running shoes, […]

Netflix viewers have made it clear they’re curious about Unfamiliar, even if they’re not entirely sure how they feel about it. Recently, the six-part German spy drama has emerged as one of the largest contemporary successes on Netflix, surpassing 25.7 million hours viewed to reach the top of their global charts, according to FlixPatrol.

However, while there has been considerable growth in views, there has also been some criticism of the series; Rotten Tomatoes reports an audience score of 67%. It appears that the show is yet another example of Netflix experiencing immense success solely on the basis of its high number of views, while dividing viewers on whether it truly justifies its existence. Yet, regardless of these opposing opinions, the number of people who continue to binge-watch the show continues to rise.

What is ‘Unfamiliar’ About?

Image via Netflix

Unfamiliar centers on Simon and Meret Schäfer (Felix Kramer, Susanne Wolff), a married couple living a tightly controlled life in Berlin. On the surface, they run a restaurant and raise their teenage daughter, Nina (Maja Bons). Behind the scenes, they operate a discreet safe house — a leftover obligation from their former lives as intelligence agents who, for all legal purposes, no longer exist.

That balance collapses when a wounded stranger arrives at their door, dragging a long-buried operation from 16 years earlier back into the present. What follows isn’t just a game of cat-and-mouse with assassins and rival agencies, but a slow unspooling of the lies Simon and Meret have told their family — and each other — to survive. The series consistently frames espionage as something corrosive rather than glamorous. Every secret has a shelf life. Every compromise eventually leaks into the home.

Much of the online discussion around the show comes down to recognition. Retired spies pulled back into danger. A disastrous past mission resurfaced at the worst possible moment. A family unknowingly built on a foundation of false identities. None of this is new territory for the genre. Instead of constantly reinventing, Paul Coates, the creator of Unfamiliar, chooses to embrace genre conventions while reimagining them with older, more fragile, and more fatigued characters than one would expect to see in most spy-thrillers. The characters here may not be performing at an athletic peak. The aftereffects of injury and healing will affect them for a significantly longer period. Fights feel like a harder hit than a spectacular visual performance. This decision is what ultimately grounds the series. But it also explains why some find it lacking in drama and excitement. For those who pursue something “new” in entertainment, Unfamiliar often feels like a remix, not a new creation, but for fans who seek character-focused tension, nostalgia will be part of its enjoyment.

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Is ‘Unfamiliar’ Worth Your Time?

Image via Netflix

One reason Unfamiliar hooked so many viewers early is its restraint; the opening episode gives just enough information to establish stakes without spelling everything out. Revelations are seeded quietly, trusting the audience to connect the dots instead of spelling them out through exposition. That slow-burn approach continues throughout the season. The show prefers accumulating pressure to detonating twists, and while that patience won’t work for everyone, it helps explain why so many viewers finished the series even if they weren’t fully convinced. The tension doesn’t come from surprise alone, but from inevitability — the sense that these characters can only outrun their past for so long.

Netflix has become particularly good at turning spy thrillers into global conversation starters, and Unfamiliar fits neatly into that ecosystem. Its short episode count makes it easy to binge, its serious tone appeals to viewers burned out on lighter fare, and its Berlin setting adds a layer of historical espionage weight without leaning too heavily on spectacle. Authenticity is also significant: German Intelligence worked with the series to give the procedures shown a sense of realism, making it stand out among many films and television shows about this political and military issue. Therefore, by and large, those who have watched the show are likely to continue watching it for its performances and atmosphere.

This mix of competence, credibility, and accessibility helps build an audience for the series on a platform like this, where many viewers seek information based on their interests rather than popularity. Unfamiliar isn’t trying to redefine the spy genre, and that’s ultimately what makes it divisive. For some, it’s too careful, too recognizable, too restrained. For others, that same restraint feels refreshing — a reminder that tension doesn’t always need escalation to work. What’s undeniable is that audiences showed up in force. Whether viewers loved it, liked it, or simply wanted to see how it ended, Unfamiliar became a conversation piece through sheer momentum.

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Unfamiliar

Release Date

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February 5, 2026

Network

Netflix

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Writers

Paul Coates, Kim Zimmermann, Alexander Seibt

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Disney Channel’s original series Even Stevens premiered in June 2000 — and more than two decades later, some of its stars have gone on to achieve big dreams.

The family sitcom aired for three seasons between 2000 and 2003, coming to an end when it reached the network’s 65-episode limit. Each episode followed the eccentric Stevens family, focusing on the total opposite personalities of the two younger children, Ren (Christy Carlson Romano) and Louis (Shia LaBeouf). The cast came together once more for the Even Stevens Movie, which premiered in June 2003 and acted as the series finale.

Though it was short-lived, the Disney series was LaBeouf’s breakout role, earning him the 2003 Emmy for Outstanding Performer in a Children’s Series.

“I was an ordinary kid, for real, in an extraordinary situation,” LaBeouf recalled to The Hollywood Reporter in October 2019 of growing up on the Disney show.

Scroll down to see where the cast of Even Stevens is today:

By Chris Snellgrove
| Published 31 seconds ago

Even though the character didn’t really deserve all the hate, it didn’t take Star Trek: The Next Generation fans very long to decide that young Wesley Crusher was the show’s worst character. He was basically franchise creator Gene Roddenberry’s self-insert character, and this brilliant wunderkind was meant to attract younger fans to this ambitious sci-fi show. However, the fandom decided that he was both precocious and annoying, and it didn’t help that he was written as a Mary Sue who was magically smarter than all of the trained officers around him.

Interestingly, one of The Next Generation’s best writers decided that another character was even more of a child than Wesley. That writer was Melinda Snodgrass, best known for writing “The Measure of a Man,” the episode in which Data successfully argued that he was a living being and not a hunk of Starfleet property. But she also wrote “Pen Pals,” an episode where she had to convince the other staff members that Data was the only one who would casually violate the Prime Directive in this way because he has the mind of a child.

Do Androids Dream Of Alien Pen Pals?

Some quick context: “Pen Pals” is an episode in which the Enterprise is investigating a series of unexplored planets. Data eventually picks up a radio transmission from an alien girl, and he keeps talking to her for a month while concealing his identity. However, after she reveals that her planet is going to be destroyed, Data must convince Captain Picard to break the Prime Directive in order to save a young alien that he never should have spoken to in the first place.

Notably, this was an episode where the Star Trek: The Next Generation staff already knew the general story, but they didn’t know which member of the crew would be the one to speak to this hapless alien. “Pen Pals” writer Melinda Snodgrass was adamant that the only officer who would be foolish enough to speak to the alien girl (and therefore violate the Prime Directive) was Data. The primary reason that she gave was that despite the android’s highly advanced positronic brain, his mind is still developing, and he’s prone to make even more childlike mistakes than Wesley Crusher.

Flagrantly Violating The Prime Directive

As recorded in Captain’s Log: The Unauthorized Complete Trek Voyages, Snodgrass successfully convinced other staffers that Data was the best choice because “[Y]ou can picture Data becoming entranced in answering [the] question, ‘Is there anyone out there?’” One straightforward reason for this is that “he’s an android and if you ask him a question, you’re going to get an answer,” especially because “the whole thing would be so charmingly intriguing to him.”

According to Snodgrass, “You never could picture any of the other characters doing that, but Data can make the mistake…and step out of his careful Starfleet training because he’s really just growing up.” She then ended her thoughts with a statement that may very well shock most Star Trek: The Next Generation fans. “He’s more of a child than Wesley,” she said.

This is very ironic because most of Wesley Crusher’s most annoying qualities are chalked up to his being so young and, therefore, prone to mistakes. But Snodgrass sees Data as someone who, despite all the knowledge he has tucked away in his positronic mind, is still trying to figure out what it means to be both a person and a Starfleet officer. Therefore, he is prone to making rookie mistakes (like violating the Prime Directive by talking to a primitive alien and then asking Picard to violate it even more by saving her planet) that characters like Riker or Troi would never make. 

Wesley Grows Up

As if to drive this point home even harder, the B plot of “Pen Pals” involves Wesley Crusher being chosen to lead a survey team of experienced Starfleet officers. One of them pushes back against his orders, causing the young wunderkind to seek out command advice from Riker. The young man successfully convinces an abrasive officer to run some time-consuming planetary scans that ultimately reveal how to save the little girl’s planet from certain destruction, all while demonstrating how much he has grown as a character and an officer.

There you have it, Star Trek fans: Wesley Crusher might be the most hated character on The Next Generation, but the woman who wrote the ultimate Data episode (“The Measure of a Man”) thinks the android is even more childlike than the bridge crew’s only child. Fortunately, both Data and Wesley would spend the next few years growing and maturing, and each ended up being a far better character than they were in Season 1. Wesley left Starfleet and became a traveler, while Data eventually discovered a more fulfilling hobby than operating a HAM radio: playing cowboy on the holodeck.

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There’s a specific kind of thriller that starts by instantly removing the hero’s certainty. Not gradually or symbolically, but all at once. Phone numbers cease to work. Familiar faces go blank. What begins as an ordinary, recognizable life becomes something else entirely, almost overnight. Like The Fugitive and later The X-Files, the series builds tension from that loss of stability. But Nowhere Man pushes further, raising the possibility that even the main character’s memories may not belong to him.

Nowhere Man premiered in 1995 and centers on photojournalist Thomas Veil, played by Bruce Greenwood, with a tired, searching focus that never feels overstated. Veil wakes up to find his identity gone, his wife doesn’t recognize him, his bank accounts are inaccessible, and his closest friend is dead. The only thing he still has is a photograph that someone clearly wants to be erased, and before he can find out why, he must first prove he exists.

In ‘Nowhere Man,’ Identity Is Gone Before You Understand What Happened

“Absolute Zero” makes its intentions clear from the start. Veil steps away from dinner briefly, and when he comes back, his wife has vanished, and the staff treats him like a stranger. The confusion only deepens when he returns home and finds another man living there. His financial access is gone. His identity no longer holds weight. The episode moves quickly, stripping away every point of certainty Veil relies on.

The paranoia increases exponentially once Veil realizes his erasure is not random. It is connected to a photograph he took overseas, an image that captures something that powerful people want erased. The negatives become his only leverage and his only protection. He spends the rest of the series guarding them, even as it becomes unclear whether they contain the truth or another carefully constructed lie. Episode 2, “Turnabout,” reinforces how fragile identity becomes once systems decide you no longer exist. Veil is captured by the same organization hunting him and forced to impersonate a psychiatrist treating another victim whose identity has also been erased. Seeing someone else trapped in the same situation removes any illusion that this is a mistake. It is a process, and Veil is only one piece inside it.

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What separates Nowhere Man from simpler chase thrillers is how often Veil faces choices that complicate his survival. In “Paradise on Your Doorstep,” he uncovers a secret community made up entirely of people whose identities have been erased. They pose as allies, providing safety and a sense of belonging. But their leader eventually pressures Veil to hand over the negatives, forcing him to question whether resistance has its own hierarchy of control.

That sense of isolation deepens in “You Really Got a Hold on Me,” where Veil meets Gus Shepard (Dean Stockwell), a man who has been running from the same conspiracy for decades. Shepard shows him the long-term cost of this existence. The running never stops, and survival becomes routine rather than victory. Veil sees his possible future reflected in someone who has already lost everything.

The show also understands the psychological toll of constant doubt. In “Something About Her,” Veil is drugged and manipulated into believing he has fallen in love with a woman who is actually part of the conspiracy. His emotions feel real even as the situation is fabricated. The episode does not rely on action to create tension. It lets uncertainty do the work.

The Sci-Fi Twist Makes Reality Itself Unreliable

Image via Touchstone Television

What truly sets Nowhere Man apart is its gradual transition from a conspiracy thriller to science fiction. Early episodes hint at surveillance and manipulation. Later ones suggest something far more invasive. In “Stay Tuned,” Veil infiltrates a small town where residents are subtly controlled through media exposure and psychological conditioning. The environment looks normal, but behavior reveals something engineered beneath the surface.

The series takes a more invasive turn in “Through a Lens Darkly,” when Veil is drugged and made to revisit pieces of his past. The memories appear real, but something about them feels off. He begins to understand that even his personal history isn’t beyond reach. It can be manipulated like any other part of his life. This development changes the entire premise. Veil isn’t only fleeing from people trying to kill him. He’s escaping those who can alter his perception of reality itself. That makes every answer questionable, including the ones he discovers.

‘Nowhere Man’s Final Revelation Changes Everything

When “Gemini” arrives, the show shifts the ground beneath Veil one last time. New revelations force him to reevaluate assumptions he’s relied on since the beginning. The photograph that once anchored his search no longer feels like the full story. Certainty becomes harder to hold onto.

The finale doesn’t offer resolution so much as expansion. Veil realizes his fight isn’t confined to a single moment or a single explanation. He’s left moving forward, still searching, still refusing to disappear — even as the scope of what he’s up against becomes harder to define.

Nowhere Man never became a mainstream success, but the tension it created still resonates. It moves with control, allows the unknown to linger, and never pretends everything will be explained. It takes The Fugitive‘s chase structure and X-Files’ and reworks it around a more unsettling question — not whether the hero can prove his innocence, but whether he can prove he was ever truly himself at all.

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Nowhere Man

Release Date

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1995 – 1996-00-00

Network

UPN

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Directors

Ian Toynton, James Whitmore Jr., Guy Magar, Michael Levine, Reza Badiyi, Thomas J. Wright, Greg Beeman, James Darren, Mel Damski, Steven Robman, Tim Hunter

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