Entertainment
‘The Wheel of Time’ Meets ‘Sherlock’ in Prime Video’s 2-Part Fantasy Series
Fantasy has thrived on TV for years, with beloved series like Game of Thrones and His Dark Materials becoming major successes. As every streamer tries to cash in on this success, some have taken more chances than others. While the genre covers a lot of ground, no show is quite like the 2019 series Carnival Row, which combines the greater magical conflict of The Wheel of Time with Sherlock‘s murder-mystery structure.
The Orlando Bloom and Cara Delevingne-led dark fantasy series ran for two seasons before its cancellation. Yet, despite its big names and compelling story, the series remains an underrated gem, full of fantasy creatures, crime drama, and surprise twists. With a dark mystery and an intricate world, Carnival Row is an exciting and quick binge-watch for anyone who enjoys the fantasy genre.
What Is ‘Carnival Row’ About?
Carnival Row introduces a steampunk fantasy world that is grim despite the prevalence of mythical beings like pixies and fauns. Following a devastating war, the fae homeland has been destroyed, forcing them to move to the human city known as the Burgue, which allows refugees but offers them little respect. The fae live on Carnival Row, and the rest of the city’s population ignores or despises them. The story primarily follows Rycroft “Philo” Philostrate (Bloom), the sole inspector willing to investigate crimes committed against the city’s fae. When a string of unnatural murders breaks out, targeting humans and fae alike, Philo is the only one equipped with all the information to solve it. His investigation grows more complicated when his old flame, the faerie Vignette Stonemoss (Delevingne), moves to the city and falls in with a rebel group that puts her in direct opposition to the law Philo enforces.
Beyond the dangerous streets of Carnival Row, the elite of the Burgue have their own storylines. A rich faun, Agreus (David Gyasi), moves into a mansion but receives little acceptance. His neighbors, Ezra (Andrew Gower) and Imogen Spurnrose (Tamzin Merchant), quickly judge him, allowing the series to explore prejudice even more deeply. Meanwhile, political rivalries in the city grow as the parliament argues over rights that should be afforded to fae refugees. When Chancellor Breakspear (Jared Harris) discovers that his son, Jonah (Arty Froushan), has been abducted by his political opponents, the city’s tension reaches a breaking point.
‘Carnival Row’ Is an Underrated Fantasy Series
Carnival Row uses its many plotlines to create an expansive world, much like The Wheel of Time. But instead of exploring different cultures and ancient secrets across multiple continents, it focuses on a single city from every angle, from the slums the fae are forced to live in to the mansions of the rich and influential. The audience experiences the Burgue through Johan Breakspear’s privilege, Philo searching the criminal underworld for answers, and the perspective of characters like Tourmaline (Karla Crome), who works in a brothel on Carnival Row. Despite the presence of mythical creatures, the series is surprisingly grounded, addressing real-world issues like immigration, prejudice, and political corruption.
Unfortunately, Carnival Row‘s production faced COVID delays, and the series wrapped up earlier than initially planned, making it yet another fantasy series that ended too soon. Though it did receive an ending, which is more than many shows earn, the series’ world could have continued to grow over additional seasons. While the story gets dark at times, Carnival Row is a unique addition to the fantasy genre that deserves more attention than it receives.
- Release Date
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2019 – 2022
- Network
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Amazon Prime Video
- Showrunner
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Travis Beacham
- Directors
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Travis Beacham
- Writers
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Travis Beacham
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Natural light is one of those home features people rarely think twice about until summer turns it into a line item.
The same south-facing windows that make a room feel bigger and brighter can also spend hours feeding heat into the house, leaving the AC to undo it later. After a record-hot July and another jump in cooling costs, that tradeoff is getting harder to ignore.
The answer is not to turn a sunny home into a cave. For most homeowners, the smarter move is figuring out which two or three windows are doing the most damage and treating those first.
Natural Light Is Getting More Expensive to Keep
Natural light still ranks near the top of what American buyers want. A 2026 Redfin survey found 44 percent of U.S. residents would choose a smaller home with more sunlight over a larger one with less, and 57 percent called sunlight either “non-negotiable” or “very important” when considering a new home.
That preference is colliding with hotter summers. The National Centers for Environmental Information reported July 2026 as the warmest month ever recorded for the contiguous U.S., averaging 76.9°F.
For homeowners doing the math on cooling costs, the number worth memorizing comes from the Department of Energy, which estimates that heat gain and heat loss through windows account for 25 percent to 30 percent of residential heating and cooling energy use. During a heat wave, that share shows up in real dollars.
“I have buyers who walk into a home that checks every box online and walk right out after making it past the entryway because of low light,” said Cassia Bourne, a Redfin principal agent in Denver. “I use those moments to tell my sellers that light sells a home — it makes it feel larger, cleaner and more inviting.”
Bourne’s point matters for resale value. Any fix that permanently dims a bright room may fight the exact feature that drives offers.
Window Heat Gain Is Pushing Electric Bills Higher
Three forces are converging on the same pane of glass.
Cooling is materially more expensive than it used to be. The National Energy Assistance Directors Association projected the average U.S. household would spend about $792 on electricity during summer 2026, up 10.5 percent from 2025 and nearly 40 percent from 2020.
“Electricity prices continue to rise, and hotter summers mean households need to use more electricity simply to stay safe,” said Mark Wolfe, Executive Director, National Energy Assistance Directors Association. “The result is that Americans are paying substantially more to cool their homes than they were just a few years ago.”
Buyer taste hasn’t budged. Bourne’s Denver clients keep walking out of dim listings, and Redfin’s survey suggests that reaction is widespread. A seller who blacks out every window to lower the AC load risks losing thousands at closing.
The performance data on window coverings gives DIYers real options, each with a clear tradeoff. Consumer Reports, citing DOE guidance, notes that smart use of window coverings can cut unwanted heat gain by up to 77 percent. Medium-colored drapes with white plastic backings reduce heat gain by about 33 percent. Highly reflective blinds do around 45 percent when fully closed. Exterior awnings can reduce solar heat gain by up to 77 percent on west-facing windows, per DOE, though they aren’t practical for renters.
Drapes are the cheap workhorse, blinds are the flexible middle, and awnings are the heavy hitter if you own the house and don’t mind changing the curb appeal.
Homeowners Are Getting More Strategic About Which Windows to Treat
Expect the next 12 to 24 months to reshape how households think about their windows, less as a binary between “open” and “blackout,” and more as a room-by-room energy decision. Three scenarios look most likely.
Static-cling and low-e films go mainstream as the renter-friendly middle option. In a 2025 Washington Post article, Seattle-area window-film estimator Bret Seeger framed the choice bluntly. “It’s always a trade-off,” he said. Films that block more solar heat generally reduce more visible light too. Seeger estimated that a relatively transparent low-e film letting in about 70 percent of visible light could lower summertime room temperature by roughly 3 to 4°F in a typical Seattle-area home without AC, though results vary by window, climate and film. Reader action. If you rent or don’t want to alter your glass permanently, price out static-cling film this spring for west- and south-facing panes only. Skip north-facing windows entirely, they aren’t your problem.
Seasonal treatment becomes the norm, not the exception. Blackout curtains hung with tension rods can go up in June and come down in September, and film can be peeled off. More households will treat window coverings like storm windows, a summer layer that comes and goes. Reader action. Before the next heat wave, identify the two or three rooms that overheat first in the afternoon. Those are the only ones worth treating. Leave the rest bright.
Spectrally selective coatings set the ceiling on what’s possible. Some advanced low-e films filter out 40 percent to 70 percent of the heat normally transmitted through insulated glass while still allowing visible light through, per the DOE. Cheap static-cling films won’t necessarily match that. Reader action. If you own your home and plan to stay five-plus years, get a quote for professionally installed spectrally selective film on your worst offenders and weigh it against your last three summer electric bills.
The bottom line for a weekend improver is simple. Don’t try to fix every window. Fix the two or three that are costing you the most, and let the rest keep doing the job you bought them for.
Most people know Johnny Galecki as Leonard Hofstadter from The Big Bang Theory. His Pasadena bachelor pad was practical and filled with science equipment, books and pop-culture memorabilia. His real home is nothing like that sitcom set. It is a maximalist dream that leans into the “eccentric aunt aesthetic” with velvet seating, saturated colors, oversized […]
THREE SIGNALS TO WATCH
- NEADA’s next summer electricity cost projection, which will show whether the 10.5 percent year-over-year jump repeats in 2027.
- NCEI’s monthly national climate reports through summer 2027. Another July above 76.9°F would confirm the trend, not the anomaly.
- The next Redfin sunlight survey. If the 44 percent who’d trade square footage for sun holds or rises despite higher bills, expect film and shade demand to accelerate.
Silo‘s Ashley Zukerman broke his silence on the season 3 finale revealing a shocking twist with new character Troy.
The Friday, September 4, episode of the Apple TV series picked up with a flashback where Daniel (Zukerman) was revived from cryogenic sleep in Silo 1 as a specialist named Troy. He couldn’t remember his past and was brought back to lead the execution of the Silo 17 rebels who exited their Silo.
Troy struggled with flashes of his old life, which viewers saw throughout season 3. Before Victor (Matt Craven) died by suicide in the present timeline, he requested that Troy be revived and he left him a message that confirmed he was searching for someone named Helen.
“I thought I knew what was happening. I got on this call with Yana Grebenyuk Graham [Yost] when the show came up and when I came up with an idea for Daniel,” Zukerman, 42, exclusively told Us. “And he told me the story, and it was beautiful, but he left Troy out.”
Zukerman was “already sold” before they even got to Troy.
“I just like this team, and I love this show so much. But then it was only a week before starting that we got sent all the scripts, and I was reading, and I was fascinated,” he recalled. “And then I got to episode 10, and I was genuinely shook.”
Zukerman continued: “I remember exactly where I was. I texted Graham, and then I just had to go for a walk. I didn’t see it coming at all. And I was hit by a profound sort of … I think I was simultaneously hit by Daniel’s experience and the tragedy of that and also by the gift I knew I was given as an actor.”
Silo is set in a dystopian future where a community exists in a giant underground silo comprising 144 levels. The sci-fi series is shrouded in secrecy as viewers tune in to see how the past and the present will come together before the show’s fourth season.
“Season 3 keeps recontextualizing what you thought was happening,” Zukerman teased. “That ramps up even more. I’d say don’t take anything for granted [ahead of the last season].”
With the introduction of Troy, Zukerman is poised to take center stage in the show’s final season as this version of Daniel comes to terms with the manipulation that he went through — all while trying to find his wife, Helen (Jessica Henwick).
“I’ll say that I loved the setup that we know who Daniel was, we know what he’s really about, but he has been weaponized by this organization,” he explained. “And for that iteration of him to be put up against Rebecca [Ferguson]’s strength and intelligence [as main character Juliette], that was such an exciting opportunity. That was very exciting to me.”
Zukerman expressed excitement at where the show goes from here — especially after connecting so closely to both characters.
“As soon as I read Troy, I felt like I wanted there to be no difference. I did connect to him immediately,” he told Us. “I saw why they wanted me, and I really thought I was just going to try to put all of myself in him. I was just going to try to put myself in his shoes as much as possible, which is, I think, probably the more I do this, the best way to approach a character anyway.”
Zukerman was grateful for the opportunity to grow as an actor, adding, “But this I felt really invited me to do that, knowing that what we were then going to do is actually take his entire history and his life away from him. I think because of that context, it gave me permission to just really just throw myself into it completely.”
He continued: “The way he’s goofy, the way he’s a bit of a dog and the way that he thinks he’s funnier than he is and smarter than he is. There are so many parts of him that I connected with that I just thought I really wanted to see what would happen if I just really loved as much as I love and was as dorky as I am dorky.”
Silo is currently streaming on Apple TV.
2026 hasn’t exactly been a banner year for Ridley Scott, who finally returned to the world of sci-fi with his latest film, The Dog Stars. The film came into theaters carrying a $70 million budget, which seemed risky, especially considering the box office performance of his last few movies. Analysts who predicted the film would struggle were proven right — at the time of writing, The Dog Stars has eked out only $21 million at the global box office, putting it more than $100 million behind its estimated break-even point. Scott’s work on recent historical epics like Gladiator II and Napoleon also proved troublesome when it came to turning a profit at the box office, but both movies carried budgets of more than $200 million, meaning they would have needed close to half a billion just to break even.
Before The Dog Stars, Scott’s last sci-fi movie came in 2017 when he directed Alien: Covenant, the follow-up to his 2012 Alien prequel, Prometheus. Scott had previously said he was done directing Alien projects, but he softened his stance on this recently when he confirmed that he’s working with Michael Fassbender to develop a new Alien prequel movie centered around his android character, David. Scott has remained involved in the Alien franchise in the last few years as a producer, though, on projects like Alien: Earth, the first ever Alien TV show.
Written and created by Noah Hawley, Alien: Earth was a massive hit, and the show was renewed for Season 2 last year. Disney+ Canada took to its personal X account yesterday to confirm that the second season of Alien: Earth is officially in production, sharing a video of stars Sydney Chandler and Babou Ceesay on-set between takes. Game of Thrones stars Peter Dinklage (Tyrion Lannister) and Jerome Flynn (Bronn) are also reuniting in the second season of Alien: Earth.
Is ‘The Dog Stars’ on Streaming?
At the time of writing on September 4, The Dog Stars is not available to watch on any streaming platforms — the only way to watch the film is to go see it in a movie theater, which is the way Ridley Scott intended for it to be seen. Scott enlisted some big-time stars like Josh Brolin and Jacob Elordi to headline The Dog Stars, but despite even more star power like Guy Pearce and Margaret Qualley, the film is still struggling financially. Fans can expect The Dog Stars to hit VOD platforms like Prime Video sometime in the next few weeks as its box office numbers continue to dwindle.
Check out the first season of Alien: Earth on Hulu and stay tuned to Collider for more updates and coverage of Ridley Scott’s future projects.
- Release Date
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August 12, 2025
- Directors
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Dana Gonzales, Ugla Hauksdóttir, Noah Hawley
- Writers
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Bob DeLaurentis
September is here, and every dedicated book-lover knows what that means: it’s time for peak reading season. With major releases on the horizon and the ideal level of coziness setting in the air, what better way to celebrate fall than with some great reads? And if you’re looking for a new book this weekend, you’ve certainly got a lot to choose from.
Between beloved classics and new bestsellers, there’s a wealth of great books out there in the world, but to make things a little easier, we’ve narrowed down a selection of must-reads that have been rocking the charts and sweeping accolades recently. Without further ado, here are three great books that we think you should read this weekend.
1
‘The Disappearers: A Novel’ (2026)
Image via Riverhead Books
Written by acclaimed Jamaican author Marlon James (creator of the Channel 4/HBO series Get Millie Black), The Disappearers is a novel set in 1980s Kingston, Jamaica. The story revolves around a gay theatre troupe preparing for a production of John Herbert’s Fortune and Men’s Eyes, who experience a homophobic attack and adopt different strategies to navigate its aftermath. The novel is James’ first new book set in Jamaica after his Booker Prize-winning 2015 work A Brief History of Seven Killings.
Like James’ acclaimed previous work, The Disappearers is an intense story that shows great dedication to realism in both its characterizations and its depiction of violence. The novel made it onto the longlist for the 2026 Booker Prize and has been highly acclaimed by critics. Informed partly by the author’s own experiences and stories he heard in his youth, the book paints a fascinating picture of queer life in Jamaica and the complex intersections of race and sexuality.
2
‘This Is Me: A Reckoning’ (2026)
The world at large was shocked and saddened by the sudden passing of actress and singer Hayden Panettiere last month. Despite her popularity and accolades, Panettiere’s death certainly reminded a lot of people that they knew so very little about the star beyond her work in iconic classics like Remember the Titans, Nashville, and Heroes, and if you’re one of those people, then you need to have this book on your reading list.
Published in May 2026, just months before Panettiere’s death, This Is Me: A Reckoning is a candid, intimate memoir in which the star recounts her lifelong relationship with the world of entertainment. The book shares the highs and lows of Panettiere’s life, including her struggles with loss, postpartum depression, addiction and recovery, domestic abuse, and more. Yet, despite the pain and hardships it outlines, the book is ultimately inspiring, which also makes it all the more heartbreaking.
3
‘Theo of Golden’ (2023)
The third book and first novel by American author Allen Levi, Theo of Golden started life as a self-published book before being picked up by Simon & Schuster for a traditional release in 2026. The story follows the titular stranger, who arrives in the small city of Golden and visits the local coffee house, where he finds 92 portraits of the people of the city. Buying them one at a time, he sets out to reunite the portraits with their subjects, with each exchange leading to a new connection.
Despite the fact that none of the marketing materials for Theo of Golden mention this, it is a narrative rooted in Christian values. This can come as a surprise to some readers who may be expecting a quirky slice-of-life story, but the book is most accurately described as an allegorically and morally charged Christ-narrative, with its protagonist often interpreted by reviewers as a stand-in for God. While that does mean that the book may not be as appealing to all audiences, it’s a heartfelt work with an emphasis on kindness and grace, which we could all use a lot more of, regardless of our religious persuasions.
- Release Date
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2024 – 2024-00-00
- Network
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HBO Max
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Tamara Lawrance
Millie-Jean Black
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One of the best and most underrated shows of its era is suddenly shooting its way up the Apple TV Store charts. NBC’s Chuck was an amazing series that blended comedy, romance, and spy-thriller drama. Lasting for five seasons and 91 episodes, the beloved series constantly overcame the odds and near cancellation and improved with each season. Viewers who love the nerd pop-culture references of The Big Bang Theory but also enjoy the intrigue and action of spy-themed shows like Alias got the best of both worlds in Chuck!
How ‘Chuck’ Paralleled ‘The Big Bang Theory’
Chuck and The Big Bang Theory, both produced by Warner Bros. Television, debuted on the same night on opposing networks: Chuck on NBC and The Big Bang Theory on CBS. The Big Bang Theory and Chuck shared various elements, focusing on unassuming “nerdy” fanboy types, i.e., Chuck Bartowski (Zachary Levi) and Caltech physicists Leonard Hofstadter (Johnny Galecki) and Sheldon Cooper (Jim Parsons). In Chuck, Chuck is smitten with and romantically pursues the blonde CIA super-agent, Sarah Walker (Yvonne Strahovski). Meanwhile, in The Big Bang Theory, Leonard falls for his next-door neighbor, Penny (Kaley Cuoco). It’s the typical trope of the “nerdy” guy falling for the unattainable “hot” girl, but Chuck throws in some amusing twists.
In Chuck, Sarah’s an experienced CIA agent. Meanwhile, Chuck is a down-on-his-luck IT specialist for the Buy More and its “Nerd Herd” squad. Through a twist of fate, Chuck receives an email, linking his brain to a CIA/NSA supercomputer called the Intersect. Now his brain contains all the data of two intelligence agencies, making him an invaluable asset to both. Chuck then forms a misfit team with Sarah and the grumpy NSA agent, Major John Casey (Adam Baldwin), where they go on crazy spy missions together. Chuck uses his Intersect “flashes” to aid Sarah and Casey, while many high jinks ensue along the way.
Before he was wrongfully expelled, Chuck was a brilliant engineering and scholarship student at Stanford University, so he possesses a strong scientific background, much like the lead characters in The Big Bang Theory. Both series routinely reference other pop-culture movies and television shows, especially of the sci-fi and fantasy variety, like Star Wars, Star Trek, Tron, and The Lord of the Rings, along with superhero comics.
‘Chuck’ Mixes Comedy With Spy-Thriller Intrigue and High Stakes
What made Chuck such a fun and exciting series was its genre mash-up style. It mixed hilarious comedy with spy-thriller intrigue and genuine stakes. The antics involving Buy More and its supporting cast leaned heavily on the comedic side, especially those involving Chuck’s goofy work colleagues Jeffrey Barnes (Scott Krinsky) and Lester Patel (Vik Sahay), or Chuck’s klutzy best friend with a heart of gold, Morgan Grimes (Joshua Gomez). However, the spy-related plots in Chuck, including the villains, were generally treated more seriously and with higher stakes, much like the hit ABC television series Alias. Most of the comedy comes from watching Chuck struggle with being thrust into life-or-death scenarios, where he tries to fake it as a genuine spy. The series also featured cool action scenes every week, much like Alias, which brought cinematic-level production values to television.
While the Buy More characters were mainly utilized for comic relief, the show’s villains were no-nonsense, serious threats. Chuck utilized a hyper-realized version of the spy world that leans into a more pulpy, comic book style, rather than a more grounded and realistic spy thriller. Throughout the series, Chuck faced malevolent clandestine organizations, such as FULCRUM, The Ring, and Volkoff Industries, mirroring the villainous organizations like The Covenant from Alias. Much like Arvin Sloane (Ron Rifkin) and other villains in Alias, the antagonists in Chuck presented genuine threats to the heroes, including Chevy Chase, playing against type as the megalomaniacal CEO Ted Roark.
‘Chuck’ Inspired Its Fanbase
Chuck was an underdog series that faced cancellation every season. However, thanks to a loyal fanbase that consistently rallied behind the show, the series miraculously defied cancellation for multiple seasons, right until its finale. The show came closest to cancellation after its second season, which ended on a major cliffhanger. Fans came together to save the series, targeting Subway, one of the show’s sponsors, in a creative grassroots campaign where even star Zachary Levi got involved. NBC took notice, and the show got renewed, with Subway even helping finance the show’s third season.
Chuck, with its unique blend of comedy that mixed the nerdy pop-culture-referencing style of The Big Bang Theory with the spy-thriller subplots of Alias, accomplished something fun and unique. When its two seemingly disparate styles of slapstick comedy and high-octane action collided, the show became even more entertaining. Chuck essentially offers the best of both The Big Bang Theory and Alias, which longtime fans of the series already know. The series and Chuck Bartowski’s journey from college dropout Nerd Herder to a world-renowned superspy is worth checking out on the Apple TV Store.
Big Brother 28’s LaTrice “Lala” Verrett wanted one of the reality TV icons out of the game — but she’s happy she didn’t attempt to make the move herself.
“Hindsight is 20/20. I’m actually glad that I did not target the icons because they had a power,” Lala, 57, exclusively tells Us following her eviction from the Big Brother house on Thursday, September 3. “So with that power, they could have taken themselves off the block by the time I was Head of Household, and that would have been horrible.”
Lala was referring to Rick Devens’ game-changing Diamond Power of Veto that he won from the BB Time Capsule in the second week of the game. The two-time Survivor player, 42, kept the prize a secret between him and Survivor winner Dee Valladares.
During Yash Patel’s HoH reign, the finance analyst, 24, put Dee, 29, on the block alongside Big Brother alum Angela Murray. Yash thought everything was smooth sailing to get an icon out, however, Devens had other plans. Devens used the Diamond Power of Veto on Dee and chose to nominate Yash’s pal Kamu Kirk instead.
Big Brother 28’s Haley Thogmartin had a rough go during the medieval-themed twist that went on all night. “I was out there for probably seven hours, but I didn’t know how long I’d be out there,” Haley, 29. exclusively told Us on Thursday, September 3, following her elimination from the Big Brother house. “Plus, it […]
“It would have been like Yash’s head of household, and it would have just been hijacked,” she recalls. “So what I did when I did it was what needed to be done.”
When Lala became HoH the week before Yash, she took a shot at Chuk Anyanwu and Haley Thogmartin who were aligned with the icons during the early stages of the game.
“Breaking up a power couple in the house was very important, and I think that that changed the trajectory of the game for my side,” she explains.
Chuk, 27, went home during Lala’s HoH and Haley, 29, was eliminated from the game during the medieval-themed twist following Big Brother’s 1000th episode.
Neither Angela, Dee or Devens have been up for elimination so far in this game. While Dee was saved by Devens, both he and Angela were able to win a BB Blockbuster and earn safety. If neither one of them had won, there was a very good chance they would have been evicted.
Devens was the target during the eviction that ultimately led to Lala becoming the first member of the jury. Lala was on the block next to her close ally and friend Taylor Brown.
“Taylor and I were like freaking water and and and oil at one point, but we love each other in a sense that like we can argue and we can disagree, but we always loved one another,” Lala tells of her and Taylor’s dynamic. “Her take on the game and how she played the game was completely different than my take on the game and how I played the game, and we kind of brought it together to work, and it worked for us for many a week because we were on that block, baby, and but we got off that block, baby.”
Lala also gushed that Taylor, 27, is “an intelligent young woman” who she enjoyed getting to know.
“I really enjoyed her, and I enjoyed the fact that you know I was her shoulder to cry on. She was my shoulder to cry on, and then we were in battle together,” she says. “It was good. I really love that child. I really do.”
Lala is now the first member of the jury and she will help decide who will be the winner of Big Brother 28. While her time was cut short, she made plenty of long-lasting memories.
“I think my favorite memory in the house would have to be when we had a dance class with Jason in the beginning,” she reflects. “Oh my gosh! We had so much fun, honey. We had a whole choreography done for us, and we all learned the choreography. All the girls, and we were supposed to have a show, and we never got a chance to have this show. But those times with Jason and Rome were really magical for me.”
Big Brother airs on CBS Wednesdays, Thursdays and Sundays at 8 p.m. ET.
Patrick Clancy and his legal team are reacting to a judge’s decision to declare a mistrial in his ex-wife Lindsay Clancy’s murder case.
“Patrick Clancy is grateful to the Court and to the jurors for their hard work, their commitment and their perseverance,” Patrick’s attorney David Meier said in a statement to CBS News on Friday, September 4. “The loss of Patrick’s children is something from which he will never recover and from which there will never be closure.”
The statement continued, “The prospect of reliving this tragedy through another trial is extraordinarily painful — for Patrick, for his family and for all of us.”
Earlier in the day, a judge declared a mistrial following a nearly six-week trial for the murder of the former couple’s three children: Cora, 5, Dawson, 3, and Callan, 8 months. Jurors deliberated for nearly seven days, but ultimately could not reach a unanimous decision and were deadlocked 11-1.
Lindsay Clancy’s ex-husband, Patrick Clancy, got emotional while describing their three children during his ex-wife’s murder trial after she killed them in January 2023. Lindsay, 35, was arrested on January 26, 2023, and charged with the murders of their children Cora, 5, Dawson, 3, and Callan, 8 months. Three years later, Patrick, 38, took the […]
Lindsay previously admitted to fatally strangling her three kids in January 2023 before an apparent suicide attempt, which left her paralyzed from the waist down. Her defense team has argued that she had been suffering from postpartum psychosis and bipolar disorder before and at the time of the killings, claiming she was not able to differentiate right from wrong and therefore should not be held criminally responsible for her children’s deaths.
On Friday, Lindsay’s attorney Kevin Reddington was asked about his client’s ex-husband.
“I think, Patrick, you heard the 911 call; I think you can judge his credibility by that 911 call,” Reddington told reporters via NBC News. “I don’t know what is in Patrick’s mind when he testified, and the jury was able to evaluate him.”
When asked about rumors and speculation on social media that have falsely accused Patrick of murder, Reddington replied, “Regarding the people on the internet, I certainly don’t dismiss them. It’s amazing how they’re able to figure out facts, and they do investigations; it’s just truly amazing. This whole concept of the internet, it really is.”
Lindsay Clancy Greg Derr / POOL / AFP
Patrick, who has not been accused or charged with a crime involving his children, was one of the first individuals to testify during the trial. He described the day he found his wife after she jumped out of a second-story window of their home.
“She killed the kids!” he yelled in a 911 call played for the jury.
As prosecutors decide whether to move forward with another trial, Lindsay’s defense team is sharing their perspective on the high-profile murder case.
“Well, obviously this is not a time for gloating or bragging, expressing victory. It’s a very sad case,” Reddington told reporters on Friday amid a deadlocked 11-1 jury. “[Plymouth County District Attorney Tim] Cruz knows that he was crushed, that he doesn’t have a case, he doesn’t have to stand here and say that he’s advocating on behalf of the victims and then look down to see what their names are.”
Reddington continued, “I’m representing a woman who is a fantastic, wonderful individual. This woman is so brave; so awesome. Every day she came into this courthouse, stood tall — no pun intended, the poor thing is in a wheelchair as we all know for the rest of her life — sat there through seven weeks of a trial where nobody had anything bad to say about her except for the two prosecutors and apparently Tim Cruz.”
After court, Cruz tried to remind the public about the three children lost in a terrible situation.
“In the end, I bring it all back to the child victims in this case, Cora, Dawson, and Callan. This was, and it has always been, about getting justice for those three little babies,” he told reporters. “We’re here at this courthouse today because those children are not. Children were murdered and it’s our job to seek justice.”
If you or someone you know is pregnant or just had a baby and is in crisis, help is available. Call or text the National Maternal Mental Health Hotline for free, confidential support 24/7 in English and Spanish at 1-833-TLC-MAMA (1-833-852-6262).
The 1970s introduced many things into pop culture that lived and died over the decade: pet rocks, mood rings, lawn darts that injured thousands, and disco (which has an actual death date). It also launched the disreputable “jiggle TV” genre, a phrase coined by NBC executive Paul Klein, who defined it as “when you have a young, attractive television personality running at top speed wearing a limited amount of underwear.” Any show that met the criteria’s low bar, like The Love Boat and Three’s Company, were eternally saddled with the term, and dismissed outright.
The term itself largely stayed in the 1970s, even if the genre itself was kept alive with the likes of Baywatch. While there were true offenders, series like Wonder Woman offered more than the disdainful association, but “jiggle TV” was a difficult label to emerge from. But in what can only be called heavenly, one series’ long association with the term, Charlie’s Angels, has been given redemption 50 years later by earning Top 10 status on the Apple TV store. The question, however, is this: Should Charlie’s Angels be forgiven for its sins?
ABC Is Shocked by the Success of ‘Charlie’s Angels’
The series was the vision of producer Leonard Goldberg, who wanted to combine the British espionage series The Avengers with the female detective series Honey West. The series evolved into one about three strong women, whose assignments are given by an unknown man over a speakerphone. Actress Kate Jackson was the first cast as the series’ lead, and she offered development ideas, including the name “Angels.” Farrah Fawcett was then cast as “Athletic Angel” Jill Monroe, followed up by Jaclyn Smith, who played “Streetwise Angel” Kelly Garrett. With Jackson as “Smart Angel” Sabrina Duncan, the three formed the trio most closely associated with the series, despite Fawcett leaving after one season and being replaced by Cheryl Ladd, aka Kris Munroe, who stayed on for the rest of the show.
It’s highly unlikely that Jackson pushed for the series to herald “jiggle television,” but that’s exactly what happened, with stories and situations that “justified” their skimpy attire (producer Aaron Spelling reportedly wanted someone in a bikini in every scene). To add insult to injury, Jackson’s Sabrina was typically left to work behind the scenes on cases: attractive, but not as attractive as Smith and Fawcett in bra-less T-shirts and tight dresses. Nevertheless, ABC premiered the series as a pilot film in March 1976, despite believing it was one of the worst ideas for a TV series ever (per The Sunday Post). Instead, Charlie’s Angels was a huge hit, which so shocked the network that they re-ran the pilot the next week, where it repeated its success.
Critics loathed the show, but ABC had stumbled into a pop-culture sensation in spite of the criticism, with the Angel’s faces on magazines and merchandise everywhere, including the famed Fawcett “Red Swimsuit” poster. Fawcett herself knew exactly why the series found success, saying (per The Sunday Post): “When the show was No 3, I figured it was our acting. When it got to No 1, I decided it could only be because none of us wears a bra.” The series lasted for 5 seasons, never escaping the stigma of being little more than “jiggle television.”
‘Charlie’s Angels’ Deserves Its Redemption
Until recently, that is, with its success on streaming as it climbs the charts on Apple TV Store, with today’s savvier audiences appreciating it for its empowerment of women, and its definition of “jiggle” having been long surpassed in graphic detail. The show was exploitative beyond a shadow of a doubt, but it also empowered women. Smith, for one, called the series “groundbreaking” and “inspirational” in an interview with People, claiming she received letters of gratitude for the show’s establishment-challenging influence.
Charlie’s Angels stands as an example of a “deal with the Devil,” if you will, given the prevailing attitude at the time that women couldn’t headline an action series. The Mary Tyler Moore Show had a strong, empowering lead without resorting to “jiggling,” but action dramas weren’t even close. The series status as “jiggle TV” was, in essence, a Trojan Horse that allowed three strong, attractive women to tout the message of female liberation while hiding it in plain view. It opened the door for the likes of Xena: Warrior Princess and Buffy the Vampire Slayer, series that turned the notion that women couldn’t lead action upside-down, with a knowing wink. So yes, Charlie’s Angels redemption via streaming, 50 years after its debut, is earned, and well past due. But rest assured that Three’s Company is highly, highly unlikely to follow suit.
Entertainment
Ridley Scott Names His Own Sci-Fi Masterpiece As His Favorite Film of All Time, but I Can’t Disagree
What’s left to be said about Blade Runner? After failing to connect with audiences back in 1982, Ridley Scott‘s dystopian sci-fi noir has ascended beyond cult status and is now firmly placed in the canon of great American films. If Ridley Scott is synonymous with anything, it’s his affinity for re-cutting his misunderstood films for a fresher, more singular vision. The king of the director’s cut put his work to impeccable effect with Blade Runner, as the final cut is now the one in main circulation and widely celebrated by all audiences.
The film, starring Harrison Ford as an agent sent to terminate four outlawed replicants in Los Angeles in 2019, is so special that even Scott couldn’t help but select it as one of his four favorite movies ever. You’re likely watching the best cut, but the director says each cut has its own charm.
Ridley Scott Has Confirmed the Proper Cut of ‘Blade Runner’
Blade Runner features a whopping five separate cuts, with the most notable being the ’82 theatrical cut, which features an infamous narration track by Ford as Rick Deckard, who sounds like he is asleep at the wheel or merely grumpy—a feeling Ford is no stranger to. The initial problems with the film that left audiences cold were amended with the 1992 director’s cut, but that still didn’t wholly adhere to Ridley Scott’s vision. Finally, the 2007 final cut realized Scott’s depiction of a world run by technology and distrust in the rainy tech-noir backdrop of LA. Since then, Scott has made a steadfast habit of releasing alternative director’s/extended cuts of his work, including Kingdom of Heaven, Prometheus, and Napoleon.
In a recent interview with Collider for the 20th anniversary and theatrical re-release of Kingdom of Heaven, Ridley Scott discussed the litany of Blade Runner cuts and his favorite of the bunch. Unsurprisingly, he confirmed that the final cut is the one he wants most people to consume, while adding that he believes “all variations were okay.” Scott defended Ford’s narration in the original cut, as it paid homage to pulp crime novels by Mickey Spillane and detective stories. He was also inspired to include a narration cut in the wake of Apocalypse Now, citing Martin Sheen‘s somber and haunted narration as the “central soul” of the character. “I know the version I like, which was the one that ends in the elevator shaft and the one that has no going off to this beautiful mountain range,” Scott said to Collider’s Steven Weintraub, referring to the similar endings from the director’s and final cuts. These darker conclusions corrected the studio-mandated happy ending of the theatrical cut.
Because moody narration from hard-boiled detective protagonists is a staple of all noirs, mounting a defense of the theatrical cut in that regard is justifiable. Ford’s dry delivery has its appeal, but it ultimately detracts from the radiant atmosphere and visual magnetism on the screen that has aged like a fine wine due to the prevalence of advanced technology in everyday life. We respect Scott’s advocacy of the other cuts, but the Blade Runner we all adore is the memory of watching the Final Cut. That’s a memory Deckard can’t erase.
‘Blade Runner’ Has Deeply Personal Connections to Ridley Scott
On the red carpet for the premiere of Alien: Romulus, which he produced, Scott did what every film figure does these days: reveal his top four movies to Letterboxd. In a shocking twist, the director’s third selection was indeed Blade Runner. Most directors are highly self-critical, and they are always magnanimous towards their influences and peers, so his hubris is unlike the status quo. As if we didn’t know already, Scott, who never pulls any punches in the press, praised his own film for revolutionizing the genre.
Of course, Scott is well within his rights to place his own movie, one that is so undeniably great, on his Letterboxd 4, but it makes complete sense when you realize how deeply personal Blade Runner was for him when making it. Telling The Guardian that Blade Runner is his “most complete and personal film,” Scott directed the sci-fi classic immediately following the death of his brother Frank, who became estranged after serving in the Royal Navy. After dying from terminal cancer, Scott used the film as an outlet for grief, so it is fitting that the film is a bleak meditation on mortality and existence.
With this knowledge, the pathos of Rutger Hauer‘s legendary “Tears in the Rain” monologue only hits harder, and one has to imagine that Ridley Scott would find more poignant sentiments in the wake of his other brother’s tragic demise, fellow director Tony Scott. The pervading anguish and dread clouds over rainy Los Angeles and disillusioned Rick Deckard, who’s stuck between humanity and artificiality. For all audiences and the director, Blade Runner is a special work of art that inspires us with wonder and somber reflections.
Blade Runner
- Release Date
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June 25, 1982
- Runtime
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118 minutes
- Writers
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David Webb Peoples, Hampton Fancher, Philip K. Dick
Entertainment
This Sci-Fi Movie With 100% on Rotten Tomatoes Is a Perfect Time Loop From Start to Finish
Imagine being stuck in a time loop, but it’s a measly two-minute interval instead of days or even hours. The not-so-pleasant cherry on top is that everyone remembers it. That’s the outlandish, yet vaguely familiar, premise River is built on. The sci-fi comedy is set in a seemingly idyllic Japanese village and updates the typical run-of-the-mill time loop storyline, putting its characters in a bizarre, two-minute cycle of déjà vu. Perhaps what makes this film so clever is the fact that the short loops don’t leave the narrative lacking. The director, Junta Yamaguchi, makes it so that the movie squeezes an incredible amount of humor, heart, and a quality story into every repeat.
The time loop concept is certainly not unique to River, with films like Happy Death Day and Edge of Tomorrow preceding it. However, River is full of twists and turns that make it come across as refreshingly original. The characters’ desperate yet hilarious attempts to make sense of their predicament, while trying to maintain their jobs at a small inn, keep things light and engaging. Overall, Yamaguchi is a master at balancing the film’s breezy tone with just enough mystique to keep viewers guessing. River delivers a familiar Groundhog Day vibe, but it infuses its story with Japanese culture, making every second count.
How ‘River’ Takes Time Loops and Turns Them Into Something Different
River gives the time loop trope a serious makeover. Typically, you’d watch a character relive the same day or a couple of hours till something gives. However, Yamaguchi narrows it down to a brief two minutes. To top it all off, there isn’t just one character blessed, or cursed, with the knowledge that they’re stuck in a loop — everyone remembers it all. Rather than dragging the characters down, the two-minute loop becomes a source of unpredictable fun that just keeps giving. Even more, this adds oodles of comedy and chaos, as the characters blindly jump onto the Herculean task of trying to figure out how to make the most of their blink-and-you-miss-it time frames.
Making it even more of a standout is how River mashes together the frantic time-loop mechanics with moments of genuine connection. On one hand, there’s this picturesque small town setting and on the other, there’s pure chaos. This starts with seemingly small everyday disruptions that metamorphose into more complex issues. For instance, some of the guests repeatedly experience their bowls being refilled mid-meal, which results in an endless cycle of confused but hilarious conversations. This adds both a comedic and bittersweet layer to the story. But as the loop deepens, the character’s reactions and interactions become more layered.
The staff at the inn join forces to keep things afloat, which ends up being as frantic to watch as it is endearing. Each attempt to clean up and serve guests before the reset becomes more apocalyptic than the last, but there’s still a light air about it. The real winner here is how the film cleverly plays with time once things begin to follow a rhythm, the tone shifts. River is solid proof that even worn-out tropes have room for creativity.
‘River’ Expertly Balances Sci-Fi, Comedy, and Emotional Depth
These time-loop-related storylines tend to get bogged down by absurd chaos, but River takes more of a playful approach. For instance, a waiter is stuck serving the same meal over and over again. Naturally, his frustration is gradually reaching its peak as he tries to keep up before the loop resets. The beauty in these moments of disarray is that they’re not just for gags, but rather they’re seamlessly timed pieces of comedy that are indicative of the weirdness of their situation. Even better is the fact that River doesn’t just rely on the time loop for its humor, the inn staff and guest’s quirky personalities add layers of comedic gold. From the writer who struggles to scribble down a sentence to just about every other character who is engrossed in perfecting the little things in their mandatory two-minute routine, there’s a touch of light-heartedness to the entire experience.
Beyond the laughs, River tries its best to dig deeper, especially in terms of how the characters try to escape their prison. It’s interesting to see their evolution as well as the ways their relationships progress. At some point, it’s clear that they’re not simply looking for an escape, but they also crave purpose and connection amidst all the madness. This ups the ante, transforming their story into somewhat of a puzzle where the full picture is all-around self-discovery. So, is it funny? On more levels than one, but it’s equally touching and gripping.
‘River’ Expands on ‘Beyond The Infinite Two Minutes’ Playful Exploration of Time
Time loops can be tricky business, but if anyone knows how to manipulate them expertly it’s director Junta Yamaguchi. River wasn’t his first time around the block with the two-minute concept; in fact, he used it in a whole different — but similar — way in the 2020 film, Beyond The Infinite Two Minutes. The premise is simple, characters can see two minutes into the future and they build on this window to craft a playful, small-scale sci-fi comedy. With a two-minute headstart into the future, you’d think that the characters on Beyond The Infinite Two Minutes would try to save the world or pursue grander goals. However, the film stands out for how “human” their reactions are, they end up using their privilege to pull off quirky tricks and avoid everyday challenges. It’s these little moments where Kato (Riko Fujitani) uses the time “window” to impress or prank unsuspecting friends that sell the humor and humanity.
In River, Yamaguchi keeps things light in a dire situation by digging deeper into this playful concept. Mikoto, also played by Fujitani, may be one of the emotional anchors of the film. However, she’s also caught using the loop to further her own agenda. For her, the constant resets are a last-ditch effort to ensure her crush, Taku (Yuki Torigoe) doesn’t leave the inn for good. But, make no mistake, while they’re cut from the same cloth, Beyond The Infinite Two Minutes and River are two different beasts.
The latter expands on the core idea by closely examining the emotional weight of living in a loop. For instance, the inn’s sous chef keeps trying to get to the bottom of their predicament through strategic team meetings. But, the constant time interruptions blend comedy with the mounting frustration to create a more grounded result. In a nutshell, viewers get to see exactly how each character deals with the reality of being stuck. So, where Beyond the Infinite Two Minutes doesn’t try to complicate the mechanics of time travel, River manages to strike a balance between being playful and introspective.
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