Entertainment
These 6 Movie Trilogies Are a Masterclass in Screenwriting
Screenwriting gets praised too casually when people only mean good dialogue or clever plot. A trilogy has a harder job. It has to make the first movie feel complete, give the second movie a real reason to exist, and make the third movie feel inevitable without seeming pre-planned to death.
These six trilogies are scary-good on the page. They know how to repeat an idea without making it stale, how to let a character change without betraying who they were, and how to make small choices echo across multiple films. The best part is that none of them teach the same lesson. Scroll down slowly if you want to find out how.
6
‘Back to the Future Trilogy’ (1985–1990)
Screenwriters should be forced to study the first Back to the Future before they are allowed to touch time travel. It is that clean. Marty McFly (Michael J. Fox) goes to 1955, accidentally disrupts his parents’ romance, and has to repair the event that makes his own life possible. That sounds complicated when summarized, yet the movie plays with almost ridiculous clarity because every problem has a visible consequence. The family photo fades. George McFly (Crispin Glover) must find courage. Lorraine (Lea Thompson) must redirect her attention. Doc Brown (Christopher Lloyd) needs enough information to send Marty home. The clock tower gives the whole story one deadline every viewer can understand.
The trilogy keeps using that same discipline without becoming a lazy copy of itself. Part II turns familiar events into a puzzle of timing, mistaken identities, alternate futures, and old choices creating new disasters. Part III goes to the Old West and finally gives Doc the temptation Marty has faced repeatedly: changing history for something personal. The scripts keep returning to bullies, names, accidents, family shame, vehicles, clocks, and public humiliation, but each return has a new purpose. That is the lesson. Repetition becomes satisfying when the meaning changes.
5
‘The Vengeance Trilogy’ (2002–2005)
Park Chan-wook’s three revenge films are a brutal screenwriting lesson in consequence. The stories are separate, yet each one attacks the same fantasy from a different direction: someone has been wronged, punishment feels necessary, and then the punishment starts destroying every simple feeling the audience brought into the movie.
Sympathy for Mr. Vengeance is almost cruel in how plainly it lays out cause and effect. Ryu (Shin Ha-kyun), bad luck, poverty, disability, illness, desperation, kidnapping, grief, and retaliation keep moving forward until nobody can claim control. Oldboy is written with more theatrical force, but the emotional trap is even tighter. Oh Dae-su (Choi Min-sik) thinks the question is who imprisoned him. The real question is why the answer was saved for him so carefully. That difference turns the mystery into a punishment designed around knowledge. Lady Vengeance changes the shape again. Geum-ja (Lee Young-ae) wants justice, image control, motherhood, public repentance, private fury, and maybe peace, and the script refuses to make those needs line up neatly. Across the trilogy, revenge never behaves the same way twice. It becomes accident, obsession, ritual, performance, and moral exhaustion.
4
‘The Dark Knight Trilogy’ (2005–2012)
The best writing choice in Batman Begins is that Bruce Wayne (Christian Bale) does not simply become Batman after trauma. The script makes him construct Batman through fear, discipline, theatricality, technology, class privilege, anger, and a need to give Gotham something larger than one damaged man. This is why Nolan’s Batman has the most substance in cinema behind him. Every mentor and ally tests a different part of that idea. Ra’s al Ghul (Liam Neeson) wants justice without mercy. Alfred (Michael Caine) wants Bruce alive. Rachel (Katie Holmes / Maggie Gyllenhaal) wants him to recognize the difference between symbol and excuse. Gordon (Gary Oldman) gives him a version of public service that still believes in decency.
The Dark Knight then puts that symbol under pressure from every side. Joker (Heath Ledger) understands stories better than most villains understand weapons. He attacks the city’s belief in order, Batman’s belief in rules, and Harvey Dent (Aaron Eckhart)’s belief in public goodness. That script is masterful because Gotham’s soul is argued through choices, not speeches alone: boats, hostages, lies, surveillance, burned money, corrupted hope. The Dark Knight Rises has blunt turns, yet its core idea completes the writing arc. Bruce has to stop treating death as proof of devotion. The trilogy’s screenwriting power comes from turning Batman into a question, then refusing an easy answer.
3
‘The Lord of the Rings Trilogy’ (2001–2003)
Adapting The Lord of the Rings for cinema could have become an endless pile of names, maps, histories, objects, kingdoms, and prophecies. The scripts survive because they keep asking one practical question: whose choice matters right now? That is why the trilogy stays emotionally legible even when the world keeps expanding. Frodo (Elijah Wood) carries the Ring, but Sam (Sean Astin) carries the emotional promise behind the quest. Aragorn (Viggo Mortensen) has royal blood, but the writing makes his hesitation personal before it becomes political. Boromir (Sean Bean)’s failure hurts because the script gives his fear and love for Gondor real dignity before the Ring exploits him.
The trilogy is full of smart compression. Tom Bombadil is gone, Arwen gets stronger dramatic placement, Faramir (David Wenham) is made more conflicted, and the separate storylines are arranged so each film has its own moral pressure. The Fellowship of the Ring is about accepting the burden. The Two Towers is about holding together while every group is tested. The Return of the King is about finishing the task after strength, innocence, and certainty have nearly run out. The screenwriting never lets scale replace character logic. Even the smallest mercy toward Gollum (Andy Serkis) becomes essential later, which is exactly how payoff should feel: surprising in the moment, obvious in hindsight.
2
‘The Before Trilogy’ (1995–2013)
The dangerous thing about The Before Trilogy is that the scripts have nowhere to hide. If Jesse (Ethan Hawke) and Céline (Julie Delpy) speak falsely for even a few minutes, the entire project collapses. Before Sunrise understands youth with painful accuracy: the flirtation disguised as philosophy, the performance of intelligence, the sudden honesty that appears after a joke, the way two strangers can feel brave because morning will end the risk. The first film is romantic because the conversation feels temporary, and temporary things make people reveal themselves faster.
Before Sunset is sharper, sadder, and more adult. Jesse and Céline have less time, more history, and more to lose by admitting what Vienna did to them. Every topic they touch — marriage, work, politics, sex, memory, disappointment — is really another way of asking whether they missed the life they were supposed to have together. Before Midnight is where the trilogy becomes almost frighteningly honest. The same verbal chemistry now includes resentment, tired parenting, sexual insecurity, old grudges, and the ugly satisfaction of knowing exactly which sentence will hurt. The screenwriting is great because the words age. The conversations still sound like Jesse and Céline, only with more damage inside them.
1
‘The Three Colours Trilogy’ (1993–1994)
Three Colours is the screenwriting miracle here because it begins with concepts that could have turned painfully stiff: liberty, equality, fraternity. But the creators never ask characters to represent an idea neatly. They force the idea into private life and let it become messy. In Blue, for instance, Julie (Juliette Binoche) thinks freedom means cutting herself away from grief, music, memory, and other people. The script understands how tempting that is. It also understands how impossible it is when love has already shaped too much of a person’s life.
White is the strangest middle chapter in the best way. Equality becomes divorce, humiliation, money, revenge, sexual pride, immigration, and a man trying to recover power after being reduced to nothing. Karol (Zbigniew Zamachowski)’s plan is morally ugly, funny, sad, and completely human. Red then opens the trilogy into connection without forcing romance where it does not belong. Valentine (Irène Jacob) and the retired judge (Jean-Louis Trintignant) become one of cinema’s great written relationships because their bond grows through attention, listening, judgment, shame, and curiosity. The crossings between the films feel delicate, never gimmicky. The final convergence is bold, yet the emotions have already earned it. This is the top masterclass because every film stands alone, and the trilogy becomes richer once you understand how precisely the three parts speak to each other.
Three Colors: Blue
- Release Date
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September 8, 1993
- Runtime
-
98 minutes
- Director
-
Krzysztof Kieślowski
- Writers
-
Krzysztof Piesiewicz
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Entertainment
Kathie Lee Gifford admits she 'wanted to die' amid 'debilitating' pain and surgery: 'Didn't want to be here'
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“I feel like Mr. Potato Head! One thing falls off and then another,” Gifford said in a new interview in which she revealed a hip replacement and cataract surgery.
In just a few months, Disney will be releasing its next animated feature, Hexed. Starring Hailee Steinfeld as Billie, the film follows this teenager who discovers she has magical abilities. When the trailer came out, fans claimed it was similar to The Owl House or other similar fantasy shows, but the filmmakers say those claims are far from the truth.
The trailer for Hexed came out last month, showing Billie getting expelled after an incident at school, only to discover she has a gift and can enter Hexed, a world full of witches. During her visit, she learns more about her abilities, meets new creatures, and is hinted at the possibility that she could be something more. One of the directors for Hexed is Fawn Veerasunthorn, who previously worked as a Story Artist on projects like Despicable Me 2, Zootopia, and Ralph Breaks the Internet, and served as the Head of Story for Raya and the Last Dragon. They’re working alongside her is Jason Hand, who previously directed Moana 2.
In an interview with Cartoon Brew, both filmmakers discussed Hexed, including how Chainsaw Man played a role in the movie’s production. They note that they wanted Billie to evoke the feeling of having the potential to become a witch and used subtle ways to showcase that without being too obvious. This is what they had to say:
Veerasunthorn: “When you look at Billie, we wanted to evoke the feeling that this girl has the potential to be a witch, but we didn’t want to be too on the nose about it, so we put little clues everywhere.”
Hand: “I have a 15-year-old son, and we were watching Chainsaw Man. They do all kinds of crazy things with the eyes that I felt like we could totally do, but in a much subtler way.”
Veerasunthorn: “Because this is an original film, we took it as an opportunity to think differently and get cartoonier.”
Hand: “Being cartoonier was a big thing we’ve been pushing across the board. The color in the production design is really insane, and so are the proportions of our characters.”
What Is ‘Chainsaw Man’?
Chainsaw Man is different from Hexed. It’s an anime series based on a 2018 manga of the same name by Tatsuki Fujimoto. It takes place in a world where the Soviet Union still exists, and devils are manifested through collective fears of humans. It follows Denji (Ryan Colt Levy), who makes a contract with Pochita, who gives him a second chance in life after a near-death experience; in exchange, he has to live a humble, ordinary life that he dreams of. He is then recruited to become a devil hunter for the Public Safety Division, led by Makima (Suzie Yeung), whose job is to hunt down Devils deemed a threat to the world.
Since its release, Chainsaw Man has received a 97% critics’ score and a 91% audience score on Rotten Tomatoes, but its reception in the West differs from that of Japanese audiences. While the rest of the world enjoyed its action-packed scenes and storytelling, Japanese viewers claimed the anime did the source material a disservice through its animation and creative decisions.
Hexed is scheduled to enter theaters on November 25, 2026. In the meantime, you can watch Chainsaw Man on Crunchyroll. Follow Collider for more updates.
- Release Date
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November 25, 2026
- Director
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Jason Hand, Fawn Veerasunthorn
- Producers
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Roy Conli, Yvett Merino Flores
Taylor Swift and Travis Kelce have a “whimsical” evening planned for friends and family when they reportedly tie the knot in New York City, a source exclusively tells Us Weekly.
An insider says that the engaged couple have dreamt up a celebration inspired by fairytales, which have been a recurring theme in Swift’s music throughout the course of her career.
Reports emerged this week that Swift and Kelce, both 36, are having a grand castle and white staircase built as part of their wedding set inside of New York City’s Madison Square Garden, where the wedding is rumored to be taking place on Friday, July 3. Such an elaborate set would certainly fit in with a “whimsical” theme, in addition to tying into the castle imagery in Swift’s classic “Love Story” and “Blank Space” music videos.
As for the guests, the source shares that attendees still do not know exactly where the wedding is actually taking place, but have been instructed to be in New York City between July 2 and July 3 and that MSG will be used as a meeting place.
Taylor Swift; Travis Kelce Getty Images (2); Jamie McCarthy; Jamie Squire
Prospective guests have been drip-fed hints that the ceremony will be the “ultimate surprise” but have no firm details at this stage, per the insider.
Swift has yet to be seen in New York City this week, though her groom-to-be was photographed on a jog in the city on Tuesday, June 30, per DeuxMoi.
Several of the couple’s friends — including Sabrina Carpenter, Ed Sheeran and Suki Waterhouse — have also been spotted in the New York City area in the days leading up to the expected nuptials. Kelce’s longtime stylist, Danielle Salzedo, also confirmed her arrival in NYC on Wednesday, July 1.
While speculation is running rife that Swift and Kelce will tie the knot sometime over the holiday weekend, the couple themselves have remained tight-lipped about their wedding plans thus far.
Swift announced her engagement to the Kansas City Chiefs star in August 2025 with a photo of Kelce proposing on one knee and a sweet Instagram caption from the singer. (Kelce popped the question immediately after Swift recorded an episode of his “New Heights” podcast.)
“Your English teacher and your gym teacher are getting married,” she joked.
During an appearance on The Graham Norton Show in October 2025, Swift said that her fiancé “crushed” his proposal.
“He really crushed it in surprising me. While we were talking on his podcast, he had a complete garden built out the back of his house to propose in,” she recalled. “He went all out — 10 out of 10.”
In that same interview, Swift said that she planned to focus on wedding planning once the promotion cycle for her October 2025 album The Life of a Showgirl was finished. (The Life of a Showgirl sold more than 4 million albums in its first week of release, giving Swift a record-breaking 15th number-one album on the Billboard 200 chart.)
“I think the wedding is what happens after [my Life of a Showgirl promotional tour] in the scheme of the planning, but I’m so excited about it,” Swift teased. “I know it’s gonna be fun to plan because I think the only stressful weddings are the ones where you have a small amount and people are on the bubble.”
Love Island USA‘s Jen Terry has surprised audiences with how candid she has been about her personal life.
Love Island USA originally premiered in the U.K. in 2002 before it expanded worldwide with various spinoffs, including Love Island USA on Peacock. The series follows a different group of singles every season who have to pair off in order to stay in the show’s luxury villa.
The contestants — referred to as Islanders — live in isolation in a villa and are under constant video surveillance. They must be coupled up to remain on the show and stand a chance at receiving the $100,000 prize.
While finding a connection that you want to explore more intimately isn’t out of the question, season 7 of Love Island USA seemed to set some sort of record with the amount of times Islanders were caught hooking up — until season 8 that is.
Jen was introduced as a bombshell in 2026 and it didn’t take long for her to form multiple connections. Keep scrolling to see her most surprising confessions about her personal life:
Past Sexual Activity
During a June episode of the hit Peacock series, Jen was asked about the most surprising place where she had sex. She needed a moment to remember but Jen ultimately chose “a boat in Miami” as her most memorable encounter.
Her Experience Outside the Villa
After her match Gabriel Vasconcelos was dumped from the villa, Jen spoke about their connection, sharing on a June episode, “We have been having fun with each other. But I have also in those same moments of liking him, I have been feeling lusted over.”
Jen found that to be a regular occurrence for her.
“Every guy does that to me my whole entire life,” she added. “All men are always like, ‘You are so hot, let me touch you.’ Obviously that feels good but at the same time I want more.”
Having Self Confidence
Jen admitted she struggled when guys in the villa didn’t show interest in her.
“I know that I am gorgeous and stunning but here — besides when I was with Gabe — I felt like, ‘Am I hideous?’” she said in a June episode. “Is there something wrong with me? Does my personality suck?”
She continued: “Normally I am used to guys drooling over me. Here it has been so hard.”
Love Island USA is all about coupling up — so which Islanders are currently together and which have already called it quits in the villa? Peacock’s popular dating show returned in June 2026 with contestants Aniya Harvey, Beatriz Hatz, Bryce Alakai Dettloff, KC Chandler, Mackenzie “Kenzie” Annis, Melanie Moreno, Sincere Rhea, Sean Reifel, Trinity Tatum […]
Getting Creative
After a cake-themed challenge involved each Islander having to twerk, Jen admitted she was a bit nervous to shake her booty.
“It’s a cute, tiny butt,” she explained of her backside in a confessional. “It’s not a big twerking butt.”
Jen had a different idea of what she could offer, adding, “I will shake my boobs for you but not my ass.”
Expecting Compliments
Jen took issue when Gal Tshnieder didn’t compliment her enough.
“I think you’re so attractive and I love talking to you. We get along but I don’t think we have sexual compatibility,” she told Gal during a June episode of the show.
Jen admitted she was questioning their connection, adding, “I just feel like you don’t like me and you don’t compliment me. I don’t remember one compliment you’ve said to me — and I feel like I would have at least had one in my head. The fact that I have none is alarming to me.”
She continued: “You have girls in here that you would like to get to know. So it kind of does make me feel like a second option.”
Superhero movies are so common these days that comic book characters you’ve never heard of still get their moment on the movie theater marquee. But when we think of the best of the genre, we keep coming back to the huge names: the Avengers, Superman, Spider-Man, and Batman. And out of all of those films, popular opinion says that Christopher Nolan‘s The Dark Knight is the greatest superhero film ever made.
What Christian Bale and Heath Ledger pulled off in 2008 was certainly iconic. But sorry to the Caped Crusader: the best superhero movie is still one that came before it. Because in 2004, Sam Raimi changed the direction of superhero movies forever with Spider-Man 2, a film that brought us a stand-out supporting cast, jaw-dropping action sequences, and a deep exploration of its hero’s mind. To say that Spider-Man 2 is better than The Dark Knight is not to argue that the latter doesn’t deserve all the accolades it gets. Instead, calling Spider-Man 2 the greatest superhero movie is to recognize that it takes a very special film to even be compared to Nolan’s masterpiece — and that its breakthroughs are part of what made The Dark Knight possible.
Peter Parker Is a More Compelling Character Than Bruce Wayne
Part of what elevates Spider-Man 2 over The Dark Knight is its main character. As fantastic as Christian Bale’s Bruce Wayne is, Tobey Maguire‘s Peter Parker is superior. Some of this is inherent in the character: Bruce Wayne is purposefully limited, holding his emotions in for the most part. He wears the part of a billionaire as his costume. It’s only when he puts on the cape that he becomes his true self.
That’s not so with Peter Parker. Alvin Sargent‘s script for Spider-Man 2 gives us a deeply sympathetic look at the kid behind the mask. By now, Parker has his role as a hero all figured out; in this film, he learns that he must live with the cost. Not only did he lose his Uncle Ben, but people have been hurt and killed because of his powers and how he chose to use them. In the first film, Norman Osborn (Willem Dafoe) died. Now, his son, Harry (James Franco), is simultaneously Parker’s best friend while also seething with hatred towards Spider-Man. Peter must carry that weight, along with the knowledge of how often he is putting Mary Jane’s (Kirsten Dunst) life on the line.
Batman is the epitome of dark cool. Spider-Man is relatable precisely because he is not cool; rather, he is an everyman who is either blessed or cursed with a gift. No matter how many good things he does, the weight of responsibility and its repercussions is almost too much to carry.
‘Spider-Man 2’ Is Carried By Its Stellar Supporting Cast
While Tobey Maguire is excellent as Peter Parker, his successes wouldn’t matter if he doesn’t have a great cast of characters to interact with. Rosemary Harris‘ May Parker is the soul of the family, keeping Peter grounded when everything feels like it’s coming undone. And this time around, everything in his relationship with MJ is turned up a notch. Their relationship is now much more than awe, mystery, and upside-down kisses in the rain; in Spider-Man 2, fantasy meets reality. Mary Jane wants to be with Peter, which he wants more than anything. However, his fear of her getting hurt because of who he is leads him to push her away, straight into the arms of John Jameson (Daniel Gillies). We know Peter and MJ will eventually be together, but the film makes our two leads earn it, resulting in the stunning, third act reveal of Peter’s secret identity in front of Mary Jane. Romantic subplots are often afterthoughts in superhero movies but Spider-Man 2 does its love story splendidly well.
And no great superhero can exist without a great villain. Spider-Man 2, like The Dark Knight, has two. No one can compare with the genius of Heath Ledger’s Joker, but Sam Raimi’s well-written baddies were a refreshing one-two punch in a time when villains were often one-note tropes. The audience can understand both their motivations. Of course, Norman Osborn brought his demise on himself, but still, what son wouldn’t defend his father? Seeing only the good in his dad is how Harry Osborn grieves. He’s tormented by a deep pain that brings out the worst in him.
Even better is Alfred Molina as Otto Octavius, a good man and scientist turned tragic villain Dr. Octopus. Whereas there is no curing the Joker, Doc Ock is a bad guy who is intimidating while also being sympathetic, who eventually comes to his senses and tries to help. This all comes together to make Spider-Man 2 a deeply human story where the action is secondary to the emotional performances.
‘Spider-Man 2’ Is the Perfect Blend of Action and Emotion
Despite its emphasis on character development, Spider-Man 2 does not get lazy with its action sequences. In fact, Spider-Man 2 is one jaw-dropping action scene after another. But while they show off inventive set design and gasp-inducing fight choreography, what gives them all their power is the emotion behind them.
Spider-Man 2‘s train scene, which is perhaps its most famous sequence, is a prime example of this. Raimi’s direction and Danny Elfman‘s score blend together in a moment that spotlights exactly how hard Peter Parker will fight to save the innocent — he’ll damn near rip himself in half for the people of New York City. And he does it all unmasked, his identity exposed. Afterward, when he collapses, Spider-Man 2 delivers its most powerful scene, as the citizens carefully move his body to safety, in a show of connection. They don’t want to reveal his identity; they see this superhero as a person and are thankful. Three years after 9/11, the idea of community in the Big Apple was a tearjerker. 22 years later, it still gets the waterworks going.
Spider-Man 2 was a revelation when it was released. Before it, outside of a few examples like Blade and X-Men, comic book movies were looked down on. They were for kids and no one else. In his perfect four-star review, Roger Ebert wrote that Spider-Man 2 is “a superhero movie for people who don’t go to superhero movies, and for those who do, it’s the one they’ve been yearning for.” It’s the starting point for everything that came after. Two decades later, it’s the benchmark, the one that changed everything.
Spider-Man 2
- Release Date
-
June 30, 2004
- Runtime
-
127 minutes
- Director
-
Sam Raimi
- Writers
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Alvin Sargent, Alfred Gough, Miles Millar, Michael Chabon
Frankie Muniz and his wife, Paige Price Muniz, announced that they are ending their marriage after seven years. While the news came as a surprise to many fans, some focused on how the actor chose to share the update.
Some online users criticized the “Malcolm in the Middle” star for the video that accompanied the announcement, in which he was seen joyfully dancing with Paige and their young son. Paige has responded to the public criticism, noting how cruel people can be while defending Muniz’s post.
On July 1, actor and professional racing driver Frankie Muniz took to social media to share an update about his personal life. Muniz said that after a period of separation from his wife, Paige Price Muniz, they have decided to push forward with a divorce.
Muniz posted a video of himself and Paige dancing enthusiastically to the lively song “Check Yes, Juliet” by We The Kings. Midway through the video, their son runs in to join the dance party.
Critics commented on the video, with some saying that it was “in poor taste.” Others criticized the couple for “celebrating” their divorce. “Divorce with children should never be celebrated,” one said. Another noted, “Hardly a reason to celebrate when there are children involved.”
Later, Muniz deleted the video from the divorce announcement and changed it to a family photo.
Paige Price Defended The Video
In the comments section of Muniz’s post, Paige acknowledged the critics while addressing her estranged husband. “Frankie, I am so sorry that you felt the need to delete an old fun video of our family because people are so cruel to you,” she wrote.
Paige defended the video, saying they were not excited about getting a divorce. “This world is so f-cked… divorce is bad, sure – it’s not like we’re excited about it… but we’re two adults who know how to be on the same team,” she continued.
One user responded to Paige, saying that she could have just said her response directly to Muniz and not on a public platform. Paige responded, “I did say it to his face. 1000 times. And I’ll say it through text just as much because I genuinely care. That’s the point.”
Frankie Muniz’s Post Sparked A Debate
Many weighed in on their thoughts about Muniz’s post. While some criticized the ex-couple for how they chose to announce their divorce, others came to their defense.
One opined that the video of them dancing is in poor taste. “Kids will figure out they hate each other at some point and realize his parents lied and made some stupid video to f-ck with him.” Another commented, “This is weird and should not be normalized. Hollyweird.”
Some clapped back at the haters, with one noting that Muniz and Paige weren’t celebrating their divorce. “He was celebrating their time together, still being friends and co-parents.” “What I can see is the child is happy and that’s what’s important. Nothing about this says he’s celebrating breaking up his family,” another person wrote.
The Ex-Couple Were Together For 10 Years
Muniz and Paige met sometime in 2016 at a golf event and began dating. Two years later, the couple was engaged, and they eloped in October 2019. They had a bigger wedding ceremony in February 2020.
As Muniz told PEOPLE, the wedding was planned in just 10 days, and they invited only 40 of their closest family and friends for the intimate celebration. “It turned out better that we could have imagined,” the actor said.
Paige gave birth to their son, Mauz Mosley Muniz, in March 2021. The couple shared the announcement on social media, with Muniz writing, “Honestly, I didn’t know it was possible to love anything as much as I love him.”
Frankie Muniz And Paige Price Are Parting Amicably
Muniz and Paige’s divorce seems to be amicable. In his announcement post, the racing driver was all praise for his ex and highlighted the sacrifices she made for their family, adding that he’s “endlessly grateful” to her.
“She put her own dreams on hold so I could chase mine, and she was always my biggest supporter. That foundation of respect and friendship isn’t going anywhere,” Muniz shared, writing that they both realized they were better off as friends.
In addition, the actor said that their 5-year-old son will be their main focus moving forward as co-parents. “We’re closing one chapter with gratitude and opening the next with bright futures ahead, for us as individuals and especially for our son,” Muniz wrote.
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