It’s hard to imagine a gritty crime drama, much less a biker drama, as having anything to do with the Western genre, but in this case, there’s one that completely subverts it, without question. The genre has always been popular, and while Taylor Sheridan’s Yellowstone helped revive mainstream obsession with the modern-day Western, it certainly didn’t invent the trend. Hit predecessors like Deadwood and neo-Western Justified did that. When 2008’s Sons of Anarchy arrived, the genre experienced a subversion of epic proportions.
As an outlaw biker drama about a blended family within a blended family within a blended family, all fighting for survival, FX’s Sons of Anarchy saw massive success with audiences and critics, with Season 4 peaking on Rotten Tomatoes with a perfect score. It even went a step further and drew in not just gritty crime fans but also gritty Western fans, making a huge cultural impact. And why wouldn’t it? Creator Kurt Sutter crafteda gorgeously intense combination of gritty neo-Western elements with an addictively riveting Shakespearean tragedy. Its gritty narrative was so influential, in fact, it updated traditional Western tropesnot just for a modern-day context, but also for an anxiety-ridden, post-9/11 one, giving us an inverted structure, setting and character exchanges, and unforgettable social critiques and evolution.
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‘Sons of Anarchy’ Inverts the Traditional Western Narrative
In addition to their late-19th-century American Frontier setting, traditional Western narratives boast crystal-clear, plot-driven structures, rugged landscapes, stark dichotomies between good and evil, and a stoic, gun-slinging antagonist. There’s also that climactic, moral showdown topping it all off. Sons of Anarchyhonors those tropes well but goes a step further and transforms them into a gritty neo-Western focused on urban outlaw culture. It modernizes the frontier setting and replaces the lone cowboy and typical homestead way-of-life with a defensive, extremely tight-knit, completely self-governed structure of a club where brotherhood and loyalty are the only forms of currency. Sutter knew exactly what he was doing in his decision to trade horses for Harleys, cowboys for outlaw bikers, and desolate landscapes for inner-city territory, which eventually led to his creation of a more heightened Western in 2025.
Instead of the vast, open landscape, the gritty crime drama moves its narrative to the claustrophobic, urban landscape of Charming, a quaint little town in the Central Valley of Northern California, between Stockton and Lodi. In doing so, it updates traditional themes of westward expansion to reflect modern anxieties, economic struggles, and community decay. Furthermore, in place of the traditional idea and expectation of civilization expanding into a wild frontier, Sons of Anarchy reverses that and inverts its borders, placing lawless bikers at the top of the law in a small, sheltered town fighting with all its might against encroaching threats. There is a police force in Charming, but they know it’s in their best interest to work with the Sons, not against them. There are law enforcement officers who try, though, and it’s fascinating that one of the first is portrayed by Taylor Sheridan.
In using SAMCRO (Sons of Anarchy Motorcycle Club Redwood Original) as the antagonistic archetype, the show further subverts the Western genre by placingthe anti-hero as the community protector. SAMCRO is a morally bankrupt yet protective entity echoing traditional Western notions of lawmen, but in inverting them, the club enforces its own violent, illegal, and often selfish justice, all in the name of protection and preservation. They’re adamant about keeping their town drug-free, and they enforce that with threats backed up by violence. They’re shields against threats, and when local law enforcement fails, SAMCRO intervenes to protect themselves and Charming’s citizens.
Sons of Anarchy’s use of a self-contained world where the rule of law always yields to the rules of nature allows the club to operate like a governance and justice system, much like the whole sheriffs-versus-outlaws aspect of the classic Western. It also redefines the idea of violence with consequence by grounding its narrative in realism so brutal, it deeply alters plots and characters. Nearly every one of our main and supporting characters and plots are intensely altered in ways that force audiences to bear witness to such acts from a place of compassion, as is the case in Season 1, for example, when club officer Tig (Kim Coates) accidentally kills another brother’s wife, or in Season 5, when club president Jax Teller (Charlie Hunnam) takes revenge on the prison guard who killed club brother and best friend, Opie (Ryan Hurst). It goes without saying that fans could use — and deserve, as much as Sutter’s magnum opus does — a Sons of Anarchy revival.
Ron Perlman, Katey Sagal, and Maggie Siff in Sons of AnarchyImage by Annamaria Ward
Sons of Anarchy alsouses the Western framework to critique and redefine social tensions, which are examined through the club’s functioning as, in addition to violent criminals, a parallel government. Through the lens of Western themes, the show explores how a closed, loyalist, and violent group works to maintain its autonomy against approaching modernization, corporate corruption, and law enforcement. Sutter also spotlights post-9/11 societal anxieties through gripping, gritty explorations of how different characters cope with trauma and rebellion, like, for example, how the club matriarch silently deals with her gang rape in Season 2 or how Tig deals with trauma rooted in guilt, loss, and extreme fear. Paranoia, self-defense, cynicism, and retaliation reign supreme.
While classic Westerns feature clear divisions between the good guys and the bad guys, Sons of Anarchy does the opposite. The show intentionally blurs the lines between good and evil, right and wrong, to allow for more moral ambiguity than audiences can stand. Here, the protagonists are the outlaws, and everyone engages in violence and illegal activities. This forces viewers to question the nature of belief and perspective, of justice and survival, and it pushes their moral boundaries. Moreover, the show effortlessly works to deconstruct gender norms. It portrays women in a much more significant role — one with opportunity-wielding power, as is seen in key characters Gemma Teller Morrow (Katey Sagal), club matriarch, mother to Jax, and center of one of the show’s darkest storylines, and Tara Knowles Teller (Maggie Siff), Jax’s old lady. Unlike in traditional Westerns, the women in this gritty crime drama often control the narrative and the men, which turns out to be crucial in a crumbling patriarchal organization.
By using a modern-day outlaw motorcycle club in small-town America to explore themes that, before the 21st century, were predominantly reserved for depictions of the Old American West, Sutter allowed for an updated type of neo-Western to emerge, and it has, by far, been the grittiest, most riveting to date. Sons of Anarchy ultimately updated so much about traditional and neo-Western classic tropes, it became the impetus for future hits like Justified, Yellowstone, and the highly anticipated, upcoming Marshals, and it remains one of television’s most bingeable shows and the best, grittiest modern-day Westerns to date.
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Sons of Anarchy is available to stream in its entirety on Hulu in the U.S.
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Release Date
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2008 – 2014
Directors
Paris Barclay, Guy Ferland, Gwyneth Horder-Payton, Peter Weller, Billy Gierhart, Kurt Sutter, Stephen Kay, Adam Arkin, Paul Maibaum, Phil Abraham, Terrence O’Hara, Allen Coulter, Charles Haid, Charles Murray, Karen Gaviola, Mario Van Peebles, Michael Dinner, Seith Mann, Tim Hunter
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Writers
Dave Erickson, Misha Green, Liz Sagal, Regina Corrado, Mike Daniels, Kem Nunn, Roberto Patino, Gladys Rodríguez, Peter Elkoff, Marco Ramirez, James D. Parriott, Julie Busher, Pat Charles, Stevie Long, David Labrava, Vaun Wilmott
Eric Dane and Alyssa Milano had a brief romance that turned into a decades-long friendship.
Dane and Milano dated in the early 2000s before he landed a role on Charmed, which starred Milano, Holly Marie Combs and Rose McGowan. After splitting up, Dane went on to marry wife Rebecca Gayheart in October 2004. Milano, for her part, wed husband David Bugliari in August 2009.
Following their split, Dane and Milano remained cordial over the years. In April 2025, Dane revealed he was diagnosed with ALS. The Grey’s Anatomy alum died the following year at age 53.
“With heavy hearts, we share that Eric Dane passed on Thursday afternoon following a courageous battle with ALS. He spent his final days surrounded by dear friends, his devoted wife and his two beautiful daughters, Billie and Georgia, who were the center of his world,” a statement from the Dane family read. “Throughout his journey with ALS, Eric became a passionate advocate for awareness and research, determined to make a difference for others facing the same fight. He will be deeply missed and lovingly remembered always.”
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After news broke of Dane’s death in February 2026, Milano paid tribute to her late friend.
“I can’t stop seeing that spark in Eric’s eye right before he’d say something that would either make you spit out your drink or rethink your entire perspective,” she wrote via Instagram at the time. “He had a razor-sharp sense of humor. He loved the absurdity of things. He loved catching people off guard.”
Keep scrolling for a look inside Dane and Milano’s friendship over the years:
2000s
Alyssa Milano and Eric Dane dated in the early 2000s. The pair enjoyed a night out at the 2003 premiere for the movie Dickie Roberts: Former Child Star.
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2003-2004
Eric Dane joined the cast of Charmed in season 5. Dane played Jason Dean, who was a love interest for Milano’s character Phoebe Halliwell. Dane was on the WB series for two seasons.
2024
During a July 2024 episode of Dax Shepard’s “Armchair Expert” podcast, Eric Dane opened up about his past romance with Alyssa Milano.
“I had a massive crush on Alyssa when I was 14. By the time I was 28, and we were dating, I wasn’t a child anymore and she was a person. A lovely wonderful person,” he recalled. “We dated for a little bit and she was obviously doing the show Charmed. She asked me if I wanted to be on it. I think I ended up doing like 10 episodes.”
Dane joked that his role was limited because they “broke up” in real life.
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2026
After news broke of Eric Dane’s death, Alyssa Milano sent her condolences to his family in a touching tribute.
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“When it came to his daughters and Rebecca, everything in him softened. He carried them with him even in rooms where they weren’t present,” she wrote via Instagram. “You could see it in the way his voice changed when he said their names. A breathtakingly beautiful family.”
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Milano also looked back fondly on her memories with Dane.
“The spark. The mischief. The tenderness he kept guarded but never totally hidden,” she continued. “He convinced me to get my pixie cut and my nose piercing. He also was with me on the walk when we found Lucy, my beloved rescue chihuahua. He called me “Milano,” as if it was the only part of my name that mattered. My heart is with the people who were lucky enough to be his home.”
Editor’s note: The below contains spoilers for The Pitt Season 2 Episode 7 and includes discussion of sexual assault.
The Pitt has baked certain principles into its modus operandi from the start: depicting realistic operations, highlighting rare conditions and overlooked organizations, and confronting for-profit healthcare’s systemic failures. If the series didn’t keenly understand that characters must carry a story’s themes, not the other way around, then its efforts would likely fall short of its daunting agenda.
This week, Dana Evans (Katherine LaNasa) and a new patient, Ilana Miller (Tina Ivlev), are the vehicles through which Season 2’s seventh episode broaches sexual assault. The series has delicately touched upon human trafficking and suspected child abuse before, but Ilana’s case exemplifies The Pitt‘s “form follows function” style at its most profoundly, searingly humane — detailing a medical procedure, assisting an overlooked patient, and confronting pervasive cultural harm with the sensitivity, integrity, and urgency it requires.
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‘The Pitt’ Season 2 Avoids Stereotypes With the Series’ First Sexual Assault Patient
Before filming The Pitt Season 2, LaNasa studied at both the Rape Treatment Center and the Stuart House. She told US Weekly, “It’s the place that I would want to go or bring my loved one if something like that were to happen to them. […] I’m asking every way to do something so that it looks accurate. But the response makes me realize how much thought and care go into every single aspect of the exam, of the interview, of all of it. They even gave me feedback on the dialogue.”
LaNasa’s preparation suggests she grasped the ferocious moral responsibility at hand, as does episode director Uta Briesewitz and co-writers Kirsten Pierre-Geyfman and R. Scott Gemmill‘s painstakingly precise construction. Dana’s tenderness, while professional, isn’t condescending or performative. She takes her time explaining every step of the extensive program for Ilana’s sake; she considers her patient’s well-being and strives to alleviate as much fear and intimidation as humanly possible, not protract Ilana’s dehumanizing torment.
Where many less adept series have diminished the aftermath of a rape into a plot device with a swift resolution, Episode 7’s exacting care legitimizes Ilana’s visceral trauma. And in a disarmingly effective choice, Pierre-Geyfman and Gemmill switch to another scene before Ilana describes the circumstances in any detail beyond the location. Most of the intimate forensic gathering also occurs offscreen, while the narrative context and camera blocking ensure Ilana’s brief nudity reads as non-sexualized as the series’ standard approach to graphic anatomy. The Pitt regards a fictional survivor’s humanity with the highest esteem. Choosing respectful restraint over graphic exploitation means both the societal indictment and the interpersonal empathy the series strives to convey leave a far more eviscerating impact.
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Dana Guides ‘The Pitt’s Realistic and Compassionate Approach to Sexual Violence
The one chilling detail that does emerge wordlessly confronts the patriarchal structures that continually enable and perpetuate rape culture. Ilana once considered her drunken attacker a friend; both of them attended the Fourth of July barbecue alongside their wider social circle. Male acquaintances and family members constitute the majority of documented real-world perpetrators. Almost as many individuals and institutions choose to protect violent abusers, citing alcohol impairment as some blameless excuse for actively chosen cruelty. Viewed from a macro lens, the survivors don’t matter.
The two also explain Whitaker’s newfound confidence and what Santos’ polarizing personality is really rooted in.
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But they matter to Dana. Dr. Baran Al-Hashimi (Sepideh Moafi) and Emma Nolan (Laëtitia Hollard) help form a crucial support network, but it’s the tough-as-nails charge nurse with astounding compassion who operates as Ilana’s focal point. There’s never a moment where her experience as a certified Sexual Assault Nurse Examiner becomes a disaffected routine. She reassures Ilana of her safety and her power over the situation, requests her consent at every turn, and provides every possible resource. One woman reaches across an invisible emotional gulf to comfort another, palpably anguished woman.
Unsurprisingly, Dana’s tireless advocacy and protective instincts keep guiding Emma by example. Last week, Emma asked Dana why she remains in this profession despite the cost to her spirit. Patients like Ilana answer the younger nurse’s question. To that end, the moment Dana grants her white-knuckled composure a private reprieve is a staggering example of LaNasa’s understated brilliance. Make no mistake, though, because Episode 7 couldn’t prevail without Ivlev’s remarkable work. Her tremulous, defensive physicality actualizes Ilana as an achingly vulnerable human who happens to represent a diverse community. The Pitt Season 2 has eight episodes left, yet this week immediately cements itself as something haunting and unspeakably necessary.
I love a solid B movie as much as the next guy, but sometimes low-budget charm isn’t enough to sustain a feature-length film. For every Alienator and Dead End Drive-In, there’s something like 1993’s Mandroid, a movie that muddies the waters with a ham-fisted sci-fi plot. Mandroid has all the right trappings but none of the execution, making it one of those films that’s not “so bad it’s good,” but rather “so bad you start wondering why you’re still watching.”
It’s not that Mandroid is inherently terrible. It has potential. But it’s such a mess thanks to less-than-adequate acting, laughable special effects, and a plot that barely makes sense even though you understand exactly what it’s trying to accomplish.
A Remote-Controlled Robot Riot
Set in post-Cold War Russia, Mandroid centers on Dr. Karl Zimmer (Robert Symonds) and his partner Drago (Curt Lowens), who develop the titular robot. In simple terms, Mandroid is a human-sized machine controlled through a headset and gloves, essentially turning its operator into a real-world avatar. The idea is to use the robot to conduct scientific experiments too dangerous for humans, specifically to synthesize a powerful superconductor by combining volatile substances.
Zimmer, along with daughter Zanna (Jane Caldwell), sees enormous practical applications for Mandroid. They intend to hand the technology over to the United States in good faith with assistance from Agent Joe Smith (Patrik Ersgard) and Dr. Wade Franklin (Brian Cousins), who have ties to the CIA.
Drago, however, has more sinister ambitions. He plans to steal Mandroid and sell it to the military for his own gain. The tension between these two camps escalates into a violent showdown, with only one clear victor by the end. Will Mandroid be used in pursuit of scientific progress, or will it be reprogrammed into a killing machine unlike anything we’ve seen before?
Mandroid Looks Pretty Cool, Though
Despite its lack of meaningful effects work, Mandroid itself looks cooler than it has any right to. It’s a sleek, black humanoid robot, and while it’s obviously a guy in a suit, the design is futuristic enough to sell the premise. Once the central conflict kicks in, the screenplay’s ambition quickly outpaces what’s actually on screen because the budget simply isn’t there for the kind of epic showdown it’s aiming for.
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That’s where B movie charm usually saves the day. Films like Alienator succeed because they lean into their camp. Even when the acting is shaky, the schlocky delivery lands with audiences who value concept and charisma over execution.
There’s usually something tangible to grab onto with a great B movie. I’m disappointed to say Mandroid doesn’t quite have that X-factor. It’s fine for what it is, but the material might have worked better as a short in an anthology series instead of a full feature. The nuts and bolts are there. The assembly just leaves a lot to be desired.
As of this writing, Mandroid is streaming for free on Tubi.
Young and the Restless spoilers for next week reveal Phyllis Summers (Michelle Stafford) is returning to Genoa City furious and Victoria Newman (Amelia Heinle) flipping the script with a bold new plan to get back the Newman’s assets.
We have the latest Y&R spoilers for the week of February 23rd, including Nate Hastings (Sean Dominic) and Devon Hamilton Winters (Bryton James) on a mission to find Lily Winters (Christel Khalil), and Daniel Romalotti (Michael Graziadei) in big, big trouble. Plus, the threat of Matt Clark (Roger Howarth) is looming.
Young and the Restless: Nate and Devon Search for the Missing Lily
All right, let’s start with the Winters family. At the end of this week, Nate is catching up with Devon at Society. They’re talking about Dominic Chancellor (Ethan Ray Clark) and being happy he’s home safe, but Devon and Abby Newman (Melissa Ordway) are really angry because Mariah Copeland (Camryn Grimes) is walking around free. That ankle monitor keeps her in Genoa City, but it doesn’t keep her away from Dominic, the kid she kidnapped.
The guys are also talking about Devon and Abby getting increasingly angry at the Mariah situation and debating whether she belongs in prison versus a mental institution. They’re just all worried about Dominic and any residual threat.
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Turns out Devon is also increasingly worried about his sister, Lily. He tells Nate they haven’t heard from Lily in a while now. Devon thought Lily went to a spa, but it’s been weeks and they haven’t heard from her. So Nate and Devon are questioning: is it time to get worried about where she’s at?
Victor Newman’s Disappearance and Lily’s Secret Location on Young and the Restless
Next week over at the Chancellor Mansion, Nate and Devon check in with Abby and they tell her that they need to leave town. They think they have a lead on what happened to Lily and they want to go check it out. Abby says, “Do whatever you got to do. Make sure everybody’s safe.”
Here’s what I wonder. If you recall, Victor Newman (Eric Braeden) abruptly disappeared from Genoa City by the end of this week. Adam Newman (Mark Grossman), Nikki Newman (Melody Thomas Scott), Nick Newman (Joshua Morrow), and Victoria—none of them knew where Victor crept off to. If you remember, he threatened Cane Ashby (Billy Flynn) again and said, “Get Phyllis to give back this stuff or else Lily pays.”
I wonder if Victor went to see Lily to talk things through with her. I agree with Adam in suspecting that Victor promised to give Chancellor to Lily if she did this, but Phyllis doesn’t even have that now—Billy Abbott (Jason Thompson) does. Not that I think Victor would have honored his word anyway, but maybe he went in person to tell Lily what’s happening and to say, “I need you to stay hidden longer.”
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Young and the Restless: Is Victor Holding Lily Winters Captive?
Worst case, because Nikki is so worried about Victor doing a bad thing, maybe he went and changed Lily’s voluntary fake kidnapping into a real kidnapping and has her locked away. Lily might have decided, “Okay, this is enough. I’m not going to keep staying off the grid. If you didn’t get it done by now, that’s it.” Victor may say, “Oh, well, no, that’s not the end of it.”
I don’t put it past him. Everything they own and have and want is gone, so there are no depths to which Victor will not sink. What’s interesting is then Devon and Nate may find Lily somewhere that Victor has stashed her. That means the whole Winters family would be absolutely furious with the Newman’s family.
I think the rest of Victor’s family would be upset, too, because Nikki was telling Sharon Newman (Sharon Case) and Noah Newman (Lucas Adams) this week she’s very worried Victor is off doing something shady. And he might well be.
Nick Newman Spirals with Illegal Drugs and Aggressive Behavior
Speaking of shady, Nick just stepped onto a dark path. He took the first step. We knew it was coming, but as of the end of this week, it looks like Nick has popped his first fentanyl. If you recall, he was in a lot of pain and he told Nikki and Sharon that he needed to go home and take a pill because he said he left his bottle there.
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Then Nick came back with a lot more spring in his step. He looked like he was in less pain, but he was acting way off-kilter. He told them he had one pill left in his bottle but said he needs to get more. But we know he lied to Sharon and Noah because he was out of the prescription pills. He’s got no refills and I bet the doctor won’t write it.
The thing that Nick had, though, was that big baggie of illegal drugs that Matt gave him. Sharon’s worried because Nick is not acting like he took a pain pill like she’s used to seeing. Instead, he’s twitchy and he sounds weird. Honestly, he’s being more aggressive than usual. Sharon mentions this to Noah and now they’re both on high alert and keeping an eye on Nick.
Young and the Restless Spoilers: Phyllis Summers – Victoria Newman
Victoria Newman Plots Revenge Against Billy and Phyllis
Meanwhile on Young and the Restless, the Newman’s family debated the timing of Victor jetting off because it came at the same time that Phyllis left Genoa City. At the same time, Victoria is cooking up her own vengeful plan to punish Billy and Phyllis and force them to give back what they took.
Victoria is going after their kids. She already hit out at Billy; she sent their kids off to boarding school and he was really ticked off about that. Next, Victoria is planning to get Daniel Romalotti and Summer Newman (Allison Lanier) on the Newman family side because she knows that will devastate Phyllis.
That’s kind of interesting because Cane already thought of that approach. He went to Daniel looking to get him to help force Phyllis’s hand to give stuff back. Plus, Cane is calling Phyllis to try and reconcile with her, which I find highly suspect. Nikki doesn’t think Victoria’s plan is going to work, but honestly, I think Nikki might be selling Victoria short.
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Phyllis Summers Returns to Explode at Daniel Romalotti Jr.
I suspect that either Victoria or Cane’s plan to get Daniel as an ally is successful because next week Phyllis is back in town and she blows up on her son. Daniel and Tessa Porter (Cait Fairbanks) are at Crimson Lights playing guitar and chilling. Phyllis barges in there, fresh off her trip, and lays into Daniel.
She uses his full name, Daniel Romalotti Jr. That’s when you know your mom’s mad, when you get the full name. Phyllis is raging at Daniel next week that she won’t forgive him for this. I can’t wait to find out what he did to infuriate Phyllis, and I’m here for it.
Hot on the heels of her return, guess what? Victor is also back in Genoa City and he’s got bad, bad news for the Newman’s family. It has nothing to do with their business, which is all bad news. The new bad news that Victor delivers to the family is personal.
Matt Clark Escapes Custody as Nick Goes into Beast Mode
He tells everybody that Matt Clark has disappeared. The guy got out of police custody and took off. Nick, of course, goes into beast mode and says that Matt could be anywhere, even on the ranch property right now. Nick wants to know how this is happening and he’s going to come completely unhinged next week.
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Between Matt getting loose and the fentanyl, it’s about to get crazy with him, basically just like Noah and Sharon were worried was going to happen. Despite Matt being on the loose, I don’t expect to see him for a couple of more weeks because Roger Howarth only recently returned to tape at Y&R and there’s like a four-week tape-to-air delay.
There is a lot of action going on next week. We also have the last three episodes of February Sweeps, which wraps up on Wednesday. So, check for that and be sure to watch our full weekly spoilers video that comes out this weekend, plus our predictions and two-week spoilers. It’s going to be good stuff the week of February 23rd through the 27th. Do not miss a minute of Y&R.
Starfleet Academy’s sixth episode (“Come, Let’s Away”) was a standout tale that ditched the series’ infamous tryhard humor to deliver a tight action/adventure thriller. As someone who had been hard on the show before, I was morbidly curious if that grimdark outing represented the new normal. Would this Star Trek spinoff finally start taking itself seriously in every episode, or would the series be returning to sloppy comedy form?
The seventh episode (“Ko’zeine”) managed to surprise me, and not always in a good way: this story brought goofy comedy back to the forefront, but the humor is less forced and all the more fun for it. Plus, the episode channels the vibe of both indie coming-of-age films (like Garden State) and wedding rom-coms (like My Best Friend’s Wedding) into an uneven episode that packs plenty of character development. As a result, “Ko’ziene” is a deep improvement over earlier Starfleet Academy episodes, but it fails to pack the high-octane thrills and equally high stakes of “Come, Let’s Away.”
Spring Break Is Finally Here
The general premise of “Ko’ziene” is that the various cadets are headed home for Spring Break, but things quickly go awry for three of our heroes. Caleb has no family to return to, so he decides to stay aboard the Athena, trying to take his mind off the injuries sustained by his telepathic girlfriend when she successfully saved him from the Furies. She is recovering on Betazed, and Caleb is having trouble composing the right message to express his feelings; however, he gets a welcome distraction from Genesis, whose decision to steal back aboard the Athena hides a shocking ulterior motive.
Meanwhile, the B plot is that Jay-Den sees Darem getting abducted, and he follows the kidnappers to discover a rather insane surprise. You see, Darem has been nabbed by his own people as part of an ancient ritual, and he is about to marry the woman he was betrothed to many years ago. Jay-Den now has to serve as his best man, but that means he has to avoid a romantic getaway in Ibiza with Kyle, his himbo War College boyfriend.
Taking Aim At The Series’ Awful Humor
Before you say it, I want to let you know I get it. If you’ve hated most of Starfleet Academy up until this point, then “Ko’zeine” sounds like a double serving of the show’s two most annoying aspects: awkward romance and teen angst. However, this outing is better than earlier episodes this season for the simple fact that the writers are finally showing a bit of restraint with the show’s attempts at comedy.
Sure, there are still some overly goody bits here, like Caleb’s ears swelling up in a bit straight out of Star Trek (2009). Oh, and he and Genesis chase down a “warp snail” in a low-speed chase sequence so silly that it belongs in Lower Decks. As for the wedding plot, we get a few equally cartoony, overly trope-y bits, like Darem’s elaborate wedding suit tearing and him having a Bridezilla-esque freakout.
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Mostly, though, this Starfleet Academy episode puts the forced humor into a dampening field, allowing the more serious elements of the story to have more impact. We get to see Caleb processing his feelings for Tarima in a surprisingly earnest way; he cares for her but doesn’t know how to express his feelings, which is relatively realistic for a teenage boy dealing with his own traumatic baggage. Jay-Den has to confront the depth of his romantic feelings and a potential love triangle, all while learning that his swaggering bully/classmate crush is a secret simp back home.
Star Trek Goes Indie
What holds everything together, though, is that returning Trek director Andi Armaganian shoots the A plot and the B plot through the lens of two very different genre films. Jay-Den and Darem get a wedding-based rom-com story, one that mines humor out of cultural misunderstandings and the two characters’ grudging mutual affection. Caleb and Genesis, however, get a twee coming-of-age adventure that shamelessly channels beloved indie hits like Garden State and Nick and Norah’s Infinite Playlist.
Needless to say, your enjoyment of these plots will hinge largely on your enjoyment of the genre stuff. Personally, I like my wedding comedies to be driven more by winking charisma (like in The Wedding Singer) or raunchy punchlines (like in Wedding Crashers), so I was left just a tad cold by the Jay-Den/Darem B plot. The actors get some fun lines and have a decent chemistry with one another, but their plot line veers a bit too much into the space lanes of a good, old-fashioned soap opera for my taste.
A Weirdly Moving, Weirdly Thoughtful Episode
By contrast, I found the A plot with Caleb and Genesis weirdly moving in large part because the script knows when to pull back and just let these characters vibe out. As if in answer to all those fan complaints about the show’s overly vulgar modern slang, this episode mostly has these characters speaking to one another like actual adults. This contrasts nicely with the shenanigans they get up to (Genesis is hellbent on breaking into the Athena’s bridge), and it sets up the essential dichotomy of Starfleet Academy: that these cadets have the potential to be Picard-style movers and shakers, but like Jean-Luc at this tender age, they still have a lot of growing up to do.
In terms of visuals, this episode has some of the most creative camera angles we have seen so far; instead of action shots designed to make you dizzy, “Ko’zeine” provides dynamic shots of Caleb and Genesis bonding, all while a mellow alt soundtrack punctuates their light interaction with hints of profundity. Granted, I’m a Millennial who absolutely lovedGarden State, and that might make you want to take your phaser off stun before shooting me. But I thought this episode perfectly channeled that film’s sense of epic ennui; the idea that everything is meaningless and meaningful all at once for characters who have their whole lives ahead of them and a lifetime of baggage behind them.
Feelings Frequencies Open, Captain
There are no chilling monologues like we got in “Come, Let’s Away,” and unlike that earlier adventure, nobody’s in danger of suddenly declaring “Zo’Keine” one of their favorite Star Trek episodes. But this is a surprisingly earnest, surprisingly honest slice-of-life tale that adds surprising depth to some of the show’s most one-dimensional characters. It’s a thoroughly entertaining (good, not great) tale, one that signifies that Starfleet Academy has overcome most of its growing pains and is ready to finally provide episodes that capture the ephemeral highs and haunting lows of life as a young person.
A fun, unpredictable story that dynamically transforms several of the show’s best characters without disrupting franchise lore? As a Star Trek fan, you could do a lot worse!
March is turning into a blunt reminder that streaming libraries aren’t permanent, especially for older studio horror that cycles in and out on short windows. As Netflix US does its early-month content reset, a lot of viewers will chase the obvious blockbusters leaving on March 1, but genre fans should be looking at the quieter exits: the mid-budget nightmares that still play like a dare. One such departure is a tight, fast watch, barely feature-length by modern standards, yet this Stephen Kingadaptation delivers the kind of escalating dread that newer horror often stretches into a limited series.
What makes this particular adaptation linger is how it weaponizes something everyday. It isn’t just evil arrives horror, it’s obsession horror: the way a teenager’s need for control can curdle into isolation, the way loyalty turns possessive, the way a shiny new identity can rewrite your morals. The movie keeps the scares clean and physical, metal warping, headlights breathing, a presence you can feel even when no one is speaking, and it never forgets the human cost. Add the legendary John Carpenter’s precision for tension and rhythm, and you get a lean thrill ride that still feels nasty in the best way.
The title heading out is Christine, the Stephen King adaptation that runs a brisk 110 minutes and turns a possessed car into a full-blown relationship from hell. According to the current Netflix US departure list, it’s scheduled to leave on March 1, 2026, meaning your real deadline is the night before. Netflix doesn’t always telegraph when it’ll be back, so if you’ve been meaning to catch this classic, this is the window.
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A ‘Christine’ Reboot Was Reportedly in the Works
Christine hit theaters in 1983 as a lean 110-minute supernatural thriller. It wasn’t a massive box-office juggernaut, pulled about $21M worldwide on a ~$10M budget, but it steadily became a cult staple because it turns teen insecurity and obsession into the real horror, with the car as the catalyst.
A reboot seemed locked in when Bryan Fuller was announced in June 2021towrite and direct a new version at Blumhouse Productions with Sony Pictures. Since then, updates have been scarce, enough that Screen Rant reported in 2025 that the remake appears to have stalled, not formally died. Carpenter himself publicly shrugged off the remake talk in 2023, saying, “good luck… it will probably be better,” which probably implied he wasn’t too indulged in it.
Christine is available to stream on Netflix and is scheduled to leave on March 1, 2026. Stay tuned to Collider for more updates.
KATSEYE is going to look and sound different … because moving forward the group will be missing Manon Bannerman.
In a statement on social media Friday, KATSEYE says Manon “will be taking a temporary hiatus from group activities to focus on her health and wellbeing.”
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The statement continues … “We fully support this decision. KATSEYE remains committed to showing up for one another and for the fans who mean everything to us. The group will continue scheduled activities during this time, and we look forward to being together again when the time is right.”
KATSEYE adds … “Thank you to our EYEKONS for your continued love, patience, and understanding.”
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The global girl group formed in 2023 during the reality competition series “Dream Academy” … and they were also the focus of the Netflix docuseries “Popstar Academy: Kasteye.”
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In June 2024, KATSEYE released their debut single “Debut” … and their next single, “Touch,” was a smash hit.
Disney’s live-action remakes are always a gamble. Some of these films land with critics and audiences alike, but many fail to capture the magic of the original and fade into obscurity. Lately, they’re being met with more controversies around gender and ethnic representation, too. However, a recent live-action adaptation that was met with mixed reviews at the time of its release seems to be finding a second life on streaming years after its theatrical run. The spike is especially interesting given that the seven-year-old Will Smith-starrer has not been in the news cycle recently, which means viewers are rediscovering it organically.
The film, helmed by Guy Ritchie, was released in May 2019 with a production budget of $183 million. The adaptation was a box office success and crossed $1 billion worldwide to become the ninth-highest-grossing film of the year. As of now, it ranks as the eighth-most-expensive and third-highest-grossing Disney live-action remake. The film holds a 57% critics’ score on Rotten Tomatoes, against a 94% audience rating, which perfectly mirrors its divided reception. Though streaming numbers are starting to tell a different story now.
Ritchie’s Aladdinentered Disney+’s Top 10 list in the U.S. on February 18 and is currently sitting at #10. Not just that, the live-action remake also hit #9 on Disney+ in Hungary on both February 14 and February 16. It remains to be seen whether this is the beginning of a sustained climb or just a momentary spike. For now, though, the Mena Massoud and Naomi Scottmusical fantasy is officially back on the audience’s radar.
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The Tragic Fate of the ‘Aladdin’ Live Action Sequel
In 2020, Ritchie announced that a sequel to his live-action adaptation of Disney’s Aladdin was officially in the works, with writers John Gatins andAndrea Berloffattached. Unfortunately, though, the follow-up received little to no updates after that. In October 2025, an X fan account for Scott shared screenshots of a conversation in which the star debunked viral rumors that filming on the sequel would begin the following year and called the reports “completely fake.”
Massoud has also taken to social media in the past to express his disappointment over Aladdin being unlikely to receive a follow-up despite crossing the billion-dollar mark. Meanwhile, Ritchie moved on to another Disney project and was tapped to direct the live-action remake of Herculesin 2022 alongside producers Joe and Anthony Russo. However, the film has been in production limbo since then, and Ritchie is reportedly no longer attached to it.
Regardless of all that, Disney’s live-action remake pipeline is not slowing down. The studio is gearing up for the release of Moanaon July 10, with Dwayne Johnson reprising his role as Maui and newcomer Catherine Laga’aia stepping into the titular role.
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The live-action adaptation of Aladdin is available to stream on Disney+. Stay tuned to Collider for more updates.
On the evening of Thursday, February 19, Chrisean Rock took to Instagram to share a video clip with her fans. Furthermore, the clip showed Rock throwing fierce punches, practicing her hand and body technique in the gym.
“Done,” Rock captioned the clip.
Peep it below.
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Internet Users Are Hyping Her Up
Internet users entered TSR’s comment section, hyping up Chrisean Rock and her apparent boxing skills.
Instagram user @shotby.tee wrote, “This is 100% her lane!”
While Instagram user @theereal_mommiana added, “She’s back looking like Chrisean THE ATHLETE 💪🏽”
Instagram user @tattedkelli_ wrote, “This is the energy we wanted to see. Rooting for her”
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While Instagram user @_rose__royce added, “Yall gotta remember before the blueface era , she was athletic asf”
Instagram user @amina.nefertari wrote, “I love this for her! She was always meant to be a star especially pertaining to anything athletic!🙌🏾🙌🏾”
While Instagram user @platinumbeardvalentine added, “Stay focused baby girl. We’re proud of you 🫡🏆🔥🔥🔥”
Instagram user @hoodrichjewelz wrote, “She bouta get right back into shape like when we first discovered her 🔥”
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While Instagram user @__.slim.mingggg added, “This is actually great for her. Great discipline fasure”
Instagram user @aubri.rose wrote, “This is going to build so much character in her 👏 & She is already built Ford Tough 😮💨 I like it…. Keep going girl.”
Why Is Chrisean Rock Showing Off Her Boxing Skills?
As The Shade Room previously reported, in January, it was announced that Chrisean Rock signed a deal with XRumble to participate in the platform’s first-ever female Super Middleweight Championship fight. At the time, it was shared that the fight would go down on Saturday, April 25, at Harrah’s Philadelphia Casino in Chester, Pennsylvania. However, Rock’s opponent was yet to be decided.
Later that month, Pepa’s daughter, Egypt Criss, offered to jump in the ring with Rock, per The Shade Room.
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Earlier this month, Rock’s opponent was revealed to be Zenith Zion, per The Shade Room. At that time, Zion proclaimed, “Be prepared, Chrisean, because I’m coming to kick your ass.”
After Zion was revealed as her opponent, Chrisean Rock reacted to her spicy words.
A still from David Gordon Green’s The Exorcist: Believer.Universal
Only one franchise-starter comes close to matching the disastrous results of Universal’s Dark Universe — a planned series of interconnected movies featuring classic “monsters” from the studio’s stable. The franchise-starter also happened to be a Universal project, and is suddenly seeing a spike in viewership at home. It was released in 2023 to toxic reviews and an underwhelming box office response, after the studio had already announced two further sequels with the same director. Neither of those sequels was made, and the studio was forced to admit that the audience hadn’t responded to the filmmaker’s vision and plan something fresh instead. Universal isn’t one to let go of potential IP material. Despite the failure of the Dark Universe, it released a poorly received Wolf Man movie, a surprisingly successful Invisible Man movie, and has a reboot of The Mummy slated for this year.
The studio was especially confident about the 2023 film, as its director had successfully delivered a trio of horror hits in quick succession. Universal had also spent a reported $400 million on securing the distribution rights to the property, hoping that the filmmaker could spin a billion-dollar-grossing franchise out of it. That didn’t happen. In fact, in addition to disappointing reviews, the movie grossed less than $140 million worldwide against a reported budget of $30 million — well below studio expectations. Especially telling was its weekend-to-weekend drop; the film fell by 58% in its sophomore frame, effectively sealing its fate and shattering any hopes for a rebound.
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Here’s the Failed Franchise-Starter Rebounding on Streaming
The movie in question is The Exorcist: Believer, directed by David Gordon Green. The filmmaker had rebooted the Halloween franchise quite successfully for Universal, with Halloween, Halloween Kills, and Halloween Ends. The trilogy suffered from declining returns but grossed a combined total of nearly $500 million worldwide. The Exorcist: Believer, which brought back the classic 1973 film‘s stars Ellen Burstyn and Linda Blair, was supposed to be followed by two more movies, the first of which was titled The Exorcist: Deceiver. However, its underwhelming box office performance and 22% Rotten Tomatoes score put an end to those plans. The website’s consensus described it as an “inauspicious” debut for the potential franchise. Despite its poor reputation, The Exorcist: Believer was among the most-watched movies on the global Netflix charts this week, when the leaderboard was topped by Ridley Scott‘s Prometheus.
The Exorcist franchise is now being rebooted by Mike Flanagan. Meanwhile, The Exorcist: Believer is streaming on Netflix. Stay tuned to Collider for more updates.
