Ladies In Latex …
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‘Pound Town’ Rapper!

Published
February 10, 2026
12:02 PM PST

Ja Rule has spoken out after viral footage showed a heated plane incident between him, Tony Yayo, and Uncle Murda.

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More On The Footage Of The Heated Plane Incident Between Ja Rule, Tony Yayo & Uncle Murda

On Tuesday, February 9, footage surfaced of Ja Rule seemingly being heckled by Tony Yayo and Uncle Murda while seated on a plane. The initial three-part footage was circulated by Instagram user @livebitez and showed Murda calling Ja a “sucka” while Ja returned the insult. Furthermore, a second clip showed Yayo calling Ja soft after it appeared that he had been removed from the plane.

Click here to see the initial NSFW footage.

Ja Speaks As Additional Footage Surfaces

By Friday evening, Ja had taken to X, formerly known as Twitter, to shed more light on what allegedly went down. Furthermore, he wrote that he “popped” on Murda and Yayo, calling them “punks” and adding that he allegedly threw the plane pillow at Tonya Yaya’s head, knocking his hat off.

Then, on Tuesday, February 10, TMZ obtained additional footage that appeared to fill in some blanks regarding the incident. The footage showed Ja defending himself and seemingly wanting to throw down with the fellow rappers. Per the outlet, Ja and Yayo were briefly removed from the plane, and witnesses saw as Yayo alleged he did nothing wrong.

Per TMZ, Ja rebooked a later flight and told the outlet, “These f*****g clowns… I saw them when I got on. I was laughing like, ‘Look at these two clowns’ … They look like they saw a ghost deer in the headlights, they always talking s**t, so I addressed them…”

See the additional footage of the heated plane incident below.

Social Media Weighs In On The Heated Plane Incident Between Ja Rule, Tony Yayo & Uncle Murda

Social media users weighed in on the heated plane incident involving Ja Rule, Tony Yayo, and Uncle Murda in TSR’s comment section.

RELATED: Social Media Is Crackin’ UP At Viral Footage Of Boxer Jarrell Miller Getting His Wig — Yep, His Wig — Knocked OFF In The Ring (WATCH)

A single-engine plane made an emergency landing on a busy road in Georgia, striking three vehicles and leaving two people with minor injuries, authorities said, after one of the two pilots on board told air traffic controllers to let his wife and parents know he loved them.
The Hawker Beechcraft Bonanza landed Monday on Browns Bridge Road in Gainesville, about 50 miles (80 kilometers) northeast of Atlanta. It was headed to Cherokee County Regional Airport in Canton from Gainesville’s Lee Gilmer Memorial Airport. The plane turned back after experiencing problems with the engine just after departure, the National Transportation Safety Board said in a statement.
The plane didn’t have enough power to make it to the airport. It landed on the road, the NTSB said.
“I think we’re not going to make it,” air traffic audio recorded by LiveATC.net said. “Please tell my wife, Molly, I love her, and my parents. I love them so much.”
More than 10 minutes later, “We’re going to be fine” is heard on the recording.
“We lost our engine taking off out of Gainesville,” pilot Thomas Rogers told WAGA-TV. “We tried to glide back, did everything by the book, but realized we weren’t going to make it back with how far out we were, so we came down on the road.”
The plane struck three cars, dislodging a fuel tank into one of them, Gainesville police Capt. Kevin Holbrook said. Two people were taken to a hospital with minor injuries, he said.
“The fact that they were able to land in the middle of hundreds of vehicles and only hit three of them, no power lines is very remarkable,” Holbrook said, noting that the road is one of the main arteries through northeast Georgia. “The fact that no one was seriously injured or killed is just astonishing.”

By Robert Scucci
| Published 15 seconds ago

2014’s Birdman is one of my favorite Michael Keaton films for a number of reasons. The one-shot aesthetic allows for clever continuity tricks, and the self-referential meta humor about a washed up superhero actor trying to be taken seriously on stage instead of on the silver screen makes it a satisfying watch on every level. Keaton’s ability to toe the line as a man on the verge of a mental health crisis while taking on his most ambitious project is deadpan, darkly hilarious, and suicidally beautiful. Its ambiguous ending also makes it the perfect movie for repeat watches, since there are always pieces of subtext that slip by the first time, only to click into place later.

When I first stumbled upon 2005’s Game 6 on Tubi, I was enthralled by the synopsis because it reads like a proto version of Birdman, but with a much leaner and more grounded premise. Leaning into more conventional dramatic territory, it ends up being a solid watch on its own, while also feeling like a raw early draft of the kind of character Keaton would fully realize nearly a decade later.

If you reluctantly go into Game 6 expecting a second-rate Birdman, you’ll be relieved to find that both films stay firmly in their own lane. They share thematic DNA, but each has its own tone and personality, which makes them equally valid entries in Michael Keaton’s filmography rather than competing echoes of the same idea.

Not Riggan, But Rather Rogan

Michael Keaton plays Nicky Rogan in Game 6, a cynical but highly successful playwright living in New York City. Everyone in his inner circle insists that his new play will be his best work yet, largely because he’s leaning into more serious and less playful subject matter. The expectation is that this shift will cement his legacy as one of the leading playwrights of his generation. While his professional life appears to be riding high, the rest of his world is slowly falling apart. His marriage is collapsing under the weight of resentment and exhaustion with his soon-to-be ex-wife Lillian (Catherine O’Hara), and his relationship with his young adult daughter Laurel (Ari Graynor) is strained on its best day.

Family dynamics in Game 6 aside, Nicky is dealing with two additional problems that send him spiraling.

First, and most pressing, his best friend Elliot (Griffin Dunne) warns him that a potentially scathing review from notorious drama critic Steven Schwimmer (Robert Downey Jr.) could ruin his career. Elliot is a shell of his former self, having never recovered from a brutal review Schwimmer once wrote about him, and he blames that single piece of criticism for permanently derailing his reputation. Nicky becomes increasingly anxious that his own play will suffer a similar fate, especially since his lead actor Peter Redmond (Harris Yulin) is battling a brain parasite that causes him to forget his lines during rehearsals.

While Nicky should be focused entirely on getting his play through opening night without disaster, something else gnaws at him even more deeply than the fear of professional failure. It’s Game 6 of the World Series, and the Boston Red Sox are one win away from winning the championship. To anyone willing to listen, Nicky frames his entire outlook on life through his relationship with the Red Sox. By all logic, they should always win, yet somehow they always find a way to blow it at the last possible moment. That mindset defines him, despite the fact that his own career has been objectively successful up to this point.

In an attempt to make peace with himself and take pause before his play receives its first major reviews, Nicky skips his own premiere so he can watch the game and take stock of his life. His divorce is imminent, his professional reputation feels compromised, and the future he worked so hard to build suddenly feels uncertain. Egged on repeatedly by Elliot, he even begins to entertain the question of whether killing Schwimmer would somehow offer relief from the damage a single cruel voice can inflict on his legacy.

A Perfect Companion Piece To Birdman

Where Birdman places its emphasis on Riggan’s psychological collapse as the pressure of opening night mounts, Game 6 takes a more restrained and dramatic approach to similar material. Both films wrestle with the idea of legacy, but Game 6 focuses on a man who has already found success and is terrified that it might vanish without warning. Nicky is the human embodiment of the Boston Red Sox mentality. Successful until the moment he drops the ball, with that ever-present fear poisoning his ability to enjoy what he’s already earned.

Birdman centers on a former movie star attempting to reinvent himself on Broadway, pouring everything he has into a stage adaptation of Raymond Carver’s “What We Talk About When We Talk About Love” while his personal life disintegrates. Game 6, on the other hand, follows a man who could comfortably retire tomorrow and still be remembered as a success, yet stands to lose everything that actually matters to him outside of his career. Both films examine insecurity through these very specific circumstances, but they take radically different stylistic paths as they play out. Game 6 plays its story straight, while Birdman unfolds like a fever dream.

The ideal way to experience Game 6, currently streaming for free on Tubi, is before revisiting Birdman. Watching them back to back highlights how the same actor can explore similar thematic ground from completely different angles. Together, they form an unintentional double feature that deepens appreciation for Keaton’s work, and Game 6 in particular feels like the missing link in his career that hints at his later masterpiece.

Marvel fans have spent the last few weeks dissecting every frame of the mysterious footage tied to Avengers: Doomsday, but according to the filmmakers behind the project, viewers may be approaching it all wrong.

“What you’ve been watching for the last four weeks… are not teasers. Or trailers. They are stories. They are clues… Pay attention.”

In recent comments, Russo Brothers made it clear that what fans are calling trailers are not trailers at all. Instead, they described the footage as intentional clues designed to spark speculation, reward close viewing, and quietly set the stage for what is shaping up to be one of Marvel’s most ambitious chapters yet.

Rather than traditional marketing beats that outline plot, characters, or tone, the Russos say these videos are closer to puzzle pieces. Every image, sound cue, and edit is meant to be questioned.

Chris Evans, Avengers: Doomsday [credit: Marvel Studios]

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Not a Trailer. A Warning.

According to the brothers, Avengers: Doomsday is being positioned differently than past Marvel releases. They want audiences thinking long before opening night. That means misdirection, symbolism, and information that may not make sense until much later.

The Russos emphasized that fans should not expect clear answers right now. If anything, the confusion is the point. The footage is meant to provoke theories rather than confirm them.

That approach lines up with how Marvel has quietly shifted its promotional strategy in the multiverse era. Instead of spelling things out, the studio is leaning into fan engagement, online debate, and long burn mystery.

The Clues Are in the Details

The directors encouraged viewers to look past surface level moments and focus on smaller details. Background imagery. Color choices. Dialogue fragments that seem out of place. Even what is missing from the footage may be just as important as what is shown.

Chris Hemsworth and India Rose Hemsworth [credit: Marvel Studios]

Fans have already begun connecting these clues to past MCU events, alternate timelines, and unresolved storylines from earlier phases. Some believe the footage hints at fractured realities colliding. Others think it is teasing a darker moral conflict at the heart of the film.

The Russos have not confirmed any theories, but they did say that attentive fans are already closer to the truth than they realize.

A Different Kind of Marvel Build Up

This cryptic rollout also reflects the scale of what Marvel is attempting. Avengers: Doomsday is expected to redefine the MCU moving forward, much like Infinity War and Endgame did before it. The Russos seem intent on recreating that sense of anticipation, but with a more cerebral twist.

Instead of hype driven spectacle, they are inviting fans into a conversation. One where speculation, rewatches, and theory threads are part of the experience.

As the Russos put it, the story has already started. It just isn’t being told in the usual way.

And if they are right, every so called trailer so far is less about selling tickets and more about asking a question.

What do you think Marvel is really trying to tell us?

One thing is certain. When Marvel Studios finally pulls the curtain back, fans who paid attention early may be the ones saying they saw it coming.

By Jonathan Klotz
| Published 2 minutes ago

Amanda Tapping’s most well-known role is as Colonel Samantha Carter in the Stargate franchise, but after Stargate SG-1 finished, she went on to star in the SyFy original monster-hunting series, Sanctuary. As Helen Magnus, she was the head of a global network of secret facilities designed to house, treat, and study “abnormals.”

This meant a lot of running around after large, terrifying monsters, which is why the Season 1 episode, “Instinct,” works so well. Shot in the style of a found-footage horror movie, “Instinct” shows how a single encounter with an abnormal can be life-altering, and oh yes, when you don’t know what’s going on, the entire Sanctuary team comes off as being completely insane. 

By now, fans had seen Helen’s team in action: Will (Robin Dunne) is the new guy, a forensic psychiatrist and her protege,  Henry (Ryan Robbins) is the tech guy and also a werewolf, while Ashley (Emille Ullerup) is Helen’s daughter (that always immediately raises questions when people find out) and the most accomplished fighter of the group. Seeing them through the perspective of TV weather girl Amy (Rekha Sharma) and her cameraman, Zach (Matty Finochio), turns the usual Sanctuary viewing experience on its head. After the two bystanders wander into a warehouse with a trapped monstrous abnormal inside, they learn of a world of myths and monsters that’s always been around them, and while Zach is impressed, Amy thinks this is the story that will make her career. 

“Instinct” opens with the two groups running into each other and trying to find a way to coexist as Amy tries to get answers about the Sanctuary from the team, and Zach wants to get out in one piece. In one of the best moments, Zach is trying to eavesdrop on the team using the camera, when he hears Helen say that the monster is right behind him. Panicked, he turns around, sees nothing, turns back, and Helen is right there to chastise him for listening in.

After learning that the abnormal is a typically docile ancient Japanese beetle, they calm down until the lights go out, and we get the horror-movie shot of the abnormal lurking in the darkness, right over Helen’s shoulder. The head-on steadicam shots make “Instinct” look unlike any other episode of Sanctuary, and the episode takes full advantage of it by going for jumpscares whenever possible. 

Sanctuary Was Ahead Of Its Time

Sanctuary was usually shot in a large, open studio with no real sets. Those were digitally added in later. For “Instinct,” the crew used an old Volvo warehouse, which gave the episode a cramped, claustrophobic feel. Intentionally shot to look like a single, continuous take, the episode was actually 40 long shots spliced together, but if you’ve seen any found-footage movies, you can tell where the splices happen. 

Even though the series ran for four seasons, Sanctuary stayed under the radar the whole time, which is a shame, as it includes one of the strangest versions of Tesla, a vampire in the world of the series, and the best Jack the Ripper (Helen’s estranged husband). As expected for a show starring Amanda Tapping while she was moonlighting on Stargate Atlantis, there’s plenty of references to that other franchise, including Michael Shanks making a guest appearance, and in “Instinct,” an ARG prop is repurposed as a sonic gun. 

Sanctuary’s quality level varies wildly from season to season, but “Instinct” is an early highlight for the show before it loses itself in its own mythology. Paying tribute to Cloverfield gave fans a chance to see the team a bit differently and to have some fun by seeing how insane Helen’s explanations behind abnormals sound when removed from the context of the Sanctuary itself. If you’ve never given the show a chance, fire it up on Tubi and let the familiar feeling of Canadian sci-fi wash over you.