One glowing 10/10 review of the picture stated: “One of the finest plays in history is turned into a cinematic masterpiece.”
The reviewer praised The Crucible for featuring an “absolutely brilliant and cathartically heartbreaking performance” from one of its leading actors. They continued, describing how the star “delivers one of the finest examples of acting genius I’ve ever had the privilege of experiencing”.
Another 8/10 assessment declared: “I am not someone to randomly give out a perfect score for a movie… And I also happen to be a very critical person of most films. With that being said, The Crucible completely blows me away with its virtually flawless cinematic achievements!”
One 9/10 critique called the picture “just fantastic” and rooted in “possibly the greatest play ever written”.
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A particular performance was labelled “outstanding”, whilst another cast member made an “indelible impression thanks to their “marvellous acting”. The critic concluded by calling the film a “work of cinematic genius”.Yet another viewer awarded maximum marks, writing: “Not just a dynamic character study, but a study of madness”. One enthusiastic 7/10 review praised the production as an “excellent adaptation”, adding: “There is nothing I like better than a good play for the stage, even when it is on screen. “.
Released in 1996, The Crucible draws from Arthur Miller’s acclaimed 1953 stage play of the same title.
Taking place during the Salem Witch Trials in Massachusetts Bay between 1692 and 1693, Miller crafted the work as a pointed commentary on the political persecution characteristic of McCarthyism in the mid-1950s.
The narrative centres on a community of Puritan settlers thrown into chaos following rumours of dark magic after local minister Samuel Parris (portrayed by Bruce Davison) discovers his daughter collapsed and unresponsive in the forest.
The incident follows her participation with several other young women in attempting to perform incantations alongside an enslaved woman.
As news of the events circulates, allegations of sorcery spread like wildfire throughout the settlement, prompting residents to turn against one another based on mere suspicion rather than proof.
The young women begin pointing fingers at fellow townspeople, resulting in numerous trials, including that of John Proctor (Daniel Day-Lewis), who previously engaged in an illicit relationship with Abigail Williams (Winona Ryder).
The production boasted a stellar ensemble, featuring Joan Allen, Paul Scofield, Peter Vaughn, Frances Conroy, and Jeffrey Jones amongst its ranks.
Upon its 1996 debut, the picture garnered multiple accolades, including a Best Actress recognition for Allen and a Best Adapted Screenplay acknowledgement for playwright Miller himself. Furthermore, the production earned nominations for BAFTAs, Golden Globes, Satellite Awards, and the Berlin Film Festival.
The Crucible (1996) is streaming on Prime Video and Apple TV for a fee now.
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This time 36 years ago, Fabrice Morvan was preparing for his first Grammy Awards. It had been a wild few years for the 23-year-old Parisian and his best friend Robert Pilatus from Germany. The duo known as Milli Vanilli had rocketed to fame, going from obscure dancers in Munich to dominate the pop music scene. Not only were they nominated for best new artist, but they were expected to perform live. Underneath it all, the pair were quickly reaching their breaking point.
Don Henley’s “The End of the Innocence” was nominated for both song and record of the year. Indeed, for the tens of millions of Milli Vanilli fans who bought their records, the 1990 Grammy ceremony marked an end of innocence of sorts. To this day, Milli Vanilli are the only artists in the history of the Grammys to have their award revoked.
L-R: The pop duo Milli Vanilli comprised of Fab Morvan and Rob Pilatus, the subject of the Paramount+ documentary Milli Vanilli, streaming on Paramount+ beginning October 24, 2023.
(Ingrid Segeith/Ingrid Segeith/Paramount+)
“Rob and Fab,” as they were known, never sang — live or in studio — on any of the smash hit singles from their 6x platinum debut North American album, “Girl You Know It’s True.” Their Grammy performance was them lip-synching to a playback.
The real singing was done by paid session vocalists John Davis, Brad Howell and Charles Shaw while Rob and Fab captivated with their charisma, athletic dance moves and eye for style. In the wake of the fallout, Milli Vanilli remained steadfast that what they did was wrong. There was, in fact, plenty of blame to go around even if Rob and Fab suffered the brunt of it.
“They removed the platinum records from the wall at Arista,” says Morvan, now 59. He is perched on the edge of a poolside lounge chair from a boutique hotel in the heart of Hollywood. It’s a sunny December day, but he’s dressed all in black with glasses to match, slim fingers adorned with a custom silver skull ring. He loves the sunshine, but offers for my sake to move somewhere in the shade. Able to pass for decades younger, he now basks in life on the other side of infamy.
“They say the truth will set you free. The truth takes the stairs while the lies take the elevators. And that is true,” Morvan said. “So finally, after 35 years, my truth comes to the surface.”
(Stephen Shadrach)
Now, in a redemption as astounding as his rise, Morvan is back in the running for the 2026 Grammys as the only person in Recording Academy history nominated after a prior revocation.
This time, the voice is unmistakably his. Nominated in the audio book, narration, and storytelling recording category for his memoir “You Know It’s True: The Real Story of Milli Vanilli,” Morvan’s lilting French dialect and soft tone are hypnotizing and he has a natural knack for storytelling. The recording was performed alone in his home studio.
“They say the truth will set you free. The truth takes the stairs while the lies take the elevators. And that is true. So finally, after 35 years, my truth comes to the surface,” he contends. “And people, they get it, they understand that.”
Sadly, Rob Pilatus isn’t here to see it. Unable to handle the fallout and struggling in addiction, he died in 1998. In one of the more moving parts of his memoir, Morvan speaks to his former partner, laying bare for the first time some of the more unhealthy aspects of their relationship but in a way that makes clear his love for Pilatus runs deep.
After Pilatus’ death, Morvan tried his best to move on. He taught French at a Berlitz school for a while when not performing at small venues. “I’m not even looking at becoming big,” he told Times journalist Carla Rivera in a 1997 profile. He even had a stint on radio hosting “Fabrice’s Fabulous Flashbacks” for KIIS-FM. But he always returned to making music.
“Music was always there with me,” he says, his excitement building. So when it came to moving forward in life, and, I said, ‘OK, what am I going to do?’ Music kind of popped up and said, ‘Hey, show me how much you love me.’ And then I worked on that, and I learned how to play guitar, and I learned how to produce, and I learned how to write … it allowed me to take the pain away, to remove it.”
But after 20 years in Los Angeles, Morvan felt it was time to leave “Hotel California,” as he calls it, for opportunities in Europe. In a follow-up Zoom call from his home in Amsterdam, he confides that he almost felt like giving up, but figured maybe a change of scenery was what he needed.
“I was very disillusioned,” he says, headphones crowning his dreadlocked updo. “I found a producer that I could work with and build something with, but due to certain circumstances, it didn’t come together. So I met some Dutch people that wanted to launch a fashion line. And I heard that Holland was a place where dance music was evolving.”
Becoming a DJ, he played festivals and kept Milli Vanilli’s legacy alive, performing with a live band.
Morvan with his wife Tessa van der steen and their four children
While preparing for a project about 15 years ago, Morvan met his current partner, Tessa van der Steen, who is Dutch and works as a health and fitness coach and alternative medicine practitioner. Together, they have four children: a 12-year-old boy, 9-year-old girl, and a set of 4-year-old twin boys.
During Milli Vanilli’s heyday, powerful male (mostly white) figures held the cards, but in this phase of his life it’s women who play big roles. Not mentioned in his book is Kim Marlowe, who Morvan says, in the 1997 Times article was his manager and best friend. They at one point married; Marlowe quietly filed for divorce in L.A. in 2024.
Van der Steen, however, is the love of his life. She had no idea who he was when they first met, he was simply “Fabrice.” And according to Morvan, she is fiercely protective. “Fab is the most loving partner and father I could ever imagine,” Van der Steen writes over email. “We are soulmates. We have been together for more than 15 years. We understand each other, and it happens often that we are thinking of the same things, without saying a word.” She champions his efforts to release original music and continue performing.
In recent years, changes in culture, technology and the music industry have opened up conversations casting Rob and Fab in a more sympathetic light. Morvan himself took part in the well-received 2023 Paramount+ documentary “Milli Vanilli.” That same year, “Girl You Know It’s True,” a well-made biopic directed by Simon Verhoeven, came out.
And Morvan was caught off guard when Ryan Murphy featured Milli Vanilli prominently in his 2024 series on the Menendez brothers, a move introducing the group to new generations unfamiliar with the story. Motivated by the renewed interest, he recorded a stripped down, acoustic version of the Diane Warren-penned hit “Blame It on the Rain.”
As recently as November, Milli Vanilli came up in the zeitgeist, sparked by a comment on X by veteran producer Jermaine Dupri commenting on AI “artists” charting on Billboard.
Of course there are still detractors, but in an era in which public cancellations abound and apologies are scrutinized for any whiff of inauthenticity, Milli Vanilli’s wrongdoings can now seem quaint.
Benjamin Matheson, assistant professor at the University of Bern’s Institute on Philosophy, studies collective shame and writes on celebrity apology. He offers the startling thought that certain fans might be more willing to forgive a moral wrong, even an egregious one like unlawful intercourse with a minor in the example of director Roman Polanski, as opposed to artistic deception because it can be seen as more authentic.
“I think that perhaps,” Matheson writes over email, “Milli Vanilli suffered because they were an early ‘created’ pop band, and the public hadn’t been acclimatized to this kind of music. Whereas now I think people are much more comfortable with autotuning, AI music, and so on — though I’d love it if there was a bit more push back on this kind of thing.”
Morvan has plenty of thoughts on the state of the music industry past and present. He welcomes the change in perspective, and while he doesn’t live in regret, looking back, he would give his younger self a little advice.
“Keep working on your craft now. No matter what, and don’t ever start drugs. And don’t let your buddy Rob start with that. With those two, things would have been different.”
The pop duo Milli Vanilli comprised of Rob Pilatus(left) and Fab Morvan are the subject of the Paramount+ documentary Milli Vanilli, streaming on Paramount+ beginning October 24, 2023.
(Paul Cox/Paramount+/Paul Cox/Paramount+)
When the Los Angeles Tribune editorial staff selected “Girl You Know It’s True” as its movie of the year, Morvan met Parisa Rose, his co-writer and executive producer for the recording of the memoir. Rose, a first-time author and mother of two, first met Morvan when she interviewed him for the quirky paper — now in its fourth revival. She is now chief operating officer of the Tribune, which has expanded to include a publishing house.
Rose, who grew up in Pasadena, helped Morvan reckon with parts of his background he had long buried. One of the most compelling parts of the memoir is when he breaks the fourth wall, narrating letters to individuals from his past.
“You need to say everything you have never said before to them that you’ve always wanted to say,” she says of the exercise they conducted for the interludes. “You need to know that this is the last conversation you will ever have with them. And you need to imagine they are sitting across from you now.” Reached over the phone, Rose said she also helped with research, uncovering details on the seaside sanatorium in France where Morvan spent much of his early childhood.
A great part of Morvan’s motivation for the memoir was to leave a legacy for his kids. His oldest son is getting into music and recently found an old Milli Vanilli vinyl and plays it along with Daft Punk and Michael Jackson. Remaining “zen” about the idea of winning, he’s enjoying the moment. And the big dreams never die. He plans to tour in the next year and come back to perform in America. And who knows? Maybe one day he can play Coachella.
He’s particularly thrilled over his Grammy outfit, a collaboration with Spanish designer Helen López, whom he previously worked with on a Milli Vanilli-inspired line. “When you’ll see what I’m wearing … you’ll see that I don’t play,” he says with a twinkle in his eye. “No matter what the outcome in life, you have to just be, be in the moment. Enjoy the moment. Whatever happens will lead you to something else. I have no expectations.”
Weekly insights and analysis on the latest developments in military technology, strategy, and foreign policy.
As both sides in the war in Ukraine continue their campaigns of long-range drone attacks, the Ukrainian government’s internal security agency has released a compilation of strikes directed against Russian airbases. The video, published by the Security Service of Ukraine (SBU), records drone strikes against Russian military aircraft by its special forces unit, the “Alpha Group,” also known as “A” Special Operations Center.
“The enemy is used to feeling safe in the deep rear. But for the special forces of “Alpha,” distance has long ceased to matter,” the SBU wrote in a post accompanying the video on social media.
The footage shows several Russian aircraft being targeted, from the perspective of the attacking drones. It appears that most, if not all, of these strikes were previously claimed, and some have been previously seen in the form of video stills. But the end result is certainly impressive, presuming all of the targeted aircraft were damaged or destroyed — which is far from clear from these videos.
An-26 under attack, apparently at Kirovskoye Air Base. It appears to have been damaged beyond repair. SBU screencapA Russian Navy Su-30SM under attack, apparently at Saky Air Base. SBU screencap
The SBU claims that the total value of the damage was more than $1 billion, although it’s far from clear how this was calculated, especially since some of the airframes in question are decades old and no longer in production. It’s also notable that the SBU figure includes damage inflicted on ammunition and fuel depots at the airfields in question.
Regardless, the 15 aircraft claimed targeted by the SBU appear to comprise:
From what can be seen, the An-26 appears to have been damaged beyond repair, while one Su-24 seems to have had at least its tail section damaged; available satellite imagery may show a destroyed Su-24, but the quality of the imagery means that it can’t be determined for sure.
A MiG-31, armed with R-73 missiles, under attack, apparently at Belbek Air Base. SBU screencap
These aircraft were targeted at five different airfields, the SBU stated, without disclosing their exact locations.
However, based on open-source analysis, it seems that the targeted bases included Belbek, Kirovskoye, Saky, and Simferopol, all in Russian-occupied Crimea.
Su-24 under attack, apparently also at Saky Air Base. SBU screencap
The growing threat of attacks like these on airbases has prompted Russia to build new hardened aircraft shelters and embark on additional construction to help shield aircraft from drone strikes and other indirect fire. This is part of a broader push by the Russian military to improve physical defenses at multiple airfields following the launch of the full-scale invasion of Ukraine.
The highlighted airfield raids in the video are part of a wider Ukrainian drone campaign carried out last year, in which the SBU also targeted Russian air defense systems, radar installations, and critical energy infrastructure.
As far as air defense systems are concerned, the SBU claims that it destroyed Russian equipment worth an estimated $4 billion last year. These included S-300, S-350, and S-400 surface-to-air missile systems, as well as advanced radar systems such as the Nebo-M, Podlet, and Protivnik-GE.
In 2025, Ukraine also carried out the spectacular Operation Spiderweb, a large-scale Ukrainian drone strike against airbases across Russia in June. This targeted Moscow’s fleet of strategic bombers and saw a reported 117 drones launched against at least four airfields.
New footage from Ukraine’s Operation Spiderweb hitting Russian bombers
Notable also is the fact that the specific Ukrainian campaign against Russian airfields is something that was brought up by U.S. President Donald Trump in a telephone call with his Russian counterpart, Vladimir Putin, last summer. The timing of that call suggests that Operation Spiderweb prompted that discussion.
Lots of people are reposting this Trump Truth Social post as if it’s recent (in part because Ukraine just released another video of hitting parked Russian warplanes), but it is in fact from last summer. pic.twitter.com/8jodT8bm7H
Meanwhile, SBU is continuing its long-range drone strikes.
Overnight on January 13, the security agency teamed up with the Ukrainian Navy to attack a drone production facility in Taganrog, where several production halls appear to have been destroyed, based on satellite analysis.
Ukrainian Defenders destroyed several warehouses of Atlant Aero plant in Taganrog, Russia. Combat drones and their parts were produced there.
The facility in question, the Atlant Aero factory, is responsible, among others, for producing Russia’s Molniya loitering munition, widely used in Ukraine.
Ukrainian forces reportedly hit a Russian drone factory in the city of Taganrog tonight, setting it ablaze.
Multiple explosions were reported at the Atlant drone company, manufacturer of the Molniya-series attack drones. pic.twitter.com/yr3SA3b7gV
Drones being used to strike enemy facilities producing drones is very much indicative of the path the war has taken, when it comes to the increasing use and diversity of uncrewed systems across all fronts.
For its part, Russia employed a BM-35 loitering munition to attack what was claimed by some observers to be a Ukrainian F-16 fighter at Kanatove Air Base in Ukraine’s Kirovohrad region, on January 26. In fact, the target was either a decoy or a ground-instructional aid, something that even Russia’s Rubicon Drone Operations Center attested to.
This is not the first time that a Russian drone strike has claimed a Ukrainian aircraft mock-up, but again demonstrates the potential vulnerability of airfields to these kinds of attacks.
Notably, too, the BM-35 drone used in the strike is reported to use satellite connectivity via Starlink, allowing operators to control it in real time over long distances.
The SBU’s latest ‘greatest hits’ compilation underscores how drone attacks on Russian military aircraft are one of its highest priorities and one that we will certainly see targeted again in the months to come.
