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Netflix has officially greenlit production on Season 2 of All of Us Are Dead, the world-breaking South Korean YA zombie horror that swept the globe in 2022. Based on Joo Dong-geun’s hit webtoon, the show became one of the biggest non-English hits ever on Netflix, receiving massive global buzz and a passionate fanbase eager for more.

A Global Breakout Hit Returns

When All of Us Are Dead premiered, it accumulated over 560 million hours watched in its first 28 days, a mammoth amount that placed it on Netflix’s Top 10 most-viewed non-English shows of all time. It also entered the Top 10 in more than 90 countries, proving that its mix of horror, emotion, and high school angst had real global appeal.

Now, production has commenced officially for Season 2 with familiar faces returning and new ones joining as the zombie apocalypse begins to spread outside Hyosan.

Returning Survivors and Emerging Threats

Back in their Season 1 roles are Park Ji-hu, Yoon Chan-young, Cho Yi-hyun, and Lomon, who took on the central group of students who survived the zombie apocalypse at Hyosan High. They are now confronting a chilling new installment after their lives were forever changed during the frightening events of the first season.

Season 2 begins with Nam On-jo (Park Ji-hu) a university student in Seoul, where she is still haunted by the trauma and loss of her high school days. But with a new outbreak of infections hitting the city, she again finds herself struggling to survive, this time with no friends by her side.

Yoon Chan-young’s Lee Cheong-san, Cho Yi-hyun’s Choi Nam-ra, and Lomon’s Lee Su-hyeok come back with new storylines, each handling the impact of the first outbreak differently.

A New Generation of Survivors

Season 2 introduces a new set of cast members which include:

• Lee Min-jae (Weak Hero: Class 2) as Yong Ma-ru
• Kim Si-eun (Squid Game Season 2) as So Ju-ran
• Roh Jae-won (Squid Game Seasons 2 & 3) as Han Du-seok
• Yoon Ga-i as Lee Jong-a

These new characters, a majority of which are university students, have managed to weather the zombie-ridden world with creative and desperate means. On-jo’s dynamics with her seniors provide a new emotional layer, while Han Du-seok, as a team leader with the National Intelligence Service, provides political intrigue and action-packed suspense to the plot.

Behind the Scenes: Creative Team and Production

Season 2 is once more directed by director Lee JQ (Daily Dose of Sunshine) and co-director Kim Nam-su, with Chun Sung-il serving the series’ writer role again. Chun, who is also the writer of King the Land, brings back his special talent of including character building in survival art at high stakes.

FILM MONSTER Co., Ltd takes charge of the production along with SLL Joongang Co., Ltd, KIMJONGHAK PRODUCTION Co., Ltd, and NPIO Entertainment Co., Ltd.

What’s Next for the All of Us Are Dead Universe?

As the infection spreads from the little town of Hyosan to the city of Seoul, Season 2 can only bring more epic scale, deeper character development, and more intense survival horror. With its existing cast and a new shot of faces injected into it, stakes are higher than ever before, and so is the hype.

Fans can expect new interpretations of the zombie genre as All of Us Are Dead continue to mix social commentary, teen drama, and nail-biting action in a quintessentially Korean fashion.

Season 2 is yet to be announced, but with production already in motion, the walking dead will be back again soon enough.

Related

President Donald Trump signed an executive order targeting “woke AI,” expanding his systematic assault on diversity, equity, and inclusion, or DEI. Trump signed the order on Wednesday at an AI Summit in Washington, D.C.

“The American people do not want woke Marxist lunacy in the AI models,” Trump said during his nearly one-hour remarks, in which he also vilified former Presidents Barack Obama and “absolutely terrible” Joe Biden, whose executive order on implementing racial equity in AI industries was “proudly terminated” by Trump.

The “Preventing Woke AI in the Federal Government” order instructs federal agency heads to ensure “ideological neutrality” in all AI tools procured via federal contracts or promoted by the government. Trump’s new directive also explicitly bars DEI and other racial or gender “concepts,” including critical race theory, transgenderism, unconscious bias, intersectionality, systemic racism, and even discrimination itself.

“DEI displaces the commitment to truth in favor of preferred outcomes and, as recent history illustrates, poses an existential threat to reliable AI,” reads the order. The order continues, “While the Federal Government should be hesitant to regulate the functionality of AI models in the private marketplace, in the context of Federal procurement, it has the obligation not to procure models that sacrifice truthfulness and accuracy to ideological agendas.”

During his remarks at Wednesday’s AI Summit, Trump told the Andrew W. Mellon Auditorium audience, “It’s so uncool to be woke.” The president added, “I encourage all American companies to join us in rejecting poisonous Marxism in our technology.”

A. Prince Albert, an adjunct professor at Georgetown University Law Center and civil rights advocate in tech policy, told theGrio that Trump’s “Woke AI” order will, in effect, “hardwire outright biased technologies into the federal government’s provision of services.” Albert said leading AI systems are “rarely built with any meaningful input or insight from the diverse consumers they purport to serve.”

Albert continued, “For African-descendant, Indigenous, Latiné, Asian, Pacific Islander, or other historically marginalized communities in this country, our constellations of histories and cultures—our multiverse of perspectives, belief systems, contributions, and values—and our unquantifiable human potentials are vastly underrepresented or outright absent from the digital foundations of emerging technologies.”

Albert, who is also the founder of The Culture Keepers Circle, dismissed the Trump administration’s claim of protecting neutrality.

“This is not neutrality. It is the digital perpetuation of systemic inequity, masking bias under the guise of objectivity and fundamentally undermining the promise of AI for all people,” he told theGrio. “The true threats to ‘truthfulness’ and ‘neutrality’ in AI systems stem from the pervasive prejudices that are alarmingly over-indexed in the datasets on which these models are trained.”

Last week, Trump announced more than $90 billion of investments in data centers and other energy projects from AI and tech companies in Pennsylvania. The White House also released an action plan detailing how America will “win the race” for AI global dominance, particularly over China.

Hodan Omaar, senior policy manager for Information Technology and Innovation Foundation’s Center for Data Innovation, said that while the action plan shows how “serious” the Trump administration is about “winning the global AI race,” Americans must see “tangible improvements in the everyday areas of their lives where AI can make a difference.” Omaar said that includes “lower energy bills, better healthcare, faster disaster response, and more efficient public services.”

She added, “Whether these efforts scale and deliver results will determine whether the plan fulfills its dual promise: AI for the American people—and American AI for global leadership.”

A coalition of advocacy groups calling for a People’s AI Action Plan criticized the Trump administration’s AI action plan as prioritizing big tech and business over everyday people.

In a statement, the coalition said, “We can’t let Big Tech and Big Oil lobbyists write the rules for AI and our economy at the expense of our freedom and equality, workers and families’ well-being, even the air we breathe and the water we drink – all of which are affected by the unrestrained and unaccountable roll-out of AI.”

The groups urged, “The American economy needs robust innovation, a level playing field for all, and relief from the tech monopolies who repeatedly sacrifice the interests of everyday people for their own profits.”

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WNBA player Sophie Cunningham just said the league fined her $500 for a TikTok. And social media? On fire. The fine has ignited heated discussion about free speech, accountability from referees, and what the WNBA is choosing to prioritize.

The TikTok That Cost Her $500

Cunningham’s now-viral TikTok featured audio from Sabrina Carpenter’s popular song “Manchild,” specifically the line:

“Stupid? Or is it slow? Maybe it’s useless.”

That might have passed unnoticed as just another tough one-liner if not for the caption that came with it:

“@ some refs”

That is all. No names called, no direct accusations, no F-bombs. Just a friendly little dig at the quality of refereeing. And that was sufficient to bring out disciplinary action from WNBA management.

Cunningham’s Response: Pure Sarcasm

“I got fined $500 for this TikTok 🤣🤣,” she tweeted on Wednesday. “Idk why this is funny to me… like ok 👍🏼 you got it bud! Cause there’s not more important things to be worried about with our league right now.”

Cunningham was heavy on sarcasm, wagging his finger at what the majority of fans perceive as misplaced priority on the behalf of the WNBA. The implication? That the league has more urgent fish to fry like marketing, player salaries, and increased viewership instead of keeping tabs on the types of TikToks featuring meme music and emojis.

Social Media Unleashes Support (and Their Wallets)

The second the tweet hit, the replies section became a fan-based fundraising campaign. Cunningham didn’t start a GoFundMe, but she could have because WNBA Twitter was willing to pay for what many are calling a ridiculous fine.

Here’s what people were saying:

“My hot take is players across leagues should be allowed to call out shitty reffing without fear of retaliation, like bad reffing needs to be held accountable.”

“Lmk where to send the cash app.”

“Sophie lemme pay that for you.”

“Let’s get this viral because she didn’t lie at all.”

“Send me your Zelle and I’ll take care of it.”

A few fans even offered to foot the fine themselves, offering the fine not as retribution but as a badge of honor for calling out what so many WNBA watchers perceive as contradictory and sometimes enraging officiating.

Backlash and Boundaries: What Can Players Say?

One tweet, however, did get attention, perhaps for the wrong reasons:

“Ok maybe they’re right pay them what they are owed ???? this league is r*tarded”

This comment was quickly called out as ableist, but also repeated the underlying annoyance shared by fans. They’re upset that players are being silenced regarding officiating.

Another fan gave a critique of the criticism itself:

“You probs got fined bc the ‘diss’ to the refs was so bad & boring… like lol, if you gonna talk shit say it with your chest, enforcer…”

Even in jest, this posting is pointing to something real. Game players are tiptoeing around a hair’s breadth line that, when crossed even lightly through the use of a popular TikTok clip, leads to fines.

Related

NoirNation, Love Island USA fan fave Olandria isn’t holding her tongue when it comes to what really went down behind the scenes — and let’s just say, the shade wasn’t always subtle.

While appearing on Keke Palmer’s “Baby, This Is Keke Palmer” podcast alongside fellow islander Chelley, Olandria addressed some tension viewers didn’t fully catch during the show’s run — particularly when it came to Clarke.

“To see that she was on that with me, like I’d walk by and she’d make a face… like bro, what? I was never on that with you,”

— Olandria, on Clarke’s behavior post-villa

Olandria made it clear: whatever vibes Clarke was giving, they weren’t mutual. 👀 And the energy shift didn’t go unnoticed after filming wrapped — especially online.

That’s when Keke, ever the perceptive host, jumped in with her own observation that had the girls nodding in unison.

“It seems like she got competitive because she seen you still have your confidence,”

— Keke Palmer

Now that’s the kind of clarity we live for.

And if that wasn’t enough to seal the moment, Olandria delivered the line that had the internet gagging:

“Well, there’s no competition… so there’s that.”

— Olandria, mic drop edition

Social media wasted no time echoing her energy. Fans praised Olandria for speaking up and standing tall — noting that her confidence has remained intact, unshaken, and undeniable.

🗣️ Noir Nation, we gotta ask:

Was Clarke moving shady in the villa or just insecure? Sound off in the comments ⬇️

8

Toronto is about to fall in love with Chandler Levack all over again. The I Like Movies director is making a triumphant return to the Toronto International Film Festival (TIFF) with Mile End Kicks, a biting, romantic, semi-autobiographical comedy that dives headfirst into Montreal’s iconic indie music scene. The feature will have its world premiere this September as one of TIFF’s five prestigious Special Presentations, a career milestone Levack has more than earned.

Levack’s sophomore feature stars Euphoria breakout Barbie Ferreira in a role tailor-made for her biting wit and emotional range: Grace, a 24-year-old music critic who moves to Montreal to write a book about Jagged Little Pill. But instead of finishing the book, Grace gets swept into the chaotic orbit of a local indie band and ends up becoming their publicist. Cue heartbreak, self-discovery, and a soundtrack drenched in lo-fi glory.

From Toronto to Montreal, and From Cinephile to Cultural Critic

Levack, who famously turned her video store clerk past into the critically acclaimed I Like Movies, once again mines her own life for this new feature. But Mile End Kicks is not just about nostalgic girlbossing. It’s about the quiet violence of being a young woman in the entertainment world, chewed up by the music scene and spit out with a smirk.

“I left Blockbuster and became a magazine writer in my early 20s,” Levack explains. “I wrote for magazines like Spin and Village Voice. It was tremendously exciting. But looking back, I would think about how all my bosses were men in their 40s, and how maybe there was something weird about that.”

The film explores these uncomfortable dynamics with piercing candor, filtered through the technicolor romance of coming-of-age in one of Canada’s most mythologized neighborhoods: Mile End, Montreal. Known for producing acts like Grimes, Mac DeMarco, and Arcade Fire, the district has long been a creative crucible for the alternative arts and a thorny haven for girls trying to make something of themselves.

The Cast: A New Generation of Indie Royalty

Alongside Ferreira, the film stars Devon Bostick (Oppenheimer), Stanley Simons (The Iron Claw), Juliette Gariépy (Société distincte), Robert Naylor, and Isaiah Lehtinen, the latter a Levack favorite from I Like Movies. The project even features a cameo from Jay Baruchel, further cementing its status as a love letter to Canadian weirdos and dreamers.

Adding to the film’s indie cred, Montreal rock band TOPS composed two original songs for the soundtrack. It’s a sonic match made in heaven.

TIFF’s Artistic Director Speaks: “A Fresh Voice With Something to Say”

Cameron Bailey, TIFF CEO, has been championing Levack since day one. He was floored by an early cut of the film.

“I fell in love with Mile End Kicks after seeing an unfinished version,” Bailey told Deadline. “It tells this incredible story of what it’s like to exist as a young woman in an alternative cultural world, one that still has a lot of hazards. That plays out in the film with great insight, humor, and candor.”

Bailey didn’t stop there. He compared Levack to early-career auteurs like Atom Egoyan, Patricia Rozema, and Denis Villeneuve, cinematic heavyweights whose early work helped define Canadian independent cinema. “Chandler is in that lineage,” he said. “So I want the world to know about her. That’s why we’re giving this film that kind of platform.”

Levack previously worked on TIFF’s editorial team before premiering I Like Movies at the 2022 festival. This full-circle moment, three years later, feels like a coronation.

Why This Film Matters Now

In a cinematic landscape still reckoning with the gendered gatekeeping of art and criticism, Mile End Kicks arrives with a bat in one hand and a bouquet in the other. It’s romantic. It’s irreverent. It’s pissed off. And it’s ready to fight.

“This is a movie that should be of enormous interest to buyers,” Bailey said. “When you look at what’s succeeding in art house distribution and awards season, it’s fresh voices and filmmakers who are connected to where the culture is right now. Mile End Kicks is exactly in line with that.”

And Levack is not just another fresh voice, she’s a scalpel. She cuts through nostalgia, misogyny, and cultural pretension with a sharpness that refuses to play nice.

TIFF 2025: A Star-Studded Lineup

TIFF unveiled a handful of buzzy Special Presentations this week, including Alejandro Amenábar’s The Captive, Steven Soderbergh’s The Christophers, Sung-hyun Byun’s Good News, and Nia DaCosta’s Hedda. The festival opens with the world premiere of John Candy: I Like Me, a documentary tribute to the late Canadian comedy icon.

The full lineup will be announced in August. But already, Mile End Kicks has positioned itself as one of the most anticipated titles of the season.

TIFF 2025 runs from September 4–14 in Toronto.

Related

Three years after Polo Ralph Lauren broke ground with a collection and collaboration with Spelman and Morehouse Colleges, the legacy fashion house has its sights set on The Vineyard. 

On Thursday, July 24, Polo Ralph Lauren will release a new limited-edition capsule collection honoring Oak Bluffs, the historic Black summer coastal enclave on the Massachusetts island of Martha’s Vineyard, long known as a summer vacation spot for many Black elites. The line, which will be available globally on RalphLauren.com, blends that signature regal Ralph Lauren preppy aesthetic with the cultural richness of the Black nautical town. It’s dropped with stunning visuals depicting Black collegiate vacationers taking on The Bluffs in crisp summer whites, striped rugby shirts, resort formal styles, cardigans, and pastels.

Designed in collaboration with Morehouse and Spelman alumni on Ralph Lauren’s creative team, the collection, with a pastel meets rich-maroon palate, includes coastal crewnecks emblazoned with collegiate markings and Oak Bluffs monograms, varsity jackets embossed with Oak Bluffs details, collegiate cable-knit sweaters, rugby shirts, summer dinner jackets, a white wrap dress, caps, preppy patchwork outerwear, and more. 

According to a release, the Polo Ralph Lauren for Oak Bluffs collection “speaks to the on-island styles” of residents—dating back generations—and vacationers alike, whose summer fashions often include mixing their college baseball caps with their  “salt-weathered” crewnecks along with their swimwear. 

“This collection is about more than a charming coastal town; it’s a story of the American dream,” said Ralph Lauren, Executive Chairman and Chief Creative Officer of Ralph Lauren Corporation. “Oak Bluffs’ unique history, traditions and sense of community deeply inspire me and speak to what we are all searching for – a place where you can be free, uncontrived, joyful and truly at home.”

The collection is the latest installment of Ralph Lauren’s ongoing Design with Intent initiative, a corporate and creative commitment to uplift the many diverse and underrepresented voices in the broader story of American style. This latest line, arriving on the heels of the successful SpelHouse capsule collection that dropped in 2022, is meant to also celebrate the legacy of the many Black HBCU students and alumni who flock to The Vinyard’s shores every summer. 

Oak Bluffs has come to hold a singular place in Black American history. In the late 1800s, it was one of the few towns on Martha’s Vineyard where Black families could own property and vacation freely. It quickly evolved into a beloved summer haven for Black laborers and migrants from the South seeking respite and opportunity, and later for professionals, artists, politicians, and entertainers. Over the decades, it’s welcomed generations of legacy families and cultural icons alike, from early civil rights leaders to luminaries like Harry Belafonte, Maya Angelou, Diane Carroll, Spike Lee, and President Barack and Michelle Obama. The town’s iconic gingerbread cottages, slow-strolling promenades, and longstanding traditions have become synonymous with Black excellence, wealth, and joy.

To further contextualize the collection and the legacy of Oak Bluffs, Ralph Lauren is also releasing “A Portrait of the American Dream: Oak Bluffs,” a short documentary. Directed by author and filmmaker Cole Brown with photography by Nadine Ijewere and cinematography by Azariah Bjørvig, the film—through oral histories, archival footage, and sweeping visuals of the island—captures the intergenerational story of the town. The film will premiere on July 24 on Ralph Lauren’s YouTube channel and will also screen on August 8 at the Martha’s Vineyard African American Film Festival.

As with the first SpelHouse capsule collection and the several other projects that have come through the brand’s Design with Intent efforts, this latest line continues to challenge who gets to be synonymous with the story of American style. 

The girls are finally speaking—and it’s happening on Baby, This Is Keke Palmer!

Get your popcorn ready, Noir Nation—because Chelley and Olandria are taking their talents (and their tea 🍵) to Keke Palmer’s podcast!

After weeks of speculation, shade, and social media whispers following their time on Love Island USA Season 7, the fan-favorite girlies are ready to speak their truth. And what better place than on Baby, This Is Keke Palmer—a safe space for Black women and unfiltered convos.

“I pulled my girls Chelley and Olandria for a chat…and they did not hold back. Let’s just say we had TIME to address a few things. 🤏🏾”read a caption on Instagram.

🏝️ Love Island USA Season 7

Both Chelley and Olandria shook up the villa with their presence this season, but it was their post-show commentary—and silent stares—that kept fans wanting more. From the drama with their castmates to the real connections that didn’t make it to air, the girls are hinting that nothing is off the table.

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Salma Hayek just reminded the world that age is not a limitation, especially when you’re dancing in a jungle, wearing a white string bikini, dripping in gold, and radiating pure goddess energy.

On Wednesday, July 23, the 58-year-old actress and recent Sports Illustrated Swimsuit cover star gave her 29.9 million Instagram followers an unfiltered, unapologetic peek behind the scenes of her steamy cover shoot. The internet has feelings. From praise to pettiness, the reactions are pouring in, and they prove that Salma Hayek is still one of the most talked-about women in Hollywood nearly 30 years after her breakout role.

“This Is Magical. This Is My Land. I’m 58. I’m Doing This.”

The now-viral footage shows Hayek dancing seductively in a remote Mexican jungle, wearing a microscopic white string bikini that left little to the imagination. The suit, already iconic in its own right, was elevated by layered gold body jewelry. One chain draped across her ribs, the other accentuating her waist above her low-rise bottoms.

But the most dazzling part of the video wasn’t the outfit. It was her. Tugging playfully at her bikini strings, swaying her hips in a sensual salsa rhythm, and even experimenting with belly dancing, Hayek wasn’t just modeling. She was living.

The actress revealed the video was taken during her Sports Illustrated shoot earlier this year and was shared now to celebrate a special Mexico edition of the magazine, paying tribute to her roots.

Hayek, who initially struggled with “imposter syndrome” before agreeing to the shoot, confessed on the Today show that she nearly backed out of the opportunity altogether.

“My body’s not necessarily the model type and I never thought that was a possibility. And for it to happen when I’m 58? It’s really shocking,” she admitted.

She added that even after arriving on set, things went wrong. Her tailored swimsuits, her skincare creams, her beloved “remedies” were all lost in transit.

“I was very nervous,” she confessed. “But I put on Bad Bunny, I started dancing, and I loved it. I felt really free.”

A Social Media Frenzy: Praise, Critique, and Everything In Between

Of course, the internet wasted no time weighing in. The Instagram comments section on Hayek’s video turned into a fever dream of nostalgia, admiration, and, as expected, a dash of shade.

“One of the most beautiful women in the world! She still looks like she did in the movie From Dusk Till Dawn,” one fan wrote, referencing her iconic 1996 performance as the snake-dancing Santanico Pandemonium.

“What I want to look like past my 30’s…40’s and 50’s,” gushed another.

But not everyone was celebrating. Some critics questioned her motivation or her sobriety.

“This would be better if she wasn’t all drunk… like she has been lately in her photos,” one comment read, to which several fans clapped back instantly.

“Sad, at her age, grow up,” wrote another, drawing swift condemnation from fans who viewed the comment as sexist and ageist.

Then there were those who saw beyond the bikini, beyond the celebrity, and into something much more powerful.

“I can’t tell you how much I love that she posted the untouched video where she has mascara smudges and a few wrinkles,” one person commented. “You can see the un-airbrushed beauty and her movement with sensuality…rhythm…LIFE. This is somebody I’d like to hang out with… NOT just look at for a millisecond on my screen.”

Sports Illustrated and the Age Revolution

Salma Hayek’s Sports Illustrated debut, released in May, marked a bold new chapter not just for her, but for the brand itself. Known for its history of pushing beauty standards, the magazine has recently leaned into showcasing diversity in age, body type, and ethnicity.

Hayek, who posed topless for part of the shoot, is among the oldest women to ever grace the cover, joining the likes of Martha Stewart, who posed for the issue at age 81 in 2023.

And while some critics dismissed Hayek’s shoot as a publicity stunt or vanity project, her fans see it differently. It was a reclamation of power, a celebration of aging, and a challenge to society’s obsession with youth.

“My generation, especially Mexican women, we thought we were going to be dismissed at 35,” Hayek told Today. “So doing this now, at 58, I felt proud, excited, and free.”

Related

New details have emerged in the tragic death of actor Malcolm-Jamal Warner, revealing that he was swimming with his 8-year-old daughter off the coast of Costa Rica when he drowned on Sunday. According to Costa Rican authorities speaking to ABC News, both Warner and his daughter were caught in a powerful rip current near Cocles Beach in the Limón province.

Surfers nearby saw them struggling in the water and jumped in to help. One used his board to rescue Warner’s daughter, while a volunteer lifeguard pulled Warner and another surfer to shore. CPR was performed on Warner for 45 minutes, but he could not be revived.

The Forensic Pathology Department in Costa Rica has confirmed that Warner died from asphyxiation by submersion. His death has been ruled accidental. The two surfers involved in the rescue survived and recounted their experience to the police.

The revelation that Warner was with his young daughter has deepened the heartbreak surrounding his sudden passing. The 54-year-old actor, best known for his role as Theo Huxtable on The Cosby Show, kept his personal life closely guarded. He never revealed his daughter’s name or shared photos of her face publicly. But he often expressed, through posts and videos, just how much she meant to him.

“You have absolutely no idea. A love so profound that even a poet can’t find the words to describe it,” Warner once wrote. “Often I find myself just staring at her and wondering where she came from… I am proud that we have been able to provide a wonderful, loving, and spiritually enriching environment as a home base into which ALL babies should be born and thrive.”

Fans and fellow artists have continued to mourn the loss of a man who helped define a generation of Black television and who, by all accounts, cherished his role as a father most of all.

Noir Nation; more than four years after Breonna Taylor was fatally shot in her own home during a botched police raid, former Louisville officer Brett Hankison has officially been sentenced to 33 months in federal prison.

👩🏾‍⚖️ Justice… or Just a Sentence?

The long-awaited sentencing comes after Hankison was convicted of violating Taylor’s civil rights during the March 2020 no-knock raid. The charges were tied to his reckless firing of bullets into a neighboring apartment, endangering lives—including a child—and marking one of the most disturbing moments in the high-profile case.

While Hankison wasn’t charged with Breonna Taylor’s death directly, his actions that night were part of the chaotic and deadly operation that led to the 26-year-old EMT being shot multiple times by police.

😢 “It’s Not Enough,” 

Tamika Palmer, Breonna’s mother, was present in the courtroom and held back tears as she once again faced the man whose actions contributed to her daughter’s death.

“It’s not enough. But it’s something,” said Palmer. “We’ve waited years for any kind of accountability.”

🏚️ Reckless Firing, Real Consequences

Prosecutors argued Hankison showed a disregard for human life when he blindly fired through sliding glass doors and covered windows without identifying a target. His bullets did not strike Taylor, but the Justice Department insisted that his reckless behavior added to the trauma and terror unleashed that night.

Breonna’s death—and the lack of immediate accountability—sparked global protests and reignited national demands for police reform. Yet for many, this sentencing feels both overdue and underwhelming.

“33 months for endangering lives, while Breonna got a death sentence in her sleep? The math ain’t mathin’,” said a community activist outside the courthouse.

📣 The Fight Isn’t Over

Meanwhile, federal charges are still pending for other former officers involved in falsifying the warrant that led to the raid, including Joshua Jaynes and Kyle Meany.

🕊️ Breonna’s Name Still Rings Loud

The fight for full justice in Breonna’s name continues.