“This cut is so deep I fear it can never heal,” Hannigan, 52, admitted in a poignant Instagram post on Saturday, June 6.
The duo starred together for seven seasons on the cult classic supernatural horror series, in which Hannigan played wiccan hero Willow Rosenberg and Head portrayed Buffy’s watcher Rupert Giles.
“Oh Tonal…I am so grateful to have had you in my life,” Hannigan’s tribute went on. “I want to say a million wonderful things about you and yet I can’t seem to find the words that would do you justice. I love you so much and will miss you forever. RIP.”
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Alyson Hannigan, Anthony Stewart Head on “Buffy.”20th Century Fox Film Corp / Courtesy Everett Collection.
Buffy’s lead actress Sarah Michelle Gellar offered Hannigan support in the post’s comment section, writing, “He loved you so dearly Aly.”
Anthony’s daughters, Emily and Daisy Head, announced on Friday, June 5, that their father died following a battle with pneumonia.
“It is with heavy hearts that we announce the death of our extraordinary father, Anthony Head,” they revealed. “He passed away peacefully of complications due to pneumonia, surrounded by his family.”
Their statement continued, “It has been, and forever will be, an honor and a privilege to be his daughters, and to have witnessed firsthand the impact both he and his work have had on so many. We know how dearly he will be missed by friends, colleagues, and fans of the shows he was in — he loved his job very much, and he always considered himself incredibly lucky, to have been able to work alongside such exceptionally talented people, in such wonderful productions, across a career that spanned several decades.”
Many of the most iconic stars from Buffy — including David Boreanaz, Eliza Dushku, James Marsters and Emma Caulfield — reflected on the life and legacy of their late costar following the announcement of his death.
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“Tony H ~ For every scene & time shared, I give thanks. Rest in love and peace, kind sir. A dear one,” Dushku, 45, shared via her Instagram Story.
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Gellar, 49, quoted an iconic scene from Buffy the Vampire Slayer in her own memorial message for Anthony.
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“‘Tell Giles I figured it out and I’m ok.’ Well I don’t have it figured out and I’m not ok,” she wrote via Instagram on Friday. “But I know I’m the lucky one because I knew you. Thank you to Daisy and Emily who not only shared their dad with me, but with the world.”
The Buffy community has endured significant loss in recent years. Michelle Trachtenberg — who played Buffy’s sister Dawn Summers — died from complications of diabetes mellitus at age 39 in February 2025 while Xander Harris actor Nicholas Brendondied at age 54 from a multitude of medical issues in March. (An autopsy report obtained by Us Weekly determined that Brendon had atherosclerotic and hypertensive cardiovascular disease, with acute pneumonia and previous myocardial infarction, a.k.a. heart attack, as a contributing factor.)
Some K-dramas are popular, while others are truly beloved. They are shows that go beyond demographics, language barriers, and even the passage of time, becoming cultural icons on their own merit. These are the dramas you recommend to a skeptical friend, only to have them return a week later, with dark circles under their eyes and emotionally devastated, but hooked on the K-drama world.
The following six series did more than just set ratings records or launch international careers; they captured the global imagination. Whether it’s the campy, glorious chaos of a high school romance or the subtle, mundane beauty of neighbors sharing side dishes in 1980s Seoul, each of these shows represents a different dimension of K-drama magic. These are the six most universally beloved K-dramas of all time.
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6
‘Boys Over Flowers’ (2009)
Characters from the K-drama Boys Over Flowers pose in front of a pastel pink background.Image via KBS2
Boys Over Flowers is the original K-drama gateway, introducing a generation of international viewers to Korean television. It peaked at a staggering 35.5% viewership in Korea nationwide and became a pan-Asian phenomenon, airing in over 180 countries and catapulting Lee Min-ho to superstardom. The drama inspired multiple international remakes, an original soundtrack that still evokes nostalgia, and a fashion legacy that elevated even everyday looks and fashion across the world, inspiring a so-called flowerboy appearance. Critics may wince, but Boys Over Flowers is untouchable, serving as a cultural artifact and a rite of passage for any K-drama fan.
Boys Over Flowers follows Geum Jan-di (Koo Hye-sun), a working-class girl who saves a bullied student from the prestigious Shinhwa High School and receives a swimming scholarship there, before realizing it’s merely a viper’s nest of privilege and cruelty. There she meets the F4, four obscenely wealthy heirs who rule the school, led by the explosive Gu Jun-pyo (Lee); Jun-pyo torments Jan-di, but she defies him, and he falls hopelessly in love. What follows is a glorious, untamed melodrama featuring amnesia, kidnappings, arranged marriages, and enough longing stares to power a small city. The fashion is, by today’s terms, questionable; the hairstyles and accessories are infamous; and the plot is like a telenovela on fast-forward, but it’s all irresistible.
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5
‘Moon Lovers: Scarlet Heart Ryeo’ (2016)
Lee Joon-gi uses his cloak to shield IU from the rain as she kneels in Moon Lovers Scarlet Heart Ryeo.Image via SBS
Moon Lovers: Scarlet Heart Ryeo is an intriguing case study of international versus domestic love. While its Korean ratings were modest, the drama became a staggering international sensation, garnering over two billion views on China’s Youku platform and igniting a fervent global fandom that still seems very active. IU and Lee Joon-gi gave career-defining performances, with Lee’s portrayal of the tortured outcast, Prince Wang So, inspiring numerous fanfictions and art. The show’s original soundtrack was a chart-topping success in its own right, too, while tourism in filming locations increased. It’s a legendary series at this point, and it launched most, if not all, of its main cast into stardom, including Kang Ha-neul and Nam Joo-hyuk, who were arguably already very popular in South Korea.
Moon Lovers follows Go Ha-jin (IU), a modern-day woman dealing with a broken heart, when she nearly drowns during a solar eclipse and ends up in the body of Hae Soo, a Goryeo-era noblewoman. She awakens in a palace teeming with beautiful, dangerous princes (eight in total) and is immediately drawn into a dynastic power struggle. Hae Soo is torn between the gentle warmth of the 8th Prince, Wang Wook (Kang), and the wounded, outcast intensity of the 4th Prince, Wang So (Lee). The romance that comes from her chemistry with Wang So is passionate but merciless, with the K-drama ending with a finale so devastating that it prompted fan petitions for a rewrite/sequel. It’s the K-drama equivalent of a cult classic that transcended its “cult” status, showing that some love stories are universal and forever.
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4
‘Descendants of the Sun’ (2016)
A couple look at each other in a war zone in Descendants of the Sun.Image via KBS2
Descendants of the Sun has a special cultural impact; it aired simultaneously in China and South Korea, reaching a staggering 38.8% viewership in Korea nationwide and over 2.6 billion views in China. It was the most profitable show of the time, accruing revenue from viewership, sponsorships, advertising, and reruns, and it won the Grand Prize at the Baeksang Arts Awards, catapulting Song Joong-ki and Song Hye-kyo to superstardom. Their subsequent real-life marriage and divorce only added to the show’s mythology. Fashion and beauty brands associated with the show, in particular Song Hye-kyo’s looks, saw a rise in sales, while Song Joong-ki was declared “Nation’s Husband” in China. Production-wise, this was the first highly popular K-drama that was entirely pre-recorded before airing—many of the most popular shows at the time were filmed while airing.
Descendants of the Sun follows Captain Yoo Si-jin, the leader of a South Korean special forces unit, and trauma surgeon Dr. Kang Mo-yeon, who meet in a hospital emergency room and instantly hit it off. What begins as a flirtatious push-and-pull in Seoul escalates when both are deployed to the fictional war-torn nation of Uruk. The romance that develops between them is a masterclass in old-fashioned, big-sweep melodrama, heightened by the constant threat of danger and death, making every stolen moment feel important. Descendants of the Sun is, above all, a love story about two people whose principles and careers keep getting in the way of their happiness, making it a standout in the romantic drama genre. It may not be the most complex K-drama ever produced, but its sheer euphoric reach throughout Asia and beyond solidifies its place on this list.
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Collider Exclusive · TV Medicine Quiz Which Fictional Hospital Would You Work Best In? The Pitt · ER · Grey’s Anatomy · House · Scrubs
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Five hospitals. Five completely different ways medicine goes sideways on television — brutal, chaotic, romantic, brilliant, and ridiculous. Only one of them is the ward your instincts were built for. Eight questions will figure out exactly where you belong.
🚨The Pitt
🏥ER
💉Grey’s
🔬House
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🩺Scrubs
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01
A critical patient comes through the door. What’s your first instinct? Medicine under pressure reveals who you actually are.
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02
Why did you go into medicine in the first place? The honest answer says more about you than the one you’d give in an interview.
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03
What do you actually want from the people you work with? Who you want beside you under pressure is who you are.
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04
You lose a patient you fought hard to save. How do you carry it? Every doctor who’s worked a long shift has had to answer this question.
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05
How would your colleagues describe the way you work? Your reputation on the floor is usually more accurate than your self-image.
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06
How do you feel about hospital protocol and procedure? Every institution has rules. What you do with them is a choice.
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07
What does this job cost you personally? Nobody works in medicine without paying a price. What’s yours?
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08
At the end of a long shift, what keeps you coming back? The answer to this question is the most honest thing about you.
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Your Assignment Has Been Made You Belong In…
Your answers have pointed to one fictional hospital above all others. This is the ward your instincts, your temperament, and your particular brand of dysfunction were built for.
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Pittsburgh Trauma Medical Center
The Pitt
You are built for the most unsparing version of emergency medicine television has ever shown — one that puts you inside a single fifteen-hour shift and doesn’t let you look away.
You need your work to be real, not romanticised — meaning over drama, honesty over aesthetics.
You find purpose inside the work itself, not in the chaos surrounding it.
You’ve made peace with the fact that this job takes from you constantly, and gives back in ways that are harder to name.
Pittsburgh Trauma Medical Center demands exactly that kind of person — and you would not want to be anywhere else.
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County General Hospital, Chicago
ER
You are the person who keeps the whole floor running — not the most brilliant in the room, but possibly the most essential.
You show up, do the work, absorb the losses, and come back the next day without needing the job to be anything other than what it is.
You care about patients as individual human beings, not as cases to solve or dramas to live through.
You believe in the system even when it fails you — and you understand that emergency medicine is about holding the line just long enough.
ER is television about endurance. You have it.
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Grey Sloan Memorial Hospital, Seattle
Grey’s Anatomy
You came to medicine with your whole self — your ambition, your emotions, your relationships, your history — and you have never quite managed to leave any of it at the door.
You feel things fully and form deep attachments to the people you work with.
Your personal and professional lives are permanently, chaotically entangled — and that entanglement drives both your greatest disasters and your most remarkable saves.
You understand that extraordinary medicine often happens at the intersection of clinical skill and profound human connection.
It’s messy at Grey Sloan. You would not have it any other way.
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Princeton-Plainsboro Teaching Hospital, NJ
House
You are drawn to the problem above everything else — the symptom that doesn’t fit, the diagnosis hiding underneath the obvious one.
You’re not primarily motivated by the patient as a person — though you are capable of caring, even if you’d deny it.
You work best when the stakes are highest and the standard answer is wrong.
Princeton-Plainsboro exists to house one extraordinary, impossible mind — and everyone around that mind is there because they’re smart enough to keep up.
The only way forward here is to think harder than everyone else in the room. That is exactly what you do.
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Sacred Heart Hospital, California
Scrubs
You understand that medicine is tragic and absurd in almost equal measure — and that the only sane response is to hold both of those things at the same time.
You are warm, self-aware, and funnier than most people in your field.
You use humour to get through terrible moments — and at Sacred Heart, that’s not a flaw, it’s a survival strategy.
You lean on the people around you and let them lean back. The laughter and the grief are genuinely inseparable here.
Scrubs is a show about learning to become someone worthy of the job. You are still very much in the middle of that process — which is exactly right.
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3
‘Goblin’ (2016–2017)
A close up of Gong Yoo smirking in Goblin.
Image via Hwa&Dam Pictures
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Goblin is undoubtedly one of the gems that redefined what a Korean drama could be. The series finale received a near-impossible 20.5% viewership on cable, setting a new record that lasted for years. This is another drama with an iconic original soundtrack that became a phenomenon in its own right, topping charts across Asia and earning platinum status. Gong Yoo and Kim Go-eun‘s chemistry wowed international audiences, while Lee Dong-wook‘s grim reaper became so iconic that the actor’s career skyrocketed. The show received the Grand Prize at the Baeksang Arts Awards and dominated the year-end ceremonies, winning 26 awards in total.
Goblin follows Kim Shin (Gong), a 939-year-old man cursed with immortality and an invisible sword lodged in his chest, which can only be pulled out by a human bride who sees it, eventually granting him death. His bride appears in the form of Ji Eun-tak (Kim), a naturally upbeat senior high school student who can see the dead and claims to be the one he has been waiting for. A grim reaper with amnesia (Lee) shares Kim Shin’s large home with him, and he quickly falls for a sunny chicken shop owner with her own secrets. This dense, fantastical premise should collapse under its own weight, but instead it becomes a meditation on mortality, memory, and the unbearable pain of loving someone you are doomed to lose. It is, quite simply, the fantasy romance K-drama against which all others are now measured, and its emotional devastation is the type that audiences actively seek to experience over and over.
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2
‘Crash Landing on You’ (2019–2020)
Se-ri patting Jeong-hyeok on the back near a campfire in Crash Landing on You.Image via tvN
The almost immediate global response to Crash Landing on You was unprecedented; it spent 22 weeks on Netflix’s global top ten list, becoming the platform’s third most-watched non-English series at the time. It broke viewership records in Korea and Japan and sparked countless parodies, fashion guides, and even real-life travel inquiries about the Swiss village where the bittersweet finale takes place. The romance between Hyun Bin and Son Ye-jin felt so genuine and electric that, when the two actors married in real-life, fans celebrated it as a collective win. Crash Landing on You received numerous Baeksang nominations and a Seoul International Drama Award, but its true legacy is simpler: it was the drama that consoled a divided world, reminding millions that love can cross any border, even if only in their imaginations.
Crash Landing on You follows Yoon Se-ri (Son), a South Korean chaebol heiress and fashion mogul who tests a paragliding suit one day and is caught in a freak tornado; she wakes up tangled in a tree in the North Korean demilitarized zone. Captain Ri Jeong-hyeok (Hyun), an elite North Korean officer, discovers Se-ri and decides, against all logic, to hide her in his village near the border and help smuggle her back home. What follows is a love story so epic and seemingly impossible that it serves as a metaphor for every political, emotional, and familial barrier that separates two people. The North Korean village setting, complete with squads of goofy soldiers and gossipy ladies, brought warmth to the series and humanized one of the world’s most isolated countries. The show is also frequently credited with sparking a new Korean Wave, and we could argue that Crash Landing on You is responsible for many of the modern K-dramas of the 2020s.
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1
‘Reply 1988’ (2015–2016)
The cast of Reply 1988 posing together in an alley.Image via tvN
Reply 1988 not only succeeded but also inspired awe. Its final episode received a 19.6% cable rating, breaking the record that was later surpassed by Goblin. More remarkably, Reply 1988 sparked an annual rewatch ritual across South Korea (and even some other countries), proving its extraordinary emotional impact. The show’s nostalgic recreation of 1980s Korea, including the Olympic spirit, the music, the food, and the fashion, sparked a retro craze (“newtro”) that increased sales of everything from tracksuits to vintage sneakers. It won the Grand Prize at the Baeksang Arts Awards and has been voted the best Korean drama of all time by countless critics. Its true achievement, however, is more profound: it shows viewers that the most epic story ever told is unfolding right here, within us.
Reply 1988 takes place on a single, unremarkable street in Seoul’s Dobong district in the late 1980s, where five families with teenage children live lives of ordinary, exquisite humanity. Reply 1988 lacks a central conflict, a supervillain, or a fateful curse, instead featuring neighbors sharing food through open doors, teenagers obsessed with cassette tapes and first loves, and parents who are equally concerned with money and each other. The plot revolves around Sung Duk-seon (Lee Hye-ri) and the four boys who grow up alongside her, one of whom will become her husband—a mystery that the show keeps until the final episode. When the finale returns to the alley for the final time with the signature voiceover, it’s laced with nostalgia and sadness that will still make you happy; the ending adds to the reasons why Reply 1988 is the best Korean drama ever made.
Emily Blunt in Disclosure DayImage via Universal Pictures
Given how dramatically the filmmaking landscape has changed since Steven Spielberg last made a sci-fi movie, it’s almost as if he’s having to reintroduce himself this time around. His first sci-fi film in nearly a decade is right around the corner. It’ll be released in the wake of two phenomenal horror hits made by filmmakers who are as young as Spielberg was when he broke out in the 1970s. It’s certainly a passing of the baton moment, and for the first time in a long time, it’s the legendary director who must prove that he’s still a force to be reckoned with in this new world. And what better way to mark his territory than with a big-budget sci-fi spectacle that gives him an excuse to revisit some of his favorite ideas.
The movie in question hasn’t had the sort of robust marketing campaign that you’d expect; it could just be that Universal began promoting the film in earnest not too far in advance. Certainly, the studio seems to be putting more resources into marketing Christopher Nolan‘s The Odyssey, which is a little more than a month away from release. Spielberg’s movie arrives after two back-to-back box-office underperformers — the musical drama West Side Story, and the semi-autobiographical coming-of-age movie The Fabelmans. Both films received critical acclaim, but weren’t exactly money-spinners. Spielberg and Universal both need the sci-fi film to hit, and early reactions indicate that things might work out after all.
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Collider Exclusive · Sci-Fi Survival Quiz Which Sci-Fi World Would You Survive? The Matrix · Mad Max · Blade Runner · Dune · Star Wars
Five universes. Five completely different ways the future went wrong — or sideways, or up in flames. Only one of them is the world your instincts were built for. Eight questions will figure out which dystopia, galaxy, or desert wasteland you’d actually make it out of alive.
💊The Matrix
🔥Mad Max
🌧️Blade Runner
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🏜️Dune
🚀Star Wars
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01
You sense something is deeply wrong with the world around you. What do you do? The first instinct is often the truest one.
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02
In a world of scarcity, what resource do you guard most fiercely? What we protect reveals what we believe survival actually requires.
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03
What kind of threat keeps you up at night? Fear is useful data — if you’re honest about what you’re actually afraid of.
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04
How do you deal with authority you don’t trust? Every dystopia has a power structure. Your approach to it determines everything.
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05
Which environment could you actually endure long-term? Survival isn’t just tactical — it’s physical, psychological, and very much about where you are.
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06
Who do you want in your corner when things fall apart? The company you keep is the clearest signal of who you actually are.
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07
Where do you draw the line — if you draw one at all? Every survivor eventually faces a moment that tests what they’re actually made of.
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08
What would actually make survival worth it? Staying alive is one thing. Having a reason to is another.
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Your Fate Has Been Calculated You’d Survive In…
Your answers point to the world your instincts were built for. This is the universe your temperament, your survival instincts, and your particular brand of stubbornness were made for.
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The Resistance, Zion
The Matrix
You took the red pill a long time ago — probably before anyone offered it to you. You’re a systems thinker who can’t help but notice the seams in things.
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You’re drawn to understanding how the system works before figuring out how to break it.
You’d find the Resistance, or it would find you — your instinct for spotting constructed realities is the machines’ worst nightmare.
You function best when you have access to information and the freedom to act on it.
The Matrix built an airtight prison. You’d be the one probing the walls for the door.
The Wasteland
Mad Max
The wasteland doesn’t reward the clever or the well-connected — it rewards those who are hard to kill and harder to break. That’s you.
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You don’t need comfort, community, or a cause larger than the next horizon.
You need a vehicle, a clear threat, and enough fuel to outrun it — and you’re good at all three.
You are unsentimental enough to survive that world, and decent enough — just barely — to be something more than another raider.
In the wasteland, that distinction is everything.
Los Angeles, 2049
Blade Runner
You’d survive here because you know how to exist in moral grey areas without losing yourself completely.
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You read people accurately, keep your circle small, and ask the questions others prefer not to answer.
In a city where humanity is a legal designation rather than a feeling, you hold onto something that keeps you functional.
You’re not a hero. But you’re not lost, either.
In Blade Runner’s world, that distinction is everything.
Arrakis
Dune
Arrakis is the most hostile environment in the known universe — and you are precisely the kind of person it rewards.
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Patience, discipline, and political awareness are your core strengths — and on Arrakis, they’re survival tools.
You understand that the long game matters more than any single victory.
Others come to Dune and are consumed by it. You’d learn its logic and earn its respect.
In time, you wouldn’t just survive Arrakis — you’d begin to reshape it.
A Galaxy Far, Far Away
Star Wars
The galaxy far, far away is vast, loud, and in a constant state of violent political upheaval — and you wouldn’t have it any other way.
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You find meaning in being part of something larger than yourself — a cause, a crew, a rebellion.
You’d gravitate toward the Rebellion, or the fringes, or whatever pocket of the galaxy still believes the Empire’s grip can be broken.
You fight — not because you have to, but because standing aside isn’t something you’re capable of.
In Star Wars, that willingness is what makes all the difference.
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Here’s How Long You Have to Wait for Steven Spielberg’s New Movie
We’re talking, of course, about Disclosure Day — the sci-fi spectacle that has inadvertently been promoted this year more efficiently by the U.S. government than through official means. The movie follows a handful of characters who are made aware of the existence of aliens and are left to decide whether to break the news to the rest of the world. Disclosure Day stars Emily Blunt, Josh O’Connor, Colman Domingo, Eve Hewson, and Colin Firth, among others. The movie has received highly positive reactions so far, with just a few days to go until its release on June 12. With a reported budget of around $115 million, Disclosure Day needs to gross around $300 million worldwide in order to break even. It’s currently projected to generate around $40 million to $50 million in its domestic box office debut. Stay tuned to Collider for more updates.
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Nothing works harder in a summer wardrobe than a great skirt and a comfortable pair of sneakers. The combination feels effortless, keeps you cool on hot days and somehow always looks more polished than shorts and a T-shirt, whether you’re heading to brunch, the farmers market or a weekend getaway.
If your skirt collection could use an update, Amazon has plenty of affordable options worth adding to cart. We found 17 of the most wearable styles, including flowy maxis, pretty floral picks and versatile midis that look just as good with classic sneakers as they do with sandals and heels. The best part? They start at just $10.
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17 Summer Skirts From Amazon That Pair Perfectly With Sneakers
1. Our Favorite: The tiered ruffle hem on this flowy white maxi gives it real movement, and the drawstring elastic waist means no zipper to fuss with. It’s selling fast on Amazon for good reason.
2. Bubble Beauty: The bubble hem on this puffy maxi skirt gives it real sculptural shape, and yes, it has pockets. The elastic waist keeps it comfortable through long dinners.
3. Really Romantic: This flared maxi skirt features an elastic high waist so you skip the fit drama. The pleated chiffon catches the breeze beautifully, and the A-line cut flatters most shapes.
4. Deal Alert: Trying a print you’re not sure about gets easier at $10. This leopard midi skirt is a low-risk way to test the trend, especially since it has a pull-on elastic waist that works with your body rather than against it.
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5. Pretty Polka Dots: Style this polka dot midi with a black tank and white sneakers for lunch, then add heels for date night. The satin-like material catches light in all the right ways.
As temperatures climb, chunky sweaters and jackets are swapped out for lighter layers. While it’s not a major change, some summer tops overcomplicate things with tight sleeves, stiff fabrics and revealing cuts that highlight areas you’d rather keep low-key. That’s why the best course of action is to opt for easy, effortless, flowy tops that […]
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6. Satin Stunner: This flowy satin midi is cut in a way that drapes cleanly without clinging, and the high waist helps to define your shape. It’s the opposite of a showy bodycon thanks to the A-line shape.
7. Pleated Perfection: Airy and light with sharp pleats, this pleated chiffon skirt moves beautifully. The high-rise fit defines your shape, so even a simple tee looks styled.
8. Comfy Choice: The handkerchief hemline on this flowy midi skirt adds visual interest without bulk. The asymmetric cut moves well and skims the legs in flattering ways.
9. Gorgeous Gingham: This black gingham skirt proves the print can feel incredibly chic, especially in a long silhouette. The fact that it has pockets? Even better.
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10. Boho Beauty: Wear this colorful boho maxi with a white tank and tan sandals for a vacation dinner, or sneakers for a museum day. The pockets are a convenient detail you don’t always find in similar styles.
11. High-Low Hem: The high-low hem on this floral boho maxi shows leg without committing to a short skirt. The elastic waist and ruffles keep the silhouette soft.
12. Floral Fun: This high-waist floral maxi is an easy, throw-on-and-go piece, but it still feels effortlessly polished. Somehow, it pairs perfectly with almost any top, whether you’re opting for a graphic tee or a fancy, flowy something.
13. Weekend Hero: Wear this high-waist floral maxi with sneakers for a Saturday farmers market trip, then keep it on through dinner. The pockets mean you can leave the bag at home.
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14. Farmer’s Market-Ready: With its flowy A-line shape and relaxed elastic waist, Zesica’s boho floral maxi delivers that easy, pulled-together feel. The breezy print adds to the charm.
15. Everyday Essential: A drawstring waist and soft ruffle hem give this high-waist mini skirt a playful yet elevated feel. It’s just as comfortable as it is easy to style.
16. Sporty-Chic: Rock this sporty mini skirt with sneakers and a fitted tank for a morning walk or coffee run. The spandex-blend material moves like leggings but looks more pulled-together.
17. Darling Denim: Create a classic weekend look by wearing Levi’s mini skirt with white sneakers and a white tee. Headed out for the night? Some sandals and a silky tank will instantly dress it up.
There are a few fashion pieces that seem to show up in every rich mom’s summer wardrobe, including flowy maxi dresses, oversized button-downs and polished wide-leg pants. Free People has become a go-to destination for exactly that kind of relaxed luxury, thanks to its signature mix of boho details and easy silhouettes. Fortunately, getting the […]
A submarine captain posing in the control room in the film Das Boot.Image via Columbia Pictures
While the industry welcomes younger audiences with open arms as they flood theaters to watch Obsession and Backrooms, it shouldn’t forget the contributions of older viewers. Not too long ago, a bunch of them came out for The Devil Wears Prada 2 and Michael, which have grossed more than $1.5 billion worldwide in combined box-office revenue. More recently, a movie aimed squarely at older men offered counter-programming in the midst of the Backrooms and Obsession wave, securing a spot on the domestic top 10 list and repeating the feat in its second weekend. The movie also managed to pass its first domestic box office milestone in its sophomore frame, and in doing so, overtook one of the all-time greats.
We’re talking, of course, about the recently released World War II drama-thriller Pressure. Starring Brendan Fraser and Andrew Scott, the movie follows the tense exchange between a British meteorologist and Dwight D. Eisenhower as they debate about the ideal time to launch the Allied invasion of Europe. It was a decision that changed the course of history, and the fact-based story is almost as unbelievable as the one about the Russian soldier who averted the apocalypse during the Cold War by correctly flagging a possible nuclear attack as a false alarm. The story was revisited in the 2013 documentary film The Man Who Saved the World.
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Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
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🐦Birdman
🪙No Country for Old Men
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01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
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02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
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03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
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04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
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05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
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06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
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What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
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What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
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How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
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What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
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The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
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Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
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Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
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Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
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Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
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No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
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‘Pressure’ Has Been Embraced by Its Target Audience
Pressure received positive reviews from critics and audiences. It appears to have settled at a “Certified Fresh” 86% critics’ score and a “Verified Hot” 95% audience score on the aggregator website Rotten Tomatoes, where the consensus reads, “Finding a fresh angle on one of the most dramatized days in military history, Pressure is a brainy war film that derives most of its thrills from Andrew Scott’s simmering performance.” The movie grossed around $5.5 million in its opening weekend at the domestic box office, and added another $2.8 million in its sophomore frame for a cumulative haul of around $11 million. It will soon overtake the $14 million haul of the Russell Crowe-led Nuremberg, but Pressure can already celebrate having overtaken the $10.9 million haul of the WWII classic Das Boot. Directed by the late Wolfgang Petersen, Das Boot is still regarded as the seminal submarine movie. Released in 1981, it grossed around $85 million worldwide — the equivalent of nearly $300 million worldwide adjusted for inflation. Stay tuned to Collider for more updates.
The NSFW clip started out with DeGeneres hiding behind a wall, presumably in a Mallorca vacation home where she and Jenner have reportedly been enjoying a getaway with their partners, Portia de Rossi and Corey Gamble.
As a clueless Jenner walked around the corner, wearing a flowing caftan, DeGeneres jumped out and screamed in her face.
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“What the f***?” Jenner shouted back while laughing. “You f***ing a**hole! Oh my god!”
As DeGeneres cackled in the background, the Kardashians star admitted, “I have shivers all over my f***ing body!”
Luckily, Jenner got over her initial fright quickly and later shared the prank via her Instagram account, along with the caption, “@ellendegeneres still at her shenanigans… it never gets old.”
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Several of the Kardashian family’s friends and extended family — including Malika and Khadijah Haqq, Kimora Lee Simmons, Kyle Richards and Tristan Thompson — replied with laughing emojis in the comments section on the post.
“I love yalls relationship,” Khadijah, 43, wrote, before quoting Kris’ cries of terror, “‘”…Shivers all [over] my body…’”
As mentioned, DeGeneres’ classic pranks date back to her daytime talk show, which originally aired from 2003 to 2022. She memorably surprised Pink during one interview with a man in a cockroach costume while the cursed doll Annabelle once sprung out of a box to freak out Jake Gyllenhaal.
The Kardashian-Jenner family were frequent targets of DeGeneres’ pranks over the years, including the time she confronted famed arachnophobic Kim Kardashian with a live spider on stage in April 2022.
DeGeneres has kept a relatively low profile following the end of her talk show in 2022. She moved with wife de Rossi, 53, to a farmhouse in the Cotswold region of England in November 2024 following the re-election of President Donald Trump.
Ellen DeGeneres is fighting back against a woman who sued her over a 2023 California car crash, claiming she was never served with the legal documents despite the alleged victim saying otherwise. “On December 23, 2025, certain documents were dropped off at the receptionist desk at Neuman + Associates. Neuman + Associates is not Ms. […]
“We got here the day before the election and woke up to lots of texts from our friends with crying emojis, and I was like, ‘He got in’,” she revealed in July 2025. “And we’re like, ‘We’re staying here’.”
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While the couple bought a $27.4 million home in Montecito, California, in November 2025, Us Weekly exclusively reported in February that they have no plans to move back to the U.S. permanently.
“They are still planning to live full-time in the U.K. but will spend a few months of the year in Montecito,” an insider told Us.
It’s not shaping up to be a good year for “Star Wars.” Although the animated series “Maul – Shadow Lord” earned rave reviews from critics and fans alike, many questioned why the Disney+ series “The Mandalorian” needed to head to the big screen, especially considering that “Star Wars: Starfighter” will hit theaters in less than a year from now. Although the movie failed to perform at the box office, it’s possible that Lucasfilm can still turn this into a win.
‘Star Wars’ Might Make A Fortune In Merchandising
On paper, it does make at least a little bit of sense. People who are not familiar with “Star Wars” probably know who Grogu – ahem, Baby Yoda – is. After all, the little green guy is everywhere. He’s on everything from T-shirts to throw blankets. He even popped up at Build-A-Bear, where fans can dress him in a little Grogu onesie or get him a frog wristlet before he decides to, you know, eat it.
Merchandising has always been the backbone of the “Star Wars” economy, and so it makes sense that Lucasfilm would want to take this opportunity to partner with as many brands as possible to get the name out there. The Republic of Tea is now selling at least three different tea tins. Bath & Body Works is selling everything from candles to cologne in “Force Flow” and “Bounty Hunter” scents. And don’t even get me started with whatever’s going on at Burger King.
‘The Mandalorian and Grogu’ Was Never A Story For The Big Screen
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The problem is, “The Mandalorian” has always been a TV show. While the first two seasons were well-received, the third one got bogged down by lore and pointless cameos (did we really need Lizzo and Jack Black in the same episode?) The show was already crumbling before they decided to turn it into a movie, and not a very good one at that.
“The Mandalorian and Grogu” felt like three episodes stitched together, and while that wouldn’t matter if they were good episodes, this feels like a pointless side quest in their overall story. Both Din Djarin (the titular Mandalorian) and Grogu basically end up right back where they started, except now Din has a shiny new ship. There’s no tease of a bigger threat on the horizon. There’s no major character growth. Overall, the movie is pretty inconsequential in the long run.
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And that honestly might be fine for kids who just want to see Din Djarin beat up the bad guys (there’s a lot of that in this film). But it doesn’t contribute anything more to the franchise. It looks like a “Star Wars” film. It sounds like a “Star Wars” film. But it lacks the soul and character of the other films that really make them magical. Trust me – I just watched the sequel to “Zootopia” last night, and kids’ movies can absolutely have heart and eye-rolling slapstick comedy that was meant for five-year-olds.
‘Star Wars’ Is All Anyone’s Talking About
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But if Lucasfilm put out “The Mandalorian and Grogu” just hoping that they were going to get “Star Wars” back on everyone’s minds, they’ve certainly done that. The press coverage about how this movie absolutely bombed at the box office has been unavoidable. It’s probably not the press that Disney wanted, but the movie is out there now.
I can imagine that, considering the film is going to make its way to Disney+ eventually, most people are just waiting to continue to watch the movie like they’ve watched the last three seasons: at home on the couch with a bucket of popcorn that does not resemble Din Djarin’s head. It started on the small screen, and that’s where it should have stayed (along with a tie-in to Thrawn to get people at least excited for what may come next in Mando’s story, but I digress).
Despite countless headlines about how “Star Wars” is over for good, the movie probably awakened a new generation of fans who are now binge-watching the rest of the films on Disney+. They might have even roped in a few new fans of “The Mandalorian” as well. If they wanted to go all-in on the Baby Yoda merchandising and get some new Disney+ subscribers by putting out a lackluster film, then they’ve succeeded in that regard.
Will ‘The Mandalorian and Grogu’ Create New ‘Star Wars’ Fans?
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Let’s face it: “Star Wars” needs some new fans, and that needs to start with the younger generation. The sequel trilogy was an absolute disaster, and the fact that there hasn’t been a “Star Wars” movie in theaters since 2019’s “The Rise of Skywalker” proves it. There are kids who have never seen a “Star Wars” movie in theaters, and it’s possible that Lucasfilm wanted to rope fans in with “The Mandalorian and Grogu” before “Starfighter” is released next year and (possibly?) gives fans a look at what the future has in store for Rey and whoever else they plan to bring back.
But Lucasfilm might actually be shooting itself in the foot with this one. The more extraneous material they release – like this movie – the harder it is for a “casual” fan to catch up. I can’t tell you how many times people have asked me how this movie connects to the original trilogy (“The guy is like… the brother of Boba Fett, right?”) or if Grogu and Baby Yoda are the same character. People legitimately do not know about “Star Wars.”
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They know Darth Vader. They know Yoda. They know Luke Skywalker. All of those characters have become pop culture legends, and maybe it should have stayed that way. For twenty years, there were six films in the Skywalker Saga, and that was it. Then Disney started pumping out a movie a year, and several live-action shows that the average viewer stopped keeping track of. “Andor” got plenty of buzz, but ten or twenty years from now, I don’t think anyone will be talking about that or “The Mandalorian.”
If “The Mandalorian and Grogu” wanted to get “Star Wars” back on everyone’s lips, then they’ve certainly done that. And although it failed to show up at the box office, plenty of fans will certainly catch it on Disney+ whenever it hits streaming (which might be sooner rather than later at this rate). Between merchandising and other brand partnerships, “Star Wars” is everywhere again.
Let’s just hope that Shawn Levy’s “Starfighter” can deliver. Rebellions are built on hope, and so, apparently, is this franchise.
Despite becoming one of the defining American films of the 2000s, the Coen Brothers’ Oscar-winning neo-Western No Country for Old Men also sparked a major legal battle involving one of its biggest stars. Years after the film swept the Academy Awards, lead Tommy Lee Jones sued Paramount Pictures over millions in allegedly unpaid compensation for the movie’s success. It’s a strangely ironic little footnote to a modern classic already obsessed with the true cost of greed.
‘No Country for Old Men’ Is One of the Defining Films of the 2000s
Released in 2007, No Country for Old Men follows welder-turned-hunter Llewelyn Moss (Josh Brolin) after he stumbles across a briefcase holding $2 million in the wake of a drug deal gone wrong. That discovery puts him directly in the path of Anton Chigurh (Javier Bardem), the cattle-gun-wielding, coin-tossing hitman who is now an iconic part of movie history. Watching it all unfold is Jones as Sheriff Ed Tom Bell in one of the strongest performances of his career — a performance that led to him suing a studio.
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While Bardem’s villain understandably became the face of the movie, Jones is undoubtedly the film’s emotional center. Bell spends the movie grappling with a changing America that no longer makes sense to him, attempting to come to terms with a world where violence and cruelty have evolved beyond his ability to stop them. It’s a masterclass performance that gives the Coen Brothers crime movie much of its soul. And without Jones, the film wouldn’t be the elegy for the American West that makes it so good in the first place.
No Country for Old Men was a massive critical success almost immediately. The Western won four Oscars, including Best Picture, Best Director, and Best Supporting Actor for Bardem. Critics hailed it as one of the Coens’ greatest works, and it quickly entered the contemporary canon alongside a run of other modern Westerns like Paul Thomas Anderson’s There Will Be Blood and Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford — both 2007 releases, as well. Commercially, it was also far more successful than many expected, going on to gross over $170 million worldwide. In fact, it’s that very success that ultimately led to its legal problems.
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Tommy Lee Jones Sued Paramount Over Millions in Unpaid Bonuses
In 2008, Jones filed a lawsuit against Paramount Pictures claiming the studio failed to properly pay him box office bonuses and compensation promised in his contract. According to the suit, Jones had accepted a lower salary in exchange for bonuses on the back end based on the film’s box office. It quickly devolved into a court case. And as later filings revealed, Jones was actually onto something: Paramount’s lawyers had allegedly made a major drafting mistake in his contract.
The bonus structure accidentally allowed him to get a bigger payout… even when the movie didn’t actually hit the threshold the studio intended. Instead of receiving bonuses after worldwide grosses doubled certain targets, Jones’ deal scored him payouts at half them instead. That error meant Jones was owed, even though the film hadonly earned around $160 million at the time. (For context, the previous Best Picture winner — Martin Scorsese’s perfect crime movie The Departed — had brought in nearly $300 million.)
After arbitration, Jones reportedly received a $17.5 million payout from Paramount. The studio’s former attorneys also settled with Paramount, losing $2.6 million over the mistake. Paramount then attempted to offset some of the financial loss by passing portions of the payout onto the film’s investors. That sparked another lawsuit involving Marathon Funding, a financing company that claimed Paramount improperly deducted Jones’ bonus from profit participation revenue.
Paramount won that separate dispute, but the damage had already been done: the entire situation exposed just how messy the financial side of filmmaking can be — even among the best movies. Looking back now, the whole saga feels oddly perfect for a film like No Country for Old Men. After all, the movie itself is fundamentally about people destroying themselves over money they can never truly control. Offscreen, things looked pretty similar. It’s an interesting wrinkle in the legacy of one of the greatest films of the century so far — but also a fitting one.
Calling something a better binge watch than Breaking Bad sounds almost illegal because that show practically trained viewers to say “one more episode” at 2 a.m. Its escalation is legendary. Walt’s (Bryan Cranston) lies stack, Jesse (Aaron Paul) keeps getting wounded by other people’s ambition, and the story tightens until stopping feels like breaking a spell.
This list looks at binge momentum from a wider angle. Some shows move faster. Some create deeper paranoia. Some make the viewer desperate to understand the next piece of the system, the family, the conspiracy, or the moral collapse. Breaking Bad remains one of TV’s greatest rides, but these shows can be even harder to pause when the right viewer falls into them. And I understand I’ve ranked some of these shows as better binges than Breaking Bad before but that’s some nuance for another day.
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‘Narcos’ (2015-2017)
Wagner Moura as Pablo Escobar looking sullen in Narcos.Image via Netflix
Narcos follows the rise and fall of Pablo Escobar (Wagner Moura) through the Colombian cocaine trade, with DEA agents Steve Murphy (Boyd Holbrook) and Javier Peña (Pedro Pascal) chasing a man whose money, violence, politics, and public image keep turning him into something larger than a normal criminal target. That gives the show a different kind of binge speed from Walter White’s slow climb. The machine is already roaring.
The series keeps pulling you forward through manhunts, betrayals, raids, prison power moves, political deals, and the horrifying casualness of cartel violence. Escobar walking through neighborhoods like a folk hero, Peña chasing dirty compromises, the hunt narrowing around La Catedral, and the later shift toward the Cali Cartel all give the binge a documentary-thriller charge. Breaking Bad makes empire-building feel personal. Narcos makes it feel geopolitical, which gives every episode a bigger, nastier horizon.
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‘Ozark’ (2017-2022)
Jason Bateman looking to the side, about to get into a car in Ozark.Image via Netflix
Ozark follows Marty Byrde (Jason Bateman), a financial adviser who launders money for a Mexican cartel, then drags his wife Wendy Byrde (Laura Linney) and their kids to the Missouri Ozarks after a deal goes bad. From that point, every family conversation doubles as a survival calculation. Marty is trying to keep everyone alive through numbers. Wendy starts discovering that power might suit her more than escape ever did.
That family-cartel setup makes the show ridiculously easy to chain-watch. Ruth Langmore (Julia Garner)’s rise from local hustler to the show’s most bruised moral force gives the series its emotional kick, while Darlene Snell (Lisa Emery), the Kansas City mob, cartel pressure, casino politics, and family betrayal keep tightening the noose. The blue-gray dread can feel almost punishing, yet that mood is part of the addiction. Ozark gives viewers the “ordinary family pulled into crime” hook and keeps asking how long ordinary can even survive once everyone starts adapting too well.
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‘Peaky Blinders’ (2013-2022)
Cillian Murphy as Tommy Shelby in Peaky Blinders.Image via BBC
Peaky Blinders follows Tommy Shelby (Cillian Murphy), a World War I veteran who turns his Birmingham street gang into a political and criminal force. His brothers Arthur (Paul Anderson) and John (Joe Cole), his aunt Polly (Helen McCrory), and the rest of the Shelby family are tied to him through blood, trauma, ambition, and the constant fear that Tommy’s next plan might finally cost too much.
The show is insanely watchable because it understands momentum as attitude and consequence. Tommy walking through smoke in that coat, Arthur exploding in pubs, Polly reading everyone before they speak, Alfie Solomons (Tom Hardy) turning every scene into controlled madness, the fights with Sabini (Noah Taylor), Changretta (Adrien Brody), Mosley (Sam Claflin), and rival gangs all build a binge rhythm that feels almost musical. Breaking Bad is cleaner as a moral descent. Peaky Blinders is messier, louder, sexier, and easier to devour when the mood is crime-family obsession. Not to mention it is now spiralling into a spin-off starring Stranger Things’ Charlie Heaton as one of the leads.
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‘Hannibal’ (2013-2015)
Will Graham (Hugh Dancy) walks into a room tailed by Dr. Hannibal Lecter (Mads Mikkelsen) in Hannibal.Image via NBC
Hannibal follows Will Graham (Hugh Dancy), an FBI profiler whose empathy lets him mentally reconstruct murders, and Dr. Hannibal Lecter (Mads Mikkelsen), the brilliant psychiatrist and cannibal who becomes both his doctor and his nightmare. Jack Crawford (Laurence Fishburne) uses Will’s gift to solve cases, while Hannibal quietly turns that gift into a psychological trap.
The series has a strange pull. Every episode feels like stepping into someone’s beautiful bad dream. The murder tableaux, Abigail Hobbs (Kacey Rohl), Bedelia Du Maurier (Gillian Anderson)’s fear, Will’s hallucinations, Hannibal’s dinner parties, the blood-soaked friendship between predator and patient, all of it creates a binge that feels intimate and cursed. This is the pick for viewers who want crime TV with obsession instead of procedural comfort.
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‘The Americans’ (2013-2018)
Keri Russell and Matthew Rhys as Elizabeth and Philip Jennings in disguise, in ‘The Americans’.Image via FX
The Americans follows Philip Jennings (Matthew Rhys) and Elizabeth Jennings (Keri Russell), who look like a normal married couple in 1980s suburban Washington, D.C., but are really Soviet spies running missions under false identities while raising two children who think their parents are travel agents. Their neighbor Stan Beeman (Noah Emmerich) works for the FBI, which turns every driveway chat into a loaded gun.
The show becomes more addictive the longer the marriage gets tested. Philip is more emotionally worn down by the disguises, seductions, and killings, while Elizabeth holds tighter to the mission even as motherhood complicates everything. Paige (Holly Taylor)’s slow awareness of the family secret turns the whole series into a parental nightmare. Martha (Alison Wright), Nina (Annet Mahendru), Oleg (Costa Ronin), Claudia (Margo Martindale), and Stan all add different kinds of pressure. The reason it can out-binge Breaking Bad is the domestic paranoia.
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‘Mr. Robot’ (2015-2019)
Rami Malek as Elliot Alderson in ‘Mr. Robot’Image via USA Network
Mr. Robot follows Elliot Alderson (Rami Malek), a cybersecurity engineer and hacker recruited by fsociety, an underground group trying to erase consumer debt by attacking a corporate giant called E Corp. He is brilliant, isolated, angry, and mentally unstable in ways the show slowly turns into part of the storytelling itself. That first season alone has the kind of twisty momentum that makes viewers suspicious of every frame.
The binge becomes deeper once the show moves beyond hack-the-system fantasy and starts digging into trauma, identity, capitalism, loneliness, and control. Darlene (Carly Chaikin)’s bond with Elliot builds a nice emotional core for the show, while Mr. Robot (Christian Slater) keeps shifting from revolutionary guide to something far more personal. Episodes like the prison reveal, the silent heist, the stage-play therapy hour, and the final run make the series feel carefully locked together.
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‘Dark’ (2017-2020)
Louis Hofmann in a yellow raincoat standing on a deserted road in Dark.Image via Netflix
Dark begins in a small German town where four families are connected by secrets, grief, and a cave that links different time periods. Jonas Kahnwald (Louis Hofmann) becomes the emotional entry point after his father’s suicide, but the story quickly expands through parents, children, grandparents, alternate versions, and loops that make every family tree feel like a crime scene.
And therefore, this show is binge-watching as obsession. You keep watching because one face, one photograph, one name, or one date can completely change what you thought you understood. The 1953, 1986, 2019, and later timelines turn memory into a puzzle with emotional consequences. Martha Nielsen (Lisa Vicari) and Jonas’s connection, Ulrich Nielsen (Oliver Masucci)’s desperate search, Claudia Tiedemann (Julika Jenkins)’s long game, Noah (Mark Waschke)’s menace, and the repeated question of whether anyone can break the cycle all make the series feel massive without needing endless seasons.
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‘Succession’ (2018-2023)
Brian Cox as Logan Roy in SuccessionImage via HBO
Succession follows the Roy family, owners of the media empire Waystar Royco, as aging patriarch Logan Roy (Brian Cox) keeps his children Kendall (Jeremy Strong), Shiv (Sarah Snook), Roman (Kieran Culkin), and Connor (Alan Ruck) trapped in a permanent audition for power and love. Every episode turns inheritance into humiliation. Every joke has a bruise under it.
As a binge, it is brutal fun because the emotional damage keeps changing outfits. Kendall wants to become the killer his father demands, then keeps crumbling under his own need. Shiv treats distance as intelligence until she realizes the room has already moved without her. Roman turns pain into jokes so quickly that his worst moments can sneak up on you. Tom (Matthew Macfadyen) and Greg (Nicholas Braun) bring corporate survival comedy into a family tragedy, which gives the show insane tonal energy. This is less “one man breaks bad” and more “an entire bloodline was trained to mistake cruelty for competence.” That kind of damage is disgustingly bingeable.
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‘Better Call Saul’ (2015-2022)
Bob Odenkirk as Saul frowning in a suit in Better Call Saul.Image via AMC
Better Call Saul follows Jimmy McGill (Bob Odenkirk), a hustling Albuquerque lawyer who wants respect, especially from his older brother Chuck (Michael McKean). Viewers already know he becomes Saul Goodman, the flashy criminal attorney who helps Walt and Jesse in Breaking Bad, so every kind gesture, shortcut, scam, and humiliation lands with extra dread. You are watching a man walk toward a name that feels like a surrender.
Jimmy and Kim Wexler (Rhea Seehorn) make the binge emotionally dangerous. Their chemistry is charming at first because they understand each other’s mischief, ambition, and resentment better than anyone else. Then that same chemistry starts feeding choices they can no longer laugh off. Chuck’s courtroom collapse, the Mesa Verde scams, Lalo Salamanca (Tony Dalton)’s terrifying charm, Mike Ehrmantraut (Jonathan Banks)’s grief-driven discipline, Howard (Patrick Fabian)’s fate, and Kim leaving all cut deeper when watched in sequence. The parent show delivers the louder fall. Better Call Saul makes the viewer mourn the person who almost got out.
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1
‘The Wire’ (2002-2008)
Michael K. Williams as Omar Little sitting on a bench and staring ahead in The Wire.Image via HBO
The Wire follows a Baltimore investigation into Avon Barksdale (Wood Harris)’s drug organization, with detectives Jimmy McNulty (Dominic West), Kima Greggs (Sonja Sohn), Bunk Moreland (Wendell Pierce), and Lester Freamon (Clarke Peters) trying to build a real case while the department keeps pushing for easy numbers. Out on the streets, we have D’Angelo (Larry Gilliard Jr.), Bodie (J.D. Williams), Wallace (Michael B. Jordan), Stringer (Idris Elba), Avon, and Omar (Michael K. Williams) making the drug world feel human, strategic, funny, terrifying, and heartbreaking.
The binge pull comes from accumulation. A corner conversation matters later. A political compromise changes police work. A school policy shapes a kid’s future. A newsroom shortcut damages public truth. The Wire gives the viewer a whole ecosystem of drugs and detectives. Once that clicks, stopping after one episode feels impossible because every piece of Baltimore is talking to every other piece.
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Collider Exclusive · Taylor Sheridan Universe Quiz Which Taylor Sheridan Show Do You Belong In? Yellowstone · Landman · Tulsa King · Mayor of Kingstown
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Four worlds. All of them brutal, complicated, and built on power, loyalty, and the price of survival. Taylor Sheridan doesn’t write heroes — he writes people who do what they have to do and live with the cost. Ten questions will reveal which one of his worlds you were made for.
🤠Yellowstone
🛢️Landman
👑Tulsa King
⚖️Mayor of Kingstown
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Where does your power come from? In Sheridan’s world, everyone has leverage. The question is what kind.
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Who do you put first, no matter what? Loyalty in Sheridan’s universe is always absolute — and always costly.
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Someone crosses a line. How do you respond? Every Sheridan protagonist has a line. What matters is what happens after it’s crossed.
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Where do you feel most in your element? Sheridan’s worlds are as much about place as they are about people.
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How do you feel about operating in the grey? Nobody in a Sheridan show has clean hands. The question is how they carry the dirt.
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What are you actually fighting to hold onto? Every Sheridan character is fighting a war. The real question is what they’re defending.
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How do you lead? Authority in Sheridan’s world is never given — it’s established, maintained, and constantly tested.
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Someone new arrives and tries to change how things work. Your reaction? Every Sheridan show has an outsider disrupting an established order. Sometimes that outsider is you.
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What has your position cost you? Nobody gets to where these characters are without paying for it. The bill is always personal.
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When it’s over, what do you want people to say? Sheridan’s characters all know the ending is coming. The question is what they leave behind.
Sheridan Has Spoken You Belong In…
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The show that claimed the most of your answers is the world you were built for. If two tied, both are shown — you’re complicated enough to straddle two Sheridan universes.
🤠 Yellowstone
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🛢️ Landman
👑 Tulsa King
⚖️ Mayor of Kingstown
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You are a Dutton — or you might as well be. You understand that some things are worth protecting at any cost, and that the modern world’s indifference to history, to land, to legacy, is not something you’re willing to accept quietly. You lead from the front, you carry your family’s weight without complaint, and when someone threatens what’s yours, you don’t escalate — you finish it. You’re not cruel. But you are absolute. In Yellowstone’s world, that combination of ferocity and loyalty doesn’t make you a villain. It makes you the only thing standing between everything that matters and everyone who wants to take it.
You thrive in the chaos of high-stakes negotiation, where the money is enormous, the margins are thin, and the wrong word in the wrong room can cost everyone everything. You’re a fixer — the person called when a situation is already on fire and needs someone with the nerve to walk into it. West Texas oil country rewards exactly what you are: sharp, adaptable, unsentimental, and absolutely clear-eyed about what people want and what they’ll do to get it. You’re not naive enough to think this world is fair. You’re smart enough to be the one deciding who it’s fair to.
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You are a Dwight Manfredi — someone who has served their time, paid their dues, and arrived somewhere unexpected with nothing but their reputation and their wits. You adapt without losing yourself. You build loyalty through respect rather than fear, though you’re not above reminding people that the two aren’t mutually exclusive. Tulsa King is for people who are still standing when everyone assumed they’d be finished — who find, in an unfamiliar place, that they’re more capable than the world gave them credit for. You don’t need a throne. You build one, wherever you happen to land.
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Head famously played Rupert Giles, the leader of the “Scooby Gang” and Buffy Summers’ (Sarah Michelle Gellar) mentor, on the hit show from 1997 to 2003.
The actor’s family confirmed his death on Friday, June 5, revealing, “It is with heavy hearts that we announce the death of our extraordinary father, Anthony Head.”
Head’s two daughters, Emily and Daisy, added that he “passed away peacefully of complications due to pneumonia, surrounded by his family.”
In the wake of the most recent tragedy, Head’s Buffy castmates, including David Boreanaz, who played Angel on the hit series, and Gellar, who played the show’s lead, took to social media to honor his legacy.
Scroll down to see which Buffy stars have paid tribute to the late actor:
David Boreanaz, Sarah Michelle Gellar.20th Century Fox Film Corp/Everett Collection
David Boreanaz
“RIP,” Boreanaz wrote via his Instagram Story with a praying hand emoji while reposting Head’s death announcement. “He was so kind and generous of a soul.”
Eliza Dushku
Eliza Dushku, who played slayer Faith, shared a photo of Head via her Instagram Story on Friday. “Tony H ~ For every scene & time shared, I give thanks. Rest in love and peace, kind sir. A dear one,” she wrote.
Sarah Michelle Gellar is once again remembering her longtime Buffy the Vampire Slayer costar Nicholas Brendon following his death at age 54. “It’s a tragedy. It’s a tragedy when you lose anyone at any point. It’s a bigger tragedy when you lose someone way sooner than needs to be,” Gellar, 48, said during a Rome press […]
Sarah Michelle Gellar
Seth Green, Sarah Michelle Gellar, Anthony Head and his daughters Daisy and Emily.Courtesy of Sarah Michelle Gellar/Instagram
Gellar, who played the titular character Buffy, quoted the show while paying tribute to her TV mentor. “‘Tell Giles I figured it out and I’m OK.’ Well I don’t have it figured out and I’m not OK,” the actress wrote via Instagram. “But I know I’m the lucky one because I knew you.”
Gellar shared a series of photos from her time with Head while filming the hit series, including one with Buffy costar Seth Green and Head’s two daughters.
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“Thank you to Daisy and Emily who not only shared their dad with me, but with the world,” Gellar added.
James Marsters
“There’s a hole in the World. Anthony Head has passed on from us,” James Marsters, who played vampire Spike, wrote via Instagram. “He was an unflaggingly kind and steady presence on the set of Buffy, and the best actor in the cast.”
The actor gushed about his late costar, adding, “He was the best of us. I was lucky to have known, and learned from him. He left the world a better place for his presence. Thank you Tony for all you gave.”
Emma Caulfield
Emma Caulfield and Anthony Head.Courtesy of Emma Caulfield/Instagram
Emma Caulfield, who portrayed Anya, shared a throwback photo with the late actor via Instagram. “This was taken on the London Underground in 2011,” she recalled. “I went to visit my friend Tony on the set of The Iron Lady. We had lunch, hit up a record store, had dinner and drinks and laughed until our sides hurt. It was a perfect day.”
Caulfield shared, “There were many of these moments with this amazing human who I was lucky enough to call my friend for 27 years. He was kind and wise and a guide in troubled times. You were so loved. Impossible to caption. You are so missed. ❤️ ❤️❤️❤️ rest in peace with your beautiful Sarah-Emma.”
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Charisma Carpenter
Charisma Carpenter, who played Cordelia Chase, paid homage to Head via a lengthy Instagram statement on Friday.
“Tony brought life to a character who, for so many, was the father figure they needed but didn’t have at home. Fans far and wide are surely grieving, and for that, I am deeply sorry,” she began. “I was not as close to Tony as some of the others from the cast were, and it pains me that I have to say ‘were.’ Even so, I am still feeling affected by this loss, and my heart is truly with my fellow classmates who remained close to him and his family to this day. I’m holding them all in my thoughts and sending love.”
Carpenter shared a series of photos of Head on Buffy and quotes from the show as she remembered his legacy.
“I am especially sorry for the tremendous loss his daughters, Emily and Daisy, are enduring, and I wish to extend my deepest condolences to them. They are young women now, though they were just darling little girls when I met them decades ago,” she continued. “I have not seen them since, but I hear they embody every bit of the love, kindness, and commitment to others that their parents did.”
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Carpenter called Head “an icon” who she was “fortunate” to have worked with at such a young age.
Nicholas Brendon, Anthony Stewart Head, Sarah Michelle Gellar, Charisma Carpenter, Alyson Hannigan.20th Century Fox Film Corp/Everett Collection
“I remember meeting him in the production office for the first time and being completely thrown off by his hippie-vibe demeanor, with a touch of punk-rock flair,” the actress recalled. “He had an earring, Converse high-tops, and a pair of loose-fitting, boldly striped pants. There wasn’t a trace of Giles to be found, which was a testament to his gifts.”
Carpenter noted that Head was “incredibly kind” to everyone he met, calling him the finest example of “a truly good human being.”
“Recently, for the first time, I watched his performance in one of my favorite BTVS episodes, ‘Lie to Me.’ His speech at the end could not feel more relevant today, not only in light of this news, but also given the state of the world,” she concluded. “I invite everyone to revisit it that cares to. Thankfully, we can. For that I am grateful. Rest well, Tony. You are loved.”
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Alyson Hannigan
The Willow Rosenberg actress described Head’s death as a cut “so deep I fear it can never heal.”
“Oh Tonal…I am so grateful to have had you in my life! I want to say a million wonderful things about you and yet I can’t seem to find the words that would do you justice,” Hannigan wrote via Instagram on Saturday, June 6. “ I love you so much and will miss you forever. RIP”
Gellar offered support by writing, “He loved you so dearly Aly.”
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