One lucky “Titanic” fan is now the owner of a script from the 1997 blockbuster after it was signed by the lead star, Leonardo DiCaprio, and sold at a recent auction.

The piece of memorabilia fetched £620 (approximately $820) at Clevedon Salerooms in South West England last week and included autographs from several members of the film’s main cast.

Over the years, a variety of items connected to the doomed ocean liner itself have gone under the hammer, including a life jacket, a watch, and even a dinner menu.

Many pieces of “Titanic” memorabilia have been sold at auctions over the years, but the latest item has nothing to do with the doomed vessel itself. Instead, it is tied to the iconic film made about it.

Last week at Clevedon Salerooms in North Somerset, England, a script from the 1997 romantic tragedy was sold to a lucky fan after an intense bidding war among him and two others, per the BBC.

Despite the competition, it went for just over $820, a surprisingly low price compared to actual memorabilia from the ship, which has previously fetched several thousand dollars.

The script also comes with the added appeal of signatures from the main cast, including DiCaprio and Kate Winslet, who played the lead roles of Jack and Rose.

Other signatures on the piece include Billy Zane, who played Cal Hockley; Kathy Bates, who portrayed Molly Brown; Gloria Stuart, who starred as old Rose; and veteran director James Cameron.

Leonardo DiCaprio’s ‘Titanic’ Script Labeled The ‘Perfect’ Find

Having the cast’s autographs on the script gives it a higher personal worth, according to valuer and auctioneer Henry Michallat.

In describing the purchase, Michallat also told the outlet that it was “a physical connection to one of the greatest films ever made.”

He then noted the fan’s good fortune in owning the piece, highlighting how other real Titanic items often sell for prices out of reach for the average film enthusiast.

“[Scripts] don’t come to auction that often compared to other Titanic memorabilia – pieces of furniture, ceramics, clothing – which usually fetch very high prices,” Michallat further remarked. “So, this was a really perfect, affordable piece for a fan.”

Actual Titanic Life Jacket Sold For $885,000

Two months ago, another piece of Titanic memorabilia sold for a whopping $885,000 at an auction held by Henry Aldridge & Son in Devizes, Wiltshire.

The item in question was an actual life jacket worn by Laura Mabel Francatelli, one of the survivors of the Titanic shipwreck in April 1912.

Francatelli and several of her fellow survivors had previously signed the piece, which seemingly added to its value, as it sold for more than its earlier estimated price.

Speaking about the purchase, auctioneer Andrew Aldridge claimed that it “reflects the ongoing interest and passion for the story of the Titanic, and its passengers and crew.”

He also once noted that it was “the only lifejacket from a survivor to emerge at auction in 114 years, so it is literally a once-in-a-lifetime opportunity for collectors.”

Another Titanic Item Sold For Over $400,000

At the same auction, another piece of memorabilia was sold for just over half the price of the life jacket.

The item was a seat cushion from one of the lifeboats that rescued the 700 passengers who survived the shipwreck.

Before being put up for sale, the cushion was first owned by a friend of London tea importer Richard William Smith. Smith himself died on the ship during the tragic incident, and his body was never identified.

The cushion is now housed in the Titanic Museum Attraction in Pigeon Forge, Tennessee, and Branson, Missouri, which purchased it at the time.

Watches, Menus, And Letters Have Also Sold

Several other Titanic items have made it to the auction table in recent years. A pocket watch belonging to postal clerk Oscar Scott Woody is one example, with the time frozen at the moment he drowned in the cold waters of the North Atlantic.

A first-class menu featuring “plover on toast” and a list of first-class passengers owned by a gambler have also been sold.

Other items include an ornate dessert plate, a section of a column from the à la carte restaurant, a fur coat owned by a first-class stewardess, and a letter from one of the passengers, Oscar Holverson.

All of these items sold for tens of thousands of dollars at the time to collectors.

Thirty years on, Eraser is one of those fantastic 1990s action thrillers that feels like it could only have been made in that period of time. During the heyday of Arnold Schwarzenegger, the film took the action icon and threw him into a world of corporate conspiracy, witness protection, alligators, parachutes, and sci-fi weapons that wouldn’t look out of place in a video game like Halo. Yet it works because of how much the film commits to the bit. Eraser was helmed with precision by veteran director Chuck Russell. I spoke with Russell to celebrate the film’s 30th anniversary as part of our retrospective series Collider Rewind. Together, we took a stroll down memory lane as he discussed pushing the action as far as it could go, giving Schwarzenegger a more grounded performance and, interestingly, why those sci-fi railguns were more real than you’d have thought.

During our conversation, he also discussed working with Schwarzenegger at a fascinating point in his career, surrounding him with actors like James Caan, Vanessa Williams, and James Coburn, and finding the balance between spectacle and story before CGI took over. Across the conversation, Russell also looked back on his wider career, from betting on Jim Carrey and Cameron Diaz in The Mask to helping launch Dwayne Johnson as a leading man in The Scorpion King, and making horror audiences feel unsafe with The Blob and A Nightmare on Elm Street 3: Dream Warriors. But when it comes to Eraser, one thing becomes very clear: Russell knew he was taking it to the limit. You can read our full conversation below.

Chuck Russell Wanted To Bring Out a More Grounded Side of Arnold Schwarzenegger

COLLIDER: First and foremost, I watched the movie last night for the first time in, I want to say, 20 years. I was far too young to watch it when it first came out, but then it was one of those video store movies I would always see the cover of and think, “I want to watch that,” and I was never allowed to because I was too young. I adore ‘90s action movies, and it’s got the alligators, the witness protection, railguns, and everything. Was there a moment when you were filming it that you thought, “Even I’m finding this insane right now?”

CHUCK RUSSELL: Oh, no. I knew I was taking it to the limit. There are moments in that film where I’m like, “How can I top him jumping out of an airplane to catch a parachute? Oh, if Jimmy [Caan] makes the pilot turn the plane around and take him out of the parachute, how can I top that? What if Arnold just has the balls to pull out a gun and shoot the cockpit?” So, I kept upping the stakes, and I always assumed in post we can see where I went too far, but we kept everything. The audience got a kick out of it.

Arnold was an icon by this point, but until he starts shooting the cockpit, it kind of feels like a more grounded role for him than we were used to. Was there anything you wanted to bring out of him in that performance that audiences hadn’t quite seen?

RUSSELL: Yes. You have to understand, it was after True Lies, which I’m a big fan of. I needed to do something a little different with Arnold, even if it’s subtly different, because I want to improve his brand, if anything, and that was to surround him with more grounded actors, Jimmy Caan being one of the best examples, and Vanessa Williams, and James Coburn, who is his own action icon from the previous era. Vanessa’s charm and intelligence, and the fact that she could handle a gun and take care of herself, were refreshing in the ‘90s at that point, and not making it a traditional action romance was something I wanted to do.

So, I think we upped Arnold’s game and performance, and I’m very pleased you mentioned it felt a little more grounded because I tried to keep the government story grounded, and the real guns are actually real technology. They were unknown at the time, but they’re more commonly known now. Guns that can look through walls and see a cat were science fiction then, but I kind of knew we had them already. So, I enjoyed taking the action as far as I could, but keeping the story grounded. When you have a big studio show like that, as a director, one of the most important things is [to] keep the micro focus on [the] cast, on the performance, on storytelling. Don’t let it all get swept away with large set pieces. So, you try to keep a balance there, and I think we achieved it. I think Arnold, as the protector, was unique in that role.

Chuck Russell Says Modern Action Can Lose Suspense When Anything Is Possible

What I liked about it, as well, was that you have the element of science fiction to it with the futuristic weapons and whatnot, but there’s never really any point where it feels like, “Oh, I’m watching a movie that’s set 50 or 60 years in the future.” It feels almost like an alternative reality, just with technology caught up ever so slightly. Did you have much discussion in terms of the weapons that were used, like making them feel futuristic, but they still have to feel physical enough, because it’s an Arnold movie?

RUSSELL: Correct. We did unending designs on that gun, and my production team was very patient with me until we found what we all considered the right thing. I was obsessed with, “It has to have a battery pack, or I don’t believe how powerful it is.” We were downsizing from guns that only appeared as cannons on battleships at the time, and so we wanted to keep some real tech, but it had to be fun, or what’s the point? It’s really meant to be a big entertainment more than anything else. So, I allowed myself a little fantasy, a little near-future sci-fi, wrapped around a great action story. That was the recipe.

I find myself, when I’m writing, using this expression more and more often, but they don’t make them like this anymore, and I got that feeling with Eraser, as well. Do you think a movie like this can be made the same way today, or with the machinery around action filmmaking — the emphasis on “everything has to be stunts, everything has to be CG” — do you think that would be too important in the background?

RUSSELL: I would still make it roughly this way. Some of the franchises need to outdo themselves, beyond Michael Bay elements. There’s an old saying by one of the original science fiction writers of all, which is H.G. Wells, who said, “When anything is possible, nothing is interesting.” So, if you keep topping your stunts to the point where it’s just ridiculous, because you could do it in CGI or now AI, you can go too far and sort of lose suspense. If there’s no suspense, action movies are kind of fun to watch, but they’re not really driving entertainment, in my opinion, anyway.

So, there was kind of a reboot of Eraser. I didn’t see it. I saw part of it. It didn’t seem like they nailed what they wanted to with it, but the heart of that film is having a strong core story and then progressively taking the action to an extent that matches the tone of the movie. So it’s still suspenseful. I want the audience to think, “What would I do?” We see Vanessa’s character stuck in a zoo with really bad things happening. I want the audience to relate. “What would my move be?” So, I try to keep pace and a tone in that neck of the woods. Anyway, thank you for enjoying the film. I rediscovered it myself. I hadn’t seen it in years, and I liked it. It was really cool.

Oh, it’s great to find these movies again, because the last time I watched, I would’ve been a teenager, and you watch these movies with your new eyes when you’re older. You can appreciate the filmmaking and the performances. I went through a stint in my teenage years where I was watching Arnold movies because it’s Arnold being Arnold, but now I can watch it and appreciate that he’s a really good actor, and I don’t think that’s appreciated as much because we see him as an action hero.

RUSSELL: Look, I tried to up his game on that particular show, and I think we succeeded, and Arnold became more and more focused on his performance, I think, ever since. Look, action is character. I think critics underrate that Shakespeare had sword fights in most of his plays. I mean, it is really no greater height of drama than one man trying to destroy another, or one woman trying to destroy another, as long as the story supports it.

So, the skills that people like Arnold and Dwayne Johnson have are rare, to convincingly be athletic enough to do a physical fight, but in the face… Bruce Lee was the first one I noticed as a kid when he would kill an adversary; the performance was amazing. His face would shake, and the hands would fist, and he’d have that yell. It was a remarkable performance, not just action. So, I still believe part of that performance is [to] kill your adversary with your heart. Why is your heart into this? What has he done to you that you have to destroy him if we’re at that point in a fight scene, or something bigger, like an airplane scene?

Chuck Russell Knew Dwayne Johnson Could Become a Movie Star

You mentioned Dwayne Johnson there. I was and remain, but especially when I was younger, an insanely big WWF, WWE fan, and so I was at The Scorpion King on day one.

RUSSELL: Oh, great.

Because to me, this was my Arnold Schwarzenegger here. When you’re directing him in his first leading role, did you see something in that performance, and when you were with him, that you thought, “This guy can go all the way. There’s something special here?”

RUSSELL: Oh, I knew that just meeting him for the first time. He was very passionate about doing a great job. Dwayne is a real champ. He’s a sweetheart. Everyone will tell you that. Even at this point in his career, he has big heart. I can’t say enough good things. Also about Arnold. Arnold’s more naturally competitive. [Laughs] It’s true. Look at his documentaries and things: that’s Arnold. Dwayne is an incredibly passionate actor and performer. He’s got a very good heart. He always has time for everybody on a set.

So, we were doing rehearsals, Dwayne and I, just in a conference room, “What will it be like when red ants are coming at you?” He would literally do these crazy improvs with me. I just wanted to warm him up, and “This is what we’re doing.” The truth is, what he was doing for WWE, or WWF at the time, was so dramatically performative — his monologues were mind-blowing — so I knew he was capable. And the fact that he had a desire to be a good actor and a good lead actor in a movie, I was very confident in him, and he lived up to it 100%.

Chuck Russell “Bet the Farm” on Jim Carrey in ‘The Mask’

Image via New Line Cinema

I wanted to touch on another ‘90s film, which I adore. I lost my mother a few months ago, and when we were clearing her house out, I found pictures of myself as a child, and one of them was me at Halloween, when I must have been five or six, and I was dressed as The Mask.

RUSSELL: Oh, wonderful. That’s a nice touch. And I’m sorry to hear about your mom. I’m sorry to hear that.

Thank you very much. It was a really nice surprise to find that photo. I had the fedora on with the feather and everything. She’d clearly gone to a lot of trouble to make sure it worked. It was one of my favorite films growing up, and I feel like it’s one of those lightning-in-a-bottle, a-movie-star-is-born movies with Jim [Carrey]. Did you know that while you were shooting it? I read that you’d seen him at a comedy club.

RUSSELL: Yeah. So I’m at The Comedy Store, and I realized what he’d been doing in In Living Color, that I’d also been watching, was [what] he could do live. I talked to him about it while we were filming The Mask, and he said, “If I can imagine it, Chuck, I can physically do it. It’s wild.” He is a Charlie Chaplin. I knew, “This guy’s a comedy genius,” literally. I bet the farm on Jim Carrey being a great movie star, and New Line finally agreed.

The other person that I really saw ahead of time was Cameron Diaz, who had never acted before at all. So, the studio took quite a risk with me, and my encouragement on, first of all, letting that be a comedy instead of a horror film, which was originally how they conceived it, and letting me make it a vehicle for Jim and Cameron. It was kind of risk-reward. We made a movie that was unlike anything that had been seen prior. I wanted to make a literally joyful movie. I’d lost my father not long before I got to make The Mask, and I just said, “I’m going to have a good time, and I’m going to make sure the audiences have a good time. Let’s get this movie made with Jim Carrey.”

What you said about Cameron Diaz, that’s also one of the great first-time movie star entrances, her coming into the bank. I think the casting for that film was one of the strengths of it, and it’s funny how, even maybe not as quite a big name, Peter Greene is one of those villains I’ll always remember because he just has that nasty face about him in that movie. It’s so effective.

RUSSELL: He was an edgy guy. He passed away not long ago. But I knew The Mask was going to float away in fantasy and comedy if I didn’t have a great villain, so Peter Greene had been in an independent film where he was so frigging scary as a murderer, and I thought, “It’s like a chemistry set. What’s going to happen if I toss this guy into the mix with Jim and Cameron?” And the result we got was a good amount of suspense for a comedy. You have to be careful the comedy doesn’t just float away, but you want to put the lead characters in jeopardy so the audience cares for them, and Peter did a fantastic job. He was really fun to work with, too.

How ‘A Nightmare on Elm Street’ Led to ‘The Blob’

One of my colleagues at Collider is a huge horror fan, and he said The Blob is one of the nastiest and meanest movies he’s ever seen, and that’s why he loves it. This character should be untouchable in any movie. They get blobbed left and right. Was there any pushback from the studio on all the characters getting blobbled left, right, and center?

RUSSELL: Everyone kept asking me, “Who’s going to play Steve McQueen in your remake of The Blob?” So I realized while we were writing the script, the first thing I’m going to do is kill the Steve McQueen character. [Laughs] I literally saw Kevin Dillon for the first time in years just yesterday, by coincidence, and we were telling fantastic stories about the fun we had making that movie.

Look, I am a horror fan, and I wanted to go all the way with the horror. I really did. And we had characters you can love that survived, but my intention was to make sure the audience didn’t trust the filmmaker. I wanted to kill important people early. Hitchcock did this in Psycho. Famously, he killed Janet Leigh, who was the biggest star at the time, in the first 20 minutes of his film, in “the scariest movie ever made,” because the audience said, “Well, if you’re going to kill the lead lady, every one of these characters is in jeopardy.” So, it’s a device that some of us have used, and I found very effective in The Blob.

But the studio, we funded it independently, and it was TriStar, but no one was really complaining because I’d already done Elm Street 3, and it was the biggest independently-made hit at the time. So, they backed me. People that first watched it were a little shocked, and I felt, “Have I gone too far? Well, it’s too late. The movie’s done.” But it worked out. It worked out well.

Did you think that the co-writing Dreamscape, which also had a knife-fingered, dream-invading villain, had anything to do with you being hired for that?

RUSSELL: I think it definitely did. It very specifically did. Bob Shaye liked it a lot. At the time, it was a first-time directing gig for me, so I got The Blob rights in order to get the right to direct it, and I brought that to New Line. New Line said, “Well, we don’t really want to make The Blob, but we need to do Elm Street 3,” and the second Elm Street hadn’t done that well. They weren’t sure they were going to carry on with the series, and they said if [Frank] Darabont and I could fix the script, they would let me direct the movie. So, The Blob brought me Elm Street, and then I finished Elm Street and returned to The Blob.

Chuck Russell on the Actors Who Surprised Him Most

Image via Warner Bros.

It’s a great run, and it’s great fun for you to have, just horrifying audiences. It’s the best way to go about things. I’d like to finish with one question. I’ll bring it back to Arnold, as well. This involves Arnold and a few others. You’ve obviously had the chance to work with some of the biggest action and comedy stars in the world. I know that you worked with Bruce Willis on one of his last films, as well. Having directed these actors at various stages of their careers, who surprised you the most when the camera started rolling?

RUSSELL: When the cameras started rolling? Look, I come from theater, so I have a great love of actors. As a young man, I was acting, so I was always debating in my early 20s, did I want to act or did I want to direct? And I enjoy directing more. So I have a great love, and they all thrill me.

I think Jim’s energy, there was always something surprising that was happening that was better than what we were writing. On the other hand, Dwayne Johnson surprised me when he cried watching his brother die because he went all the way, and he was basically a wrestler. He really broke his heart. And then John Travolta surprised me because he’s one of the greatest pros I ever worked with. I did two movies with John. He’s just a fabulous pro, and I enjoy directing him, but I also enjoy watching him work. He’s very good.

So, different actors at different times. Patricia Arquette, on Elm Street, hadn’t really acted before, I don’t think, but she’s from an acting family, and she carries that movie. If you look back at it to this day, she’s just wonderful, and she has this ethereal performance. She’s very vulnerable on camera. So frankly, they all surprise me, but for different reasons and in different ways.

Eraser 30th Anniversary Edition is available to purchase now on 4K UHD and Blu-ray. You can watch our full interview with Russell above.

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Release Date

June 21, 1996

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Runtime

115 Minutes

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This interview contains spoilers for I Will Find You.

Harlan Coben is a force in the mystery-thriller genre, with over 30 novels and a dozen adaptations to his name. His most beloved stories range from the Myron Bolitar series, about a retired basketball player and sports agent, to more contained plots like Stay Close, about three vastly different people connected by a traumatic event, and Tell No One, following a doctor grieving his wife who learns she might actually still be alive. Robert Hull is equally prolific, having written on everything from the soapy teen drama Gossip Girl to fantasy phenomenon Once Upon a Time to superhero crime drama Gotham.

The two prove to be the perfect pair to bring Coben’s latest show, I Will Find You, to life. The series follows a man named David Burroughs (Sam Worthington), who has been convicted of killing his young son, Matthew. When Rachel (Britt Lower), David’s sister-in-law, visits him in prison to show him a photograph of a child who looks exactly like Matthew, however, things unravel into a thrilling quest for the truth full of tense action, wild twists, and shocking conspiracies.

Collider got the chance to speak to Coben and Hull about the series. During the conversation, they discussed the importance of filming on location, how they brought the top-tier cast together, and the most important moments they knew they had to get right. Coben also gives an exciting update on his Myron Bolitar adaptation with David E. Kelley and reveals whether he’d ever be interested in directing.

Harlan Coben and ‘I Will Find You’ Showrunner Robert Hull Talk the Show’s Real Locations and A-List Cast

“I think the greatest challenge…is also the show’s greatest strength.”

Image via Netflix

COLLIDER: Something that really struck me about this show was all of its settings. If I did my research correctly, I believe you actually filmed on location a lot in former prisons, in Times Square. I’m curious if you can talk about the particular challenges and joys of stepping outside of the soundstage to actually go to some of these places.

ROBERT HULL: I think the greatest challenge — which you just said — is also the show’s greatest strength, which is that we are out and about in the real world almost all the time. We didn’t build. [We used] real locations, real houses, real prisons, real rooftops, because even with visual effects these days, there’s nothing that can substitute putting an incredible actor in a real location and letting them do their thing there and not to have a greenscreen, not to have a fake. Everything is real, and it gives the show this heightened storyline — it gives us everything a grounded feel. It’s a real, true, classic thriller, because you can feel the authenticity.

I love that you mentioned the rooftop scene, because that was very suspenseful to watch, and I’m sure the stunt was interesting to do as well. Another thing that really stood out to me was this cast and how perfectly everyone felt in their roles, from Britt and Sam to Milo and Madeleine. What was the most difficult role for you to find in the cast? I feel like everyone fits so perfectly that there must have been a lot of work to find them.

HARLAN COBEN: I would like to credit us for a lot of this sort of thing, but these actors kind of found us. We found Sam very early on, and that was the key and the linchpin. He does so much with so little. He brings such gravitas to the role. Oftentimes, we would say, “Let’s not even write him a line. Let’s just get a close-up of Sam’s face,” because it conveys so much.

And then we heard Britt Lower wanted to work with us on this particular series, and we knew that now it’s a two-hander, right? You can’t just have Britt be sort of on the side. Milo I think came to us with Hayden, which was really nice. Milo’s such a lovely guy, such a lovely person, and you love him from the moment you see him onstage. It became more that our challenge was that we have so many great actors; how do we give them all we want to give them? How do we give Madeleine Stowe — a legend — the moment she deserves?

And then Chi. We said we wanted a Chi McBride type, and we ended up with Chi McBride. We wanted a Madeleine Stowe type, and we ended up with Madeleine Stowe. It was that way all the way down the line. It was sort of an embarrassment of riches.

HULL: I think it’s a testament to the power of Harlan’s storytelling, because all these actors… Milo is a perfect example of someone who normally wouldn’t be number three on the call sheet, but you present this type of material, and a good actor doesn’t care. They just want that juicy role. They just want to come, perform, and bring it to life. I think it’s a testament to his story.

Harlan Coben and Robert Hull Discuss ‘I Will Find You’s Wildest Twists

“Every red herring actually is a story in and of itself.”

Image: Courtesy of Netflix

I feel like it wouldn’t be a true Harlan Coben show without cliffhangers and plot twists. What was the most difficult one to pull off in the writing process?

COBEN: That’s a good question. Boy, there’s a couple. I think the episode where you see Matthew at the very, very end of an episode, it’s great. I thought the one where we saw Adam digging a hole, digging into a grave, was a solid one. I think Sam leaving, getting out of prison, putting the gun against the warden’s head is a pretty good one.

HULL: I would also say, with cliffhangers, I’m a big believer that it’s really easy to do a cliffhanger to keep you watching — it’s the B side, it’s the answer [that’s hard]. If you just do a cliffhanger and then get them out of it, nobody cares. And so Harlan and I spent a lot of time not just on the cliffhanger, but on what the next part was. What’s the next beat in the story? That’s where people will be locked in, because you satisfy them. There’s no bait-and-switch there. Every red herring actually is a story in and of itself.

Harlan Coben Gives an Update on His Myron Bolitar Series and Reveals Whether Directing Is in His Future

“Pressure is a privilege.”

Image via Netflix

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Harlan, last month, it was announced that Netflix had greenlit the Myron Bolitar series, which people are super excited for. What can you tell us about working with David E. Kelley on that and where you are in that process?

COBEN: We’re pretty close to starting to film. We’ll be making announcements I think fairly soon. I grew up with David E. Kelley in a sense. I’ve been admiring his work for so long, and when they first told me, “How about you and David E. Kelley trying to do this?” I was just like, “Let me in.” I’m nervous about it. I’ve written a lot of books about Myron, and Win, and Esperanza, and I really want it to go well. Pressure is a privilege, and we’ll see how it goes now. I always get nervous before a show — I got nervous before this one — and now, it’s gonna be out in the whole world, and it’s time to see if we were right or not.

I have full faith in you. I feel like you have become as synonymous with TV as you are with books now. You’ve been doing a lot of writing and producing — would you ever have any interest in trying to direct or do anything else in the TV sphere?

COBEN: I never say never anymore, because I keep saying never, and I end up doing it. “I would never write a memoir,” and I just wrote that. “I would never write a play,” and I just wrote one. So I never say never. I can’t imagine being a director unless I had a really great DP, maybe. [Laughs] I don’t see it happening, but who knows?

HULL: I would encourage him to do anything but write television, because then my job is gone.

COBEN: Robbie’s trying to picture me as a director on set, and I’m annoying enough now.

HULL: [Laughs] That’s fine, that’s fine. Most of my calls to Harlan are, “Write your novels faster, because I’m here waiting. Please write faster.”

Robert, your resume has such a wide range of projects. Gossip Girl, Once Upon a Time, Alcatraz, Gotham. Which of those shows do you feel best prepared you to work on this series?

HULL: All of them. Honestly, especially when you’re adapting Harlan, who has such a track record for success, it’s really about the storytelling. It’s really about honoring both his initial story, but also the way he tells stories, which is, yes, thrillers, yes, twists and turns, but if you read and are a fan of his novels, you read them because, at the end, there’s always this emotion. There’s always this sense of hope, this sense of catharsis. And that’s why I think he’s so successful. I think the twists and turns are how he keeps you turning the pages, but at the very end, if it’s not satisfying on an emotional level, you’re not gonna read the next one.

Harlan Coben Knew They Had To Get This ‘I Will Find You’ Scene Perfect

“[It’s] the moment that I think that I knew the show was going to work.”

Image: Amanda Matlovich/Netflix

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I’m so curious, is there one moment in the show that you can point to as being something that you’re proudest of or something that you’re most excited for people to get to see?

COBEN: I’ll pick two and go from Episode 1 to Episode 8. Episode 1, and this is the moment that I think that I knew the show was going to work, is the scene where Britt Lower shows Sam Worthington the photograph in the prison. It was the scene when I was writing the book that I kept thinking about, and I don’t know how many times Robbie and I talked about this beforehand, but I was so nervous about making sure it worked, and we had the right camera angle, we had the right photograph, and all that. I probably drove him crazy with that. So that’s one.

And I don’t want to give anything away, but the last scene in Episode 8. For people who haven’t watched it yet, I hope you will. That scene, to me, gets me choked up even talking about it. So those are my two favorites, picking from 1 and 8. Robbie, you gotta pick something in the middle now.

HULL: [Laughs] I don’t want to pick anything in the middle! I think Harlan nailed it, though, because the end is sort of left open to interpretation of what a happy ending is, and where they go from here. And I think that sense of asking where they go from here is a real testament to the story that Harlan wrote, because you want to keep watching. You want to figure out what happens after that, and I think that leaves people feeling very satisfied.

I Will Find You is now streaming on Netflix.

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Release Date

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June 18, 2026

Network

Netflix

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Showrunner

Robert Hull

Directors

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Adam Davidson, Maggie Kiley, Maja Vrvilo, Brad Anderson

Writers

Robert Hull, Harlan Coben

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One of Brad Pitt‘s kids has not entirely snipped the cord as estrangement rages on.

The actor’s son, Pax Jolie-Pitt, reportedly still has a very close relationship with his side of the family, according to his latest sighting with the rest of the Pitt clan, despite his siblings’ estrangement from the actor.

Since Brad Pitt and Angelina Jolie’s marriage hit the rocks, he has experienced several episodes of his children ditching his last name for Jolie’s as recently as last month.

Despite the ongoing distance from his father, Pax was spotted cozying up to his father’s extended family as he joined them for a celebratory dinner to celebrate his cousin’s engagement. 

Pax’s cousin, Sydney, celebrated her engagement to Archimede Jerome, and aside from the actor’s son in the gathering, other relatives, including Brad’s sister, Julie Pitt Neal, as well as niece Reagan Pitt, also made the list.

However, despite the cordial situation between Pax and his dad’s side of the family, Pax and Brad do not currently have a relationship. According to Page Six, an insider, the interaction between Pax and his father is currently minimal, but he is still much involved with extended family occasions.

The Oscar Winner Reportedly Bracing For Heartbreaking 18th Birthday Of His Twins

The Blast noted that as the actor braced for his twins, Knox and Vivienne, turning 18, he has reportedly begun harboring concerns for this painful turning point that can spell doom for their relationship.

Pitt’s youngest kids prepare to turn 18 in July, and insiders have reported that the milestone feels less like a celebration and more like the closing of a difficult chapter for the actor.

According to a close source, the filmmaker strongly believes that his twins reaching adulthood could represent a complete severance of any remaining legal ties through visitation. Thus, it was described as the final exclamation point in the family’s years-long estrangement.

Another insider affirmed that there has been a deliberate effort from Jolie to distance the children from their father, and the kids’ decision to part ways with Pitt’s surname has only deepened those feelings. Pitt and Jolie share six children: Maddox, Pax, Zahara, Shiloh, and twins Knox and Vivienne. 

Brad Pitt’s Estrangement From His Kids Reportedly An Aftereffect Of His Split From Angelina Jolie

The estrangement between Pitt and his kids could be traced to 2016 when Jolie accused the actor of inappropriate behavior during an alleged altercation on a plane. The confrontation sparked an FBI investigation, although both the body and child services ultimately cleared him.

Unfortunately, the effects of the altercation contributed to the breakdown of their marriage, and the breakdown of their marriage affected the actor’s relationship with his kids. As shared by a source:

“If he isn’t close to the kids, it’s because of the harm he has done. He wasn’t honest about his actions, and it affected the trust between them. It’s been very hard for the kids. No one knows, except them, how bad it has been.”

After Jolie and Pitt called it quits, the duo were locked in a custody battle, with Jolie securing primary physical custody rights until Pitt ended his custody pursuits in 2024.

Zahara Jolie Took Legal Steps To Drop His Last Name

Pitt was hit with another crushing blow from his second-oldest daughter, Zahara, making a crucial legal move to remove his last name. The Blast stated that the court documents, filed in Los Angeles, confirmed that Zahara requested to legally change her name from Zahara Marley Jolie-Pitt to Zahara Jolie.

This move would confirm that Pitt would no longer use the “Pitt”  surname for personal and professional use. The filing seemingly aligned with months of speculation after Zahara had previously been seen using only the Jolie surname in public settings.

Reports also claimed that Pitt was not present at Zahara’s recent graduation ceremony and that the two did not communicate surrounding the milestone event. 

Zahara’s siblings, along with Jolie, attended the celebration, and everyone seemed to be at peace with Pitt’s absence. An inside source said that it was unfortunate that these family rifts can impact significant life events.

Brad Pitt Is Still Optimistic About Repairing Bond With His Biological Kids

While all his hopes may be dashed now due to the emerging trends among his kids, reports from close quarters alleged that Pitt is still positive about his biological kids finding their way back to him.

The actor reportedly feels that when it comes to Knox, Shiloh, and Vivienne, the aftermath of the lawsuits will be a realization that their father will always be a part of them.

As for his adopted kids with Jolie, Pitt is quite understanding as to why they may not be comfortable with becoming familiar with him again, and he respects it.

The couple’s fallout was not exactly a seamless one as they found their way to court over every single detail, including custody arrangements and property division. 

Statements from Pitt’s quarters and close friends have described the situation as an unfortunate “textbook example of what a successful campaign to separate a family looks like.”

Bethenny Frankel might be in her 50s, but her glowing skin makes her look half her age. So when she calls out one of her go-to skincare products, we listen closely. This week, the Skinnygirl founder shared the facial cleanser she’s been loving, stating, “I think I have found my favorite cleanser.”

The product in question? CeraVe Hydrating Cream to Foam Cleanser, a highly-rated Amazon fave that’s just $12. It delivers a gentle cleanse without leaving behind that dry, stripped feeling.

“I feel like it’s really cleaning, I feel like it’s really hydrating,” she said in an Instagram video. “I love this cleanser. I think I like it better than the expensive ones. It’s excellent.”

Get the CeraVe Hydrating Cream to Foam Cleanser for $12 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

CeraVe Hydrating Cream to Foam Cleanser starts as a thick cream, then transforms to a light and airy foam as you rub it into your skin. And according to Frankel, this foamy texture is key when it comes to really getting a deep clean. “A facialist told me for a cleanser to really be pulling out the dirt and working well, it must foam,” she said in the Instagram video as she massaged the foam into her skin.

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Related: Bethenny Frankel Compared This ‘Magic’ $7 Cream to La Mer

Bethenny Frankel‘s resume may be stacked with credits like Real Housewives alum and Skinnygirl founder, but our favorite gig is the one where she shares budget-friendly beauty products that actually work. Recently, she took to Instagram to gush about a $7 face cream, calling it “magic” and comparing it to La Mer — a.k.a. the luxe, celeb-loved […]

The cleanser might feel light, but it does an impressive job of wiping away excess dirt, oil and makeup. Frankel even gave it what she calls the “tone test,” where she wiped her clean skin with a toner pad to see if any extra makeup came off after cleansing. The result was a clean pad. “That means it’s good,” Frankel declared. “Usually there’s a lot of extra makeup on there.”

Ingredients like hyaluronic acid, amino acids and ceramides help to hydrate skin while protecting the barrier to lock that moisture in. The cleanser is fragrance-free and formulated to be safe for sensitive skin.

Frankel isn’t the only one who is a big fan. “This is my holy grail face wash,” one five-star reviewer wrote. “I have tried other cleansers, and I always come back to this one. My skin feels balanced after, not tight, not dry, not irritated.”

“I really loved this cleanser,” another five-star reviewer said. “It leaves my skin very soft and hydrated without feeling dry. … I use it every day and have noticed my skin looks healthier and cleaner.”

If you want to level up your skincare routine without splurging, CeraVe Cream to Foam Cleanser is absolutely worth it. I mean, why spend more on a skincare product you’re quite literally washing off your face?

Get the CeraVe Hydrating Cream to Foam Cleanser for $12 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Related: Meghan Markle’s Go-To $17 Cleanser Works Wonders on Dry Skin

According to Meghan Markle, you don’t need a celebrity-approved facialist to fix dry skin. Surprisingly, her solution is much more affordable, and it yields impressive results. She uses a $17 cleanser that reviewers call a “miracle in a bottle” for dry and sensitive skin. The Duchess of Sussex’s favorite products can now be found on her […]

Daryl Sabara is grieving the loss of his father, Roland Sabara.

The Spy Kids actor, 34, shared the news via his Instagram on Friday, June 19, sharing a photo of himself with his dad just days before Father’s Day.

“My Dad, Roland Sabara, passed away last night,” Daryl captioned the image.

The actor, who has previously spoken candidly about growing up without a father, reflected on their complicated relationship in the emotional post.

Related: Meghan Trainor’s Husband Shares Mother’s Day Tribute After Tour Canceled

Meghan Trainor was showered with love on 2026 Mother’s Day by her husband, Daryl Sabara, and their three kids. “Happy Mother’s Day @meghantrainor,” Sabara, 33, wrote via Instagram on Sunday, May 10. “You somehow manage to do EVERYTHING and still make it look easy.” He continued, “You are the heart of this family, the absolute […]

“We only saw each other a couple of times, and I will cherish those memories forever,” he continued. “I know he did the best he could, and I know he’s in a better place now 🤍.”

Daryl shares three children with wife Meghan Trainor. The couple are parents to sons Riley, 5, and Barry, who turns 3 in July. They welcomed daughter Mikey Moon via surrogate in January 2026.

In an interview with Mr Feel Good in June 2023, Daryl explained how his childhood experience and absent father affected the approach he took to parenting.

“I grew up without a dad — he left when I was one,” he said. “So I didn’t have that traditional role model growing up and for me, especially as I’m about to be a dad of two boys, I feel like that was a blessing in some ways. I am able to create what that relationship is for me and my sons.”

The actor continued: “My mom was basically my mom and dad, and she did the best she could. But what I’m learning in my 30s, in therapy and doing my own healing, is that our parents subconsciously imprint onto us. So right now, I’m just figuring out the parts of me that I like and I want to teach my kids, and the parts of me I am not as sure about.”

Daryl also revealed that reaching certain milestones with his eldest son brought up difficult emotions.

“When Riley turned one, I had this kind of breakdown, as I’d surpassed the amount of time my dad was with me,” he said. “I couldn’t imagine ever leaving my son.

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Related: See Meghan Trainor and Daryl Sabara’s Photos With Their 3 Kids

Meghan Trainor and Daryl Sabara have enjoyed documenting life with their sons, Riley and Barry and daughter Mikey. The couple announced in October 2020 that they were expanding their family, writing via Instagram, “You all know how long I’ve wanted this!!!! @darylsabara and I are so beyond happy and excited to meet this little cutie […]

The actor shared a similar sentiment about the impact his father’s absence had on his life when speaking to People the same month.

Speaking to the outlet, Daryl doubled down on the idea that becoming a parent has helped him process feelings surrounding his own childhood.

“I’ll say that it’s pretty amazing because I didn’t have a dad growing up,” he said at the time. “My dad left my family when I was 1. So becoming a dad has kind of given me this existential experience of getting to become the dad that I always wanted.”

A juggernaut of television entertainment, HBO has been producing TV series as far back as the late ’70s and early ’80s. It spearheaded the elevation of the format to true prestige drama in the late 90s, with series like Oz and The Sopranos, and has been a defining pillar of the golden era the medium has enjoyed throughout the 21st century thus far.

The premium cable network’s greatest hits range from grueling crime dramas to piercing black comedies, sweeping historical epics, and even some of the most immersive and visceral portrayals of war to have ever graced the screen. Such is HBO’s brilliance; many of their best original titles only improve upon a second viewing as they allow audiences to engross themselves anew while spotting all the hidden details they missed the first time around. From underrated modern gems to medium-defining classics, these HBO shows are even better on rewatch.

10

‘Six Feet Under’ (2001–2005)

Image via HBO

One of HBO’s most underrated series thus far, Six Feet Under excels as a socially-minded dark comedy revolving around a dysfunctional family that manages a funeral house in Los Angeles. On first viewing, the show has a tendency to stun audiences with its tonal dare, often oscillating between scandalous black humor and piercing character turmoil as each member of the Fisher family faces their own complex life issues while navigating the chaos of their family dynamics.

When revisited, especially by those who watched its initial run on television, Six Feet Under only lands with more gravitas. The passage of time and the accumulation of life experiences mean that so tender and in-depth a series changes its complexion entirely when rewatched, while the simple allure of returning to a show that completed its run in such a perfect fashion enables fans to immerse themselves more in the progress of the story. It remains one of the best dark comedies television has ever seen, and the years have done nothing to erode its piercing resonance.

9

‘The Night Of’ (2016)

Image via HBO

Another overlooked masterpiece from HBO, The Night Of is crime television at its scintillating best, a miniseries that functions as a murder mystery, a courtroom thriller, and a scathing indictment on the nature of the legal system. On first viewing, it is impossible not to be embroiled in the mystery intrigue, with the series revolving around Nasir Khan’s (Riz Ahmed) trial as he is charged with murdering a girl he was partying with.

A second viewing shifts the nature of the story somewhat. As the dark whodunit element subsides, the character drama becomes more central, especially through Nasir’s bleak coming-of-age in jail as he awaits trial. This renewed emphasis also sharpens the series’ criticism of the failings of the legal system. Complimented by its rich cinematic gloom and its patient sense of suspense and tension, The Night Of is a brilliant drama that only grows greater when revisited.

8

‘Curb Your Enthusiasm’ (2000–2024)

Image via HBO

Seen by many as a spiritual continuation of Seinfeld, which Larry David created, Curb Your Enthusiasm excels by giving the sardonic comic a platform of his own, with the 12-season series following the litany of misadventures he embarks on with his friends and celebrity colleagues while living in Los Angeles. Not at all dissimilar to Seinfeld, the HBO comedy series is a treat to rewatch, with the gags never getting any less hilarious, even when viewers become word-perfect in reciting them.

While first viewings allow for a procession of hysterics that engross viewers in the chaos of the comedy, rewatching Curb Your Enthusiasm offers a chance to truly appreciate how the jokes are built-up while also recognizing moments of improvisation and unscripted interactions. Furthermore, its commitment to light entertainment bereft of dramatic fervor makes it something of a cozy and irreverent comfort watch that remains enjoyable no matter how many times it is revisited.

7

‘We Own This City’ (2022)

Image via HBO

With its non-linear progression, litany of pivotal characters, and its enormous scope that examines corruption and institutional rot of the police department in Baltimore, We Own This City is one of the more unforgiving miniseries HBO has produced. Based on Justin Fenton’s non-fiction book, the six-part limited series explores the BPD’s Gun Trace Task Force, an elite police unit that engages in illegal methods to achieve their goals while profiting from the crime they fight.

While the first watch allows viewers to see where every character ended up, a second viewing can be necessary to untangle the miniseries’ multiple timelines and to fully digest the thematic ideas it poses on issues of corruption, the force’s ‘code of silence,’ the nature of police quotas, and even the reasons why attempts to reform often fail. If anything, We Own This City becomes more pressing and disturbing on rewatch as its central messaging becomes clearer and the connection between the characters’ actions and outcomes becomes more pronounced.

6

‘Rome’ (2005–2007)

Image via HBO

Initially intended to run for five seasons as a sweeping epic of Ancient Rome in a period of transition as the republic falls and an empire arises, Rome’s high-end production costs saw the series’ ambitious tenure cut short, but it still provides two thrilling seasons of political conniving and period allure. On first viewing, Rome is a procession of betrayals, backstabbing, and scandal, a pulsating immersion in the culture and calamity of the birth of the Roman Empire that is seen from multiple perspectives.

Rewatching Rome with an understanding of what happens to each character in the grand scheme of the series allows viewers to recognize hidden details of foreshadowing, subtle plots that are hatched in the background. Watching it a second time around also allows the sublime quality and detail of the production to be enjoyed in earnest, highlighting the grandeur and glamour the series achieves, while also understanding why HBO had to cut its planned five-season run short.

5

‘Sharp Objects’ (2018)

Image via HBO

In cinema, slow-burn crime mysteries have long been presenting movies that audiences love to agonize over again and again. They invite viewers to bask in the moody atmospheric intensity with repeat viewings while putting the pieces together to see how every minor detail contributed to the overall picture. Television has proven itself to be no different when tackling methodical mystery suspense, with HBO’s 2018 miniseries Sharp Objects a defining highlight.

Based on Gillian Flynn’s novel, it follows crime reporter Camille Preaker (Amy Adams) as she returns to her hometown to investigate the murder of two young girls. As she looks into the case, she must also combat demons from her own past that begin to re-emerge. With its macabre allure defined by its Southern Gothic aesthetic, simmering tension, and its penchant for devastating plot twists, Sharp Objects is every bit as addictive on rewatch as all its intricacies and stylish splendor wash over viewers anew.

4

‘Band of Brothers’ (2001)

Image via HBO

Viewed by many as being the outright greatest piece of war drama ever produced for the screen, Band of Brothers is a defining triumph of HBO’s excellence in the early 21st century. Following Easy Company’s campaign through the European Theater of WWII, it tracks the soldiers from their basic training and their airdrop into Normandy on the eve of D-Day, through the litany of battles they are actively involved in, and up to their uneasy presence in Germany at the end of the war.

As is the nature of war television, so much energy in the first viewing is spent agonizing about the health and safety of the characters and being completely immersed in the sheer scale of the production. While even several rewatches still come with both of those qualities, they also bring a greater appreciation for just what the miniseries achieves, especially as its air of camaraderie and courage becomes a more pronounced aspect of the series.

3

‘The Leftovers’ (2014–2017)

Image via HBO

One of HBO’s most astonishing extended series, The Leftovers is a drifting, meandering gem of small-screen drama that embeds viewers in a world of grief, trauma, and loss. On October 14, 2011, two percent of the world’s population vanished without a trace. Three years later, what remains of society is torn between trying to move on with their lives and succumbing to mourning and loss.

The series can be unusual at first, especially as it functions more as a meditative observation of aimless people rather than a driven narrative with set stakes and goals for major characters, but once viewers are on board with its unique style and tone, it becomes enrapturing. A second viewing invites fans to indulge in The Leftovers’ peculiarities and might from the outset while delving deeper into character decisions and thematic ideas throughout the entirety of the three-season tenure.

2

‘The Sopranos’ (1999–2007)

Image via HBO

No series in the history of television has been as synonymous with a network or channel as The Sopranos is for HBO. The crime drama character study is the spearhead of the medium’s rise to being considered a prestige form of entertainment, with its six-season run following New Jersey mobster Tony Soprano (James Gandolfini) as he struggles to balance his dangerous profession against his peaceful private life, presenting one of television’s greatest ever spectacles.

It doesn’t diminish on rewatch. In fact, if anything, The Sopranos only gets better on a second viewing as the contemplative depth of its focus on Tony’s psychological state and morality surpasses the high-stakes tension of the crime drama. Secondary characters like Carmella (Eddie Falco) and AJ (Robert Iler) become more sympathetic figures, while the rush of the violence and immorality becomes more philosophical than thrilling. The scenes between Tony and Dr. Melfi (Lorraine Bracco) are particularly impressive in this regard, giving what is a confronting and raw gangster series a compelling insight into the mind of what is still television’s most fascinating and complex character.

1

‘The Wire’ (2002–2008)

Image via HBO

Timelessly important and epic in scope, The Wire is arguably television’s finest ever achievement, a stunning and realistic analysis of a city’s criminal infrastructure, police department, and political system. Co-created by Baltimore crime reporter David Simon and veteran detective Ed Burns, the five-season masterpiece is all-encompassing in its coverage of corruption, morality, and strategy on both sides of the law.

On first viewing, it is impossible not to be swept away by the series’ sense of scale and momentum, especially with such a vast array of characters on display, all of them defined by their own agendas, objectives, and moral codes. When The Wire is rewatched, it is far easier to focus on the bigger picture, to appreciate the jolting setting changes season-to-season and to embrace the show as a stunning mosaic of a city’s institutional pitfalls that is, sadly, every bit as relevant today as it was twenty years ago.

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The Wire

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Release Date

2002 – 2008-00-00

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HBO

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Directors

Ernest R. Dickerson, Ed Bianchi, Steve Shill, Clark Johnson, Daniel Attias, Agnieszka Holland, Tim Van Patten, Alex Zakrzewski, Anthony Hemingway, Brad Anderson, Clement Virgo, Elodie Keene, Peter Medak, Rob Bailey, Seith Mann, Christine Moore, David Platt, Dominic West, Gloria Muzio, Jim McKay, Leslie Libman, Milcho Manchevski, Robert F. Colesberry, Thomas J. Wright

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The 21st century has revolutionized cinema. With advances in technology and storytelling, the way consumers view movies has changed significantly. Whether you’re heading to the theaters for a big blockbuster or watching the latest film on your favorite streamer, what hasn’t changed is the desire to be entertained. And nothing is as entertaining as a juicy thriller.

Over the past 25 years, filmmakers have brought audiences on extraordinary rides through mystery and action, the dreamworld and reality. Critically acclaimed and audience-revered, these 10 films have had such an enduring impact that they are the best thrillers so far this century. From visionary directors and award-winning actors, if you seek a thrill, these flicks are mandatory viewing.

1

‘No Country for Old Men’ (2007)

Image via Miramax/ courtesy Everett Collection

Very few directors know how to make an atmosphere a thrill in and of itself quite like Joel and Ethan Coen. With a brilliant resume behind them, they made their mark in the 2000s with their neo-Western crime thriller No Country for Old Men. Based on Cormac McCarthy‘s 2005 novel, the film brings audiences to the desert landscape of 1980 West Texas. The story follows a trio of men: Llewelyn Moss (Josh Brolin), a Vietnam War veteran and welder who stumbles upon a large sum of money in the desert, Anton Chigurh (Javier Bardem), a hitman who is sent to recover the money, and Ed Tom Bell (Tommy Lee Jones), a sheriff investigating the crime while battling a changing world he feels ill-equipped to handle. Through the ideals of pessimism and nihilism, and through fate and circumstance, the story isn’t about who ends up with the loot; It’s about the chase between the hunt and the hunted, a role each of the main characters adopts throughout the film.

A well-received film that added quite a lot of accolades to the Coens’ mantle, No Country for Old Men has been regarded as the Coen Brothers’ “magnum opus.” Technically brilliant with masterful storytelling and profound exploration of morality and relentless evil, No Country for Old Men was a thriller like never before. In fact, it was only the fourth Western to win the top prize at the Academy Awards. Both Jones and Brolin brought their A-game to the film, but it was Bardem who completely stole the picture, turning Anton Chigurh into a newfound villain who embodied an almost cosmic evil. No Country for Old Men is a gripping story that’s suspenseful and one of the most defining films of the century.

2

‘Parasite’ (2020)

Image via CJ Entertainment

Films about class can be touch-and-go, as they’re bound to strike a chord, but the way Bong Joon Ho brought those themes to life was truly captivating. The South Korean black comedy thriller follows the Kims, a poor family who cunningly infiltrate the lives and home of the wealthy Park family by posing as unrelated, highly qualified employees. Diving deep into the themes of class struggle, greed, and social inequality, Parasite pushes the individuals to dark, chaotic, and tragic consequences that redefine how the desperate poor fight amongst themselves for scraps from the rich.

A juicy long con story, Parasite symbolized class warfare in an entertaining manner that offered a raw peek into the reality of many. Though set in South Korea, the socioeconomic divides depicted between the Kims and the Parks could be found in any country in the world. A story about the haves and the have-nots, Parasite‘s universal themes helped the film reach mainstream audiences, and it won Best Picture at the Oscars, making it the first non-English-language film to do so. A near-flawless entry, the film is predictably stressful. You know there simply can’t be a happy ending, yet you can’t help but look anyway to figure out how you get to the tragic end. A staircase thriller, Parasite is Downton Abbey in another country during its darkest timeline. Parasite is a groundbreaking film that helped Western audiences truly appreciate the brilliance of South Korean cinema.

3

‘Memento’ (2000)

Image via Newmarket Films

Perhaps a film ahead of its time, Memento gave audiences a reason to pay attention to every detail of the film they’re watching. Written and directed by Christopher Nolan, from a short story by his brother, Jonathan Nolan, the film follows Leonard Shelby (Guy Pearce), a man who suffers from anterograde amnesia, which causes short-term memory loss and an inability to form new memories. Using an elaborate system of photographs, handwritten notes, and tattoos, Leonard attempts to uncover the perpetrator who killed his wife and caused him to sustain his condition. The entrancing mystery keeps audiences on their toes as they work alongside the protagonist to discover exactly who “John G.” is.

Through two different filming approaches — the black-and-white story in chronological order and the color sequences in reverse order — it puts the audience directly into Leonard’s perspective. Nolan’s expert storytelling devises all the elements that allow Memento to stand on its own, while pushing the noir genre to new places. By the point that the story converges, audiences will be left with their jaws on the floor thanks to a twist they never saw coming. With truth and illusion at the forefront of the script, Memento is intricately told, proving thrillers don’t need to follow a cookie-cutter mold. Had it not been for Memento, perhaps the setup for Nolan becoming one of the world’s greatest directors never would have happened.

4

‘Mulholland Drive’ (2001)

Image via Studiocanal

Many individuals have attempted to capture the allure of surrealistic filmmaking reminiscent of David Lynch. But as much as filmmakers try to infuse their work with Lynchian themes, no one will ever be quite like him. Perhaps his greatest film is 2001’s Mulholland Drive. The neo-noir mystery thriller follows an aspiring actress (Naomi Watts) who arrives in Los Angeles and befriends a woman (Laura Harring) suffering from amnesia after a car accident. With the tagline, “A love story in the city of dreams,” Mulholland Drive blurs the lines between fantasy and reality, leaving audiences interpreting the film for the rest of eternity, just as Lynch would want it.

Breaking down the appeal of Los Angeles by exposing the dark, nightmarish side of Hollywood, Mulholland Drive‘s ambition watches as Lynch plays with illusion and image through shifting identities, reflecting the nature of fame and the perception of persona in the industry. Playing with dreams and alternate realities, Mulholland Drive provides the interpretation that fits your needs. Because of the Lynchian intricacies, symbolism, and visuals, Mulholland Drive is not necessarily a film you can grasp on first watch. Nor should it be. The rewatchability of Mulholland Drive has made it a timeless work of art.

5

‘Inception’ (2010)

Image via Warner Bros. Pictures

Almost a decade later, it was now Nolan who was playing in the world of dreams with the exceptionally daring Inception. Grasping the plot of Nolan’s intricate science fiction thriller is not for the casual viewer. The world Nolan crafts is mindblowing, thanks in part to its strong ensemble and captivating script. Dense and layered, Inception follows Dom Cobb (Leonardo DiCaprio), a professional thief who steals corporate secrets by infiltrating the subconscious of his target. He’s offered a chance to have his criminal history erased as payment for the implantation of another person’s idea into a target’s subconscious. Tackling themes of memory, grief, and the perception of reality, Inception is one of the most fascinating sci-fi thrillers of all time.

With a masterful philosophical question at its heart, Inception is the kind of film that forces you to think while you’re engaged by its exceptional action. From a cinematic standpoint, it’s Nolan at his finest. From a cultural perspective, we’ve literally incepted Inception as the title has been colloquialized. A unique spin on the heist thriller, Inception goes beyond the norms of typical crime films to craft its own identity. Through that, Nolan’s ability to visually structure a world of dreams and illusions allows for some mind-blowing cinematic moments. If you’re a fan of Nolan’s epics, you must take a moment to relive the brilliance of Inception.

6

‘The Departed’ (2006)

Image via Warner Bros. Pictures

There are many things you relate to The Departed: the giant all-star cast with their attempts at Boston accents, the usage of Dropkick Murphy‘s “Shipping Up to Boston,” and Martin Scorsese finally winning his only Oscar for Best Director to date. Not a bad trio of things! The Departed follows Billy Costigan (DiCaprio), an undercover Massachusetts State Police trooper, who infiltrates mob boss Frank Costello’s (Jack Nicholson) organization, while a criminal named Colin Sullivan (Matt Damon) simultaneously infiltrates the state police to work as Costello’s informant. Both men become consumed by their double lives, and when their respective organizations become aware of a mole, each must race to uncover the other’s identity before they are exposed. A remake of the Hong Kong film Internal Affairs and using the real-life Boston Winter Hill Gang as a basis, The Departed made it clear that Scorsese was maintaining his hold on exceptional filmmaking in the 21st century.

A deadly cat-and-mouse game where moles are a-plenty, The Departed is a gritty portrayal of betrayal, identity, and morality through the complex relationship between cops and criminals. An engrossing gangster drama with edge and grit, The Departed was more than just a thrilling film; it was a look at the tragedy of America. With a wide-spanning cast, including Mark Wahlberg, Martin Sheen, Alec Baldwin, Vera Farmiga, and Anthony Anderson, The Departed is a masterclass on all fronts. Whether you consider it his crowning achievement or not, this is the film that afforded Scorsese a chance to give an acceptance speech, so it’s special nevertheless.

7

‘Mystic River’ (2003)

Having a brilliant career in front and behind the camera, Clint Eastwood has an innate ability to bring out captivating performances from his actors. Perhaps the best example of this is the 2003 neo-noir mystery thriller Mystic River. Based on the 2001 novel by Dennis Lehane, Mystic River starts in the past in 1975, as three friends, Jimmy Markum (Jason Kelly), Sean Devine (Conor Paolo), and Dave Boyle (Cameron Bowen), are playing when Dave is abducted by two men posing as police officers. Dave escapes after several days of abuse, but the incident leaves him deeply scarred and affects his relationships for decades. Years later, Jimmy’s (Sean Penn) 19-year-old daughter, Katie (Emmy Rossum), is murdered. Sean (Kevin Bacon) is now a homicide detective assigned to the case, and Jimmy is the grieving, vengeful father. Dave (Tim Robinson), the last person to see Katie alive, becomes a prime suspect. A character-driven thriller, Mystic River is a haunting look into trauma, revenge, and guilt.

A somber yet visceral story, Mystic River delivered powerhouse performances that truly made you feel every drop of emotion. The well-crafted film should be considered Eastwood’s greatest directorial achievement. It’s more than just a self-explanatory whodunit police procedural — Mystic River‘s ability to connect the past to the present while still making you question the actions showcases why Eastwood’s masterful direction elevated the source material. Though neither the film nor Eastwood was victorious at the Academy Awards, Penn and Robbins deserved their awards for their sensational, career-defining turns.

8

‘Gone Girl’ (2014)

Image via 20th Century Studios

Gillian Flynn‘s novels are more than just juicy beach reads and book club suggestions — they’re escapism at its finest. Serving as the first film or television adaptation of her novels, Gone Girl left audiences wanting more Flynn on the screen. Directed by David Fincher, Gone Girl is the twisted story of Nick Dunne (Ben Affleck) as he becomes the prime suspect in the sudden disappearance of his wife, Amy (Rosamund Pike), on the couple’s fifth wedding anniversary. Nick’s public image deteriorates through the ongoing media frenzy, and police pressure mounts. As he attempts to clear his name and prove his innocence, the truth about Amy is brewing beneath the surface, leading to a shocking outcome that inspired real-life traps.

A cult postmodern mystery, audiences flocked to the theaters to see Gone Girl. Perhaps in hopes of not being spoiled or simply being part of the hype, Gone Girl inspired future mystery thrillers by adopting a dark, intelligent, and stylistic approach that went beyond the simple. Gone Girl led audiences to seek out complex, unsettling thrillers. Affleck and Pike are a dynamic duo, with the latter earning great praise for her performance. Gone Girl is a brilliant examination of how reality and perception go hand in hand, but the truth can alter everything. If you’re still stuck on that shocking twist, believe me, you’re not alone.

9

‘Get Out’ (2017)

Image via Universal Pictures

Jordan Peele was best known as the guy from Mad TV and his long-running collaboration with Keegan-Michael Key. Then it was all thrown out the window thanks to 2017’s exceptional horror thriller, Get Out. Chris Washington (Daniel Kaluuya), a young Black man, and his girlfriend, Rose Armitage (Allison Williams), a white woman, go upstate to visit her parents for the weekend. At first, Chris reads the family’s overly accommodating behavior as a nervous attempt to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries leads him to a truth that he never could have imagined. A shocking film that is an unwavering exposé of the lie of post-racial America, Get Out not only reshaped the genre’s diversity but also gave audiences a new respect for Peele’s brilliance.

A unique and effective blend of horror and social commentary, Get Out is meant to be uncomfortable. Because of Peele’s ability to infuse heavy-handed truths in exchange for subtlety, the conversations that abound become essential to the horrors audiences are witnessing. The way in which the Armitage family and their group display performative acceptance should scare anyone watching about the perceived actions of those around them. Is it a cheery facade, or a long con with predatory intentions? Subverting horror forever, Get Out is one of the most impactful and crucial masterpieces ever crafted. By spanning genres, Get Out became a game-changer in Hollywood.

10

‘Zodiac’ (2007)

Image via Paramount Pictures

We have a potentially unhealthy fascination with true-crime stories. Perhaps it’s our affinity to try to solve them. Before podcasting was even a possibility, true-crime fans sought out their favorite stories through film and television. If there’s one serial killer who’s continued to mesmerize audiences because their identity is still unknown, it’s the Zodiac killer. The unsolved mystery has inspired many adaptations, but perhaps the greatest of them all is Fincher’s Zodiac. Focusing on the individuals obsessed with bringing the killer down — cartoonist Robert Graysmith (Jake Gyllenhaal), detective Dave Toschi (Mark Ruffalo), and reporter Paul Avery (Robert Downey Jr.) — Zodiac follows as they are taunted by letters, bloodstained clothing, and ciphers mailed to newspapers.

Rather than focusing on the gory details, Fincher perfectly provides the atmosphere surrounding the killings. The fear of the unknown is the film’s most captivating torment. The detail and care that the filmmakers took to ensure that the reality of the manhunt was unparalleled. They embarked on their own 18-month investigation to grasp the nature of the case for the individuals involved. By diving deep into the attention to detail and accuracy of both the real-life investigation and the obsession around it, the film made them central. The main ensemble plays well together as they explore the intricate nuances of their characters, hoping to solve the compulsive puzzle.

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Zodiac

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Release Date

March 2, 2007

Runtime

157 minutes

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Writers

James Vanderbilt, Robert Graysmith

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Music legend Whitney Houston tragically passed away in February 2012. Now, years later, former talk show host Rosie O’Donnell is opening up about their friendship, how she tried to save the icon years before her death, and when she knew it was the beginning of the end for the “Cinderella” actress.

O’Donnell appeared on Bravo’s “Watch What Happens Live,” which is hosted by Andy Cohen. During the broadcast, he noted the former talk show host’s “great run with Whitney Houston.” She noted, “Oh, yeah, what a tragedy.”

After that, the “Housewives” executive producer asked the 64-year-old if she would have considered herself to have been “pals” with Houston. She responded, “No, I whenever we saw each other we got along great.”

In discussing their connection, she noted that in 1996, when she hosted “Saturday Night Live,” Houston was the musical guest with Penny Marshall doing the opening monologue. Notably, Marshall directed Houston in “The Preacher’s Wife” in 1996 as well.

O’Donnell called the experience of working with Houston on “SNL” “wonderful.”

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Rosie O’Donnell Says She Tried To Save Whitney

O’Donnell continued her thoughts about Houston by revealing when she knew the music legend may have had a problem. According to her, “I’m the kind of friend that always tells a friend when I think they’re in trouble, which doesn’t always make the friendship last.”

Cohen then clarified, asking, “And you did that?” She responded, “I did that, and to her people, I did, when she didn’t show up to the ‘Cinderella’ full hour that she had produced.”

Regarding what led her to reach out, O’Donnell stated, “I remember thinking, ‘this is like the beginning of the end, and somebody needs to help her now.’” She continued, “I mean, everybody gets lost in their life, and when you’re in the public eye, you get lost very nationally, and it’s really difficult.”

She added, “But we can’t pretend we don’t see what we see.” Toward the end of the segment, Cohen asked for the reaction she received after trying to help Houston.

According to her, “Some of her people said ‘thank you,’ and some of them said, ‘it’s not your business,’ and I said, ‘Well, as someone who cares about her and loves her and wants her legacy to remain, I just wanted to let you know that this is doing her a disservice.’”

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Fans Are Weighing In On Rosie’s Account Of Her Relationship With Whitney Houston

Following O’Donnell’s comments about trying to help save Houston, fans of both ladies are weighing in. One person on TikTok said, “That’s a good friend, the kind of friend you want to have.” A different social media user stated, “Like her or not, that’s called integrity, and it’s worth paying attention to.”

Someone else wrote, “Rosie looks great, and she wasn’t wrong at all about Whitney. May she continue to rest in peace.”

Another person noted, “Rosie has always been a great judge of character. That’s why Donald has despised her for decades. I wish Whitney’s people had taken her advice to heart. Huge loss to the music industry. Love you, Rosie!!!”

Additionally, other social media users called for O’Donnell to return to television. One person said, “Rosie needs to be back on the air. She’s smart, funny and got her finger on the pulse. We need more of that. Especially now.”

Rosie O’Donnell Discussed Guest Hosting ‘The View’

During the June 2026 episode of “Watch What Happens Live,” an audience member asked O’Donnell if she’d seen Elisabeth Hasselbeck‘s return as a guest host on “The View” and if she would ever consider returning in a guest-hosting capacity.

She responded, “I did catch her on it, and I would be up to guest host, but they haven’t asked me, so we’ll see what happens.” After that, O’Donnell noted that it was “interesting” that, ‘during the time of Trump,’ the one the producers of the show would bring back to guest host.

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Cohen went on to ask if she was “still annoyed” by the show’s producers going to a split screen during her 2007 on-screen spat with Hasselbeck. She stated that she was.

The Icon Recently Opened Up About Her Facelift

O’Donnell recently revealed she’d undergone a facelift in January. In June, she opened up to E! News while attending The Tony Awards. Regarding her decision to be transparent about the procedure, she said, “Authenticity is the goal in these days and times, and people are lying about everything all day to the American public.”

O’Donnell continued, “It’s very depressing to me and unsettling, and I think all that matters is truth and love, and so I wanted to be truthful and say all the complicated emotions I had about it.”

After that, she said that one of her kids was against her having the procedure. She recalled, “My little autistic 13-year-old said to me, ‘If you do it, I would not be able to respect you ever again.’ And that put me off it for a few months, but then when I went and did it in January, I came home 10 days later, and they never noticed.”

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