The past 30 years have seen television emerge as a prestige form of dramatic entertainment, evolving from the formulaic sitcoms and comforting police procedurals that used to define small-screen storytelling, and becoming a vessel of searing drama that takes the world by storm. The productions of HBO have been at the forefront of this development, with everything from crime masterpieces like The Sopranos and The Wire to detailed historical dramas like Chernobyl and Band of Brothers defining the premium network’s impact of the medium.

There is no doubt that HBO has presented a litany of masterful series that have engrossed the masses and become some of the biggest and best television spectacles of all time. But what of the series that don’t quite reach that level of quality and/or popularity? From dreary apocalyptic dramas to brutal crime dramas, political comedies, fantasy adventures, and even Western sci-fi, these near-perfect HBO series are still worth investing in even if they may not quite live up to the gold standard of the network’s most acclaimed and adored sensations.

10

‘Carnivále’ (2003–2005)

Image via HBO

One of HBO’s most ambitious undertakings, and a sadly forgotten gem of 2000s television, Carnivále is an arresting blending of period drama, biblical fantasy, and folklore horror. Set in the Depression-era Dust Bowl, it transpires as an epic battle of good and evil as it follows Ben (Nick Stahl), a man with healing powers who joins a traveling circus, and Brother Justin Crowe (Clancy Brown), a Methodist minister devoted to his religious duties who realizes he is capable of bending people to his will.

Complimented by its eerily beautiful atmosphere of 1930s America and its effort to create its own mythology steeped in ideas of Gnostic mysticism, Templar conspiracies, and religious imagery, Carnivále excels as a uniquely enrapturing dark fantasy. Unfortunately, its high production costs led to it being axed after just two seasons, but it was able to deliver something of a conclusion to its main story, ensuring it is still worth watching today even if some superfluous plot threads remain unresolved.

9

‘Game of Thrones’ (2011–2019)

Image via HBO

The vast majority of the television-loving world was ensnared by Game of Thrones throughout most of its epic eight-season run. However, if anyone who missed HBO’s monumental fantasy series considered revisiting it today, they’d probably be advised to steer clear by the masses. But is this entirely fair? While its conclusion is notoriously underwhelming, Game of Thrones still delivers six of the most exhilarating, astutely crafted, and brilliantly performed seasons television has ever seen.

Based on George R. R. Martin’s “A Song of Ice and Fire” novels, it unfolds as the ruling families in the magical realm of Westeros are plunged into a devastating war for power. The production is ceaselessly astonishing, while the story’s penchant for shocking twists, violent betrayals, and unbearable suspense make for an addictive dose of volatile, high-stakes drama. Even with its eighth season seeing it fall well short of television perfection, Game of Thrones remains a worthwhile series for the heights it reached so consistently throughout its run. It was a flagship series of HBO for many years and is still one of the defining titles of 2010s entertainment at large.

8

‘Oz’ (1997–2003)

Image via HBO

It isn’t an understatement to say that Oz is one of the most important series in television history. It is certainly a monumental milestone for HBO, released two years before The Sopranos as the network’s first ever one-hour-long scripted drama. Furthermore, its gritty realism and confronting violence broke down barriers regarding television censorship, laying a foundation of dark, serialized drama and bleak morality that set a revolutionary new benchmark for small-screen productions.

Running for six seasons, the series immerses viewers in the lives of the inmates held at the Oswald Maximum Security Correctional Facility, following the prisoners in an experimental new ward that sees heinous acts of violence, domineering, and manipulation despite being designed to promote reform. Its hard-edged brutality hasn’t aged in the slightest since it first aired more than 20 years ago, and the series as a whole still stands as an enthralling, albeit deeply disturbing, descent into life behind bars.

7

‘Westworld’ (2016–2022)

Image via HBO

Thematically loaded and decisively clever, HBO’s Westworld is a stunning recreation of the 1973 Western sci-fi film of the same name that adds plenty of layers of intrigue and social commentary to an exciting premise of chaos at an Old West amusement park. Set in the 2050s, it initially revolves around a wild west-themed amusement park as the android inhabitants become sentient and start to rebel against the human visitors that belittle and abuse them. As the series evolves, it extends into the real world where a powerful A.I. known as Rehoboam reigns over humanity.

Combining Western themes of morality, freedom, and power with integral science-fiction ideas like the exploration of what it truly means to be human and the dangers that reside in a near-future of technological advancement, Westworld is a flawless meshing of genres. Delivering four seasons of captivating drama defined by the brilliance of the ensemble cast and the majesty of the production design, it stands as one of HBO’s greatest hits of the past decade.

6

‘Boardwalk Empire’ (2010–2014)

Image via HBO

So much of HBO’s success over the years has come in the form of crime television, particularly series that delve into the complex morality and cutthroat stakes of the world of organized crime. Boardwalk Empire isn’t the first series people typically think of when they contemplate gangster drama by HBO, but that certainly doesn’t mean it isn’t still worth watching, even a decade on from its conclusion in 2014.

Set in Prohibition-era Atlantic City, it follows Enoch “Nucky” Thompson (Steve Buscemi), the corrupt treasurer of Atlantic County who is actively involved with organized crime and routinely interacts with such figures as Al Capone (Stephen Graham), Arnold Rothstein (Michael Stuhlbarg), and Charles “Lucky” Luciano (Vincent Piazza). Bolstered by an ensemble of incredible performances, immaculate production value, and pervasive dramatic intensity that leans into the ruthless volatility of gangland tension, Boardwalk Empire is an underrated gem of HBO programming that should be an even bigger hit than it currently stands as.

5

‘True Detective’ (2014–2024)

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Truth be told, there is nothing “near-perfect” about Season 1 of True Detective. It is viewed by many to be the greatest single season of television ever produced, a faultless marriage of mystery, suspense, atmospheric eeriness, and rich character drama that epitomizes crime television at its absolute best and demands to be watched by everyone with even the slightest interest in the genre. However, while the masses continue to sing the praises of Season 1 to this day, True Detective’s ensuing efforts have been met with more mixed reviews at best.

While following up Season 1 is a thankless task, Season 2 does a more admirable job than it is given credit for, transitioning from rural Louisiana to L.A. as it focuses more intently on police corruption and corporate crime. Season 3 recaptures a sense of the atmospheric gloom of Season 1 as it explores the case of a missing child, while Season 4—which is the weakest season thus far—revolves around the disappearance of eight men in Alaska. While each of the ensuing seasons have their flaws, all of them are worth investing in due to the caliber of actors involved, the winding tales of mystery and suspense, and the glorious production value of HBO.

4

‘Veep’ (2012–2019)

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Created by esteemed political satirist Armando Iannucci, Veep excels as an acidic and cynical look at American politics from the perspective of Selina Meyer (Julia Louis-Dreyfus), a former senator now representing the nation as the Vice President. Skewering the halls of power as a cesspit of egomania, convoluted publicity, and shambolic chaos, the series unfolds as Meyer and her bumbling staff try to forge a respectful legacy while avoiding brewing scandals and getting caught in the day-to-day duties of the office.

In stark contrast to more idealistic and uplifting political series like The West Wing, Veep is a biting and blunt portrayal of ruthless ambition and the power of amorality. Narcissism and witty profanity are treated as necessary strengths characters need to thrive in the cutthroat world of democratic power. In addition to this unflinching depiction of callous inhumanity, Veep also commands to be watched thanks to the stunning lead performance of Louis-Dreyfus, who won six consecutive Emmy Awards for her portrayal of Selina Meyer which went a long way to solidifying the show as HBO’s greatest comedy thus far.

3

‘Generation Kill’ (2007)

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Through the production of series like Band of Brothers and The Pacific, HBO has garnered universal acclaim for its handling of war drama in the form of limited series. A criminally underrated title that should also be included in this praise is 2007’s Generation Kill, which runs on a harrowing basis on Evan Wright’s non-fiction book documenting his time as an embedded reporter with the U.S. Marine Corps’ 1st Reconnaissance Battalion in the opening weeks of the Iraq War.

Even nearly 20 years on, Generation Kill remains the most authentic illustration of modern warfare that audiences have seen. It extracts drama from the unglamorous details of a soldier’s experience, be it the monotony of waiting for orders, the frustrating ordeals of miscommunication and resource mismanagement, and even the bureaucratic process that must be adhered to even when in active combat. Bereft of glory or sensationalism, it focuses purely on authenticity, and it stands among HBO’s greatest ever miniseries because of this.

2

‘Deadwood’ (2004–2006)

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Quite possibly the greatest depiction of the Old West television has ever seen, Deadwood is a masterpiece of genre deconstruction and observational storytelling that ties its dramatic ferocity to the mythic-like story of the titular South Dakotan town and its notorious inhabitants. Unfolding as the town’s population booms due to a mining surge, Deadwood runs less as a traditional Western story and more as an examination of how a society is built from the ground up.

Furthermore, the series is made utterly entrancing by the rhythmic beauty, philosophical richness, and captivating vulgarity of David Milch’s dialogue, which manages to be thought-provoking and contemplative without ever losing sight of the hard-edged brutality of the characters that speak it. An abrupt and largely unresolved conclusion at the end of its third season is the only thing that keeps Deadwood from being a true beacon of television perfection, but it is still worthwhile viewing, especially with 2019’s Deadwood: The Movie tying up a lot of loose ends.

1

‘The Leftovers’ (2014–2017)

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Not only the most underrated series in HBO’s catalog of small-screen titles, but potentially the most underappreciated masterpiece in the history of the medium as well, The Leftovers is an enthralling descent into a world of grief, loss, and teetering chaos. On October 14, 2011, two percent of the world’s population abruptly vanished. Three years later, society is still struggling to move on from the “Sudden Departure” as some try to maintain a sense of normality even as extremist cults and nihilistic views abound around them.

What makes The Leftovers so special is the delicacy of its focus. It isn’t about a manic search for answers or a desperate fight between survivors; it simply meditates on the profound complexity of the human condition by observing, without judgment, how different characters respond to grief, loss, and depression. Bitterly existential, while also being bolstered by a litany of exceptional performances and Max Richter’s somber, empathy-inducing score, The Leftovers is a true triumph of television from HBO, with every episode of its three-season run a masterclass in surrealist intrigue and contemplative drama.

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The Leftovers

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Release Date

2014 – 2017-00-00

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Showrunner

Damon Lindelof

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Damon Lindelof, Tom Perrotta

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Prince Harry and Meghan Markle‘s reported plans to return to the UK with their children, Prince Archie and Princess Lilibet, have reignited worries about the state of their relationship with the Royal Family.

While King Charles is said to welcome the opportunity to see his grandchildren, questions remain over whether the visit could help mend long-standing family tensions.

However, one royal expert believes a reunion between Prince Harry and Prince William remains highly unlikely due to a deep breakdown in trust.

Prince William’s Rift With Prince Harry And Meghan Is Set To Be A Challenge Ahead Of The Couple’s UK Visit

William is reportedly unlikely to meet with Harry and Meghan during their anticipated return to the UK next month, with sources suggesting he still feels unhappy with the couple.

The Duke and Duchess of Sussex are said to be planning a trip to Britain with their children, Prince Archie and Princess Lilibet, marking the youngsters’ first visit to the UK since 2022.

Although the Sussexes’ representatives have not officially confirmed the visit, reports suggest that security arrangements may have been facilitated at a high level. It also remains unclear whether King Charles III will take the opportunity to reunite with his youngest grandchildren.

According to royal commentator Richard Fitzwilliams, a reconciliation between William and Harry remains highly unlikely. Speaking to GB News, he pointed to the long-standing rift between the brothers, which deepened following Harry’s public criticisms of the Royal Family, including allegations made in his memoir, “Spare.”

Fitzwilliams argued that Harry and Meghan’s interviews, documentaries, and media projects have severely damaged trust within the family.

While he suggested Charles may be more willing to repair ties, he claimed William feels the complete opposite.

“William reportedly feels deeply betrayed. The king is rumored to be more emollient,” the expert noted. “Much of this will be played out in public; the issue is one of trust, and the Sussexes simply cannot appreciate the need for privacy in what appears to be their desire to have closer relations with the family they so publicly betrayed.”

Fitzwilliams further described the couple’s expected appearance at a “One Year to Go” Invictus Games event in Birmingham ahead of the 2027 tournament as potentially drawing significant attention, calling it something of a “trap,” though he acknowledged it is a legitimate official engagement. He suggested that such appearances naturally attract scrutiny due to their international prominence.

The Invictus Games, founded by Harry for wounded and injured service personnel, will be hosted in Birmingham from July 10 to 17 next year.

Prince William Reportedly ‘Appalled’ By King Charles’ Support For Sussex Visit

Meanwhile, reports surrounding the planned visit have highlighted differing reactions within the Royal Family.

While Charles is said to be pleased at the possibility of seeing Archie and Lilibet again after several years, William is reportedly far less enthusiastic.

According to reports cited by The Royalist, the Prince of Wales is “appalled” with what he sees as his father’s support for Harry and Meghan’s return.

William’s frustration has also grown amid claims that Charles may be helping to ensure security arrangements for the Sussex family during their stay.

Although British officials have declined to discuss any specific measures, a government spokesperson stated that security details are not disclosed publicly.

“It is our long-standing policy not to provide detailed information on those arrangements, as doing so could compromise their integrity and affect individuals’ security,” they noted, per She Knows.

Prince William Reportedly Threatened To ‘Boycott Sandringham’ Over Prince Harry And Meghan Markle

Reports have further suggested that William’s anger over the situation has recently intensified.

The Royalist claimed he had threatened to “boycott Sandringham forever” if Harry and Meghan were invited there, alleging that he already skipped a family gathering following Trooping the Colour as a sign of his displeasure.

William’s reputation for holding firm positions in personal disputes has also been a topic of discussion among royal commentators.

Earlier this year, journalist Roya Nikkhah told “Times Radio” that the future king is known for remembering perceived betrayals and rarely changing his stance once trust has been broken.

“William is someone who does hold a grudge; he does choose sides. If someone picks the other side, he remembers that,” she said.

Prince Harry Tried Reaching Out To William, But The Future King Has Not Been Cooperative

Earlier this year, royal author Omid Scobie shared that Harry has made unsuccessful efforts to reconnect with William, implying that the future king has been the reason behind the prolonged rift between the siblings.

“The ball has been in William’s court for some time now,” Scobie told People Magazine. “And he’s chosen not just to knock it back, but to kick it in the other direction.”

He added, “I think in terms of family, it takes two, and I think we have seen some effort between Harry and his father go both ways.”

Some royal commentators also believe younger audiences are increasingly sympathetic toward Harry, with reports suggesting many members of Generation Z and Generation Alpha view William’s handling of the family feud as overly “cold” and “unkind.”

White sneakers have long been the de facto shoe choice for everyday wear, but this summer fashion is embracing a little more personality. Instead of reaching for basic white kicks, all the fashion cool-girls are gravitating toward colorful ballet flats and Mary Janes that instantly brighten even the simplest outfits. They’re just as versatile, but they add far more charm.

From sunny yellows and cherry reds to playful two-tone designs and metallic finishes, colorful flats are everywhere at the moment. So, we’ve taken the liberty of rounding up the best pairs on Amazon that capture the trend without the designer price tag. Whether you style them with jeans, sundresses or linen trousers, these stylish flats make getting dressed feel a lot more fun.

13 Colorful Flats Replacing White Sneakers This Summer

1. Two-Tone Mary Jane: A contrasting trim gives these eye-catching Mary Janes a polished, almost Parisian-inspired feel. The thick soles keep them comfortable enough for all-day wear.

2. Y2K With a Twist: Rubber lattice uppers add a nostalgic nod to early-2000s fashion to these sleek flats without making them feel costumey. The pointed toe ensures an overall modern and refined look.

3. Balletcore Pick: Delicate straps and a graceful silhouette allow these airy flats to channel the ongoing ballet-inspired trend perfectly. They feel feminine, lightweight and incredibly easy to style with everything from dainty dresses to vintage Levi’s.

4. Bright and Breezy: A cheerful pop of color and breathable weave instantly livens up otherwise basic, neutral outfits. The sleek shape keeps the vibrant hue feeling sophisticated rather than overwhelming.

5. Timeless Classic: A dainty bow and clean lines make this pair of red ballet flats feel forever chic. They’re the kind of flats you’ll wear season after season.

Related: Here’s What Fashion Girls Are Wearing on Their Feet in 2026

Remember when dad sneakers and clunky clogs were everywhere? That moment is over. Everyone’s replacing polarizing kicks with these sleek, expensive-looking styles that make any outfit appear polished. Refined footwear is officially back! We’re talking about chic flats, summery sandals, clean sneakers and mules you can slip on without a second thought. These 13 summer […]

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6. Mesh Moment: Airy mesh gives these ballet flats a modern, fashion-forward update. They’re especially perfect for keeping cool during hot summer days.

7. Ballet Flat Bouquet: A bright floral print in a rainbow of hues makes this pair of flats practically neutral since they’ll match just about anything. The simple silhouette makes them far more wearable than the bold print might suggest.

8. Cool & Coastal: Lightweight construction and a rich navy blue hue capture that relaxed coastal aesthetic in these washable flats. They’re an easy companion for linen, denim and even beachwear.

9. Sunniest Shade: These vibrant yellow flats instantly brighten any outfit and are perfect for warm summer days. Consider these the easiest way to embrace dopamine dressing.

10. Edgy MVP: A knitted leopard print upper gives these flats a cool, contemporary feel. They deliver a great balance of comfort and style without looking too sporty or verging on orthopedic.

11. Shiny Statement: A glossy metallic finish adds just enough drama to elevate everyday outfits and straddles the line of being colorful and a neutral hue at the same time. These flats are bold enough to stand out, but versatile enough to wear on rotation.

12. Chic Satin: Smooth satin instantly makes these ballet flats feel like traditional ballet shoes in all the right ways. The delicate bow completes the look, no dancing required.

13. Fresh and Fun: Crochet texture and bright orange color combine for a playful summer shoe you’ll actually want to wear every day. They’re guaranteed to spark compliments wherever you go.

Related: Mesh Flats Are My Favorite Summer Shoe — 13 Pairs I’m Buying Now

I’m usually slow to commit to fashion trends — I prefer a well-rounded, timeless wardrobe. But I immediately hopped on the mesh flats bandwagon, and I’m glad I did. It’s the footwear trend that never dies! These fun flats are perfect for summer because they are breathable, comfortable, easy to wear and add a playful […]

Animation has always had a weird unfairness around it. The loudest films become childhood monuments, while quieter, stranger, smaller animated movies get treated like side doors in the medium, even when they are doing things live-action could never touch with the same delicacy.

The films below deserve that bigger conversation. Some are funny in ways that feel completely unhinged. Some are soft enough to break you. Some use silence, folklore, paint, paper, clay, or stop-motion chaos to say things about grief, friendship, class, memory, faith, and growing up that feel almost too precise for their running times. And unlike the stereotypical belief, they’re not just for kids. Lock in if you’re ready.

10

‘The Illusionist’ (2010)

Image via Django Films

There is a special sadness in watching an artist realize the world has moved on without making a scene about it. The old magician (Jean-Claude Donda) at the center of The Illusionist travels through half-empty venues, fading variety halls, and small rooms where his act no longer has the same shine. Then he meets Alice (Eilidh Rankin), a young woman in a remote Scottish village who believes in his magic with the kind of innocence he cannot bring himself to crush.

Their tender bond gets built from misunderstandings, small gifts, quiet routines, and the ache of someone giving more than he can afford. Although it’s an animated film, it barely needs dialogue because the body language says everything: his tired posture, her delighted curiosity, the lonely hotels, the Edinburgh streets, the performers around him losing ground to a louder modern world. That’s brilliant. The film’s beauty sits in that painful space between illusion and kindness. He cannot give Alice magic forever, but for a little while, he lets her believe life can still surprise her gently.

9

‘A Town Called Panic’ (2009)

Image via Zeitgeist Video

A Town Called Panic begins with Cowboy (Max Briquenet), Indian (Bruce Ellison), and Horse (David Ricci), and Cowboy and Indian want to surprise their roommate Horse for his birthday, then accidentally order an absurd number of bricks, destroy the house, and unleash a chain of nonsense that keeps getting bigger, faster, and more ridiculous. The characters are literal plastic toys, and the film treats that limitation like rocket fuel.

The joy comes from how seriously everyone takes the stupidest possible events. Horse is the only responsible adult in a world where responsibility has no chance. The brick disaster, the underwater thieves, the yelling, the random trips, the school piano lessons, the constant escalation, it all has the rhythm of imagination before logic arrives to ruin it. Plenty of animated comedies try to be chaotic. This one feels genuinely free. It deserves masterpiece talk because its craft is hidden inside the madness. Every tiny movement, every cheap-looking figure, every impossible detour adds to the feeling that animation can be pure play without becoming empty.

8

‘The Red Turtle’ (2016)

Image via Toho

In The Red Turtle, a man washes onto an island, and the movie has the confidence to let silence do the talking. What follows is a man who tries to escape on rafts, but a giant red turtle keeps stopping him, and what begins as survival turns into something stranger, sadder, and more mythic. There are no speeches to explain what the island means, who the turtle is, or why this life is unfolding the way it does. The film trusts the viewer to feel it.

That trust is exactly why it stays with you. The man’s anger at the turtle, the transformation into a woman, the child growing up between sea and shore, the storms, the crabs, the bamboo, the wide empty horizon, all of it plays like a whole life remembered through images. It is about companionship, nature, parenthood, death, and the way time keeps moving even when nobody narrates it for us. In this film the animation is stripped down to breath and movement and that feels simple until you realize how much it has quietly carried.

7

‘The Breadwinner’ (2017)

Image via Elevation Pictures

The Breadwinner is about an Afghan girl, Parvana (Saara Chaudry) living under Taliban rule, and when her father is arrested, her family loses the one man who can legally move through public spaces for them. Parvana cuts her hair, dresses as a boy, and steps into a city where every errand carries danger. The story hurts because her courage comes before childhood has had any fair chance to end.

The movie balances real-world fear with storytelling in a way that gives Parvana inner strength without turning her situation into easy inspiration. Her tale about a boy facing the Elephant King runs alongside the danger of Kabul, and those handmade storybook sequences help her process fear she cannot safely say out loud. The bread market, the prison attempts, the family’s hunger, the constant threat from armed men, all of it keeps the stakes painfully close. This film deserves far more attention because it uses animation to protect the tenderness of a child’s perspective while refusing to hide the brutality around her.

6

‘The Secret of Kells’ (2009)

Image via Buena Vista International

You can feel the pages glowing before you even understand the full danger outside the abbey walls. Brendan (Evan McGuire) is a young boy living in the Abbey of Kells under the strict protection of his uncle, Abbot Cellach (Brendan Gleeson), who is obsessed with building walls against Viking attacks. Then Brother Aidan (Mick Lally) arrives with an unfinished illuminated manuscript, and Brendan’s world opens toward art, forest magic, and a kind of bravery his uncle cannot measure with stone.

The film looks like a medieval manuscript learning how to breathe. Sharp patterns, spirals, flat shapes, glowing colors, and wild forest lines make every frame feel handmade with purpose. Aisling (Christen Mooney), the forest spirit Brendan meets, brings mischief and ancient sadness into the story, while the threat of Crom Cruach gives the beauty a darker pulse. What makes the movie so special is how it treats art as survival. The book in the story is memory, faith, imagination, and resistance carried through a world that keeps trying to burn itself down.

5

‘The Painting’ (2011)

Image via Gebeka Films

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The Painting follows the Alldunns, fully painted and privileged, who treat the Halfies and Sketchies like lesser beings because some characters were left incomplete by the Painter (JB Blanc). Lola (Kamali Minter), Ramo, and Plume leave their painted world to search for the artist who abandoned them, and that search turns the movie into a playful, gorgeous argument about art, hierarchy, and identity.

The film keeps finding new visual pleasures without losing the ache underneath. Characters move through canvases, studios, landscapes, and unfinished spaces where color itself becomes social status. A half-painted face can carry shame. A sketch line can become a prison. The adventure is charming, but the sharpness comes from how easily beauty becomes a class system when people start worshipping completion. It is such an underrated animated gem because it understands creation from the inside. Every artist leaves marks, gaps, and accidents behind, and this movie imagines the lives that might exist inside those gaps.

4

‘The Tale of the Princess Kaguya’ (2013)

Image via Studio Ghibli

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It is almost painful how alive this movie feels in its pencil lines. The Tale of the Princess Kaguya begins when a bamboo cutter, Taketori no Okina (James Caan) finds a tiny girl inside a glowing stalk and raises her with his wife in the countryside, where she grows quickly, runs through fields, laughs with village children, and seems happiest when life is messy and free. Then wealth and status pull her toward court life, and the girl who once belonged to wind, dirt, and sunlight gets dressed into a role that slowly suffocates her.

The distinct animation makes that emotional loss visible. When Kaguya runs in distress, the lines themselves seem to break open with her. When suitors treat her like a prize, the beauty of the palace starts feeling like a cage. Her parents love her, yet their dream of giving her a noble life becomes part of the pressure that separates her from herself. The film is devastating because it understands how love can accidentally become control. It looks delicate, but its sadness is enormous.

3

‘Ernest & Celestine’ (2012)

Image via StudioCanal

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The sweetest thing about this movie is how stubbornly it believes friendship can embarrass an entire society. Ernest (Lambert Wilson) is a hungry bear living badly on the margins of the bear world, and Celestine (Pauline Brunner) is a young mouse being trained in an underground society where mice are taught to fear bears and collect their teeth. They are supposed to be enemies by nature, by law, by bedtime story, by everything their worlds have repeated at them.

Then they meet, help each other, and become a pair so instantly lovable that the whole system around them starts looking ridiculous. Ernest’s grumpy warmth and Celestine’s fierce little imagination turn the movie into a soft rebellion against inherited fear. The watercolor style gives every street, shop, cellar, and snowy escape a storybook looseness that feels cozy without becoming cute in a shallow way. The courtroom scenes bring the prejudice into the open, but the film never gets heavy-handed. It simply lets one bear and one mouse prove that entire cultures can be wrong about who deserves trust.

2

‘Mary and Max’ (2009)

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This one can destroy you with a letter. Mary and Max follows Mary Daisy Dinkle (Bethany Whitmore), a lonely Australian girl with a birthmark, distracted parents, and no real friends, so she randomly writes to Max Jerry Horowitz (Philip Seymour Hoffman), a middle-aged Jewish man in New York who lives with anxiety, routine, chocolate hot dogs, and Asperger syndrome. Their friendship grows through letters, drawings, questions, misunderstandings, forgiveness, and long stretches of life that neither of them knows how to handle alone. And this one follows clay animation which gives the film’s sadness a strange softness.

Mary’s brown Australian world and Max’s gray New York world both feel heavy, but every object has a handmade vulnerability to it. The film talks about mental health, loneliness, shame, food, bodies, bullying, obsession, and friendship with a directness that never feels fake. Mary and Max hurt each other at times because they are human, limited, and scared, which makes their bond even more precious. This is the kind of animated movie people casually overlook, then carry forever once they actually see it.

1

‘Song of the Sea’ (2014)

Image via StudioCanal

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Some animated films feel like bedtime stories. Song of the Sea feels like a bedtime story told by someone who is also trying to heal a family wound. Ben (David Rawle) is a young boy living in a lighthouse with his father Conor (Brendan Gleeson) and little sister Saoirse (Lucy O’Connell) after their mother Bronagh disappears. He resents Saoirse because he connects her birth with that loss, and the story slowly reveals that she is a selkie whose voice is tied to old magic fading from the world.

The film earns the top spot because every piece of its beauty has emotional purpose. The Irish folklore, the glowing seals, the owl witch Macha (Fionnula Flanagan), the stone fairies, the city streets, and the circular designs all lead back to grief that has been locked away instead of felt. Ben’s anger softens as he learns what Saoirse is carrying, and Conor’s sadness stops feeling like background mood once you understand what he lost. The songs, colors, and myths are gorgeous, but the real power is family finally making room for pain without letting it drown them. This is an animated masterpiece hiding in plain sight.

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Song of the Sea

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Release Date

December 10, 2014

Runtime

93 Minutes

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Director

Tomm Moore

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Writers

Will Collins, Tomm Moore

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Sharon Osbourne missed out on the unveiling of a statue of her late husband, Ozzy Osbourne, due to an “unexpected” trip to the hospital.

“I’m sorry I couldn’t be at Hellfest for the unveiling of Ozzy’s statue. Unfortunately I had an unexpected trip to the hospital earlier in the week,” Sharon, 73, shared via Instagram on Thursday, June 18. “A big thank you Olivier Garnier, Ben Barbaud and everyone at Hellfest. Special thank you to @philippe_pasqua_officiel for the absolutely stunning statue!”

The six-meter-tall “Prince of Darkness” statue — which, as Sharon mentioned, was designed by French contemporary artist Philippe Pasqua — was unveiled this week at the Clisson, France, open-air heavy metal music festival. The stone statue is engraved with Ozzy’s concert slogan, “Let the madness begin.”

Hellfest has a track record of constructing elaborate tributes to fallen rock heroes, as organizers built a similarly massive statue in honor of late Motörhead frontman Lemmy Kilmister in 2022. (Kilmister died at age 70 in December 2015 following a battle with prostate cancer.)

Sharon has not elaborated further on what ailment landed her in the hospital.

The “Prince of Darkness” statue at Hellfest is one of several ways that the Osbournes are honoring the life and legacy of the late Ozzy, who died at age 76 in July 2025. (His cause of death was confirmed to be related to cardiac arrest, acute myocardial infarction, coronary artery disease and Parkinson’s disease, which he was diagnosed with in 2019.)

Sharon and son Jack Osbourne recently announced work has begun on the creation of an AI-generated Ozzy Osbourne avatar. Per Rolling Stone, Sharon and Jack are partnering with Hyperreal and Proto Hologram on an AI-powered avatar that has “the digital DNA of Ozzy Osbourne, voice, image [and] movement.”

“Elvis died 50 years ago, and everybody knows Elvis,” Sharon said at the Las Vegas launch in May. “I just want that for Ozzy.”

Meanwhile, Jack’s sister Kelly Osbourne recently shared exclusively with Us Weekly at the Mind x The Ricky Hatton Foundation charity auction that she has special plans to commemorate her first Father’s Day without Ozzy.

Related: Sharon Osbourne Reveals Husband Ozzy’s Last Words to Her Before His Death

Sharon Osbourne still remembers her final conversation with husband Ozzy Osbourne ahead of his death at 76. “He told me that he was having dreams the last week of his life. He was seeing people that he never knew,” Sharon, 73, said on the Wednesday, December 10, episode of Piers Morgan Uncensored. “I said, ‘Well, […]

“Me and my brother Louis are going to do something special for my dad this weekend,” she confirmed to Us on Thursday.

(Ozzy was the father of six. He shared Elliot, Jessica and Louis with his first wife Thelma Riley and later welcomed Aimee, Kelly, and Jack during his second marriage to Sharon.)

Asked how she was coping with the loss of her dad, Kelly told Us, “I’m getting a little bit better every day. The pain will never go away, and I’ll never be the person I was before he died again. But I’m getting to know the new me.”

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The Osbournes announced Ozzy’s death on July 22, 2025, just 17 days after he’d performed his final Back to the Beginning concert in Birmingham, England.

Related: Sharon Osbourne Reacts to Ozzy Osbourne Tribute at the 2026 Grammys

Sharon Osbourne is sharing her emotional reaction after the 2026 Grammy Awards paid tribute to her late husband, Ozzy Osbourne. During the Sunday, February 1, music awards ceremony in Los Angeles, Post Malone, Guns N’ Roses’ Duff McKagan and Slash, the Red Hot Chili Peppers’ Chad Smith and Andrew Watt performed Black Sabbath’s hit song […]

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“It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning,” they shared at the time. “He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.”

Ozzy was laid to rest in his hometown of Birmingham on July 30, 2025.

The following article contains spoilers.There’s nothing quite like a good sitcom to make you laugh, cry, and enjoy on your own or with the whole family. The best ones ran for multiple seasons and ended just as much on a high as they began. When you feel sad the series has ended but satisfied with how, that’s the mark of a great show.

From the 1980s to the 21st century, there have been some great sitcoms that ended exactly as they should, with impeccable writing, acting, and closure to leave fans clapping and sighing in appreciation. That’s not an easy feat, but some shows wrapped up beautifully.

10

‘Boy Meets World’ (1993–2000)

Image via ABC

The coming-of-age sitcom Boy Meets World defined a generation of ’90s kids, and is still remembered fondly to this day. One of the most impactful scenes, however, is at the end when Mr. Feeny (William Daniels), the strict but father-figure-like teacher and eventually principal, walks quietly through the empty classroom. He’s reminiscing about all the moments he shared with these students, bringing viewers along with him. When he utters the final words, “class dismissed,” it will give you chills.

It’s emotionally satisfying, showing both the growth of all the characters who have now become adults as well as honoring their journeys to get there. It signifies Mr. Feeny’s integral part in their lives, reminding viewers how important educators are in shaping children. But it also depicts that important transition from childhood to adulthood. It’s the perfect way to end a show about the challenges of coming of age.

9

‘New Girl’ (2011–2018)

Image via Ray Mickshaw/©Fox/courtesy Everett Collection

New Girl could have taken the traditional sappy goodbye route as all the roommates moved on, and it did. But the show also made sure to remind fans of how funny and quirky the characters were through one final, elaborate prank. Winston (Lamorne Morris) pretends Nick (Jake Johnson) and Jess (Zooey Deschanel) are being evicted from the apartment by a company called Engram Pattersky, which is reportedly evicting all tenants. But once the truck is loaded with all their belongings, Winston reveals it was all a prank; Engram Pattersky is an anagram for My Greatest Prank. It’s the catalyst, however, for convincing Nick and Jess to move out and on anyway.

Before that, Jess walks her friends through memorable moments they shared together, thus also helping provide closure for fans who were with them on the journey through the show’s seven seasons. Of course, they also had to play one final game of True American to bring back the recurring segment for closure and later are seen playing it again in a flash forward. This solidifies that their bond is unbreakable and helps fans feel like even though the show is ending, in their minds, the group is still together. The sitcom ending was a genuine masterpiece.

8

‘Young Sheldon’ (2017–2024)

Image via CBS

Young Sheldon is a prequel series to The Big Bang Theory, but it became a juggernaut of a show on its own with plenty of fantastic episodes. Fans knew where the story was headed, including the tragic death of George Sr. (Lance Barber), which was dealt with in the final episodes of the last season. But what was most poignant about the finale is that it set up Sheldon’s (Iain Armitage) story to come.

While walking outside Caltech with a smile, Sheldon is stopped by a professor who asks if he’s lost. “No,” he says. “I’m exactly where I need to be.” Knowing this school becomes Sheldon’s future, where he studies and eventually works, makes this ending brilliant. But it’s also the knowledge that Sheldon will meet his lifelong friends there that brings so much satisfaction to the subtle smile on Sheldon’s face.

7

‘The Office’ (2005–2013)

Image via NBC

After nine seasons of The Office, a mockumentary sitcom about boring everyday office life, the show needed to end in a way that really helped bring everything to a close. It did, with the whole group reuniting for Dwight (Rainn Wilson) and Angela’s (Angela Kinsey) wedding, including eccentric regional manager Michael Scott (Steve Carell, who left the series in Season 7).

The goodbyes the staff share with one another in this sitcom that’s a banger from start to finish are fictional for the show, of course. But you can tell that there are also some real goodbyes from the actors behind them, too. There’s growth for characters, with Jim (John Krasinski) finally quitting to pursue his dream, Pam (Jenna Fischer) supporting him, and Oscar (Oscar Nuñez) running for state senate. But it was Carell’s surprise return that brought it all together, including his final line. When Dwight says, “I can’t believe you came,” he replies, “that’s what she said.”

6

‘The Good Place’ (2016–2020)

Image via NBC

The Good Place is one of the best shows about the afterlife, following Eleanor (Kristen Bell), who thinks she has been sent to the “good” place, essentially heaven, when she was supposed to be sent to the bad one (effectively hell). She tries to change her ways while there, hoping to earn her spot in before anyone realizes the mistake while ironically lying about who she really is. But there’s a lot more behind the plot.

There’s true closure when the show reveals that even an eternal paradise isn’t all it’s cracked up to be after a while, and souls can eventually pass on to end their existences for good. Once good deeds are accomplished, the door is officially open. The Good Place reminds us that all good things really must come to an end, and that isn’t a bad thing. It’s just reality. In the end is where we find peace, meaning, and closure.

5

‘Friends’ (1994–2004)

Image via NBC

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For a decade, Friends was in every living room every week when it aired. Even after it ended and to this day, the show remains the benchmark series about a single group of adult friends navigating life. The show and all of the best Friends episodes took viewers on a journey with its six main characters, each one marking a milestone by the end. From finally solidifying a long-term on-and-off-again relationship to getting married, having kids, and pursuing dreams, they were all ready to move on.

But the pivotal moment is when they are preparing to move out of Monica’s (Courteney Cox) oversized apartment, which is where a lot of the show takes place. As they stand together there one last time, ready to move on to their new places and lives, they decide to get one last coffee. “Sure,” says Chandler (Matthew Perry), “where?” It’s one last joke that perfectly fits his comedic style, because of course they’d be going to Central Perk. Giving Chandler the last line and making it a roll-your-eyes corny one is exactly what was needed for the tone of the show.

4

‘The Fresh Prince of Bel-Air’ (1990–1996)

Image via Warner Bros. Television Distribution

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It makes sense that a show about a young Will (Will Smith) in high school moving to live with his wealthy aunt and uncle in Bel-Air would end with him finally moving out on his own. But throwing things for a loop, the family decides to move out of their lavish mansion as well, opting to be closer to their kids. Hilary (Karyn Parsons) and Ashley (Tatyana Ali) move to New York, and Carlton (Alfonso Ribeiro) is prepping for Princeton while Geoffrey (Joseph Marcell) decides to go back to London. What’s interesting is that Will is the one who decides to stay in California to complete his college degree, a future he probably never could have imagined when he first moved in, nor could anyone else.

The ending of The Fresh Prince of Bel-Air is perfect as they say their final goodbyes and Will is left in the living room alone to reflect on his time there. It’s all in fondness, and in his simple smile and subtle sigh, you can feel the weight of the moment, both for the character and the actor. As he turns off the light and leaves, Carlton’s voice bellowing from upstairs, indicating everyone forgot he was still there, icing on top to bring one last laugh.

3

‘Cheers’ (1982–1993)

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Cheers started as a welcoming bar where everyone knows your name and is glad you came, and Sam (Ted Danson) is tending. And it ended the same way, coming full circle. But it’s the satisfaction in the end that Sam realizes he’s exactly where he needs to be that makes it so great. After surprisingly deciding not to run off and get married to Diane (Shelley Long), Sam coming to terms with the fact that the bar is his one true love is a testament to the importance of every interaction he had there up to that point.

In a way, it tells viewers that the welcoming promise of the bar wasn’t just a song and a sign on the wall: it was a calling; it had meaning to Sam. There’s no place he’d rather be. When he tells a patron who comes in as he’s washing up that they’re closed, it’s also a goodbye to fans. Cheers and its fan-favorite characters won’t return to our TVs, but in our minds, the bar will re-open in the morning and welcome its regulars and others once again.

2

‘Newhart’ (1982–1990)

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For eight seasons, Newhart walked viewers through the story of Dick (Bob Newhart) and Joanna (Mary Frann), a couple who move from the city to a small rural Vermont town to run an inn. While there, they interact with the eccentric townsfolk and the eclectic mix of guests who come to stay. The sitcom is witty, dry, sarcastic, and entertaining with memorable characters and satisfying episodes.

Newhart pulled a fast one on fans, however, using the finale to deliver one huge, final punchline that completely changed the show. Through a meta crossover with The Bob Newhart Show, Newhart’s sitcom that aired prior to Newhart, the ending suggested that his character on that show, Bob Hartley, was simply having one, long dream that characterized the entire show. In most cases, the “it was all a dream” storyline doesn’t work. But Newhart made it shocking, nostalgic, and rewarding, showing that this angle can be done well.

1

‘M*A*S*H’ (1972–1983)

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One of the best shows to ever grace the small screen, M*A*S*H had meaning, heart, humor, and was telling of its time and the complexities of war. The war comedy drama set in a Mobile Army Surgical Hospital during the Korean War follows the mix of personalities as they handle the tough jobs in a complicated and often depressing situation while doing their best to be there for one another and deal with the trauma in a healthy way.

The end of the show marks the end of the war, and the 2.5-hour episode, which broke viewership records, sees each character processing what they went through and getting ready to return to civilian life. The final scene with Hawkeye (Alan Alda) looking down from his helicopter to see stones spelling out “Goodbye” is as emotional as a show can possibly get.

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M*A*S*H

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Release Date

1972 – 1983-00-00

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Showrunner

Larry Gelbart

Directors

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Larry Gelbart

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• 
• 

  Loretta Swit

  Margaret Houlihan

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Actress Carrie Coon made a splash on season 3 of HBO’s hit show, “The White Lotus.” She starred as Laurie Duffy, who was visiting the luxurious Thai resort with a few of her childhood friends. Coon, a competitive high school runner, did all her own sprinting for the show, which spawned several creative memes on social media. The show has made her a household name, but Coon has always been in the industry.

During a Drama Actress Roundtable with The Hollywood Reporter, Carrie Coon sat down with Sarah Pidgeon, Claire Danes, Kerry Washington, Rhea Seehorn, and Chase Infiniti to discuss the highs and lows of working in Hollywood. During one part of the conversation, Coon was asked about how “The White Lotus” gave her profile a “boost,” even though she had already achieved fame from shows like “The Leftovers” and “The Gilded Age.”

“That part, the public discourse about you and your life, has always felt so far from me,” Coon said, admitting that she will “read reviews” and “haunt Reddit” to see what is being said about her and her work.

“I want to know how the work is landing in the world. It’s important to take in the good and the bad because then you know that it’s all subjective and actually has nothing to do with you,” she added.

Coon Describes The Fan Reactions To Her Role

Coon went on to joke that “the slow and steady rise of Carrie Coon has happened entirely outside of my life — even now after The White Lotus.”

She recalled how she was at a restaurant in Newport when “this sweet young thing who was serving me said, ‘Do you play guitar?’”

“I’m still moving through the world with people vaguely kind of maybe thinking they know me from their high school,” she continued. “It’s great, and I don’t want to change that.”

However, she did admit that “there were a lot of think pieces written about the show and the women” on “The White Lotus” and speculated that “maybe people started watching The Gilded Age” after seeing her performance in the HBO hit.

That being said, she admitted, “I haven’t seen the material results of that yet.”

Carrie Coon Admits She Still Has To ‘Fight’ For Roles

Despite the success of “The White Lotus,” Coon admitted, “I think I’m like the top of the B-list now. Instead of the seventh person you come to, I’m like the fourth.”

She went on to reveal that she still has “to fight” for larger roles and acknowledged that she’s “going to have to fight for big movies,” because she is currently being offered a lot of “unfinanced indie scripts.”

“That’s what I’m getting,” she admitted. “And it’s probable that, if The Gilded Age were to go away, I would get another television job. For me, I haven’t leveled up in the way that you think of.”

Coon Talks Her ‘Favorite Meme’ Of Herself

Elsewhere in the interview, the actresses were asked if they had a favorite meme of themselves. Immediately, Coon replied, “Me sprinting away from the gunshots in The White Lotus.”

She went on to say that she felt “deeply gratified” to see the way people “lauded” her “physical life,” because she had an athletic background.

“I love hanging out of a window. I love running. I also just felt like, yeah, that’s a very American response. You hear a gunshot, you’re out of there. That felt very real to me,” she replied. “There’s also my really ugly cry face.”

She joked to Claire Danes, who is currently starring in “The Beast in Me,” that “you and I both share” the “cry face.”

When it came to fans recognizing her on the streets, however, she admitted that “it’s always The Leftovers fans that recognize” her. “I always hear about people’s grief. It’s very moving,” she said. “There’s such deep sharing that happens, and it’s not trite, and I’m very grateful for it.”

‘The White Lotus’ Will Return In 2027