Entertainment
10 Movie Adaptations the Author Hated
Taking a book and turning it into a motion picture is a practice almost as old as cinema itself. Since the days of Georges Méliès, who offered his cinematic takes on literary classics like Cinderella and From the Earth to the Moon, filmmakers have been taking stories from the page to the big screen, experimenting with how the differences between the written word and the cinematic language can be most effectively combined.
Sometimes, the books adapted belong to authors that have since passed away. Other times, the authors are still alive and kicking and commend these cinematic adaptations of their work, no matter how involved they were in their making. On a few noteworthy occasions, however, authors have been quite vocal about their intense dislike for a certain movie adaptation of a book of theirs. From novelists like Stephen King to comic writers like Alan Moore, these are authors who clearly didn’t think the cinematic medium did their work justice. For fairness’ sake, entries will be limited to only one per author. Otherwise, a list of this nature would end up being composed purely of King and Moore adaptations.
10
‘Tales from Earthsea’ (2006)
Ursula K. Le Guin was one of the greatest and most important American writers of her generation, known mainly for her work in speculative fiction. The collection of fantasy stories and essays known as Tales from Earthsea is perhaps her best-known work, and for good reason. Fans couldn’t have possibly been more excited when a Studio Ghibli adaptation of the first four books in the series was announced, which would be Gōro Miyazaki‘s (son of Hayao Miyazaki) directing debut. The rest is history, just not particularly pleasant history.
[Le Guin] felt like the film told a completely different story from the source material.
There are those who would go so far as to call Ghibli’s Tales from Earthsea one of the worst anime movies of all time. Le Guin herself probably would never have gone that far, but she did state that Miyazaki misunderstood the spirit of her books so terribly that she felt like the film told a completely different story from the source material. You’d be hard-pressed to find an Earthsea book fan who would disagree.
9
‘Charlotte’s Web’ (1973)
E. B. White, perhaps best-known as the creator of Stuart Little, was one of the greatest American children’s literature authors in modern history. He also wrote Charlotte’s Web, an illustrated book that, before being turned into a live-action film starring Dakota Fanning in 2006, was turned into a Hanna-Barbera musical cartoon in 1973.
Audiences today mostly remember it fondly as one of the movies that proved 1970s animation was by no means bad, but White wasn’t fond of the film at all. On the contrary, though the author was slightly involved in the movie’s story, he was generally displeased with the final product, calling it “a travesty.” He hated the fact that the movie was a musical, which he felt didn’t gel well with what he had written.
8
‘Rawhead Rex’ (1986)
Legendary British horror author Clive Barker is perhaps best known as the man who wrote the Hellraiser series. When it came time to turn the book into a film, he decided to write and direct it himself. The reason? Rawhead Rex, an adaptation of Barker’s short story of the same name directed by George Pavlou, from a screenplay by Barker himself.
The movie was a colossal failure, and is still remembered as one of the worst horror movies of the ’80s. Barker, obviously, felt that the elements were all there on the page for Rawhead Rex to have been quite a thrilling film. He felt, however, that Pavlou’s direction fell short, failing to provide the stylish oomph that would have made the movie as strong as the source material.
7
‘I Know What You Did Last Summer’ (1997)
Following the success of Wes Craven‘s 1996 slasher classic Scream, many terrible rip-offs followed. Jim Gillespie‘s I Know What You Did Last Summer may be iconic, but there’s no way of denying that it’s just that: a terrible Scream rip-off. It didn’t have to be that way, though. The movie wasn’t based on a horror novel, but rather a well-regarded 1973 YA thriller by Lois Duncan.
Duncan’s daughter, Kaitlyn Arquette, was shot to dead in 1989. In a 2002 interview, the author revealed that as the mother of a murdered young woman, she was absolutely appalled by the fact that her novel had been turned into a silly, cheap slasher. It’s difficult to blame her, made even more difficult by the fact that the film isn’t even a good slasher to begin with.
6
‘Willy Wonka & the Chocolate Factory’ (1971)
As one of the most important voices in the modern history of children’s literature, Roald Dahl is someone who needs no introduction. Another person who needs no introduction is Willy Wonka, and fittingly, Willy Wonka & the Chocolate Factory, one of the best fantasy movie masterpieces of all time, has a reputation that precedes it. A lesser-known part of that reputation, however, is that Dahl hated the film.
In fairness, Dahl hated the vast majority of the movies based on his work, thinking that Hollywood had a tendency to twist his stories into things he had never intended. His dislike for Willy Wonka, however, was particularly strong. He disowned the movie and declared himself “infuriated” by its plot deviations, its being a musical, and its shifting the narrative’s focus from Charlie to Wonka. The original book purist, Dahl would have vastly preferred it if director Mel Stuart had stuck far more closely to what was already on the page, even if this has proven to age as one of the best family movies of all time.
5
‘The NeverEnding Story’ (1984)
Wolfgang Petersen‘s first English-language film, The NeverEnding Story is one of the most iconic family films of the ’80s, even if some find it to traumatizingly dark that its “family film” status is not uncontested. It was based on German writer Michael Ende‘s 1979 book of the same title, and it was a hit both with critics and at the box office.
Someone it wasn’t a hit with, however, was Ende himself. The author only got to see the script days before the movie’s premiere, and claimed to have been “horrified” by what he saw. He felt that Petersen completely changed the essence and spirit of the book, and later called the film a “gigantic melodrama of kitsch, commerce, plush and plastic.”
4
‘Percy Jackson & the Olympians: The Lightning Thief’ (2010) and ‘Percy Jackson: Sea of Monsters’ (2013)
Of the many book series that tried to be the next Harry Potter, few came as remarkably close with something as original, fun, and genuinely high-quality as Rick Riordan‘s Percy Jackson & the Olympians book series. But out of every book-to-film adaptation that’s nothing like the books, few cases are as egregious as The Lightning Thief and Sea of Monsters, the movies based on the first two installments in the saga.
Riordan was extremely vocal about how he felt about these movies. He said the writing was terrible, and not just because it deviated tremendously from the source material. He shared email recommendations for script changes that he sent to the people behind the movies—recommendations that clearly went unheard. Most of all, the author was bothered because he knew that these adaptations would anger and disappoint fans. It’s no wonder why Riordan became far more directly involved with the new Disney+ TV series adaptation of Percy Jackson.
3
‘Mary Poppins’ (1964)
Mary Poppins is widely recognized as one of the most perfect live-action Disney movies of all time, a marvelously magical and beautifully nostalgic musical bolstered by Julie Andrews and Dick Van Dyke‘s lead performances. It’s based on Autralian-British writer P. L. Travers‘ Mary Poppins book series, and Walt Disney‘s repeated decades-spanning attempts to buy the film rights to her books made for such an arduous production process that it became the subject of the Tom Hanks and Emma Thompson-starring Saving Mr. Banks.
Contrary to what the ending of Saving Mr. Banks depicts, however, Travers did not, in fact, like what Disney did with her books. Travers famously cried at the movie’s premiere due to how distorted and saccharine her story and characters had become as a result of their Disney-ification. She hated the animated segments, she objected to the musical numbers, and she disliked the casting of Julie Andrews in the titular role. Audiences, of course, have disagreed with Travers over the course of the film’s existence; but one can only sympathize with her sadness.
Another author who famously hates pretty much any and every film that’s ever been made about their work is Alan Moore. The writer is of the vehement opinion that it’s impossible to turn a comic book into a film that properly captures its essence, and as a result, adaptations of his work—from Zack Snyder‘s Watchmen to James McTeigue‘s V for Vendetta—rub him the wrong way. But out of every movie adaptation of his oeuvre, Moore had the most contempt for Stephen Norrington‘s The League of Extraordinary Gentlemen.
In all fairness to Moore, this is far and away one of the most abysmal superhero movies ever made, so it’s difficult to blame him for disliking it. What really added salt to the wound, however, was the lawsuit brought forward against 20th Century Studios by Larry Cohen and Martin Poll, who claimed that the studio had plagiarized their script. Moore got tangled up in the whole ordeal, and that only made League all the more of an unpleasant experience.
1
‘The Shining’ (1980)
As one of the authors whose work is most often adapted by Hollywood, and not often with good results, Stephen King is someone with a long track record of being critical of big-screen adaptations of his work. But the most notorious King adaptation that he despised, and perhaps the most notorious case of an author hating a movie based on their work, is Stanley Kubrick‘s The Shining. Based on the third novel King ever wrote, many think of this ’80s classic as one of the greatest horror movies ever made, complete with one of the scariest movie villains of all time—but the author himself disagreed.
King’s dislike for Kubrick’s movie has become a subject of study itself, with fans having spent the last 46 years diving deep into why King might have felt such an aversion to this version of The Shining. He once said that it was the only adaptation of his novels that he could truly remember hating, calling it “maddening, perverse, and disappointing.” He admitted to Kubrick’s brilliance as a director, but felt that the film twisted the message and essence of what he had written as an allegory for alcoholism (with many autobiographical elements) into something he couldn’t recognize. Knowing King’s deeply personal connection to the story, it becomes impossible to blame him for hating what even the film’s biggest fans must admit is vastly different from the source material.
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Bringing Up Bates alum Warden Bates and Kaybrie Patterson have tied the knot.
In a joint point shared via Instagram on Thursday, May 28, the couple announced they have officially married just two months after debuting their romance on social media in March.
The couple announced they were engaged on May 2, while their wedding took place just days later on May 5.
Patterson, 19, explained in Thursday’s post that she and Bates, 22, were compelled to bring forward their wedding, which was originally slated for September, so that her late father could attend the nuptials before he died of Stage IV colon cancer.
Bringing Up Bates alum Warden Bates and his girlfriend, Kaybrie Patterson, are engaged after a whirlwind courtship. “The easiest yes 🤍💍,” the couple captioned joint proposal photos via Instagram on Saturday, May 2. Patterson shared more photos from the romantic moment via her Instagram Stories, writing, “I cannot wait to be your wife. I love […]
“I am learning that even in the midst of sorrow, there can be joy. I don’t think I ever truly understood that until recently,” she wrote.
Patterson shared that her dad had been diagnosed with the disease three years ago and fought to survive until treatment “was no longer an option.”
“And yet, right in the middle of all that heartbreak, one of the happiest moments of my life happened. I got engaged to the love of my life, and we began planning our big wedding celebration for this September,” she wrote.
Kaybrie Patterson and her dad. (Photo courtesy of Kaybrie Patterson/Instagram)
Patterson continued, “As my dad continued to decline and we were faced with the reality of hospice care, I came face to face with something I had never allowed myself to imagine. I could not picture a life where my dad was not the one to walk me down the aisle. So we decided to gather our immediate families and share a small, private ceremony together while we still could.”
Patterson shared her gratitude that she was able to include her father in her special day before his death, creating a “beautiful” memory that will last a lifetime.
“On May 5th, my dad walked me down the aisle. It was simple, emotional and beautiful in a way I will spend the rest of my life trying to find words for,” she wrote. “The next day he became unresponsive, and three days later he went home to be with the Lord.”
Patterson added that she and Bates plan to still hold a bigger wedding celebration in September, knowing that her dad will be looking down on them.
Bates and Patterson announced their engagement on May 2 by sharing joint proposal photos via Instagram. The post was captioned, “The easiest yes 🤍💍.”
Patterson shared more photos from the romantic moment via her Instagram Stories, writing, “I cannot wait to be your wife. I love you more than words.”
Warden is one of the 19 children of Bringing Up Bates couple Gil and Kelly Jo Bates.
Following their son’s engagement, the proud parents wrote via Instagram, “We’re beyond thrilled to see the smiles they’ve brought each other, & we’ve already all fallen in love with Kaybrie’s sweet, fun, enthusiastic personality! Couldn’t feel more blessed!”
The fantasy genre has long been a fan-favorite, providing escapism for those who want a momentary reprieve from the mundane and predictable. For fantasy fans ready to step beyond the ordinary into places where magic hangs in the air, Netflix might be the gateway, especially as it is packed with more than a handful of series that spark the adventurer, dreamer, and curious seeker in all of us.
These shows, whether they are ethereal animation works or Gothic mysteries, offer a dazzling escape into worlds both familiar and strange. So, whether you crave something majestic and poetic or perhaps darker and more intense, these binge-worthy Netflix shows are guaranteed to cast you under their spell. Join us as we unlock the doors to eight of the most binge-worthy fantasy series streaming now.
1
‘The Sandman’ (2022–2025)
While only two seasons long, The Sandman is arguably one of the most exciting and visually stunning fantasy shows currently streaming. This dark fantasy epic, based on Neil Gaiman‘s comic series, follows the enigmatic Lord of Dreams — portrayed by Tom Sturridge, the personification of dreams and nightmares and ruler of the dreaming — as he breaks free from capture that lasts 106 years and embarks on a quest to restore order to his kingdom.
Far from just your regular fantasy show, The Sandman is an evocative experience that delves into existential themes such as faith, desire, death, and identity, compelling character dynamics, and enchanting production design. From the richly imaginative realm of the dreaming to the blending of historical and supernatural elements, this visual feast is guaranteed to keep audiences of all ages stunned throughout. In addition to its breathtaking cinematography, what arguably distinguishes it from other shows of the genre is its almost poetic storytelling and philosophical approach.
2
‘Locke & Key’ (2020–2022)
Locke & Key is what you get when you imagine moving to an ancient ancestral mansion that holds magical keys, each with a unique power, and discover that you’re suddenly part of a centuries-old battle between light and darkness. Equal parts family drama, dark mystery, and thrilling treasure hunt, this Netflix series keeps audiences hooked from the beginning. At its center is the Locke family: mother Nina (Darby Stanchfield) and her three children, Tyler (Connor Jessup), Kinsey (Emilia Jones), and Bode (Jackson Robert Scott). After the murder of patriarch Randall, the family relocates to their colonial-era home in Massachusetts, where Bode soon stumbles upon a hidden magical world inside the house.
Locke & Key draws the excitement and creativity of children’s fantasy classics but also explores mature themes such as healing, family dynamics, and loss, which help elevate it from a mere supernatural romp to something with heart and capable of touching audiences. For viewers who are into beautifully shot Gothic shows, this dark fantasy might be the right pick (though arguably not the eeriest of the genre). While there has been some criticism regarding its pacing, it’s safe to say that Locke & Key has generally earned praise for its creative concept, engaging storytelling, and even character chemistry, making it a bingeable, heartfelt journey.
3
‘Sweet Tooth’ (2021–2024)
Sweet Tooth is the pick-me-up for viewers who want to watch a fantasy show that feels like a warm embrace, even amid all the chaos. Based on Jeff Lemire‘s comic, Sweet Tooth whisks audiences into a post-apocalyptic America where hybrid children, part human and part animal, struggle to survive in a fractured world. Specifically, the story follows Guz, played by Nixon Bingley, a sweet and curious boy with fierce antlers who lives in a hidden sanctuary with his protective father before tragedy forces him into the wider, dangerous world.
Sweet Tooth shines in its ability to blend childlike wonder and the grimness of reality, featuring a heartwarming central relationship between Guz and Tommy (Nonso Anozie), a good-hearted loner who becomes both protector and surrogate father figure. The kind of show that will make you laugh one minute, cry the other, and cheer for hope all in one episode, Sweet Tooth does not shy away from exploring weighty issues such as environmental collapse, fear of the unknown, and the question of what it means to be human — yet, it approaches them with a delicate and gentle touch, remaining optmistic without ever feeling naive.
4
‘Shadow and Bone’ (2021–2023)
Based on Leigh Bardugo‘s fan-favorite Grishaverse novels, this Netflix adaptation puts everything on the table: epic battles, forbidden magic, and electric love triangles, encapsulating all these elements into a narrative that’s as sprawling as it is intimate. At its center is Alina Starkov, played by Jessie Mei Li, an orphan and mapmaker thrust into the brutal world of the Grisha, powerful magical warriors, after discovering a rare light power that could be the key to saving her war-torn country. Alongside her, of course, are an ensemble of unforgettable characters, including the brooding and dangerously charming Darkling, brought to life by Ben Barnes.
Beyond its well-written characters, what catapults Shadow and Bone above many fantasy adaptations is, of course, its ambitious Russia-inspired universe. Central to its charm, too, is the incredible chemistry between the characters and its approach to interweaving multiple storylines (something that doesn’t happen in the book), dueling the novels into a cohesive narrative and balancing action sequences with character-driven drama that persuades audiences to care for its characters. Despite its cancellation, it’s fantasy done right: large in vision, rich in characters, and brimming with magic.
5
‘One Piece’ (2023–Present)
You’ve probably heard of Eiichiro Oda‘s legendary, generation-defining manga and anime, and the Netflix live-action take has propelled it into even greater recognition. At its center is Monkey D. Luffy, played by Iñaki Godoy, a boy blessed with the powers of the Gomu Gomu fruit, which renders his body rubbery and practically indestructible. Luffy’s dream? Why, of course, to find the elusive One Piece treasure and become the Pirate King, a title that promises ultimate freedom. Alongside him is a vibrant crew of friends, each with tangled pasts and hopes. Their journey is an entertaining blend of drama, humor, and intense battles in a fantastical ocean.
Keeping the spirit alive while carving a fresh course for newcomers and devoted fans alike, One Piece‘s live-action brilliance lies in how it manages to capture the fantastical whimsy and emotional heft of Oda’s sprawling universe without losing its soul to excess. It is visually striking, with amazing practical stunt work and chemistry. And despite walking a delicate line by adapting decades of beloved anime lore, One Piece has impressed critics and fans alike for its faithfulness to the source material, strong performances, and overall joyous spirit. It’s no wonder, then, that it makes for a fun, binge-worthy show.
6
‘The Witcher’ (2019–Present)
If swords, sorcery, and swagger are your fantasy essentials, chances are you’re familiar with this Netflix original, based on Andrzej Sapkowski’s beloved book series and popular games. The Witcher plunges viewers into a world both brutal and beautiful, where choices are grim and consequences are deadly. At the center is Geralt of Rivia, played by Henry Cavill (a role that was passed down to Liam Hemsworth in the upcoming season), a monster hunter genetically enhanced to slay terrifying beasts. Along the way, Geralt finds his path intertwined with the destinies of Yennefer of Vengerberg, a powerful sorceress with a tragic past, played by Anya Chalotra, and Ciri, a princess with a mysterious destiny that could change the fate of the world, brought to life by Freya Allen.
The Witcher fascinates by boasting lush cinematography with dark forests, medieval castles, and brutal battlefields that feel lived-in and palpable. Anchored by Cavill’s beloved portrayal of Geralt — equal parts stoic and subtly humorous, with vulnerability hiding behind his tough exterior — the series also thrives on a multi-timeline narrative that weaves present and past seamlessly, gradually revealing character backstories and motivations. Add in incredible chemistry between the three lead characters, and it’s no wonder that the series has earned tremendous praise for strong performances, action sequences, and sprawling worldbuilding. Still, Cavill’s departure has cast uncertainty over the series’ future.
7
‘Wednesday’ (2022–Present)
When it comes to recent fantasy must-sees, Wednesday takes the crown. This Gothic Tim Burton-directed series invites audiences to step into the shadowy corridors of Nevermore Academy — a school that welcomes outcasts, monsters, and misfits — providing a strikingly fresh take on a classic character who’s been stealing scenes and hearts for generations. With Jenna Ortega‘s incredible performance at its center, Wednesday is an immersive dive into mystery, wit, and supernatural high school drama, all laced with the unique depth and charm of the iconic Addams Family character. In the show, Wednesday not only hones her psychic abilities but also tackles a slew of mysteries, from local murders to her own family’s enigmatic past.
What makes Wednesday binge-worthy is its amazing blend of horror, humor, and heartfelt coming-of-age moments. It is also a visual feast: stunning architecture, shadowy forests, and quirky supernatural elements are wrapped in cinematic and stylish cinematography. It’s no wonder, then, that Wednesday, with its witty writing that dances effortlessly between creepy trills and sharp comedy, has become a fan and critic favorite. In true Tim Burton-esque fashion, it not only perfectly captures the spirit of an iconic character but also makes her fresh, funny, and utterly fascinating for a whole new generation.
8
‘Arcane’ (2021–2024)
If Wednesday takes home the award for the most binge-worthy Gothic fantasy series in recent memory, Arcane is the animation king of streaming. Inspired by the popular video game League of Legends, it rises beyond just a cartoon show: it’s an epic visual symphony that redefines what fantasy animation can be, plunging viewers into the divided world of Piltover and Zaun, where cities are locked in a delicate yet dangerous dance between technical marvel and gritty survival. At its heart are sisters Vi and Jinx, whose complicated relationship sets the emotional core of the series.
Arcane provides audiences with breathtaking artistry and storytelling sophistication, marrying hand-painted textures with 3D modeling in a way that feels almost painterly and undeniably alive. It isn’t just eye candy, though — narrative-wise, it’s a tour de force that explores memorable characters, moral ambiguity, and even social tension. Plus, it delves into hardship, loyalty, and revolution, resonating with mature audiences while maintaining accessibility for newcomers. For those who appreciate animated TV as an art form, the groundbreaking show is a dazzling and heart-pounding journey.
- Release Date
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2021 – 2024
- Network
-
Netflix
- Showrunner
-
Christian Linke
- Directors
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Barth Maunoury, Marietta Ren, Christelle Abgrall
- Writers
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Amanda Overton, Nick Luddington, Mollie Bickley St. John, Ben St. John, Giovanna Sarquis, Henry G.M. Jones
- Franchise(s)
-
League of Legends
Erotic cinema gets flattened more cruelly than almost any other kind of film. If it is explicit, people reduce it to heat. If it is elegant, people call it stylish and move on. If it is dangerous, they remember the scandal more than the craft. And if it is genuinely great, if it uses desire to expose grief, class shame, self-invention, power, loneliness, rot, fantasy, or the humiliating distance between what people want and what they can safely admit they want, it still somehow ends up being treated like a side corridor of film history instead of one of the genre spaces where filmmakers have often been bravest.
That is why lists like this matter. Not because these films need pity. They do not. They are alive. They are sharp. They are often smarter than the movies that overshadowed them. But they do need rescuing from the lazy idea that erotic films are only about surface. These 10 films are erotic and they’re actually great with substance and plot and everything. Lock in.
10
‘White Palace’ (1990)
What I love about White Palace is that it understands sex as class collision before it understands it as romance. That is the thing people miss when they treat it like some vaguely “unlikely couple” drama. Max Baron (James Spader) is grief-stricken, polished, educated, younger, and moving through a world of upper-middle-class taste and coded restraint. Nora Baker (Susan Sarandon) is older, rougher, louder, more direct, more alive in a way that threatens every defensive layer he has built around his bereavement and his social identity.
When they come together, the film is asking whether he can survive being stripped of the superiority and control his whole emotional life is leaning on. And Sarandon is extraordinary because she never lets Nora become a fantasy of earthy authenticity for some younger man’s awakening. She is sexual, yes, but also embarrassed, proud, wounded, funny, defensive, and fully alert to how the world judges her body, her age, her background, her appetite. That makes the film much more painful than its premise sounds. Every tender moment is brushing up against humiliation or social violence or the possibility that attraction is not enough to bridge the lives around it. White Palace matters because it knows desire does not level class and shame. It exposes them.
9
‘Dream Lover’ (1993)
This is one of those erotic thrillers that feels like it should be mentioned much more often than it is, because Dream Lover understands the core pleasure of the form better than a lot of bigger titles do. It is not only about sex, and it is not only about deception. It is about how erotic obsession makes people willingly unreadable to themselves. Ray Reardon (James Spader) falls for Lena Mathers (Mädchen Amick) with the exact kind of hungry certainty that thrillers like this need. He wants her quickly, confidently, and with just enough self-satisfaction to make the audience nervous on his behalf. That nervousness is where the movie lives.
And then Amick starts doing the real work. The film keeps letting Lena stay slightly ahead of definition, in a way that makes desire itself feel complicit. Ray keeps treating intimacy as knowledge, as if sleeping with someone, marrying them, possessing access to them, must eventually stabilize who they are. Dream Lover knows that is fantasy. It keeps turning marriage into a hall of mirrors where sex, money, suspicion, and self-invention get knotted together until trust itself starts looking like an erotic mistake.
8
‘Sirens’ (1994)
There is a softness to Sirens that makes people underestimate how sly it really is. On the surface it is all sun, skin, art, teasing, pre-Raphaelite beauty, and social comedy. A young clergyman and his wife visit an eccentric painter in Australia and step into this sensual, half-mocking, half-seducing world built around the body and image and temptation. That sounds light, and in some ways it is. But the film’s intelligence is in how it turns erotic energy into a test of temperament rather than a cheap moral provocation. Everyone is exposed differently by the atmosphere of the place.
Estella Campion (Tara Fitzgerald)’s awakening feels like the film recognizes that repression and innocence are not the same thing, and that beauty can destabilize people not because beauty is evil but because it reveals how frightened they are of desire once it stops being abstract. The painter’s household has this languid, unserious surface, though the movie is quietly doing something deeper underneath, asking what forms of purity are actually just fear in ceremonial clothing. Sirens seduces and laughs at the same time. That is a hard balance, and it makes the film linger.
7
‘The Duke of Burgundy’ (2014)
This is one of the most exquisitely made erotic films of the last few decades because it understands that ritual can be both erotic structure and emotional prison. The setup sounds simple enough, a relationship between two women involving elaborate dominance-and-submission routines, but the film is so much more than a “BDSM drama.” It is about repetition. It is about maintenance. It is about how desire can remain real while the performance of desire starts exhausting the person trying to keep another person’s fantasy alive. That is such a sad, adult thing for an erotic film to understand.
And because the movie is so beautifully tactile, the fabrics, the rooms, the sounds, the little ceremonial humiliations and corrections, the ache gets stronger, not softer. Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D’Anna) negotiating love through power, and those negotiations are full of disappointment, tenderness, resentment, caretaking, longing, and the unbearable knowledge that what turns one person on may be what quietly tires another person out. The Duke of Burgundy is erotic in the deepest sense because it treats desire as a pattern with emotional consequences. That addition gives it depth.
6
‘Swimming Pool’ (2003)
This is one of those films where the erotic charge is inseparable from authorship and envy, which is exactly why it is so rich. Sarah Morton (Charlotte Rampling) arrives in France blocked, controlled, chilly, and faintly contemptuous, a writer whose relationship to sex seems more observational than lived. Then Julie (Ludivine Sagnier) blows into the house like a deliberate disruption, all appetite, noise, danger, body confidence, and narrative instability.
The obvious reading is older woman versus younger woman, repression versus freedom, watcher versus exhibitionist. The film keeps giving you that material and then making it slipperier every minute. What I adore is how mercilessly Swimming Pool links erotic fascination to creative theft. Sarah is magnetized by Julie. She watches, judges, absorbs, rearranges. The sexual atmosphere becomes inseparable from the artistic one. Is Julie a real person? A projection? A fantasy of everything Sarah cannot admit she wants, fears, or envies? The movie never locks the door neatly, and that ambiguity is the whole seduction.
5
‘In the Cut’ (2003)
I will defend In the Cut forever because it is one epic New York erotic thriller and was punished, in part, for how completely it refused to flatter anybody. Jane Campion made the city feel bruised, sweaty, literate, dangerous, and uncomfortably intimate. Frannie Avery (Meg Ryan) is not written as a glossy thriller heroine drifting through a sexy mystery. She is solitary, observant, turned on by danger in ways she does not fully respect in herself, and moving through a story where language, violence, and eroticism keep sticking together in ways that feel dirty rather than sleek. That dirtiness is the point.
What makes the film so good is how little distance it puts between desire and vulnerability. Frannie’s attraction to Giovanni Malloy (Mark Ruffalo) is not romanticized as “bad-boy chemistry” in the cheap sense. It feels like compulsion mixed with curiosity mixed with self-endangerment. Ruffalo gives him exactly the right kind of rough, unreadable pull, and the movie keeps asking whether Frannie is moving toward him because she sees something true in him or because truth itself has become erotically fused with threat. The murder plot matters, yes, but less than the atmosphere of female subjectivity under siege by its own appetite. In the Cut is messy, feverish, and emotionally exposing. That is why it is great.
4
‘Damage’ (1992)
This film is so punishing and so elegant that watching it can feel like being trapped inside a confession somebody should never have made out loud. Louis Malle strips the affair down to something almost ceremonial in its inevitability. Stephen Fleming (Jeremy Irons) and Anna Barton (Juliette Binoche) are not simply in love and not simply behaving recklessly. The movie treats their desire like a force that humiliates ordinary language. Politics, family, adulthood, social roles, parental obligation, all of it starts looking flimsy the moment they enter a room together.
That kind of fatal eroticism is very hard to pull off without becoming ridiculous. Damage pulls it off because it never blinks from the destruction. Anna is not a simple temptress figure and not a solved psychological profile. She carries silence like a weapon, and the film is wise enough to let that silence keep its danger. Irons, meanwhile, understands Stephen’s collapse not as romantic liberation but as something much more degrading. He becomes smaller under the appetite, less articulate, less dignified, more frighteningly willing to destroy everything that once told him who he was. That is what makes Damage so powerful. It does not treat passion as noble.
3
‘The Last Seduction’ (1994)
This is one of the sharpest erotic thrillers ever made. This film, for once, shows that sex and intellect can be fused into the same predatory style without softening either one. Bridget Gregory (Linda Fiorentino) is the center of everything, of course, and she is so good that she almost broke the category around her. She does not play femme fatale as some old-school decorative danger but like an appetite armed with contempt. Bridget is always reading people, always measuring weakness, always two moves ahead, and the movie’s whole pleasure lies in how ruthlessly it lets her stay that way.
What makes the film more than just a deliciously evil ride is the precision of its social understanding. Men keep misreading Bridget because they want to, because desire flatters them into believing they are the one player in the room who cannot possibly be handled. That makes their downfall feel less like plot mechanics and more like character truth. The eroticism in The Last Seduction is inseparable from power’s theater. That is hard, bright, vicious filmmaking.
2
‘Bound’ (1996)
I love Bound because it is one of the sexiest films ever made about competence. Not just bodies, though it has plenty of charge there. Competence. The Wachowskis probably understood that erotic thrillers become transcendent when desire and plotting start feeding each other, and Bound does that with an almost impossible amount of confidence. Corky (Gina Gershon) and Violet (Jennifer Tilly) are hot together, obviously, but what makes the movie truly intoxicating is the way attraction sharpens into strategy. Every glance becomes a transfer of information. Every seduction becomes a practical maneuver. Every intimate moment deepens the con. That is movie pleasure at a very high level.
And the film is so beautifully engineered. The apartment geography matters. The money matters. The mob pressure matters. Caesar (Joe Pantoliano) is all sweat and unraveling masculine panic, which gives the film this deliciously claustrophobic counterpoint to the cool, lucid charge between Corky and Violet. One is grounded, tensile, built for action-space. The other is breathy, performative, slippery, and much smarter than the performance first suggests. Bound is one of the purest examples of how sex, suspense, and formal precision can make each other smarter.
1
‘Exotica’ (1994)
Atom Egoyan’s Exotica is not great for an erotic film. It is just great. Full stop. The club itself is one of the most beautiful and sorrowful locations in modern cinema, all ritualized desire, repeated music, controlled fantasy, and private damage humming under every performance. People go there to look, yes, but also to mourn, to displace, to rehearse, to punish themselves, to sit inside longing without naming what the longing is really for. That is such a devastating thing for a movie to understand.
And the film’s whole structure deepens that insight. Christina (Mia Kirshner) is not just an object of desire. Francis (Bruce Greenwood) is not just a lonely man with an obsession. Eric (Elias Koteas) is not just a jealous DJ. Thomas (Don McKellar) is not just a pet-shop owner with his own clandestine life. Everybody in Exotica is trying to manage pain through ritual, and the erotic atmosphere makes that pain visible rather than hiding it. The film keeps rearranging who knows what, who wants what, and why desire in this world is so knotted up with memory and guilt. It makes erotic performance feel unbearably sad without draining it of its charge. That is true magic. That is why it belongs at number one.
The anime community as a whole cannot decide on the best anime, which is only natural since everyone has different tastes and preferences. However, one of the most popular anime series ever is One Piece, which still hasn’t hit its peak at over a thousand episodes. The anime still has a bunch of time left with plenty of storytelling potential, but its expansive world, engaging characters, intriguing themes, creativity, and entertainment value have established it as an anime juggernaut.
One Piece may be a lot of fans’ favorite anime, but it isn’t the best, and while others think there are many better series than it, there may only be 8 anime shows better than One Piece. This list will highlight anime series that most fans can agree are better than the biggest thing on TV based on writing, animation, originality, lack of flaws, popularity, fan opinion, critical acclaim, and overall quality.
Let’s get the obvious entry out of the way, because many consider Fullmetal Alchemist: Brotherhood the best anime of all time, and therefore, it is most likely better than One Piece. After Ed and Al lose parts or all of their bodies in a taboo experiment, they go on a quest to restore these lost parts with the philosopher’s stone. However, when they uncover a government conspiracy, they must now stop it before it consumes the entire world.
Fullmetal Alchemist: Brotherhood is hailed as the best anime ever because of its wide appeal, from the engaging characters, riveting story, mystery, lore, worldbuilding, comedy, drama, romance, and action. Fullmetal Alchemist: Brotherhood didn’t need thousands of episodes to create a magnificent world that is ripe with well-written characters and profound themes. Only a series such as this can compete with One Piece, and in this case, excel above it.
7
‘Steins;Gate’ (2011)
This list tries to feature anime that are similar to One Piece so that they can easily be compared, but certain series are so good that they had to be featured here, including Steins;Gate. When a self-proclaimed mad scientist accidentally creates a machine that can send texts into the past, he and his friends must now correct the timeline before it collapses on itself, while also battling a secret organization.
Steins;Gate and One Piece don’t have much in common, with each having its own strengths. However, the former is tightly written with no plot holes, and that is rare when dealing with time travel. Steins;Gate is a psychological masterpiece and a profound thriller that delves into the philosophical side of time travel. Its narrative structure is phenomenal, and the direction is incredible, creating an all-time great that is better than most shows, proving to be a genre-defining anime series.
6
‘Gintama’ (2006–2021)
There are a decent number of long-running shōnen anime on this list, and one of the most underrated is Gintama. Set in an alternate universe in feudal Japan where aliens have taken over the world, Gintoki is a former samurai who now works odd jobs to keep the lights on. Alongside Kagura and Shinpachi, the trio take on whatever job comes their way, whether it involves aliens, terrorists, police, or space pirates.
Gintama takes a very different approach to other anime, focusing mostly on episodic comedy episodes. However, the handful of times it had a serious arc, Gintama wowed with its marvellous storytelling, fantastic fights, and renowned cast of characters. Gintama excels at keeping its characters relevant, with plenty of side adventures and serious plot lines, handling those aspects much better than One Piece.
5
‘Mob Psycho 100’ (2016–2022)
ONE is an iconic author who has made a couple of the best manga and anime series in the world, including Mob Psycho 100. Shigeo is the world’s strongest psychic, but he only wants an average life and to impress his crush. Unfortunately, because he suppresses his emotions, they come out through an explosion of uncontrollable psychic powers, which makes life difficult for him, his friends, and his enemies.
Mob Psycho 100 is one of the best anime of all time, and it does this by creating a gorgeous character study where each episode is a different descent into the ego and self-improvement. From some of the best characters in anime to top-tier humor, incredible rewatchability, remarkable animation, and riveting fight scenes, Mob Psycho 100 is better than almost every single anime out there, not just One Piece.
4
‘Cowboy Bebop’ (1998–1999)
As mentioned, not every anime on this list is like One Piece, and Cowboy Bebop is another distinct masterpiece that has cemented itself in history. Spike Spiegel and his crew of bounty hunters make a living by cleaning up the scum of the galaxy, taking jobs every day that lead them into danger. However, when his dark past catches up with him, Spike must face it or risk losing everything.
Cowboy Bebop uses its unique blend of noir, jazz, and lived-in sci-fi to create a philosophical space adventure. Each episode is a masterpiece in this series, creating a distinct aesthetic and narrative architecture that is much better than what One Piece has built. It is hard to compare the two, but Cowboy Bebop has a lasting legacy and made Westerners realize that anime has rich storytelling potential.
3
‘Hunter x Hunter’ (2011–2014)
One Piece is a legendary series, and therefore, there are a lot of series that will feel similar to it. One of the most similar anime series to One Piece is Hunter x Hunter, which follows Gon, an optimistic child who wants to find his father. To do so, he follows his father’s path, going on an adventure to become a hunter. Little does he know that this journey will put him through hell and back.
Like Eiichiro Oda, Yoshihiro Togashi is a legendary manga author, and these two series go hand in hand as some of the best series ever. Hunter x Hunter is also a master of worldbuilding, and while it may not reach the heights of One Piece, it has plenty of other aspects that rise above it, including pacing, character development, tight storytelling, and memorable moments. Hunter x Hunter has a grand sense of adventure that explores the world and the characters inside of it.
2
‘Monster’ (2004–2005)
Naoki Urasawa is a prolific author with some of the best manga mysteries of all time, and his magnum opus is Monster. Tenma is a surgeon who chooses to save the life of a child instead of the mayor. However, when that same child becomes a serial killer, Tenma takes matters into his own hands. But will he be able to kill Johan when he learns of his dark past?
No anime creates as big a mystery and rising tension as Monster, which uses its slow-burning, suspenseful story to ignite an inferno of a writing masterclass. This philosophical battle between humanism and nihilism creates an unwavering triumph of narrative prowess that no shōnen anime can compare to. Monster is better at most things than most anime, and One Piece is no different.
1
‘JoJo’s Bizarre Adventure’ (2012–Present)
For some fans, there are a lot of anime better than One Piece, and for others, there are none, but either way, viewers can acknowledge a series such as JoJo’s Bizarre Adventure for its creativity. Each part follows a new character in the Joestar lineage, fighting a variety of villains with varying goals, from becoming a vampire to taking over the world.
JoJo’s Bizarre Adventure’s best attribute is its variety, using new protagonists, side casts, and villains to create a new spice every season. Whether it focuses on a globe-trotting adventure with engaging fight scenes or finding a serial killer in a small town, each journey is magnificent. JoJo’s Bizarre Adventure is a tense and wildly imaginative series that mixes storytelling with absolute surrealism, making the new season one of the best anime of 2026.
It’s safe to say 2025 was one of the most successful years of Brad Pitt’s career. He starred in F1, which went on to become the highest-grossing movie of his career with over $600 million at the global box office. Following a successful run in theaters, F1 has gone on to become the most-watched movie on Apple TV by a mile, even outlasting newer arrivals like Eternity (starring Elizabeth Olsen). Pitt is also back in the spotlight in 2026 with the release of his new action-adventure movie, Heart of the Beast, which comes from director David Ayer. The film was recently set for release in theaters on September 25, and if it’s any indication about how good the cast and crew feel about it, David Ayer chose to work on Heart of the Beast over reuniting with Jason Statham for The Beekeeper 2.
Before F1 arrived in theaters last year, Brad Pitt’s highest-grossing movie of his career was World War Z, which scored over $540 million at the global box office. Not only was World War Z the highest-grossing movie of Pitt’s career, it’s still the highest-grossing zombie movie ever made. World War Z was recently added to Paramount Plus around the world, and the film wasted no time jumping to the top of streaming charts as one of the most-watched movies in the world. The film holds average scores of 67% from critics and 72% from audiences on Rotten Tomatoes, but that didn’t stop fans around the world from going to see it in theaters upon its premiere in 2013. What makes the success of World War Z that much more impressive is that Brad Pitt is the only major star in the film — James Badge Dale, Mireille Enos, and Daniella Kertesz feature alongside him in the post-apocalyptic thriller.
What Is ‘World War Z’ About?
World War Z follows a former United Nations employee, Gerry Lane (played by Brad Pitt), who travels the world in a race against time to stop a zombie pandemic that threatens to destroy the entire world. World War Z is based on the novel of the same name by Max Brooks, and a talented team of scribes consisting of J. Michael Straczynski, Damon Lindelof, Drew Goddard, and Matthew Michael Carnahan wrote the script with Mark Forster directing. Forster recently worked with Tom Hanks on the 2022 film, A Man Called Otto.
Check out World War Z on Paramount Plus and stay tuned to Collider for more streaming updates and coverage of Pitt’s future projects.
- Release Date
-
June 21, 2013
- Runtime
-
116 minutes
- Director
-
Marc Forster
- Writers
-
Damon Lindelof, Drew Goddard, Matthew Michael Carnahan, J. Michael Straczynski, Max Brooks
- Producers
-
Brad Pitt, Dede Gardner, Ian Bryce, Jeremy Kleiner
Bear Brown has shared details of his brother Matt Brown’s past struggles amid the Alaskan Bush People alum’s disappearance.
Posting via TikTok on Thursday, May 28, Bear, 38, claimed that Matt, 43, had been grappling with some tough situations in his personal life.
“He has been struggling for a long time, you know, with alcohol and with drugs and stuff,” Bear claimed. “He has other issues and stuff, too. He has done a lot of stuff that people like, don’t even know about.”
In the video, Bear recalled the last interaction he had with his sibling, explaining that he ran into Matt at a Walmart and they spoke for a few minutes.
“That was the last time I saw him, you know, and he called me after that, and he said that he had fallen off the wagon, and I was like, ‘Well, get back on it, man, you know, everybody falls off, you know, just get back on it, rehab if you’ve got to, you’ve got this, you fought it a lot before,’, and that was the last call I had with him, and that was a little bit ago.”
Bear added that Matt had also been dealing with a relationship breakdown at the time.
“He was going through like a really bad breakup, apparently,” Bear said. “There was this girl that he really liked, and I guess they, like, broke up, and I guess he’d been drinking too much and stuff, and I don’t know all the details to it.”
There are grave fears for Matt’s wellbeing after witnesses claimed that they had seen Matt floating in a river. Bear addressed these claims in the TikTok video, clarifying that he couldn’t confirm the speculation was “100%” accurate but it was “likely.”
TMZ reported that the Okanogan County Sheriff’s Office received an anonymous call on Wednesday, regarding a man sitting in the shallow waters of the Okanogan River in Washington. The caller claimed to see the man lying face down in the river and being swept away by the current. Emergency responders searched the area but have yet to find a body.
Bear Brown slammed people leaving disrespectful comments about brother Matt Bear amid the family’s concerns for his well-being. “First off, I’m not just making a video on rumors. It’s a very, very, very, very small chance it’s not him. It’s like 99 percent him,” Bear, 38, said of the family’s fear for Matt, 43, in […]
A source close to the Brown family told Us Weekly, “The family is not sure what to believe right now. They are not sure where Matt is but they are hoping that he is OK and that the information is wrong. They are all in contact and speaking to police and waiting to hear. They have had their issues [with Matt] and Gabe has been the person most in contact with him.”
Bear and Matt both appeared on the Discovery show Alaskan Bush People. The series aired from 2014 to 2022. Matt quietly exited the reality show in 2019.
If you or someone you know is in emotional distress or considering suicide, call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255).
After Gone Girl arrived like a whirling dervish and messed up viewers all over the place, studios were desperate for the next big “there’s a woman in trouble and she may be an unreliable narrator” thriller. This particular film arrived right in the middle of that wave, and while it never became quite as memorable as some of the more successful movies of that time, it’s the perfect kind of movie you’d stick on late at night on a Saturday with a glass of wine and end up hooked. And nobody would argue with that for a review.
The Girl on the Train is pulling into the Netflix station on June 1. The film is based on Paula Hawkins’ bestselling novel, and follows Rachel Watson, a recently divorced woman who becomes obsessively fixated on a seemingly perfect couple she sees during her daily train ride. But when the woman she has been watching goes missing, Rachel becomes far too entangled in the investigation, even though her own memory is all over the place, and her connection to the case is far messier than anyone could possibly imagine.
The Girl on the Train stars Emily Blunt (A Quiet Place) as Rachel Watson; Rebecca Ferguson (Dune) as Anna Watson, Rachel’s ex-husband’s new wife; Haley Bennett (The Magnificent Seven) as Megan Hipwell, the missing woman; Justin Theroux (Mulholland Drive) as Tom Watson, Rachel’s ex-husband; Luke Evans (Beauty and the Beast) as Scott Hipwell, Megan’s husband; Allison Janney (I, Tonya) as Detective Riley, the investigator on the case; Édgar Ramírez (Carlos) as Dr. Kamal Abdic, Megan’s therapist; and Lisa Kudrow (Friends) as Martha, a woman from Rachel and Tom’s past.
Was ‘The Girl on the Train’ Successful?
Commercially, it was a big hit, which is no surprise because the book upon which it was based was a runaway success. It grossed about $173.2 million worldwide against a reported $45 million budget, including $75.4 million domestic and $97.8 million international, so financially it did well. It also opened at No. 1 in North America with around $24.5 million, which was a great result for an adult psychological thriller in general. Critics did not dig it though. The movie has a 44% score on Rotten Tomatoes and a 48/100 on Metacritic. While critics thought Blunt was outstanding, they thought the film was too melodramatic and not as sharp as the original novel.
The Girl on the Train comes to Netflix on June 1.
- Release Date
-
October 5, 2016
- Runtime
-
112 minutes
- Writers
-
Erin Cressida Wilson
- Producers
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Celia D. Costas, Frank Marshall, Kathleen Kennedy, Marc Platt
Entertainment
Taylor Sheridan’s Addictive 3-Part Neo-Western Is the Perfect Binge for ‘Yellowstone’ Fans
Taylor Sheridan fans are on top of the world right now after the neo-Western scribe has delivered several new shows to start the year. Sheridan got the ball rolling with a new Yellowstone spin-off, Marshals, which brought back Luke Grimes to play Kayce Dutton now that he’s left ranch life behind. Around the same time that Marshals was unleashed into the world via CBS, Paramount Plus subscribers were also treated to the first season of The Madison, the heartfelt neo-Western led by Kurt Russell and Michelle Pfeiffer. The Madison has already been picked up for second and third seasons, so the show isn’t going anywhere anytime soon. Sheridan has a few other shows set to return later this year, including Tulsa King (starring Sylvester Stallone) and Mayor of Kingstown (starring Jeremy Renner), but they all fall under the shadow of his biggest hit since Yellowstone.
Taylor Sheridan’s most popular series by a mile to emerge in the last few years has been Landman, the neo-Western oil drama starring Billy Bob Thornton and Ali Larter. The show first premiered at the end of 2024 around the time that Yellowstone was ending, and it scored millions of viewers week after week, leaving Paramount with no choice but to renew it for Season 2. Landman returned for Season 2 almost exactly one year after the premiere of Season 1, earning even stronger viewership despite a much more polarizing reception from long-time Sheridan fans. Paramount has picked up Landman for a third season, which is confirmed to start shooting in August. The series is surging on Paramount Plus streaming charts before its inevitable return, making it one of the top 10 most-watched TV shows in the world right now.
Is ‘Landman’ Season 2 Coming Out This Year?
Paramount has yet to announce a release date for Landman Season 3, but now that the start of production has been pushed to August, it may be tough for the show to secure a 2026 release date with filming starting this late. Still, it would be surprising if Landman Season 3 premiered anytime before the end of this year, but there will be plenty of Sheridan shows to keep fans busy in the meantime. His latest series comes in the form of Dutton Ranch, another Yellowstone spin-off starring Cole Hauser and Kelly Reilly.
Check out the first two seasons of Landman on Paramount Plus and stay tuned to Collider for more updates and coverage of Season 3.
- Release Date
-
November 17, 2024
- Network
-
Paramount
- Franchise(s)
-
Yellowstone
Entertainment
“To Catch a Predator” star Chris Hansen cryptically reacts to Robert Pattinson playing him in new movie
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“What will they think of next?” Hansen said in response to the “Primetime” movie trailer.
“Summer House” star Carl Radke is sharing his thoughts on West Wilson‘s performance during the season 10 reunion. In a new interview, the Bravo OG said he was disappointed with Wilson’s behavior, stating he failed to take “accountability” for his actions. For those who may be unfamiliar, Wilson made headlines at the end of March 2026 when he announced his romantic relationship with his co-star, Amanda Batula, who split from her husband (and Wilson’s friend), Kyle Cooke, in January 2026.
Speaking with Us Weekly, Radke spoke about the explosive three-part reunion, which began airing this past Tuesday, May 26, and said that Wilson failed to take “accountability” for his actions.
“I think a lot of us were hoping to feel the feeling you get when someone actually apologizes and takes accountability,” he said. “Especially watching it now, I didn’t feel it, and that’s what’s hard.”
Continuing, Radke said that people were deeply hurt by Wilson’s actions, including his friend Cooke and his ex-girlfriend, Ciara Miller.
“People are really hurt. Ciara, Kyle. I mean, I’m looking at him right now. He’s my best friend, and watching that s–t, the footage of West at his family house with Kyle. Like, he not only brought Ciara home, he brought Kyle home. And then does that. It’s just diabolical,” Radke said.
Radke Said He Has ‘Little’ Grace For Wilson After He Betrayed His ‘Summer House’ Castmates
This isn’t the first time Radke has spoken about his relationship with Wilson. According to a previous report from The Blast, Radke said that Wilson had reached out to him after filming the reunion, but he hadn’t replied at the time.
“I’m not ready to respond,” Radke said. “From what I know, what’s gone on and how he’s kinda handling it and how I handle things… part of me worries he doesn’t fully understand still the impact of this.”
Radke, who joined the cast of “Summer House” in 2017, then called out Wilson for his repetitive behavior, noting that he’s been in the hot seat for hurting his co-stars before.
“We’ve been over this many times with him with Ciara and everything, many dinner tables on camera, many seasons,” Radke said. “And here we are again. So, I don’t have a lot of grace for some of it.”
Wilson Announced He Was Dating Batula After Months Of Speculation
Wilson confirmed his relationship with Batula (Miller’s former best friend) with a joint post on Instagram.
“We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity,” they shared online. “It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we need a little space to process things privately before speaking on it.”
Per the Daily Dish, Wilson detailed when he and Batula actually got together during the reunion, saying, “This wasn’t a sex scandal.” He went on to say that things turned romantic between them after they’d been hanging out for some time.
“When we were out, I, like, kind of looked at Amanda, and I was like, ‘Am I f–kin’ crazy, or is there a little something going on here?” he said.
Miller Slams Batula During ‘Summer House’ Reunion
Although Bravo has only aired one part of the “Summer House” reunion, it was packed with drama. The show immediately opened with Miller confronting Batula for betraying her. By the end of the first part, Miller told host Andy Cohen and her co-stars that she believed there was a chance Wilson and Batula would work out.
“I honestly think that the best, like, woman for West is, like, someone who’s not gonna check him on anything, and that’s totally Amanda,” Miller said. “She’s very mute. She’s gonna be that weak figure that he needs, and he can always be the star in the relationship. So, I actually think, like, maybe it could work.”
Miller Is Winning!
While Miller has said goodbye to two friends, she’s saying hello to plenty of opportunities.
In addition to joining the cast of “Dancing with the Stars” and “Love Island Aftersun,” Miller was recently spotted dancing next to country singer Shaboozey on his Instagram.
The details of their partnership haven’t been revealed, but from the looks of it, Miller will star in the singer’s newest music video, “Cowgirl,” out June 5, 2026.
Talk about turning lemons into lemonade!
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