Entertainment
10 Stellar Netflix Comedies That Are 10/10 but Nobody Remembers Today
In the age of streaming, Netflix was the pioneer in introducing original content to viewers beyond network and cable television. With greater freedom and fewer restrictions, Netflix produced some iconic series. From Stranger Things to The Crown, Ozark to Squid Game, when it comes to thrillers and dramas, the streamer has it on lock. But what about the original comedies? Why don’t they receive the same adoration?
Throughout Netflix’s history, there have been extraordinary original comedies that broke the mold. Some welcomed Hollywood legends to play and explore characters of a certain age, while others played into the absurdity that wouldn’t have resonated on network television. Yet, these 10 out of 10 shows have become victims of time, forgotten as new viral shows arrive. It’s time to celebrate the comedies that helped shape Netflix and the genre.
‘Bonding’ (2019–2021)
Sex has always been a part of television. Often used as a steamy moment to further the plot, sex sells. So, what happens when you use that premise, but explore a world of taboo? You get the brilliant dark comedy, Bonding. Created by Rightor Doyle, Bonding explores the friendship of Tiff Chester (Zoe Levin), a psychology grad student who works as a dominatrix, and Pete Devin (Brendan Scannell), her newly out gay bestie, who becomes her assistant. As Tiff and Pete navigate their personal lives by day, at night, they work in the BDSM underworld, where they go by the monikers Mistress May and Master Carter. Allowing audiences to explore the taboo world of kink as they use their exploration to find themselves, Bonding is a dark comedy with heart.
Raunchy but light-hearted, Bonding went where very few shows had gone before. Bonding lightened up the dark world of BDSM without compromising the community. Instead, it served as a place where the characters could express vulnerability, learn to communicate, and establish boundaries in all their relationships. With each episode running half the time as a typical sitcom, Bonding was a fast-paced comedy that kept audiences engaged. A short-and-sweet binge that is highly satisfactory, the series was niche without being nonjudgmental. Doyle takes care to ground the story in authenticity while also keeping it fresh and feisty. Levin and Scannell had sensational chemistry that made you see your own bestie in them. Sadly, only running for two seasons, Bonding was a blink-and-you-missed-it comedy.
‘Dead to Me’ (2019–2022)
It might be unfair to claim that Dead to Me is a forgotten series, but the truth is, the more time away, the less it remains in the conversation. Over the course of three seasons, Dead to Me centered on the intense friendship between Jen Harding (Christina Applegate), a hotheaded widow, and Judy Hale (Linda Cardellini), an eccentric optimist she meets in grief counseling. Their friendship takes a turn when the truth is revealed that Judy hid the fact that she killed Jen’s husband in a hit-and-run. With secrets galore, tying them closely together, their friendship endures a rocky road as they face more twists and turns. A tragicomedy about grief and whether certain actions can ever be forgiven, Dead to Me masterfully balanced laugh-out-loud humor with immense emotion, anchored by a thrilling plot.
Created by Liz Feldman, the series came at the right time for both audiences and the two women in the central roles. Applegate and Cardellini had sensational chemistry in their odd-couple dynamic, bringing out the best in one another as characters and actresses. With a unique spin on female friendship, Dead to Me finds that what should be a complex circumstance is actually a way to bond over trauma. The deeper the series went, the more Jen and Judy faced the ups and downs of their relationship. They both made mistakes while also being present to lift the other up. Trauma and grief are easy themes; Dead to Me tackled them with sharp wit. Dead to Me wanted audiences to decide what makes a person good or bad, but in the end, we all have both inside, thus we have to forgive others for being the same.
‘Dear White People’ (2017–2021)
After the success of the film of the same name, writer-director Justin Simien returned to the source material to create a four-season run of Dear White People. Following the lives of several Black college students at Winchester University, a fictional Ivy League institution, Dear White People explored issues of racial tensions, identity, and politics. With themes tackling microaggressions, systemic racism, and cultural appropriation head-on, Dear White People‘s sharp, satirical tone forced viewers to think and became the ultimate conversation-starter series.
An ensemble piece, the ability to generate a diverse group of individuals uniting over a similar perspective was its strongest suit. Though very thematically focused, the characters were richly crafted. From Logan Browning as Sam White, a radio host trying to get people to wake up to society, to DeRon Horton as Lionel Higgins, a highly intelligent aspiring journalist trying to find his voice, the characters you knew from the film were further fleshed out through new stories. Confidently utilizing modern pop culture and social themes to hold up a mirror to society, Dear White People was topical and timeless.
‘Grace and Frankie’ (2015–2022)
Right from the jump, having Jane Fonda and Lily Tomlin reunite was an immediate draw. Hoping that Dolly Parton would pop in to complete the 9 to 5 trio was always top of mind. But once the novelty wore off and the story became the central focus, Grace and Frankie proved itself to be an underdog contender as one of the greatest comedies of the 2010s. Created by Marta Kauffman and Howard J. Morris, the seven-season series told the story of two women in their 70s—the stiff, refined Grace Hanson (Fonda) and the eccentric artist Frankie Bergstein (Tomlin)—whose lives are upended when their husbands, Sol Bergstein (Sam Waterston) and Robert Hanson (Martin Sheen), announce they are in love and plan to marry. Forcing a friendship they never thought imaginable, Grace and Frankie was a rare comedy that showcased the realities of life after 70 while exploring how, at any age, new beginnings can arrive when you least expect them.
Wonderfully tender and strongly acted, Grace and Frankie became the ultimate comfort watch. This was not The Golden Girls with four Hollywood stars getting a chance to act in a hit again. Grace and Frankie was a fervent exploration of the reality of aging through pathos and humor. As a single-camera comedy, Grace and Frankie was able to weave in dramatic moments to capture the story’s authenticity. You could easily have turned this into a multi-cam show based solely on over-the-top scenarios, but grounding it in the resilience of the human spirit made it relatable. Of course, as long as you could get past President Jed Barlet and DA Jack McCoy as a gay couple, Grace and Frankie is perfect. As the series went on, Grace and Frankie lost its novelty, being overshadowed by new original content. What never left was Fonda and Tomlin being at the top of their game within this new demographic. Grace and Frankie was an important, groundbreaking series that invited big-name stars to tackle themes they relate to.
‘Lady Dynamite’ (2016–2017)
Sometimes, all it takes is your own show where you poke fun at yourself to find a new devoted audience. Such was the case for Maria Bamford and her sleeper hit, Lady Dynamite. Loosely based on her life, the series is a surreal, meta comedy that follows Maria as she attempts to rebuild her life and career in Los Angeles after a six-month break in recovery for bipolar II disorder. Wonderfully chaotic and uniquely Bamford, Lady Dynamite addressed Bamford’s bipolar disorder and obsessive-compulsive disorder, and rather than make it a show about self-pity, it became an honest portrayal of mental health told through humor.
Created by Pam Brady and Mitch Hurwitz for Netflix, Lady Dynamite was a meta masterpiece. The fourth-wall breaking was never a distraction; rather, it was an element that elevated the comedy and allowed Bamford to speak her truth. A journey straight into Bamford’s mind, the style in which the stories are presented offers a glimpse of how Bamford experiences life. The non-linear approach was highly experimental, which resulted in the ultimate payoff. Furthermore, she gets to speak her mind about sitcom conventions and the struggles within the industry. Whether you experienced it yourself or know someone who has, Lady Dynamite was a daring show that tackled mental health while network comedies steered clear of it. Lady Dynamite was ahead of its time; the doors the series opened for modern comedy seemed to leave the show on the other side of it.
‘Master of None’ (2015–2021)
Fresh off a successful run on Parks and Recreation, comedian Aziz Ansari rode the momentum and created a star vehicle for himself with Master of None. The dramedy follows Dev Shah (Ansari), a 30-year-old actor in New York navigating his career, romance, and cultural identity. By Season 3, the series switched perspective, giving the lead to Lena Waithe, playing Denise, one of Dev’s friends, a 37-year-old lesbian novelist, mostly following their romantic, professional, and personal experiences. The complete millennium experience, anxiety included, Master of None took relatively specific themes, like the gap between first-generation Indian-American children and their immigrant parents, and mixed them with more universal themes, including racism, sexism, and modern romance, to give a platform to minority voices.
With high-quality filmmaking and whip-smart writing, Master of None began as a deeply personal project for Ansari, resulting in humanistic storytelling. Mostly adopting a self-contained episode narrative, each episode allowed a specific theme to take center stage. Master of None was a modern comedy that avoided classic sitcom tropes. Diverse storytelling and visibility have become more prominent since Master of None, making it seem like a show of the past. If you haven’t watched the series, no time like the present to “treat yo self’” with a forgotten great.
‘One Day at a Time’ (2017–2020)
Perhaps the most criminally underrated and underappreciated comedy to ever play on Netflix was the wholesome reboot of the classic sitcom One Day at a Time. Reimagined for a Cuban-American family at the center of the story, the sitcom followed Penelope Alvarez (Justina Machado), a newly separated Army veteran and nurse, raising her radical teen daughter, Elena (Isabella Gomez), and socially adept tween son, Alex (Marcel Ruiz), with the help of her old-school, Cuban-born mother, Lydia (Rita Moreno). Bringing the multigenerational stories of a Latino family to the forefront, the show perfectly marries old-school sitcom with contemporary storytelling.
Even if the Alvarez family didn’t look like your family, their experiences together as a unit may still have resonated. One Day at a Time was exceptionally heartfelt, tackling important topics respectfully. Equally as progressive as the original Norman Lear series was at its time, the show brought classic tropes that made multi-camera series so beloved while ensuring such themes of PTSD, racism, and sexuality were handled with care. One of the most rewarding elements of the series was the comedic masterclass coming from Machado and Moreno. Despite receiving critical acclaim, One Day at a Time sadly didn’t earn the respect it deserved when it was forced to end its run on Pop rather than Netflix. Beyond poignant, One Day at a Time is an exceptional series for the entire family.
‘Unbreakable Kimmy Schmidt’ (2015–2019)
The 2010s became a time when single-camera comedies took daring risks. In the mockumentary style, you had shows like The Good Place that played with the surreal and the absurd for a delightfully hilarious premise. Enter Tina Fey and Robert Carlock with a hilariously absurd comedy, Unbreakable Kimmy Schmidt. After 15 years of captivity in an underground bunker in Indiana, where the Reverend Richard Wayne Gary Wayne (Jon Hamm) held her, and three other women, 29-year-old Kimmy Schmidt (Ellie Kemper) decides to leave her past behind and start over in New York City. Adjusting to life in the concrete jungle after life in a doomsday cult, she rooms with Titus Andromedon (Tituss Burgess), a flamboyant, self-absorbed, struggling actor; deals with eccentric, crime-prone landlady Lillian Kaushtupper (Carol Kane); and works as a nanny for wealthy, insecure socialite Jacqueline White (Jane Krakowski). Like a cartoon strip come to life, Unbreakable Kimmy Schmidt balances the dark with the light for an outrageously comical satire with gags galore.
Like 30 Rock, Unbreakable Kimmy Schmidt uses every waking moment to offer social commentary where no one is safe. With a character as the eyes and ears of a brand-new world, unafraid to speak her mind on anything and everything, the show pokes fun at the mundane. New York City plays a character, but in this version, it’s as colorful as the characters. The ensemble lifts the show to great heights. Even at their worst, each character is a delight. They have such wonderful idiosyncrasies that pop through the screen. With bits in every episode, from Pinot Noir to the origin of Jacqueline’s identity, Unbreakable Kimmy Schmidt was a laugh riot. There’s no doubt the show could have run longer than four seasons, but alas, the series went out on a tremendous high.
‘Wet Hot American Summer: First Day of Camp’ (2015)
The hype was real, and it was warranted. Upon the announcement of a serialized version of Wet Hot American Summer with many original characters reprising their roles, those who hadn’t signed up for Netflix purchased a subscription. Serving as a satirical prequel to the cult classic film, Wet Hot American Summer: First Day of Camp follows the counselors and campers of Camp Firewood on their chaotic first day of summer in 1981. With the original ensemble playing younger versions of themselves, Wet Hot American Summer: First Day of Camp was as absurd as it sounds. As it should have been. For fans of the characters, the series provided extra tidbits into the origins of the characters’ relationships and behaviors seen in the original movie. By having adult-only time, the over-the-top hilarity flows naturally.
As a serialized show, the plot centers on saving the camp from toxic waste dumped by a company. But it’s the individual subplots that shine brightest. The brilliance of this series lies in the reunion of actors whose careers blew up after the film. With the likes of Elizabeth Banks, Bradley Cooper, Janeane Garofalo, Amy Poehler, and Paul Rudd joined by new cast members including Jason Schwartzman, Chris Pine, Jon Hamm, and Kristen Wiig, Wet Hot American Summer: First Day of Camp was nonstop laughs. No matter where they are in their careers, every star is committed to the bit, in on the absurdist meta jokes. It mocked teen comedies while then poking fun at investigative journalism, political thrillers, legal dramas, and spy films within the context of an ’80s camp life. Though only a season, the follow-up show Wet Hot American Summer: Ten Years Later brought back much of the series’ cast, along with new stars Adam Scott, Melanie Lynskey, and Dax Shepard. The legacy of the franchise remains in our hearts.
‘W/ Bob & David’ (2015)
Outside of legacies like Saturday Night Live and MAD TV, finding success as a fledgling sketch comedy show can be difficult. Then Netflix took a beloved ’90s HBO sketch series and rebooted it. In 2015, Bob Odenkirk and David Cross paid homage to Mr. Show with Bob and David with four episodes of W/ Bob & David. In the spiritual successor, Odenkirk and Cross bring on the laughs in four 30-minute episodes. Combining live-on-stage studio segments with pre-recorded digital shorts, W/ Bob and David saw the stars head back to their humble beginnings while proving that, even with higher-profile fame, they still have the comic goods.
17 years after the original ended, W/ Bob and David retained the anarchic spirit while introducing more nuanced, refined scripts. The series thrives on both actors’ natural chemistry and comedic tension. Perhaps a major reason the show has been forgotten over time is that Netflix removed the third episode for a sketch featuring blackface. Though the stars objected to the decision, arguing it was satire, the growing racial tension in the country in 2020 left the streamer with no choice. Though there was a desire for more, the single season came and went with little fanfare.
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Some sci-fi movies are too strange, too sincere, or just too out-of-step with the moment they arrive in. Reminiscence was probably all three. Lisa Joy’s feature directorial debut had a very specific kind of dreamy, flooded-neon melancholy that never really clicked commercially, but it has started finding new attention on streaming. Earlier this year, coverage noted that the film was drawing fresh viewers on HBO Max, which makes sense for something this mood-driven and weirdly romantic.
The cast was never the problem. Reminiscence stars Hugh Jackman, Rebecca Ferguson, Thandiwe Newton, Daniel Wu, Cliff Curtis, Angela Sarafyan, Natalie Martinez, Brett Cullen, and Marina de Tavira. The story follows a private investigator who uses memory-exploration technology to help clients revisit their past, only to become obsessed with finding a vanished woman. It’s pure tech-noir pulp, just draped in a more mournful and romantic register than audiences maybe expected.
Is ‘Reminiscence’ Worth Watching?
Collider’s review of the movie stated that Reminiscence is an ambitious but ultimately disappointing attempt to fuse classic noir with futuristic sci-fi, undone by shallow thematic execution. Lisa Joy’s heavy-handed narration and underdeveloped class commentary talk down to the audience rather than trusting the visuals or story to do the work. Despite its intriguing premise and atmospheric setting, Reminiscence ends up feeling like stylish texture without substance, culminating in a forgettable and emotionally hollow conclusion.
“What’s more frustrating is that the class commentary is merely window dressing. It kind of positions Mae’s story as a consequence of class conflict, but it doesn’t have much to do with Nick. It’s simply the world he inhabits, and while he doesn’t need to be a class warrior or anything like that, his perceptions of the world exist separate from his personal journey to find Mae. He doesn’t see the world one way and have that perception changed through his relationship with Mae, so it’s just Joy embracing her own cleverness by showing a sci-fi world that emphasizes class conflict. However, she doesn’t do the work to connect that world to her protagonist’s story, so it all feels hollow. Reminiscence is texture without purpose.”
Reminiscence is streaming now.
- Release Date
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August 20, 2021
- Runtime
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116 minutes
- Director
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Lisa Joy
Gayle King is throwing her support behind Savannah Guthrie and her Today show comeback as the investigation surrounding her mother Nancy’s disappearance continues.
Speaking to Us Weekly at the Breakthrough Prize event in Los Angeles on Saturday, April 18, King, 71, said she was happy to see Savannah back on air despite the difficult circumstances she’s facing.
“Listen, we’re just glad Savannah’s back, but of course, our hearts are still aching and still breaking,” King told Us. She added, “There are no words to describe what she’s going through.”
The CBS Mornings presenter also urged anyone with information about what happened to Nancy to come forward.
Gayle King struggled to hold back tears as she addressed the news surrounding Today host Savannah Guthrie, whose mother, Nancy Guthrie, has gone missing. “We’re starting things a little differently this morning because like you, we’re all waking up this morning with very heavy hearts [and] praying for our friend and our colleague, Savannah Guthrie,” […]
“I’m still hoping that somebody will do the right thing,” King continued. “Somebody, somebody out there knows something, and it’s shocking to me after seeing Savannah open up her heart, after looking at the video that we all saw, and after the million dollars reward that there has not been some resolution in this case.”
She added, “So I am just here wishing her well and cheering. I’m glad that she’s back.”
Savannah, 54, returned to Today on April 6 after two months away dealing with the disappearance of her mother Nancy, who was reported missing in Arizona on February 1.
“Good morning, welcome to Today on this Monday morning. We are so glad you started your week with us, and it is good to be home,” she told viewers during her first episode back.
Savannah and Nancy Guthrie. Photo by: Nathan Congleton/NBC)
Savannah took a step back from the show at the time, traveling from New York to Arizona amid the police investigation into her mother’s disappearance. During Savannah’s absence from Today, Hoda Kotb filled in for her.
Savannah and her siblings Annie Guthrie and Camron Guthrie have pleaded for the public’s help in finding their mother since she disappeared, offering a $1 million reward for information leading to her recovery.
Savannah Guthrie will share more insight into the disappearance of her mother, Nancy Guthrie, in a new interview more than 50 days after the 84-year-old went missing. During the Wednesday, March 25, episode of the Today show, host Craig Melvin introduced a clip from Savannah’s upcoming sit-down with Hoda Kotb, marking her first interview about […]
In one video released by Savannah, Annie and Camron via social media, they begged for Nancy’s safe return.
“We received your message and we understand,” Savannah said in a video shared on February 7, while flanked by and holding the hands of her siblings. “We beg you now to return our mother to us so that we can celebrate with her. This is the only way we will have peace. This is very valuable to us and we will pay.”
On February 10, the FBI released photos and video footage of a masked individual at Nancy’s home. However, no suspects have been officially identified since her disappearance.
Entertainment
Rebecca Ferguson’s Forgotten 115-Minute Sci-Fi Sequel Is Quietly Climbing Global Streaming Charts
Men in Black: International is one of those franchise reboots people more or less decided on immediately, which meant it never got much room to become anything else. But streaming is often kinder to movies that arrive with baggage, and that seems to be happening here. Earlier this year, the film started drawing renewed attention on Starz in the U.S., while overseas streaming charts have also shown it popping up in places like France. That doesn’t make it a full-scale global juggernaut, but it does mean the movie is finding a broader second life than its original reputation might suggest.
Men in Black: International stars Chris Hemsworth as Agent H, Tessa Thompson as Agent M, Liam Neeson as High T, Emma Thompson as Agent O, Rebecca Ferguson as Riza Stavros, Kumail Nanjiani as Pawny, and Rafe Spall as Agent C. On paper, that’s a really appealing sci-fi comedy ensemble, especially with Hemsworth and Thompson reuniting after the Thor movies.
Is ‘Men in Black: International’ Worth Watching?
Collider’s review stated that Men in Black: International really came down to the sheer appeal of its two stars. The dynamic helps carry the movie through action scenes and story beats that might otherwise feel pretty flat. The review also pointed out that touches like the broader world-building, some fun support from Pawny, and the natural pull of the central duo gave the film a sense of missed opportunity. It may not fully come together, but there’s still enough there to make it an entertaining watch.
“As Agent H, Hemsworth is basically ramping up the most dick-ish of Thor Odinson’s personality quirks, but weaponizing well-timed smirks or winks—or, let’s be honest, an unbuttoned button—to make us still like him. Thompson has the harder role; Agent M is extremely competent and a bit of a fangirl for the Men in Black at the same time. Thompson combines those two qualities into pure, crackling energy. That’s the funny part, really. Thanks to the combination of Hemsworth + Thompson + the world-building, I’d watch the hell out of a sequel to this movie despite feeling cold about it overall.”
Men in Black: International is currently streaming.
- Release Date
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June 12, 2019
- Runtime
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115 minutes
- Director
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F. Gary Gray
Aaron Eckhart fans are currently gearing up for a turbulent flight, as The Dark Knight star’s next project opens in theaters on May 1. An action-packed survival thriller from Deep Blue Sea director Renny Harlin, Deep Water follows a flight from Los Angeles to Shanghai that, while coasting over the middle of the Pacific, enters a terrifying storm that sends everyone on board into the cold ocean below. Just when things couldn’t get worse, along come the sharks. Alongside Eckhart, the movie also stars the likes of Ben Kingsley (Iron Man 3), Angus Sampson (Insidious), Lucy Barrett (Charmed), Kelly Gale (Plane), Richard Crouchley (Evil Dead Rise), and more.
In anticipation of Eckhart’s latest release, fans have been flocking to one of his lesser-spotted recent projects. Thieves Highway, a 2025 neo-Western that made very little impact upon arrival, is perhaps one of the more underrated entries in Eckhart’s impressive catalog, thanks simply to it falling so far under most radars. Directed by Jesse V. Jackson, who also worked with Eckhart on the 2024 conspiracy thriller Chief of Station, Thieves Highway also featured performances from the likes of Devon Sawa, Brooke Langton, and Lochlyn Munroe.
At the time of writing, and seemingly against the odds, Thieves Highway has risen to the very top of the Hulu movie streaming charts in the U.S., outperforming the likes of Gaten Matarazzo‘s new comedy Pizza Movie, the original The Devil Wears Prada, and Mike & Nick & Nick & Alice. A synopsis for Thieves Highway reads:
“Lawman Frank Bennett uncovers a massive smuggling operation after a deadly confrontation. Cut off from cell service and without his truck, he’s forced to take on a dangerous gang led by a deranged ex-military commander.”
What Did Critics Say About ‘Thieves Highway’?
So under-seen that it doesn’t even have a rating on review aggregator Rotten Tomatoes, those who did catch Thieves Highway in 2025 responded with mixed reviews. Whilst some praised the movie’s gripping lead performance, saying, “Eckhart anchors the film with a world-weary, classic sense of morality,” others were not so impressed with the project as a whole, saying, “Johnson and Mills do some fun maneuvering with their characters and Eckhart is a sturdy enough lead. But the storytelling takes too many shortcuts and the overall lack of suspense keeps us one step ahead.”
Thieves Highway is streaming on Hulu. Stay tuned to Collider for more updates, and check out Eckhart’s next movie, Deep Water, in theaters on May 1.
- Release Date
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May 1, 2026
- Runtime
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106 minutes
- Director
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Renny Harlin
The Golden State Warriors’ future is looking murky after the team’s loss in the NBA play-in tournament, and head coach Steve Kerr seems to know it.
“I don’t know what’s gonna happen next,” said Kerr to players Stephen Curry and Draymond Green in a huddle on the sideline. “But I love you guys to death. Thank you.”
The heartfelt moment — picked up by a TV microphone — came in the waning seconds of a 111-96 loss to the Phoenix Suns on Friday, April 17, ending the Warriors’ season.
The final buzzer marked the end of Kerr’s contract with the Warriors, and the 60-year-old said after the game that he’s going to take a few weeks to mull over his future.
Stephen Curry added another major milestone to his Hall of Fame career on Thursday, March 12, when he connected on his 4,000th career three-pointer in his Golden State Warriors’ 130-104 win over the Sacramento Kings. Curry, who turns 37 on Friday, is the first player in NBA history to reach the milestone. “It’s a clear […]
“I don’t know what’s going to happen,” Kerr said to reporters. “I still love coaching, but I get it. These jobs all have an expiration date. There is a run that happens, and when the run ends, sometimes it’s time for new blood and new ideas.”
He continued, “I don’t want to walk away from Steph. I’m definitely not going and coaching somewhere else next year in the NBA. I would never walk away from Steph. But all this stuff has to be aligned and right. Those are all discussions that will be had.”
Head coach Steve Kerr, Stephen Curry and Draymond Green hug during the final moments of an NBA play-in tournament game Christian Petersen/Getty Images
Curry, 38, joined the Warriors in 2009. Green, 36, was drafted by the team in 2012. Kerr took over as head coach in 2014, and together the three helped build one of the most dominant dynasties in NBA history.
In the 12 seasons since Kerr joined Curry and Green in Golden State, the Warriors have won four NBA titles (2015, 2017, 2018, 2022). They’ve reached the playoffs eight times and played in six NBA Finals.
“If [my time is done], then I will be nothing but grateful for the most amazing opportunity any person could have to coach this franchise in front of our fans and to coach Steph Curry, [Draymond Green], the whole group,” Kerr said. “It may still go on. It may not. I don’t know at this point. But we all need to step away a little bit and then reconvene.”
Both Curry and Green have expressed interest in continuing to play for the Warriors. While Curry still has one more season on his contract, Green has the option to opt out of his contract with his player option for next season.
Despite the option, Green reiterated after Friday’s game that he wants to remain in Golden State.
“Hopefully I’ve done enough to still be here,” Green said.
Summer House star Kyle Cooke has seen his estranged wife, Amanda Batula, kissing West Wilson — which might have been a bridge too far.
“Was not prepared to see that,” Cooke, 43, wrote via Threads on Saturday, April 18, responding to the Summer House chain. “And that. And that 🤢.”
Cooke’s costar Mia Calabrese replied, “Kyle, I left you for 1 hour….”
The Bravo show’s thread had been abuzz since Batula, 34, and Wilson, 31, were spotted at the New York Yankees vs. Kansas City Royals baseball game on Friday, April 17. The duo even packed on the PDA when the stadium’s Kiss Cam panned to their seats.
Batula and Cooke were married for four years, announcing in January that they had separated. She confirmed her romance with Wilson just three months later.
“We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity. It was never our intention to purposely hide anything,” West and Batula wrote in a joint statement last month. “Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we needed a little space to process things privately before speaking on it.”
They continued at the time, “We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected. Our connection grew out of a genuine, longstanding friendship, which made it especially important for us to approach this with care.”
Cooke and his Summer House costars were shocked by the reveal, including Ciara Miller. The former nurse, 30, dated Wilson in 2023 and was close friends with Batula. She told Glamour in a Friday profile published before the MLB game that she found out about their decision to go public t less than one hour before the statement was shared online.
Kyle Cooke reveals he’s spoken to Ciara Miller about estranged wife Amanda Batula and West Wilson’s relationship drama — and she had “evidence” from the start. “I think she had more evidence at her disposal than I did,” Cooke, 43, told Adam Glyn in a TikTok video uploaded on Wednesday, April 1. “She was trying […]
“It’s one thing to experience hurt behind closed doors,” Miller told Glamour. “To experience it so publicly is like another layer, and then to have to see what you thought was your life still play out in season 10. It’s a major mindf***.”
As for Cooke, he was recently seen kissing The Real Housewives of Orange County alum Meghan King on Thursday, April 16.
“Kyle didn’t know Meghan prior to being at the same event last night. She had pursued him the second she saw him,” a source exclusively told Us. “It’s nothing serious, but they did hang out all night even after the event was over, and made out several times in public.”
Nicole Kidman is reflecting on the moment she was told her mother Janelle Kidman had died right before she was about to go on stage to accept an award.
Speaking to Variety on Saturday, April 18, Nicole, 58, detailed how she found out about the loss at the Venice International Film Festival as she was preparing to accept a best actress award for her role in Babygirl.
“I was about to go out on stage, and I found out that my mother had passed,” Nicole told the outlet. “I went right back to my room in Venice, was getting into bed, and I was completely devastated.”
Nicole added that as she digested the sad news at the time, she thought to herself, “‘I’m not sure how I’m going to move forward or function now.’ She was so much a part of my existence.”
Nicole Kidman spoke about missing her late mother Janelle, who died last month at age 84. “It’s been hard,” Nicole, 57, told The Hollywood Reporter on Wednesday, October 23 at the Lioness season 2 premiere in Los Angeles. “It’s a hard road. I’m hanging in there.” The actress admitted it was bittersweet to be celebrating […]
In September 2024, the Big Little Lies actress left Venice early to make her way home to Australia after learning of Janelle’s death.
Speaking to Variety on Saturday, Nicole also described her “harrowing” attempt to leave Venice in the middle of the night trying to return to her home country.
“I remember getting into a boat in the canal, literally at night, trying to find my way to the airport, and then turning around going, ‘I can’t even do this,’” she said. “Then I went back to bed. And I was alone. My husband wasn’t there, my children weren’t there. I was there to win an award, which should’ve been a beautiful thing. That there is the contrast of life.” (Nicole was married to Keith Urban at the time, with whom she shares daughters Sunday Rose, 17, and Faith Margaret, 14. Nicole and Urban finalized their divorce in January.)
Janelle and Nicole Kidman. (Photo by James D. Morgan/Getty Images)
At the time, Babygirl director Halina Reijn confirmed Janelle’s death as she read a statement on behalf of Nicole during a Venice International Film Festival panel.
“Today I arrived in Venice to find out shortly after, that my beautiful, brave mother Janelle Ann Kidman has just passed,” Reijn, 50, read on Nicole’s behalf. “I am in shock and I have to go to my family, but this award is for her, she shaped me, she guided me and she made me.”
Nicole Kidman paid tribute to her late parents in honor of her mother’s birthday. “Missing Mumma and Papa so much on what would have been her birthday today ❤️,” the actress, 57, wrote via Instagram on Wednesday, March 12, alongside a throwback pic of her mom, Janelle Ann, and dad, Antony. The photograph showed Kidman’s […]
The statement continued, “I am beyond grateful that I get to say her name to all of you through Halina, the collision of life and art is heart-breaking, and my heart is broken.”
Less than a week after their mother’s death Nicole and her sister Antonia, 55, took to Instagram to share a joint post thanking friends and fans for their condolences and well wishes.
“My sister and I along with our family want to thank you for the outpouring of love and kindness we have felt this week,” Nicole and Antonia wrote. “Every message we have received from those who loved and admired our Mother has meant more to us than we will ever be able to express. Thank you from our whole family for respecting our privacy as we take care of each other ❤️”
Entertainment
Prime Video’s Near-Perfect Action Hit Is Exactly What John Wick’s ‘Ballerina’ Should Have Been
Having clearly appealed to fans across demographics, a new Prime Video movie is proving to be a major hit for the streamer amid much bigger titles. It was released in the wake of star-driven tentpoles such as The Wrecking Crew, led by Jason Momoa and Dave Bautista, and Mercy, the sci-fi mystery starring Chris Pratt and Rebecca Ferguson. Both films dominated the Prime Video streaming charts for several weeks before the all-female action movie came out of nowhere to take the number one spot. It remains one of the top 10 movies on the global Prime Video leaderboard, and recently passed a major milestone.
The movie, directed by Vicky Jewson, features a quintet of young women as ballerinas who must defend themselves against a sinister adversary played by Uma Thurman. The five protagonists are played by Lana Condor, the star of Netflix’s To All the Boys trilogy; Iris Apatow, who played a supporting role in the Netflix series Love; Millicent Simmonds, who starred in A Quiet Place and its sequel; Maddie Ziegler, who rose to fame after appearing in a couple of Sia music videos; and Avantika, who played a supporting role in the Mean Girls remake.
Here’s the Action Movie That’s Ruling Prime Video’s Streaming Charts
The movie in question is Pretty Lethal. It premiered on Prime Video on March 25 and, according to FlixPatrol, has spent more than 20 days on the streamer’s top 10 charts. Pretty Lethal received mixed reviews and is now sitting at a 56% score on Rotten Tomatoes. The aggregator website’s consensus reads, “Starting off with a fun hook and diluting it with a plethora of clichés, Pretty Lethal doesn’t reach its full operatic potential but doles out enough balletic action to remain reasonably en pointe.” In his review, Collider’s Ross Bonaime praised the film’s action sequences and noted its similarity to other movies produced by the original John Wick‘s co-director David Leitch. He wrote, “In one particularly inspired choice, these ballerinas decide to stick a razor blade between their toes and utilize their dance moves to fight off their attackers. Many of these fights are blunt and full of big, wild moments that mostly carry the film, despite its fairly weak narrative.” Stay tuned to Collider for more updates.
- Release Date
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March 25, 2026
- Runtime
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88 minutes
- Director
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Vicky Jewson
- Writers
-
Kate Freund
- Producers
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Kelly McCormick, Mike Karz, Piers Tempest, Bill Bindley
There was a real variety of music that came out in the 1980s, which makes it difficult to even assess what the best of that decade even was, but there’s no harm in trying. Actually, there’s a little harm in trying. People might be a bit unhappy, but there’s some personal bias here. If you want to have a semi-biased and semi-objective stab at throwing out the names of 10 albums from the 1980s that are the best, go for it.
A few of the albums below are among the most popular of all time, and deservedly so, while others are a little more underrated, or perhaps classifiable as cult classics (if that term applies to the world of music). Also, yes, like, three of these albums had songs that were prominently used in Stranger Things. Stranger Things is not the reason those albums are here. But it’s being acknowledged right out of the gate, and no more, once the intro’s over. Which it is… right about… now.
10
’16 Lovers Lane’ (1988)
The Go-Betweens
Things for The Go-Betweens were not so good, in 1988, with tensions that often seem to come about from just being in a band for more than a few years, and also some romance-related drama, particularly because members of the band were – or had been – romantically linked. It wasn’t quite as infamously messy as Fleetwood Mac around the time of Rumours, but like that album, heavy feelings may have been put into music… specifically, the music heard throughout 16 Lovers Lane.
It was the final Go-Betweens album done as a full band, and is easily the best of the bunch. 16 Lovers Lane is incredible throughout, as far as the lyrics are concerned, and then musically, everything is catchy and immediate without being overly simplistic. It feels ahead of its time, as far as alternative (or almost even indie) rock goes, and maybe that’s why it wasn’t hugely successful upon release, and needed some time before people really started to recognize how borderline-perfect it was.
9
‘Master of Puppets’ (1986)
Metallica
Resist them if you want, because Metallica are kind of to metal what U2 are to rock… well, maybe. Both bands were at their peak in the 1980s, and both became so popular that being a detractor of either is now kind of cool, especially because members of both bands are sometimes outspoken and a bit much. But… the music. It comes back to the music. And also, sorry to U2. The Joshua Tree was right on the cusp of being here, like at #11 or #12. That’s the only reason there’s been a big old U2 tangent.
You mightn’t even usually like this kind of metal or hard rock that much, but still find plenty to appreciate here.
As for Master of Puppets, it’s the best Metallica album, and there’s even an argument to be made that it’s the best metal album of all time. It certainly feels as though it could be the most approachable, because you mightn’t even usually like this kind of metal or hard rock that much, but still find plenty to appreciate here. It rocks. It’s an album that rocks. What more do you want?
8
‘Soul Mining’ (1983)
The The
There is an almost uncomfortable amount of introspection, self-doubt, and anxiety throughout Soul Mining, which was the debut album of a band somewhat frustratingly called The The. The The is sort of just Matt Johnson, though, and Soul Mining remains the greatest collection of songs he put out. But the struggles explored do have to be emphasized, since even the album’s sunniest song, “This Is the Day,” is one of those songs that’s got an energetic and possibly hopeful sound, but the lyrics get more cynical – maybe even more sarcastic – the more you think about them.
“Uncertain Smile” is also a highlight, as the centerpiece of the album (quite literally, being the fourth of seven tracks), with the piano outro being especially memorable. Elsewhere, Johnson pulls from the Bruce Springsteen circa-Born to Run playbook of having a perfect opening track and then an ideal – and epic-length – closing track, to really make a strong first and final impression (with Soul Mining, it kicks off with “I’ve Been Waitin’ for Tomorrow (All of My Life),” and ends with the appropriately named “Giant,” which runs for almost 10 minutes).
7
‘The Queen Is Dead’ (1986)
The Smiths
There were only four proper studio albums released by The Smiths during their rather short time together as a band, and of those, the third, The Queen Is Dead, is the greatest. It’s boring to say that, but the consistency here is undeniable, as is the fact that it contains so many of the band’s greatest songs (including the title track, “I Know It’s Over,” “Bigmouth Strikes Again,” and “There Is a Light That Never Goes Out”).
You also know The Queen Is Dead is good because it endures, even though Morrissey (the vocalist and lyricist of The Smiths) seems increasingly keen to be as polarizing as possible in his post-Smiths endeavors. It helps that there’s more than just Morrissey to appreciate on an album by The Smiths, and his lyrics and voice (as they were, back in the 1980s) were undeniably compelling and unique.
6
‘Hats’ (1989)
The Blue Nile
One more potentially niche album to put here alongside 16 Lovers Lane and Soul Mining, but Hats really is something special, and the way it also sounds so distinctly 1980s makes it easy to put here. It’s synth-heavy, but also a good deal more mellow than much of the full-on synth-pop that was popular throughout the 1980s, using that sort of instrumentation in a low-key and atmospheric fashion.
The Blue Nile did this, to some extent, on several other albums, but never quite as memorably as was done on Hats. Without visuals, you do feel like you’ve sat through some kind of movie through the music alone, and an album being able to create that sensation is remarkably impressive. It’s an undeniably beautiful album, and further, one that’s beautiful in a singular way, so it’s certainly worth celebrating.
5
‘Thriller’ (1982)
Michael Jackson
There is a song on Thriller called “The Girl Is Mine,” a duet with Paul McCartney, that might well be the worst song to appear on an otherwise fantastic album. It is agonizingly corny. And, sure, there are other songs on Thriller that get a bit hammy and more than a little over-the-top, but not to such an eye-rolling extent. If it wasn’t on the album, then this album would be placed even higher.
Maybe it speaks to the quality of everything else that Thriller is still right up there, and very much a classic of its decade (and of all time, really) regardless. Of its nine songs, seven were released as singles, and many of those singles are among the most recognizable songs of the 1980s, with the music videos for a bunch of them certainly helping. One of the non-single songs, though, shouldn’t be overlooked: “Baby Be Mine,” the second track on the album, which is honestly kind of a banger.
4
‘Remain in Light’ (1980)
Talking Heads
Talking Heads released their first albums in the 1970s, and they were pretty great, but the band’s best single album, Remain in Light, came out right at the start of the 1980s. For what it’s worth, the band’s most popular album, Speaking in Tongues, came out a few years later (and it does have “This Must Be the Place (Naive Melody)” on it, which could be the band’s very best song), but Remain in Light is still the strongest.
It’s one of those middle-ground albums you can look back on and appreciate in hindsight, being a marriage of the slightly weirder stuff Talking Heads were doing in the late 1970s with the (slightly) increased emphasis on pop/rock later in the 1980s. You’ve got a balance here, yet even then, Remain in Light doesn’t sound quite like any other Talking Heads album, which might make it more worthy of being described as a “lightning in a bottle” kind of album.
3
‘Disintegration’ (1989)
The Cure
There are earlier albums by The Cure that could be called “rock,” but Disintegration feels like the band drifting away from that genre to a greater extent than they had previously, and for the better. Not that there aren’t some more energetic songs on Disintegration, but many of them are more patiently-paced and drawn-out, which can be seen when you look at the album’s length of 72 minutes, and the fact that it houses 12 tracks… so, the average track length is about six minutes.
You really don’t mind, though, because of what is done across the length of some of these longer songs. “Pictures of You,” the second song on the album, is particularly impressive, and probably demonstrates, strongest of all, what the band’s going for with many of the songs here. It’s also an atmospherically unique and distinctly moving album, the latter so in ways that are admittedly a little difficult to put into words.
2
‘Hounds of Love’ (1985)
Kate Bush
Yes, it’s the album with “Running Up That Hill” on it, and sure, it’s probably the best song on the album, and it comes first, so you might be worried about the rest of Hounds of Love. Well, the pace and quality are maintained. The remaining 11 tracks on Kate Bush’s greatest overall album are also phenomenal, with special mention to “Cloudbusting,” since it truly deserves to be regarded and praised alongside “Running Up That Hill” and “Wuthering Heights.”
There is much more to Kate Bush than Hounds of Love, and if you like her music being a little quirkier or experimental, maybe you’d prefer something that sounds a bit less immediate and punchy. Then again, Hounds of Love has the art pop dominate the first half of the album, and then the second half does go into more experimental and out-there territory, making Hounds of Love feel a bit like listening to two amazing (albeit quite short) albums back to back.
1
‘Purple Rain’ (1984)
Prince and the Revolution
The placement of Prince over Michael Jackson on a ranking like this might lose you, but if it has, then it’s better you’ve been lost right near the end of the ranking than closer to the start. Silver lining to everything. But also, come on. It’s Purple Rain. It’s nine absolutely perfect songs that could’ve all been singles on their own (hell, a pretty impressive five of them were), and there are no weak tracks here; no corny duet with a former Beatle or anything of the sort.
And yes, Purple Rain is technically a soundtrack album, but in that case, it’s probably the best soundtrack ever. Purple Rain the movie is fine, and made a little finer because you hear the songs from Purple Rain (the album) throughout it, but the album is absolutely where it’s at. The album is Purple Rain. And Purple Rain is untouchable. It does also have to be noted that Prince was on fire throughout the whole of the 1980s, and albums like 1999 (1982) and Sign o’ the Times (1987) also deserve to be considered among the greatest of the decade. Still, nothing is as perfect as Purple Rain. In just under three-quarters of an hour, it lays out everything great about Prince, thoroughly laying bare why he was considered such a legend.
Purple Rain
- Release Date
-
July 27, 1984
- Runtime
-
111 minutes
- Director
-
Albert Magnoli
- Writers
-
Albert Magnoli, William Blinn
-
-
Apollonia Kotero
Apollonia
-
-
At a time when comedies and — more precisely, mid-budget comedies — are viewed as no longer viable in theaters, a movie from 2025 quietly delivered a solid box-office performance. The movie’s profile was no doubt boosted by a trio of popular stars and positive reviews, factors that seem to be working in its favor during its home-video run too. The film has passed a major milestone on the streaming charts, after having tripled its reported budget in theaters. The film stars an MCU alum, the co-lead of 2022’s biggest movie, and an up-and-coming actor who has often been rumored to be in the running to play James Bond.
The film was directed by David Freyne, and premiered at the 2025 Toronto International Film Festival. It was given a theatrical release by A24 in the domestic market in November 2025, where it grossed $35 million against a reported budget of $12 million, before debuting on Apple TV earlier this year. The movie combines romance and fantasy for a will-they-won’t-they narrative brimming with philosophical insight and tender observations about true love. It stars Elizabeth Olsen as a recently deceased woman who is trapped in purgatory, where she must decide whom she wants to spend an eternity in the afterlife with — her husband or her first love, played by Miles Teller and Callum Turner, respectively.
The Romantic Fantasy That Audiences Are Fawning Over
The movie in question is Eternity; it debuted in theaters at around the same time as another fantasy comedy, Good Fortune, starring Keanu Reeves, Aziz Ansari, and Seth Rogen. Both movies received positive reviews from critics and audiences. Eternity now holds a “Certified Fresh” 77% critics’ score on the aggregator website Rotten Tomatoes, where the consensus reads, “Marrying a clever spin on the afterlife with an infectious sweet streak, Eternity is a spiritual successor to classic romantic screwball comedies that’s worthy of their company.” But it’s the film’s “Verified Hot” 90% audience score that seems to be propelling its streaming success. According to FlixPatrol, Eternity has spent more than 40 days on the domestic Apple TV charts so far, despite competition from major titles such as F1, The Gorge, and Greyhound. Stay tuned to Collider for more updates.
- Release Date
-
November 26, 2025
- Runtime
-
114 minutes
- Director
-
David Freyne
- Writers
-
David Freyne, Pat Cunnane
- Producers
-
Tim White, Trevor White
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