Gwyneth Paltrow is getting honest about the emotional challenges of adjusting to an empty nest after her children moved out of the family home. 

The lifestyle mogul candidly described the overwhelming transition as a painful drop that required a complete reorientation of her daily life and motherhood duties. 

However, despite the initial sadness, the famous actress expressed immense pride in how her adult children are successfully entering their next phases of life.

The 53-year-old Goop founder recently shared her vulnerable parenting journey during a candid interview on the Today Show. Reflecting on the departure of her kids, whom she shares with her ex-husband, Chris Martin, she confessed that the change was incredibly difficult to navigate. 

“I really struggled when they all went, and then I thought, ‘Okay, I’m all good,’ ” she admitted. 

However, the relief was temporary, as she added, “And then in September again, I kind of fell off a cliff for the second time. But now I feel like it’s what you want to happen. It’s what you hope will happen that they will go off to their next phase of life and find their people.”

The Academy Award winner explained that mothers spend years heavily focusing on their children’s daily schedules and emotional well-being, making it very hard to reorient when they leave. Fortunately, both of her adult children are thriving in their respective journeys. 

Her 22-year-old daughter, Apple Martin, graduated from Vanderbilt University and has already secured a role in an upcoming Nancy Meyers film. Meanwhile, her 20-year-old son, Moses Martin, is a sophomore at Brown University and is successfully building a music career. 

The thriving post-college journeys of Paltrow’s children have naturally pushed them further into the intense media spotlight.

Following her recent university graduation and the announcement of her upcoming movie role, the Oscar winner’s eldest daughter is now drawing significant attention to her personal life after uploading a candid-looking snapshot to her Instagram Stories featuring a dark-haired mystery man. 

In the relaxed image, she leaned her head back outside what appeared to be a traditional pub while her companion wrapped an arm around her. According to The Blast, the casual photo immediately sent fans into detective mode online because she offered absolutely no caption or tags to identify the man.

The timing of the post intensified the romance questions because the model had also recently interacted online with a former classmate named Andrew Smith.

Adding to the mystery, another dark-haired man was spotted walking closely behind the graduate and her famous mother during the university’s commencement festivities just days earlier. 

Apple Martin Rejected False Claims Of School Expulsion

The intense public curiosity surrounding Apple’s romantic life and transition into adulthood follows previous instances where she had to defend her character on social media.

Months before sparking dating rumors with her cozy photograph, Paltrow’s eldest daughter faced harsh online scrutiny regarding her past school days. 

The young model utilized her Instagram stories to firmly push back against growing internet claims that she had been kicked out of school for bullying other students. Addressing the rumors, she reshared a comment she had previously written.

In the public statement, she made her stance completely clear, writing, “Hi! I didn’t wanna respond, but this narrative is completely false and has gotten so out of hand,” according to The Blast.

The recent graduate strongly disputed the online allegations and clarified that she has a completely clean academic record. She further acknowledged that being in the public eye means facing critics, but insisted that the malicious rumor crossed a line. 

Gwyneth Paltrow Faced Backlash Over Controversial Advertisement

While Apple has had to protect her personal reputation from false online rumors, her famous mother has simultaneously been dealing with significant public pushback over her latest business choices. 

The 53-year-old actress sparked fresh controversy after her health-focused delivery restaurant launched a social media campaign featuring convicted fraudster Anna Delvey. Delvey gained notoriety for posing as a wealthy heiress to scam elite social circles, banks, and hotels before serving 19 months in prison and being placed under house arrest in New York City.

However, the promotional video drew heavy criticism for seemingly glamorizing criminal behavior for commercial gain, as reported by The Blast.

The negative response to the restaurant’s advertisement coincided directly with a separate wave of public condemnation regarding Paltrow’s personal views on wealth.

The wellness entrepreneur sparked a heated cultural debate after sitting down with business journalist Kara Swisher for a recent episode of “The Goop Podcast.” 

The Blast reported that during their recorded conversation, the Oscar-winning actress reflected heavily on Silicon Valley power players, questioning the public’s ongoing fascination with powerful tech executives. Questioning the shifting values of modern society, the actress asked, “How did we get here as a culture?”

However, the commentary immediately backfired online, with numerous social media users blasting the millionaire actress for being completely out of touch with everyday financial realities. 

Throughout eight seasons of Game of Thrones, some characters went from being fan favorites to all-around TV icons. Among them, of course, was Lena Headey‘s Cersei Lannister, a cutthroat leader who’s hungry for power and fiercely protective of her family. Headey played Cersei with precision, making viewers scream in their seats at some of her most narcissistic moments, yet also feel for her in her most vulnerable ones (“Shame! Shame!”).

And, ever since Game of Thrones wrapped back in 2019, Headey has continued to be a part of some memorable projects, many of which are far from her power-grabbing shenanigans in Westeros. Among her projects is Beacon 23, a psychological sci-fi thriller series on MGM+ that first released in 2023. The series, which was canceled after Season 2, received a lukewarm reception from viewers and critics alike, but is definitely still a worthwhile watch for fans of Headey’s work.

What Is ‘Beacon 23’ About?

Set in the 23rd century, Beacon 23 sees Headey as Aster, a government agent of some kind whose ship has crashed, and she finds herself trapped in one of many Beacons that serve as a lighthouse for intergalactic travelers. There, she meets stoic veteran Halan (Stephan James), and while there are suspicions and animosity between them at first, the two soon realize that they might benefit more from being friends than foes. With only the structure’s artificial intelligence to serve as company, Aster and Halan need to work together to understand each other, rely on one another and together defend themselves against “The Artifact,” a strange cosmic object that affects people psychologically and physically.

By Season 2 of the series, which premiered in April 2024, Aster and Halan’s Beacon has been turned into a prison. “Without a clear path forward, the inhabitants of Beacon 23 must rely on each other, but their conflicting agendas may get in the way,” the official synopsis teased. The series, which was based on the 2016 novel by the same name by Hugh Howey, was created by Zak Penn, and also stars Natasha Mumba, Eric Lange, Ellen Wong, Wade Bogert-O’Brien, and Bo Martynowska.

‘Beacon 23’ Received Mixed Reviews

Image via MGM+

Ever since its release, Beacon 23 has received mixed reviews from critics and viewers alike. On Rotten Tomatoes, for instance, some critics point out the show’s slow pacing and “empty lore,” while others praise the series for having a more cerebral approach to the sci-fi genre. “Those with enough curiosity and patience to wait out its rough patches — and those with a taste for cerebral sci-fi — may find themselves falling under its plaintive spell,” wrote one review. “While the show is slower in its storytelling, each episode layers on the complications, culminating in an urgent and tense finale, that’s only hampered by its lack of answers,” asserted another.

In Collider’s very own review by Chase Hutchinson in 2023, the series received an underwhelming score of C. “Rather than reveling in the simplicity of two people trying to figure out what is going on while in the company of someone they may not trust, there is a repeated sense that narrative filler is being forced into the season to pad it out into eight episodes,” Hutchinson outlined. “Though a confined setting could become more thrilling if the characters in it were given more to work with, like with the other strong MGM+ series From, both Headey and James are saddled with a story that consistently drags them down until there is little to hold it together in the final stretch.”

With all that said, while the divisive reception and early cancelation might be enough to sway viewers away from the series, Beacon 23 is undoubtedly an interesting and intriguing addition to the sci-fi genre. With a cerebral tone and a focus on two characters learning whether they can trust each other, the series becomes much more than the dangers of space and intergalactic travel.

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Release Date

2023 – 2024-00-00

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Showrunner

Zak Penn

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Daniel Percival, Lewin Webb, Erskine Forde, Oz Scott

Writers

Zak Penn

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Tom Hardy‘s firing from “MobLand” has become a major topic of conversation as more details surface about his time on set and relationship with other cast members.

According to a new report, the actor seemingly made things difficult for his co-workers and producers by choosing to remain in his trailer during filming.

Sources also previously stated that Tom Hardy’s behavior on set frustrated his A-list co-star, Helen Mirren, who felt “enraged” by his actions.

A new report from The Hollywood Reporter has shed light on the on-set tensions that may have caused a strain between not only Hardy and the producers of “MobLand,” but also his co-stars, Pierce Brosnan and Helen Mirren.

Speaking to the publication, a source claimed that Hardy put on an arrogant display when he refused to step out of his trailer for hours, keeping Brosnan and Mirren waiting and subsequently delaying filming.

“He refused to come out of his trailer for hours at a time,” the source stated, noting that the move left producers worried and made them rethink Hardy’s future on the series.

“He kept the cast waiting, [which is] a power play,” the source continued. “Keeping Pierce Brosnan, Helen Mirren, and others waiting is career suicide, I would wager.”

Hardy plays the role of fixer Harry Da Souza in the Guy Ritchie series, which has yet to be officially picked up for a third season.

Although it’s unclear why Hardy refused to leave his trailer on time, sources told the Daily Mail that he had grown frustrated with the filming schedule, especially as a third season might require filming beyond 2026.

The Actor Was Reportedly Axed From The Show After A Dispute Over The Filming Schedule

In a chat with The Mail on Sunday, sources noted that a lot of the dispute centered on the filming schedule of the yet-to-be greenlit third season of “MobLand.”

“Producers told Tom they couldn’t start filming the new show until later in the year. They were looking at November time because they weren’t happy that the script was ready to go in time for the summer,” an insider told the news outlet, per the Daily Mail.

This is said to have clashed with Hardy’s own personal plans, as he has been “absolutely insistent that he is not working beyond 2026.”

The decision to delay filming reportedly infuriated the actor, as it meant he wouldn’t be done with the project before the new year.

Tom Hardy Reportedly Wanted His Schedule Clear So He Could Spend Quality Time With His Loved Ones

Speaking more on the matter, sources noted that Hardy’s insistence on wrapping up filming of the third season early was tied to his decision to take a long break from Hollywood to be with his family.

The actor, who has been open about being physically worn out due to the challenging roles he took on in the past, reportedly communicated his desires to producers, but they remained adamant about the filming schedule.

“He has decided he wants to take time out from the industry and enjoy family time with Charlotte and the kids,” the source said. “They are discussing going abroad for a few years, leaving the limelight behind them.”

They added, “It has been a big decision for him and his family, so there was a hard stop. Tom tried to get his way and begin the filming this summer, but the directors were not agreeing, they said no.”

Hardy has been married to his wife, Charlotte Riley, since 2014, and the couple shares two children, a daughter and a son. Riley is also the stepmother to Hardy’s eldest child, Louis Thomas, from a previous relationship.

The Actor’s Behavior On Set ‘Enraged’ Helen Mirren

Before news of his firing made headlines, insiders had already shared with the Daily Mail that one of his co-stars, Helen Mirren, had become “enraged” by Hardy’s behavior on set.

One source in particular shared that when the camera stopped rolling, Hardy was no longer “charming” or “calm” like the character he portrays on the show; instead, he was “quite the opposite.”

“He can be late to filming, too, and that is annoying for Dame Helen, who is extremely professional and disciplined. His tone is something Dame Helen doesn’t like, along with his lateness,” the source noted.

They further claimed that Hardy was “winding” up the Hollywood veteran with his “very, very arrogant” attitude, which clashed with the professionalism Mirren has grown to expect on the projects she works on.

Tom Hardy’s Firing Is Causing ‘A Headache’ For ‘MobLand’ Producers

With Hardy playing a major role in the hit series as Harry Da Souza, his axing is unsurprisingly a major issue for the showrunners, especially regarding a third season.

An insider said, “It’s causing quite the headache to work out what they will do and how they will explain away Harry no longer being there.”

This may also cause the producers to push back filming a third season as they figure out how to continue the show without a character who has been integral to the first two installments.

“It’s a disaster, but the bosses were not prepared to be told what to do by Tom,” the insider continued. “Now the script might have to be redone, which could delay it even more.”

“The Real Housewives of Orange County” alum Kelly Dodd is no stranger to controversy. However, the 50-year-old reality star is reportedly facing jail time following a revenge porn incident in 2025. Additionally, the “RHOC” alum is battling a separate legal hurdle as she was also accused of battery last year.

The accusations against Dodd came months after a very public fallout with her daughter, including a leaked voicemail from the controversial figure.

TMZ obtained legal documents that show “The Real Housewives of Orange County” alum being accused of sharing footage of a Jane Doe in the act of masturbating and having sex without her consent. Specifically, the accusation is that Dodd “unlawfully and intentionally” distributed the images around August 29, 2025.

Since the alleged sharing of the footage, prosecutors say the woman has been impacted by severe emotional distress. Regarding the recording, Dodd is said to have taken the footage during a time when the woman would have had a reasonable expectation of privacy.

Kelly Is Accused Of Breaking An Agreement With The Alleged Victim

Per TMZ, the court documents also show that Dodd had an agreement with Jane Doe. Despite having recorded the footage, she had vowed not to share the images. However, sometime around the time of the agreement, Dodd is reported to have contacted the woman, threatening her, her family, and her property.

That’s not all in regard to Dodd’s legal situation. The “RHOC” alum is also facing a battery charge stemming from a June 2025 incident with a different Jane Doe. Including both situations from last year, she’s facing three misdemeanors and possible jail time.

‘RHOC’ Fans Are Weighing In

Fans of Dodd and her time on “The Real Housewives of Orange County” are weighing in after learning of the accusations against her. Overall, many have real concerns about the Bravo alum, citing what they call erratic behavior on social media. However, many others are calling it karma.

On X, someone proposed a theory about what may have happened. They surmised, based solely on their opinion, “Sounds like her and her hubby or just him had a side piece and then Kelly went nuts as usual.”

Another social media user said, “Revenge porn… actual charges…. Oh, karma is a b-tch for Kelly.” A different “RHOC” fan wrote, “You reap what you sow. She’s pathetic.”

Someone else joked, “Hopefully Spencer Pratt can pardon her since she and Rick are riding his d-ck so much and they don’t even live in LA.”

Another X user stated, “Kell Dodd is an awful person, and what she’s being accused of is true. However, despite that and despite her being a villain on the show, I’m deeply worried about her. Especially after the stuff with her daughter.”

Lastly, a fan wrote, “Kelly Dodd really needs help.”

A Voice Note Intended For Kelly Dodd’s Daughter Leaked In 2025

In addition to the alleged revenge porn incident and the accusation of battery, Dodd had a very public war with her daughter, Jolie, in 2025. In November, a voice note from the “RHOC” alum to one of her then-19-year-old daughter’s friends found its way online.

For context, Dodd had been blocked by her daughter, so sending the voice note to her friend was her way of communicating with her.

She said in the leaked audio, “You just opened a Pandora’s box, Jolie. I have recordings of you, screaming at your dad because he isn’t taking you on vacation, screaming that he didn’t buy you a car. Do you remember those recordings that I saved? I have those, and I’m going to publicly put them out there. Do you understand?”

Elsewhere in the message, Dodd called her daughter a “dumb little girl” before saying, “You’re stupid, OK? For even thinking that you’re going to win.”

It’s Been Years Since Kelly Has Been On ‘RHOC’

Dodd announced in June 2021 that she would not be returning to “The Real Housewives of Orange County” for its 16th season. She joined the hit Bravo show in 2016. According to PEOPLE, Dodd said at the time on Twitter, “The last five years have been an amazing experience. The next five years will be even better.”

She added, “I am so grateful for all the love and support and so excited about the future #RHOC.” Since then, she’d been rumored to be returning to the show several times, but it has never materialized.

We seek out fantasy movies because they give us an escape from reality. Whether we journey to a place over the rainbow or head on a daring adventure to save Middle-earth, these fantasy films have provided us with a place to go beyond our wildest imaginations. But for every Mary Poppins, there is a Bedknobs and Broomsticks, a praiseworthy film that doesn’t get as much attention and adoration.

We are going to celebrate ten fantasy movies that you’ve been sleeping on. They’ve been around, and some might even have a cult following, but they are sadly not in the same conversation as the legends of the genre. From a ‘90s animated classic that millennials adore to a duo of Hugh Jackman films that were forgotten during his Wolverine reign, it’s time to wake up and turn on these iconic films.

‘Excalibur’ (1981)

Image via Warner Bros.

The legend of King Arthur and the knights of the Round Table remains one of the most beloved stories. Having been retold countless ways throughout entertainment, there remains one sweeping epic medieval fantasy retelling that may be its grandest: Excalibur. Brought to life by John Boorman, Excalibur is loosely based on Thomas Malory’s Le Morte d’Arthur and follows King Arthur (Nigel Terry) from his birth through his unification of England, the rise of Camelot, and the eventual downfall caused by love, betrayal, and magic.

Excalibur is a sweeping visual experience of epic proportions that relies heavily on the theme of destiny. Through the examination of the price of power and the inescapable presence of both good and evil in human nature, Excalibur reverberates through the mantra that “the king and the land are one.” What sets this iteration of the story apart is its operatic scope and lush Irish filming that made it a definitive sword-and-sorcery classic. Excalibur is a hypnotic, operatic cinematic achievement that revitalized the medieval genre in the ‘80s.

‘FernGully: The Last Rainforest’ (1992)

Image via 20th Century Studios

The fact that there is a generation that doesn’t revere FernGully: The Last Rainforest in the way that millennials do is a travesty. Directed by Bill Kroyer from a screenplay by Jim Cox, based on the FernGully stories by Diana Young, the musical fantasy flick follows a brave fairy named Crysta (Samantha Mathis) and her forest friends, including a manic, lovable fruit bat named Batty Koda (Robin Williams), as they battle to save their magical Australian rainforest home from a destructive logging crew and an ancient, pollution-fueled entity named Hexxus (Tim Curry).

FernGully bravely weaves a heartfelt, pro-environment message into a vibrant fantasy world that doesn’t diminish its message for younger audiences. Coming out just as the Disney Renaissance was surging, it became a niche film that fell by the wayside. Coincidentally, arriving a year before Aladdin, Williams’ eccentric character was almost instantly overshadowed by his iconic role as the Genie. Nevertheless, looking back, FernGully is a visually remarkable work, as the bioluminescent, fairy-filled world gave young viewers hope that perhaps magic might live in their own backyards.

‘Krull’ (1983)

Image via Columbia Pictures

You have most likely been sleeping on Peter Yates’ science fantasy adventure movie, Krull. The movie tells the story of Prince Colwyn (Ken Marshall), who embarks on a quest to rescue his bride, Princess Lyssa (Lysette Anthony), from a fearsome alien warlord known as The Beast. But first, Colwyn, alongside a merry band of misfit warriors, magicians, and outlaws, must locate and retrieve a mythical, five-bladed throwing star known as the Glaive, the only weapon capable of destroying the monster.

Krull mixed two distinct genres: high fantasy, including swords, castles, prophecies, and magic, and science fiction, featuring alien spaceships, lasers, and telepaths. Regardless, the unique premise gave Krull a unique identity as a wildly entertaining medieval fantasy quest set in space. With a bold imagination and a classic Dungeons-and-Dragons-style party, Krull may have simply been ahead of its time, but it deserves immense praise for its world-building. From the weaponry to the Black Fortress, this 1980s gem is unforgettable.

‘Bedknobs and Broomsticks’ (1971)

Image via Walt Disney Studios Motion Pictures

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Bedknobs and Broomsticks will forever be overshadowed by Mary Poppins. That said, leave it on its own, and the adaptation of the Mary Norton books is quite divine. Directed by Robert Stevenson, the fantasy film tells the story of Carrie, Charlie, and Paul Rawlins (Cindy O’Callaghan, Ian Weighill, and Roy Snart), three orphaned siblings, who are evacuated to a small village and placed in the care of Miss Eglantine Price (Angela Lansbury), an apprentice witch. Together with a cynical magic correspondence professor, they embark on a magical, flying-bed adventure to find an ancient spell to help defend England from Nazi invaders.

With a delightful songbook from the Sherman Brothers and magical set pieces that give the film flight, Bedknobs and Broomsticks blends a dark period of history with the whimsy of Disney for an enchanting tale. Though it may seem like a heavy moment to use as a means for a story, it only helps to serve as a fun, empowering fantasy where everyday heroes rise to the occasion. Like Mary Poppins before it, the whimsical numbers and locales bring the story to sensational places. Lansbury established herself as a fledgling Disney legend through this performance. What child didn’t want to hop on an enchanted bed to the Isle of Naboombu, only for her to sing us to sleep decades later as Mrs. Potts in Beauty and the Beast?

‘Legend’ (1985)

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In 1985, Ridley Scott gave Tom Cruise a new genre big break in the epic dark fantasy adventure Legend. An ‘80s team-up you likely never knew you needed in a film you might not have known existed, Legend tells the tale of a pure-hearted forest dweller named Jack (Cruise) who must stop the Lord of Darkness (Tim Curry) from destroying the last unicorns. After a goblin strikes a unicorn, plunging the world into a freezing winter, Jack and his elven allies set out to defeat Darkness and rescue Princess Lili (Mia Sara).

Scott’s reign as a top-rated director usually doesn’t include Legend, but his work on the film is quite profound. His meticulous storytelling shines through the lush, sun-dappled forests, glowing unicorns, and eerie, firelit dungeons. In a time before CGI, the makeup design was unfathomable, and legendary makeup artist Rob Bottin’s work on characters, including Meg Mucklebones (Robert Picardo) and the Goblin minions, is truly sublime. However, Legend‘s crowning achievement comes in the creation of the Lord of Darkness. Covered in massive prosthetics and enormous horns, his jaw-dropping look, Curry’s evocative portrayal ranks as one of his very best crafted characters.

‘Pleasantville’ (1998)

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Directed by Gary Ross, Pleasantville follows two teenage siblings, David and Jennifer (Tobey Maguire and Reese Witherspoon), who find themselves trapped in Pleasantville, a beloved black-and-white series set in the ’50s. As they introduce modern, emotional, and sexual experiences to the repressed, idyllic town, the residents and their world begin to change, turning from black and white to color.

Using the changing worlds as an allegory for social change, Pleasantville tackles racism, censorship, repression, and the danger of forced conformity through a fantastical premise. Beneath the lighthearted exterior, the story captures the illusions of perfection, the fear of change, and the power of civil rights on the evolution of society. As the characters begin to experience real feelings, thoughts, and passions, their monochrome world transforms into the vibrant colors of freedom. Not only does the film provide brilliant performances from a young Witherspoon and Maguire, but it also boasts dynamic turns from Jeff Daniels, Joan Allen, and William H. Macy.

‘The Beastmaster’ (1982)

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If you see it as a cheesy, low-rent version of Conan the Barbarian, no wonder The Beastmaster has been slept on. But if you take the Don Coscarelli-directed film at face value as its own thing, then it is quite fantastic. Based on the 1959 science fiction novel The Beast Master by Alice “Andre” Norton, the sword-and-sorcery film follows Dar (Marc Singer), a warrior born with the telepathic ability to communicate with animals. After a cult of fanatic barbarians destroys his village, Dar sets out on a quest for revenge against the evil high priest, Maax (Rip Torn).

A story of revenge led by a charismatic hero and scene-stealing trained animals, The Beastmaster is an earnest B-movie that captures the pure joy of the high-fantasy era. Dar is a fun protagonist, but his ability to telepathically communicate with animals is the complete and utter draw. His loyal squad—which includes a majestic tiger, an eagle, and a pair of mischievous thieving ferrets—gives the movie a unique twist and delightful charm. Then, in the terrifying department, Torn’s over-the-top performance as the evil wizard Maax and the nightmarish winged Death Guards lead to a memorable tonal blend of fantasy and body horror. The Beastmaster serves as an important blueprint for this action-adventure style.

‘The Fountain’ (2006)

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Some audiences like movies that are simple and straightforward, but if you’re seeking out a Darren Aronofsky project, you’ll be hard-pressed to find it. One of his lesser-remembered films of the early aughts is the Hugh Jackman and Rachel Weisz-led epic sci-fi fantasy romance The Fountain. A visually philosophical drama, The Fountain weaves together three distinct timelines spanning a thousand years, centering around a man (Jackman) trying to save the woman he loves (Weisz).

Through the intertwining tales, The Fountain undergoes masterful twists and turns, leading to the realization that death is not a curse but a road to rebirth and the continuation of life. In this tri-level transcendent epic, Aronofsky seamlessly combines an awe-inspiring visual stunner with genuine emotional depth and philosophy. Though the past is pretty, the magic in which Aronofsky crafts his space and cosmic sequence is mesmerizing. Add in a sweeping score by Clint Mansell and Jackman and Weisz delivering remarkable, weighty performances, and The Fountain retains its epic status as a near-perfect, ambitious blend of fantasy and sci-fi with emotional depth.

‘Van Helsing’ (2004)

The truth is, in the first decade of the 21st century, we simply could not imagine Hugh Jackman as anyone but Wolverine. In turn, it was a harder sell to see him in any other type of project. And yet, he not only held his own, but he also dominated in Stephen Sommers’ action-packed Van Helsing. A product of its time and an homage to the Universal Monsters of the past, Van Helsing casts Jackman as Gabriel Van Helsing, an amnesic Vatican-commissioned monster hunter who travels to Transylvania, teaming up with Anna Valerious (Kate Beckinsale), the last of an ancient family sworn to kill Count Dracula (Richard Roxburgh) and Frankenstein’s (Shuler Hensley) monster.

If it sounds like an apocalyptic and convoluted plot, well, it is, and that’s why it’s a delicious dumb popcorn flick. Fulfilling the horror fantasy quota, Van Helsing acts as a pulp action classic that mixes monster lore with pure unadulterated camp. It’s a “greatest hits” type of story that is visually mesmerizing. Coming off the success of The Mummy and its successors, Van Helsing had a high bar to achieve. It may not have reached it, but it earned a cult classic moniker in the process. Audiences are certainly never going to be bored as it’s wall-to-wall physics-defying stunts and high-energy action.

‘Willow’ (1988)

Image via MGM

Willow is absolutely the film you’ve heard about that you’ve probably never taken the time to sit down and watch, and that’s a shame. The classic high fantasy tale tells the story of an aspiring sorcerer and farmer named Willow Ufgood (Warwick Davis), who discovers an infant prophesied to destroy the evil Queen Bavmorda (Jean Marsh). Willow then teams up with rogue warrior Madmartigan (Val Kilmer) to protect the baby from dark magical forces. Filled with high fantasy tropes galore, Willow is just as charming now as it was then.

Beloved by all who watch, the film is the brainchild of director Ron Howard, writer Bob Dolman, and was executive-produced by George Lucas. If that’s not a dream team, I don’t know what is. Willow showcases an underdog story and an unlikely hero’s journey. It was quite progressive for its time, allowing actors with dwarfism to step into fully fleshed-out roles as central heroes, rather than strictly fantastical creature parts. As a work of cinema, Willow uses amazing practical creature designs and pioneering digital morphing technology that revolutionized cinematic technology. Years later, it received a Disney+ show, but things didn’t exactly end well for it.

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Willow

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May 20, 1988

Runtime

126 minutes

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Disaster movies get reduced to spectacle, body counts, collapsing buildings, tidal waves, panicked crowds, all the visible stuff. And yes, the visible stuff matters. A disaster movie with no scale, no momentum, no physical imagination is dead on arrival. But that is not why the great ones stay with you.

Think about it — why did 2012 become so big? World War Z? Because they had a huge real-life meaning to them. They were warm and grounded. They stayed because disaster is one of the purest story machines in cinema for exposing what people are really made of once normal life loses authority. Vanity, courage, bureaucracy, tenderness, selfishness, class, romance, cowardice, sacrifice, denial, all of it gets dragged into the open the second the world stops pretending it is stable. These 10 movies kinda had that but perhaps not enough star-power or social media hype to back them up.

10

‘Juggernaut’ (1974)

Image via United Artists

I will always go to bat for Juggernaut. It understands that disaster does not need flames everywhere to be suffocating. Sometimes all you need is one luxury liner, a bomb threat, the sea, and enough procedural detail to make every passing minute feel like a tightening wire. That is what this movie gets exactly right. The danger is not abstract. It has shape. Explosives on a ship full of people. A bomb disposal expert coming aboard. Time, water, class performance, panic, all boxed together. It becomes one of those films where every corridor starts looking like a moral test.

And what really gives it force is the grown-up seriousness of the ensemble. Nobody is playing the material like camp. Anthony Fallon (Richard Harris), Captain Alex Brunel (Omar Sharif), and Charlie Braddock (David Hemmings) all give the movie this weary, competent, deeply British tension that makes the whole thing feel more frightening. The rich passengers, the workers, the crew, the politicians on land, all are part of the same system now, and that system is balanced on the possibility of one wrong wire. Juggernaut is a disaster film for people who love process as suspense. It is calm, intelligent, and nasty in exactly the right way.

9

‘The Rains Came’ (1939)

Image via 20th Century Fox

There is something magnificent about how openly emotional The Rains Came is. It belongs to that older kind of disaster cinema where romance, melodrama, social upheaval, disease, weather, and death are all allowed to crowd the same frame without apologizing to one another. The setting matters too. Colonial India in crisis gives the whole movie a richer moral texture than “storm hits town” would have on its own. The rains are not just weather. They are the beginning of a vast stripping-away. Vanity collapses. Social hierarchies wobble. People reveal what they really are when the floodwaters rise and sickness follows.

The film lets catastrophe transform the emotional meaning of everything around it. Characters who seemed trapped inside drawing-room identities suddenly have to exist inside urgency, service, fear, and loss. There is old-Hollywood grandeur all over it, yes, but the movie earns its bigness. It knows a disaster can be both spectacular and spiritually corrective. That is why it feels potent.

8

‘San Francisco’ (1936)

Image via Metro-Goldwyn-Mayer

This one is such an old film but a beautiful reminder that the classic-Hollywood disaster movie did not think intimacy and scale were enemies. San Francisco spends so much of its time building a whole social world, saloons, opera aspirations, rough men, refined spaces, love, ambition, money, spiritual conflict, that by the time the earthquake arrives, the city actually feels inhabited. That matters enormously. So many disaster films fail because they think the event is enough.

San Francisco understands the event only becomes overwhelming once you have built something for it to break. And once the earthquake comes, it really comes. The destruction still has force, and the chaos afterward has that old apocalyptic-Hollywood terror where civilization looks frighteningly fragile. But what makes the film great instead of merely historically impressive is the emotional aftershock. Lives are not just interrupted. They are reweighted. The city’s collapse becomes a test of what remains when glamour, vice, social position, and personal illusions all get flattened together in the same rubble. There is something deeply moving about the way San Francisco treats communal suffering as both horror and reckoning.

7

‘The China Syndrome’ (1979)

Image via Columbia Pictures

I absolutely count The China Syndrome as a disaster movie, and one of the great ones, because it understands that disaster can exist in the gap between near-miss and inevitability. There is no giant wave. No building falling in the first half-hour. What you get instead is one of the most terrifying kinds of modern catastrophe: the kind built out of sealed systems, institutional denial, technological complexity, and the possibility that ordinary professional language is being used to keep the public calm while annihilation inches closer. That is nightmare material.

And because the movie is so grounded, it only gets more frightening with time. Kimberly Wells (Jane Fonda), Jack Godell (Jack Lemmon), and Richard Adams (Michael Douglas) give it exactly the right emotional range, ambition, conscience, media pressure, professional fear, whistleblower panic. The reactor itself becomes this invisible beast in the room, something most people cannot understand directly and therefore must trust others to manage. That trust is what the film attacks. A great disaster movie often asks whether human error, vanity, or bureaucracy will speed the catastrophe along. The China Syndrome asks that with a chill few films can match. It makes institutional calm feel sinister.

6

‘The Wave’ (2015)

Image via Magnolia Pictures

What I respect about The Wave is how cleanly it merges two kinds of disaster-film pleasure that do not always coexist well: geological spectacle and family-level panic. The opening sections are almost deceptively ordinary. Scientists monitoring instability. family routines. local skepticism. That ordinariness is not filler. It is structural groundwork. When the mountain finally gives way and the fjord becomes a death corridor, the movie cashes in all that realism at once. Suddenly every siren, every road, every minute matters.

And the wave itself is terrifying because the film understands scale from the victim’s point of view. It is not just a pretty wall of CGI water. It is time running out in a place where the geography has become a trap. I also love how physical the aftermath feels, the flooding, the darkness, the cold, the search, the suffocation. Disaster movies often peak at the event and sag afterward. The Wave keeps its grip because it knows survival is not one beat. It is a series of awful, breath-limited decisions after the obvious climax has already happened. That makes it hit harder.

5

‘The Quake’ (2018)

Image via Nordisk Filmdistribusjon

The Quake is such a nasty companion piece to The Wave because it takes the emotional residue of the earlier film and drags it into another rupture instead of pretending trauma resets cleanly between sequels. That is one of the smartest choices it makes. The earthquake is not just an excuse to do the next round of destruction. It arrives in a life already marked by fear, obsession, and the humiliating possibility that everyone around you may think you are broken before they think you are right. That gives the first half real tension.

And when the quake finally hits, the film goes hard. Buildings split, interiors become death mazes, people are cut off in spaces that used to mean stability and now mean vertical ruin. The physical set pieces are excellent, but what I love most is the emotional tone underneath them. There is also a sadness to The Quake that a lot of disaster sequels never even attempt. The event is spectacular, yes, though the real story is about Kristian Eikjord (Kristoffer Joner) trying to protect his family while being crushed by the knowledge that he saw the shape of this terror coming and still could not make the world move fast enough. That kind of helplessness belongs to great disaster cinema.

4

‘Miracle Mile’ (1988)

Image via Hemdale Film Corporation

Miracle Mile is one of the most upsetting urban-apocalypse films ever made because it weaponizes ordinary time so cruelly. The setup is almost absurdly simple and perfect: Harry Washello (Anthony Edwards) answers a pay phone in the middle of the night and hears what may be a call meant for someone else, a warning that nuclear war is imminent. From there the whole movie becomes a race against disbelief. Is the call real? Is this panic justified? How fast can ordinary Los Angeles go from dreamy nocturnal drift to terminal unraveling? The answer is: horrifyingly fast.

What makes Miracle Mile so good is that it starts like a quirky romantic night movie. There is warmth in it, coincidence, possibility, strangers crossing paths, the kind of atmosphere where a date might genuinely change your life. Then the call comes, and suddenly every mundane part of city life becomes unstable. Cars. helicopters. traffic. police. crowds. misinformation. private selfishness. public terror. The film keeps tightening until it reaches a final movement so bleak and so perfect that it almost feels like a dare. This is not disaster as spectacle. It is disaster as emotional whiplash, the world ending in the middle of what should have been a love story.

3

‘These Final Hours’ (2013)

Image via Roadshow Films

This movie is brutal because it asks one of the ugliest questions any disaster film can ask: if the world is actually ending, what kind of person are you in the hours before meaning disappears? Not in the noble, speech-making way. In the real way. Do you turn toward pleasure? violence? numbness? rescue? obligation? panic? sex? family? self-erasure? These Final Hours is so good in that sense. It knows apocalypse is not only about fire in the sky. It is about moral collapse on the ground long before the blast reaches you just as you rother disaster favorites.

And the film’s emotional hook is viciously effective. James (Nathan Phillips) begins as a man trying to flee into selfish oblivion, then gets dragged toward responsibility through his connection with a child who should not have to navigate any of this. That relationship keeps the movie from becoming mere misery porn. It becomes a measure of whether any human decency can still exist when the clock is too short for future-oriented ethics. The answer is painful and partial and all the more moving because the movie does not sentimentalize it. This is one of the few end-of-the-world films that really feels like the end of the world.

2

‘Fail Safe’ (1964)

Image via Columbia Pictures

This is one of the most terrifying disaster films ever made precisely because almost nothing in it looks like disaster in the traditional sense. Rooms. phones. protocols. radar. voices. men in suits speaking with varying degrees of control while the world moves toward annihilation through systems that were supposed to prevent exactly this. That is the horror. The catastrophe is procedural. Human beings built structures to control apocalypse and then placed themselves one malfunction away from having to live inside its consequences. Fail Safe never blinks from that.

And what makes it so devastating is its moral seriousness. The performances are stripped of glamour in exactly the right way. The President (Henry Fonda), Professor Groeteschele (Walter Matthau), Colonel Cascio (Fritz Weaver), and Buck (Larry Hagman) all serve a movie that knows the most frightening thing about nuclear disaster is not only the explosion. It is the calm beforehand. The discussion. The recognition that logic, patriotism, decency, military doctrine, and human tenderness are all about to collide and at least one of them will not survive intact.

1

‘A Night to Remember’ (1958)

Image via The Rank Organisation

A Night to Remember is beautiful. It is one of the purest examples of disaster cinema understanding that the real scale of catastrophe is human behavior under collapse. Titanic has been retold so many times and so extravagantly that people can forget how shattering A Night to Remember still is. It does not need modern spectacle to devastate you. It has precision, sobriety, and a horrifyingly calm sense of process. You feel the ship’s size, yes, but even more you feel the terrible sequence by which denial becomes recognition, recognition becomes logistics, and logistics become mass death.

What makes it so great is its refusal to reduce the sinking to one sentimental corridor. Officers, crew, passengers, class divisions, stoic mistakes, cowardice, discipline, noise, silence, freezing water, all of it is allowed to coexist. The film understands disaster as systems failure and as human revelation. Some people become admirable. Some become pathetic. Most become frighteningly ordinary under extraordinary pressure, which is exactly right. And because the film never overplays its hand, every lifeboat, every delay, every missed chance lands harder. It is one of the greatest disaster movies ever made, period.

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A Night to Remember

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Release Date

July 3, 1958

Runtime

123 minutes

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Director

Roy Ward Baker

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Writers

Eric Ambler

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• 

  Kenneth More

  Second Officer Charles Herbert Lightoller

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• 
• 

  Robert Ayres

  Maj. Arthur Peuchen

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  Honor Blackman

  Mrs. Liz Lucas

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Andy Cohen recently broke his silence on West Wilson‘s nudes being leaked just moments before the filming of the “Summer House” season 10 reunion began.

In part one of the reunion special, Wilson looked to his co-stars, Jesse Solomon, Amanda Batula, and Carl Radke, and revealed that his phone had been hacked, resulting in private images of him being circulated in his hometown.

During a recent episode of the “Smith Sisters Live” show, Cohen opened up about the moment Wlilson learned suggestive images of him were floating around.

In the reunion episode, Wilson is heard saying, “I just got a text that someone hacked my phone, and [there are] nudes of me being sent around. That’s a good text to get right before this.”

Solomon and Radke confirmed they had heard the news, with Solomon adding that he had been sent the photos.

When Wilson asked his co-stars whether he was “hard” in the pictures, Radke shot back, “Very soft.”

Cohen Breaks His Silence On West Wilson’s Private Photos Being Shared Online

Cohen recalled the unexpected moment on the radio today, saying, “When West sat down and started talking about the nudes, and they’re all like, ‘Is it hard? It is soft?’”

Cohen, who hadn’t seen part one of the reunion at the time, added, “I don’t know if they showed this, but Jesse [Solomon] then showed him the picture of what he had been sent. I mean, it’s like, [a] reunion first.”

The father of two and Bravo figurehead said that the moment “Summer House” viewers saw in the reunion about Wilson’s nude images wasn’t the only time the pictures were discussed.

“We had not started the reunion. Everyone was entering. It comes up again later in the group, and you’ll see how it plays out,” Cohen teased.

Cohen Said West Wilson Probably Had The ‘Worst Day’ Filming The ‘Summer House’ Season 10 Reunion

Elsewhere in the radio show, Cohen seemed to acknowledge the stress Wilson must’ve been feeling before filming began.

“I’m glad that they found that moment. It’s crazy. It would be a person’s worst day ever to have nudes leaked. To have them leaked on that day, and then he left and found out the news of his grandmother … I don’t think you could have a worse day,” he said.

According to a previous report from The Blast, Wilson’s grandmother, Gayle R. Wilson, was found dead in April 2026. Law enforcement officials said that the reality star’s cousin, Dakota Sweeney, allegedly killed her after getting into an argument over household chores.

Wilson Addressed His Leaked Images On An Episode Of His ‘Show Me Something’ Podcast

Weeks ago, Wilson reacted to the news that his nude images had been shared online, saying, “I know my f-cking nudes leaked, OK. But guess what? It’s like the sixth worry of mine right now. I have a lot of sh-t going on, and I’m gonna own it,” per The Blast.

While Wilson admitted that the photos were of him, he said he couldn’t remember the details about the images. “I don’t know how old it is, but it’s from my old apartment. I had a sauna by my bathroom, and I would always get out of the sauna and double-check. Or check progress,” he said.

As the conversation continued, Wilson got a bit more serious about the matter, urging his listeners to be kind to people.

“I know I’m laughing, because if I don’t laugh, I’ll fing cry about all of this,” he said, adding, “Don’t leak people’s nudes or hack people’s sh-t. It’s, like, not fun.”

Wilson Said He’s Afraid Of Going Out In Public After His Fallout With His ‘Summer House’ Co-Stars

Part one of the “Summer House” reunion was intense for Wilson, who recently confirmed that he was dating his co-star, Batula, who had split from her husband, Kyle Cooke, weeks before their public announcement.

Another reason Wilson faced backlash was due to the reality star’s past relationship with Batula’s former friend, Ciara Miller.

According to The Blast, Wilson said on his podcast, “Show Me Something,” that he was a bit nervous about how the public would react to him in the coming days.

“Going out in public is kind of scary,” Wilson said before going on to deny claims that he began hooking up with Batula to spite his ex.

“If I tried to fight everyone’s different opinion on sh-t I’ve done, I would be f-cking dead and on the floor. It’s just not worth reacting to sh-t like that. But [that’s] obviously not the case,” Wilson said.