Entertainment
5 Artists Who Need to Sing the Next James Bond Theme Song
Each film in the James Bond franchise is encouraged to meet certain criteria: unique and thrilling action sequences; a diabolical, over-the-top villain; and a dramatic theme song. From Paul McCartney to Billie Eilish, artists across time and genre have contributed their musical talents to the iconic spy franchise. The results have resonated with audiences, music charts, and award ceremonies alike, with the past three Bond themes even winning the Oscar for Best Original Song. Moviegoers and listeners certainly have opinions on how the themes compare to one another, but whether good or bad, a James Bond film is simply incomplete without its own musical flourish.
The next James Bond film is still currently in development as the search for Daniel Craig’s successor continues, but finding an artist to sing the next theme song may not be as difficult. Rap, country, and pop dominate the current charts, but the modern music scene is more diverse than ever before and boasts many gifted singers and musicians who are more than capable of delivering the next “Skyfall” or “Goldfinger.” No matter which direction Bond 26 decides to go in for its music, this list covers 5 artists who would be ideal candidates to sing the next Bond theme.
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1. RAYE
The force behind the global hit “Where is My Husband!,” RAYE has been writing and singing for over ten years, producing two solo studio albums and collaborations with artists like Beyoncé and Charli XCX. While touring with Bruno Mars in 2026, RAYE displayed her love of vintage imagery and sound, invoking old Hollywood—and inadvertently the classic James Bond films—through her costumes and her back-up band of live brass instruments. Her musical style combines elements of jazz, pop, and other genres, aligning with the styles of previous Bond themes, and her lyrics cover a variety of experiences and emotions, much like how the Bond movies range in their premise and tone from silly to serious. Add in the fact that she has actually performed a Bond theme before when she sang “Skyfall” in the James Bond medley at the 2025 Academy Awards, and RAYE seems almost overqualified to perform the next 007 anthem.
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2. Lana del Rey
Lana del Rey is no stranger to singing for film and television, contributing to the soundtracks for season 2 of Euphoria, The Great Gatsby (2013), and Maleficent, among others. She’s also no stranger to James Bond, as she submitted a song for consideration as the theme for the 24th official Bond film, Spectre (2015). Although her track was ultimately rejected in favor of Sam Smith’s “Writing’s On the Wall”, del Rey collaborated with James Bond composer David Arnold in 2026 to produce the theme song for the James Bond video game 007 First Light. The result is a track of much higher quality than one might expect for a video game tie-in song, filled with orchestration and lilting vocals that perfectly fit the atmosphere not just of the game, but the overall James Bond franchise. If del Rey can deliver such a cinematic showing for a Bond video game, then her talents clearly deserve to be showcased in an actual Bond film. If that wasn’t evidence enough of her credibility, del Rey’s mysterious and moody sound has literally been described by some as a modern-day Nancy Sinatra, who sang “You Only Live Twice” for the 1962 Bond movie of the same name. Between her current personal success singing for films and Bond-related media, and the correlation to a performer of a past theme song, Lana del Rey is overdue for a chance to sing for the iconic spy on the silver screen.
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3. Rosalía
Considering the next Bond film will feature a new actor in the role, it could be time for the music to see a similar shake-up, and the Spanish artist Rosalía would undoubtedly bring a unique take to the franchise. James Bond may be an international spy, but the artists behind his theme songs have almost exclusively been from the United States and the United Kingdom, and every song has been sung in English. Rosalía, meanwhile, can sing in English as well as her native Spanish and even took the time to learn lyrics in eleven languages for her latest album Lux, bringing a worldly and widespread appeal to every piece of her music that Bond could benefit from. Rosalía also loves to genre bend, exploring opera to orchestra to reggaeton to flamenco, ensuring that she can adapt to whatever tone the next Bond film will have, and that her theme will be unlike anything else. With a flair for the dramatic and an unbelievable vocal ability, she would create a one-of-a-kind James Bond song—and considering her appreciation for striking visuals, a one-of-a-kind credit sequence as well.
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4. Jurnee Smollett
Jurnee Smollett may be best known for her work as an actress in television classics like True Blood and Friday Night Lights, but she is also a gifted singer. Her talent has been displayed on screen several times, including in her Emmy-nominated performance in Lovecraft County, and most notably through her portrayal of DC Comics’ superhero Black Canary in Birds of Prey (2020) alongside Margot Robbie. Black Canary is best known for her powerful scream, capable of destroying objects and deafening people nearby, and Smollett is very convincing in the role through both her acting and her singing. In her introductory scene, Black Canary sings a cover of “It’s a Man’s Man’s Man’s World” in a nightclub, and her performance goes on an emotional journey from sadness to anger to righteous rebellion. Whether you’re watching it unfold on screen or just listening to the audio, the performance is poignant enough to believe that Smollett might have a similar superpower in real life. Not only does Smollett have the musicality to pull off the vocal and emotional demands of a Bond theme, but she also has the skills as an actress to possibly hold a dual role and play a Bond girl, too.
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5. Laufey
Icelandic singer Laufey (pronounced by English speakers as “lay-vay”) has become a breakout star in the American music scene over the past few years thanks to a honeyed voice that stands out amongst her peers. Laufey’s unique register and tender instrumentals mimic mid-19th-century jazz and pop, invoking the sound of artists like Ella Fitzgerald, while her lyrics discuss her personal experiences with love and life in the 21st-century world. This blending of the old and the new in a beautiful package is what gives her so much potential as the next singer of a James Bond theme song. Part of the franchise’s durability and legacy rests on the presence of both vintage and modern elements across the films—sometimes within a single film—and the franchise’s best music is similarly both familiar and new. The simultaneous antiquity and timelessness of Laufey’s music means that her Bond theme song would never go out of style; it would sound like something that could fit for Sean Connery’s Bond, Daniel Craig’s Bond, and the next Bond, whomever he may be.
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They say when you see a train wreck or a car crash, you can’t look away. It’s the fascination of seeing a disaster unfold that you’re not a part of. Our curiosity paints a picture of what happened and what the aftermath might be. That’s why disaster movies are so alluring—you get the entire story laid out for you!
Hollywood has provided cinema with some of the greatest disaster films of all time. From human-made errors to natural devastations, these disasters have provided a brilliant source of thrills that we simply can’t look away from. Though these may be stressful scenarios, the magic of cinema has made them entirely entertaining. From pure thriller to romance and parody, the range of styles proves that disaster flicks have no bounds.
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‘2012’ (2009)
We can look back at the year 2012 and chuckle at the paranoia that the world might end in the same way it could have due to Y2K. But in 2009, the premise of the film 2012 did give some of us quite a fright. Directed by Roland Emmerich, the epic disaster film follows a global cataclysm that destroys the planet as massive solar storms heat the Earth’s core. Geoscientist Adrian Helmsley (Chiwetel Ejiofor) warns world leaders of impending doom, leading to the revelation of massive arks intended to preserve humanity. Meanwhile, divorced limousine driver and novelist Jackson Curtist (John Cusack) races to save his family while facing off against massive earthquakes, volcanic eruptions, and megatsunamis that topple cities.
Drawn from the 2012 phenomenon and Mayan calendar prediction that forecasted the end of the world on December 21, 2012, the film played into our paranoia about what could happen if we don’t take care of our planet in the present. 2012 went full tilt, as anything that could happen did happen. Emmerich ramped up the action, introducing every apocalyptic trope that came into play in order to allow a high-octane global destruction story. Watching beloved landmarks crumble before one’s eyes serves as a wake-up call about the potential of total destruction. As pure entertainment, 2012 is a genuine popcorn flick whose greatest strength is its shock-and-awe. It’s the most disastery film in history.
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‘Airplane!’ (1980)
If there is a hall of fame for the greatest comedies of all time, you can most certainly expect Airplane! to appear. The film delivered non-stop laughs, but at its core, it is a serious disaster film set on a plane. The satirical comedy, written and directed by David Zucker, Jim Abrahams, and Jerry Zucker, follows Ted Striker (Robert Hays), a traumatized former fighter pilot with a fear of flying, who boards a commercial flight to win back the heart of his flight-attendant ex-girlfriend, Elaine Dickinson (Julie Hagerty). As the passengers and crew onboard fall violently ill with food poisoning, Ted must overcome his trauma, take control in the cockpit, and land the plane safely. Surely, you can’t be serious!
The spoof comedy parodies the 70s movie genre, utilizing brilliant visual gags, on-the-nose puns, and rapid-fire absurdist humor. A product of its time, Airplane! continues to keep us laughing to this day. A major reason for the film’s success is tasking serious dramatic actors, including Leslie Nielsen, Robert Stack, and Lloyd Bridges, to deliver silly performances with deadpan seriousness. In turn, it made Airplane! a quotable hit. Though some bits may not have aged quite as well, they still make us laugh. Through high-stakes action and low-seriousness delivery, Airplane! is a literal ticking-clock scenario of peril in the sky. The film reinvented the parody genre while launching a sequel and other like-minded genre-spoofs, many starring Nielsen. I dare you not to chuckle when you’re at the airport and hear the announcements about loading zones.
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‘Armageddon’ (1998)
Every so often, two studios release very similar movies around the same time. Like Pixar and DreamWorks tackled the insect game with A Bug’s Life and Antz in 1998, that same calendar year saw two rival meteor disaster films, Touchstone Pictures’ Armageddon and Paramount Pictures’ Deep Impact. It was the former that was the more superior film, though less accurate. In the Michael Bay-directed film, a rogue asteroid the size of Texas is on a collision course with Earth, threatening humanity if it crashes within 18 days. NASA executive Dan Truman (Billy Bob Thornton) assembles a ragtag group of deep-core oil drillers, led by Harry Stamper (Bruce Willis), to split the rock in two.
A story of heroism from ordinary people, determination, and the ultimate sacrifice, Armageddon is a high-octane thriller that filled the summer box office slot. With Bay in control, Armageddon was a sleek and visually spectacular film. Though science is treated as an afterthought, practicality means little when you’re watching everyday people do the extraordinary. By compiling a group of individuals you resonate with, the stakes are at an astronomical high. Of course, there must be a convenient love story between Harry’s daughter, Grace (Liv Tyler), and his employee, A.J. Frost (Ben Affleck), to make the mission even more personal. Armageddon is also responsible for “I Don’t Want to Miss a Thing” by Aerosmith, so the disaster film was anything but! A great popcorn flick of the time, Armageddon is pop culture entertainment to the max.
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‘A Night to Remember’ (1958)
The sinking of the Titanic was a source of storytelling long before the iconic 1997 film we’ll discuss soon. In fact, it was the source of a 1958 film directed by Roy Ward Baker. The historical disaster film A Night to Remember showcases the final hours of the ocean liner’s maiden voyage. Tracking the events as they unfold in real time, the film depicts the disaster through the eyes of Second Officer Charles Lightoller (Kenneth More), as well as those of the passengers and crew. A Night to Remember showcases the response to the crisis across all social classes, capturing the profound bravery through extreme panic.
Based on Walter Lord‘s nonfiction book of the same name, A Night to Remember is a film endorsed by historians and survivors for its cinematic accuracy. It’s the ultimate battle between humans and nature. What was believed to be an unsinkable vessel was anything but. A Night to Remember rejected the standard Hollywood melodrama in favor of a documentary-style, immersive experience that prioritizes the authentic experiences of the individuals on board. Baker builds slow tension and dread through practical special effects, black-and-white cinematography, and realistic performances. A Night to Remember is a perfect companion film to the ’90s masterpiece, offering an important perspective.
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‘Contagion’ (2011)
There have been quite a few virus-centric disaster films, but none as powerful as 2011’s Contagion. A film that has grown more terrifying over time, the Steven Soderbergh medical thriller depicts a rapidly spreading lethal airborne virus that spreads across the globe. As ordinary people are directly affected by the disease, the CDC’s Dr. Ellis Cheever (Laurence Fishburne) and Dr. Erin Mears (Kate Winslet) race to track it, while Dr. Ally Hextall (Jennifer Ehle) works to develop a vaccine that will be distributed only through a birthdate lottery system. A narrative that describes how paranoia is born from conspiracy and corporate power, Contagion shows the dramatic cost of a domino effect.
Rather than playing into the sanitized Hollywood disaster-flick trope seen in the ’90s, Contagion explores chilling, scientifically rigorous truths. With its real-world biology, accurate transmission, and the slow, methodical, and bureaucratic struggles for an overnight vaccine miracle, Contagion was a prophetic film that needed to be viewed in real time. The most terrifying element of Contagion is how easily the societal breakdown arrives. Rather than purely shown through action, the illustration of societal hierarchy, slow distribution, and the spread of misinformation can be just as lethal as the virus itself. Contagion‘s eerie precision makes it a sensational film that has aged like fine wine. Boasting a brilliant ensemble, featuring Matt Damon, Jude Law, Marion Cotillard, Bryan Cranston, and Gwyneth Paltrow, Contagion is a must-watch.
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‘The Impossible’ (2012)
Natural disasters are one of society’s greatest fears. Mother Nature can be unpredictable, but there are certain weather events we can avoid. Others, like a tsunami, have a lower chance of survival. And then came The Impossible, which proved otherwise. Inspired by true events and the experience of Maria Belon and her family during the 2004 Indian Ocean tsunami in Thailand, The Impossible is a harrowing story of resilience, survival, and true grit. Maria (Naomi Watts) and her son Lucas (Tom Holland) are dramatically separated from her husband, Henry (Ewan McGregor), and their sons, Thomas and Simon, when the massive tsunami strikes. The Impossible depicts the struggle for reunion as they navigate widespread devastation, life-changing injuries, and overwhelming trauma. With powerhouse performances from Watts and Holland, who makes his film debut, The Impossible is one of the most stressfully hopeful disaster dramas of all time.
The Impossible showcases how a fun family vacation can change in the blink of an eye. Director J.A. Bayona leaves little to the imagination, grounding the film in immense realism. He drops you into the inescapably rough waters before shifting gears toward a genuine human story. Through a micro-examination of the family rather than a more outward approach of the local victims, The Impossible is a very specific ordeal. The Impossible is a powerful film thanks in part to the visceral imagery, remarkable performances, and the fight against overwhelming odds. You may not be able to escape an event like this, but The Impossible brings a glimmer of hope through its story of perseverance.
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‘The Poseidon Adventure’ (1972)
In 1972, Ronald Neame adapted Paul Gallico‘s 1969 novel The Poseidon Adventure into a cinematic event. The film depicts the titular aging luxury ocean liner on its voyage from New York City to Greece. Just after midnight on New Year’s Eve, the S.S. Poseidon is rocked by a rogue wave, capsizing the ship. As many passengers drown while awaiting help in the ballroom, Reverend Frank Scott (Gene Hackman) leads a small group to climb through the upside-down interior, facing off against raging fires, rising water, and block passages in hopes of safety. A high-stakes survival thriller, The Poseidon Adventure was simply groundbreaking
The Poseidon Adventure could have been a disaster with its epic all-star cast, which included five Oscar winners: Hackman, Jack Albertson, Ernest Borgnine, Red Buttons, and Shelley Winters. Instead, it was a brilliant, simply unpredictable disaster film. Unlike other disaster films, this one has a buffer when it comes to its stars. With this stacked cast, major characters can and will die. The original story allowed for constant, realistic danger at every turn. With practical sets, real water and fire, and physical stunts performed by its stars, The Poseidon Adventure is a thrill of a watch. Though a sequel and remakes were made, nothing holds up as well as the original.
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‘The Towering Inferno’ (1974)
Nothing is more terrifying than the thought of being stuck in a skyscraper during a major disaster. That fear is realized in 1974’s The Towering Inferno. Directed by John Guillermin, the all-star disaster film is set in the lavish, state-of-the-art 138-story building called the Glass Tower in San Francisco, where a massive fire breaks out during the grand opening dedication party. The building’s architect, Doug Roberts (Paul Newman), and fire chief Michael O’Hallorhan (Steve McQueen) work together to fight the blaze, rescue the trapped attendees, and survive the collapsing high-rise. A practical high-stakes thriller, The Towering Inferno is a disaster flick as you’ve never seen before.
The Towering Inferno became a groundbreaking hit thanks to its special effects. Using real Fire and Water, it put the actors right into the danger zone. Through highly detailed miniatures and massive sets, the film felt tangible. A dual production feat from 20th Century Fox and Warner Bros., The Towering Inferno featured one of the strongest ensembles in cinema, including Fred Astaire, Richard Chamberlain, Faye Dunaway, William Holden, and Robert Wagner, among others. The Towering Inferno constantly keeps the action moving and the audience on high alert. A spectacle from start to finish, The Towering Inferno remains one of the most influential disaster films of the decade.
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‘Titanic’ (1997)
And now, we turn to the pinnacle film about the greatest sea disaster, Titanic. Directed by James Cameron, the Oscar-winning film depicts the maiden voyage of the Ship of Dreams through the eyes of an elderly woman named Rose (Gloria Stuart), who recounts her experience to treasure hunters. On board, upper-class Rose DeWitt Bukater (Kate Winslet) begins a forbidden affair with lower-class Jack Dawson (Leonardo DiCaprio). As their romance heats up, the Titanic strikes an iceberg, causing a devastating tragedy for all on board. A cinematic marvel, Titanic might possibly be the greatest disaster film in Hollywood history.
Titanic is a brilliant romantic film, but its core is rooted in its disaster story. By anchoring the terrifying mechanics of a sinking ship to the romance between Jack and Rose, Cameron gives audiences a reason to care about individual lives during the terrifying ordeal. It humanizes the tragedy by the time disaster strikes. The film humanizes the story by telling a tale of classism in which status dictated potential for survival. By highlighting the stark realities of class barriers during evacuation and the chilling aftermath on the freezing water, Titanic is a complete drama. Cameron’s attention to detail made the film a groundbreaking feat. Cameron conducted deep-sea dives to film the actual wreck, which paired perfectly with the cinema technology. Titanic is a timeless classic.
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‘Twister’ (1996)
Not since The Wizard of Oz has a tornado been such an iconic piece of pop culture. Directed by Jan de Bont and written by Michael Crichton and Anne-Marie Martin, the 1996 blockbuster Twister follows Dr. Jo Harding (Helen Hunt) and a group of storm chasers in Oklahoma who brave extreme tornadoes to deploy a groundbreaking weather-research device named “Dorothy.” The team races against a well-funded corporate rival (Cary Elwes) who stole her ex-husband’s Bill Harding (Bill Paxton), design to try and beat them to the scientific breakthrough. Having past trauma of watching her father get swept away by an F5 tornado, Jo is motivated by the desire to bring safety to win. A relentless thriller, Twister merged a compelling and emotionally grounded story with a high-octane action narrative.
Unlike many disaster films that have their characters run away from the disaster, Twister has them racing straight into it. Twister is a tale about chasing danger straight on. The film focuses on the human story in relation to the great weather event. Though Jo and Billy may be separated, they’re together on a mission, reigniting the pressure cooker of love. To bring the tornado to life, Industrial Light & Magic used innovative particle simulations to make them feel practical. Combined with physical wind machines and practical debris, the action feels immersive. It was such a groundbreaking special effect that it even inspired a Universal Studios attraction. One of the defining disaster films of the decade, Twister’s legacy lives on today thanks to its legacy sequel.
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When one A-lister wears a shoe style, we take notes. When all of our favorite celebrity rich moms wear the same one, we add it to our cart immediately, as is the case with Hilary Duff‘s latest look. Her chic sneakers nail the low-profile Adidas trend, and we found her exact pair at Nordstrom!
These Adidas Japan Low-Top Sneakers are Duff’s pick for sporty-luxe style. She rocked them with a tank, leggings and a tote bag for the easiest errand outfit. But it’s not just Duff. We’ve also spotted Anne Hathaway, Mariska Hargitay and Nicole Kidman wearing similar pairs, proving it to be the rich mom ‘it’ look of 2026.
Get the Adidas Japan Low Top Sneakers for $130 at Nordstrom! Please note, prices are accurate at the date of publication but are subject to change.
With a sleek silhouette, a classic side-stripe logo and perforated detailing around the toes, these kicks are stylish by default. They combine soft suede and tumbled leather, a mixed-textile moment that channels retro and modern vibes at the same time.
Better yet, the perforations keep them breathable, and the insole is plush enough for long walks. One shopper said it “literally molds” to your foot while another said they can “walk for miles,” so do with that what you will. Whether you’re running errands or touring Europe, you’ll be glad you chose these timeless everyday sneakers.
We love the look of these Duff-approved low-tops with a tee and wide-leg jeans, but you can easily dress them up with a blouse and trousers. A five-star reviewer wrote, “They look great with anything. Can wear them anywhere from the office to a day or night out.”
To make things sweeter, they come in 22 colors, all rich-mom-coded. Some are even on sale, so don’t miss out on this celeb-loved style that’s dominating celebrity, rich mom and celebrity rich mom wardrobes everywhere!
Get the Adidas Japan Low Top Sneakers for $130 at Nordstrom! Please note, prices are accurate at the date of publication but are subject to change.
UsNow Fall Sale Alert: These chic fashion finds are up to 60% off – plus free shipping
Welcome to fall with our biggest sale of the season. Our favorite dresses, tops, handbags, and shoes are all on sale + free shipping. Inventory is limited so hurry before they’re gone.
When September hits, you may think it’s time to pull out your Chelsea boots. Well, not this year. Rich girls in New York, London and beyond are wearing elevated, luxe-looking shoes instead, and we found 13 chic pairs that capture the aesthetic. These polished sneakerinas, Mary Janes, mules and more are the ticket to high-class […]
Brandi Glanville is pulling back the curtain on just how consuming her ongoing health battle has become.
After years of searching for answers about the mysterious problems affecting her face, the former “Real Housewives of Beverly Hills” star revealed that her current routine includes roughly 18 hours of IV treatment a day.
Even more troubling, Glanville says the treatments have affected her appetite as she acknowledged her noticeably thin appearance.
In a new Instagram video, Glanville gave followers an unusually intimate look at what her days look like now.
“I know I’m so skinny right now,” the 53-year-old said before explaining that her treatments have affected her appetite. “I can’t eat because the things I do… decreases my food [sic]. I feel like death. I look like death.”
Rather than receiving all of her care at a medical facility, Glanville has learned how to manage portions of the process herself. She showed the equipment in her kitchen and explained that a nurse visits for several hours each evening.
Glanville identified one of her IV medications as imipenem, which she receives through a pump, before describing a schedule that continues overnight.
“18 hours a day,” she said per the Daily Mail. “It’s a lot of setup.”
Mayo Clinic describes imipenem-containing medications as antibiotics used to treat certain bacterial infections. Glanville, however, did not disclose a new diagnosis or explain precisely what infection her current regimen is targeting.
Glanville Says Fans Still Don’t Know Her Full Health Story
The video may have provided Brandi Glanville’s most revealing glimpse yet into her daily routine, but she made clear that it was not the complete story.
“For the first time, I’m showing you what my life has really looked like behind closed doors,” she said, pointing to the treatments, IVs, exhaustion and difficult days she previously kept private.
She added that there remains “a lot” she is not prepared to discuss publicly and labeled the video “Part 1,” suggesting more disclosures are coming.
That uncertainty is significant because Glanville has spent years trying to determine exactly what caused the facial problems that first came to public attention in 2024.
Her explanations have evolved as doctors uncovered new information, making her latest treatment another development in a medical journey that has repeatedly appeared close to resolution before taking another turn.
Brandi Glanville’s Health Battle Continued After Major Surgery
Earlier this year, there appeared to be a breakthrough. In February, Glanville revealed that one of her nearly two-decade-old breast implants had ruptured.
She said silicone had migrated into her lymph nodes and linked the problem to a severe infection.
The Blast previously obtained details about the surgery Glanville underwent to remove the ruptured implants. At the time, she was hopeful that doctors had finally identified the underlying problem after years of uncertainty.
Her ordeal had already included facial swelling and disfigurement, numerous medical consultations, and her belief that a parasite was contributing to her symptoms.
However, the surgery did not close the book on her health problems.
By June, Glanville was again telling listeners of her “Brandi Glanville Unfiltered” podcast that her face was “sinking in again” and that she still did not have all the answers.
More From The Blast
Glanville Later Discovered A Benign Tumor In Her Face
Another significant development came in June when Brandi Glanville disclosed that doctors had found a benign tumor in one of the lymph nodes in her face.
“I have a benign tumor in one of my lymph nodes in my face,” she said at the time, adding that it “could be why the fluid is going around my face.”
The finding came after Glanville noticed a lump that she said other doctors had previously dismissed as scar tissue. As The Blast previously covered, the reality personality also said her condition had made something as routine as wearing makeup difficult.
Separate comments reported by PEOPLE illustrated the extraordinary cost of her search for answers. Glanville said she had consulted 21 doctors and spent around $200,000 out of pocket while seeing specialists, including infectious-disease doctors and rheumatologists.
Brandi Glanville’s Latest Setback Follows A Brief Return To Normal Life
The severity of Glanville’s latest update is particularly striking considering how hopeful she sounded less than a year ago.
In November 2025, she said she was slowly returning to her normal routine after moving into a new home and focusing on a calmer environment.
Then, in January this year, she appeared ready for a more public comeback, showing off a dramatically refreshed appearance after spending much of the previous two years away from the spotlight.
The Blast covered Glanville’s cautious return to public life after her lengthy health ordeal, when the reality star appeared optimistic about finally moving forward.
The 20th century as a whole was far and away one of the most transformative eras in the history of literature. The art form was reshaped in innumerable ways between 1901 and 2000 by groundbreaking fiction novels like The Lord of the Rings and non-fiction masterpieces like The Structure of Scientific Revolutions. But while there are hundreds—if not thousands—of books that had a particularly noteworthy level of influence throughout the 20th century, those two are among ten books from the era whose impact was particularly huge.
There are numerous ways in which a book’s level of influence can be measured, often greatly depending on what kind of book it is. It can be a speculative fiction masterpiece that completely revolutionized the way future authors approached the genre, while an environmental science non-fiction book’s influence is perhaps better measured by its level of real-world impact. Regardless, the 20th century’s most influential books are still essential reading today.
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‘The Structure of Scientific Revolutions’ (1962)
While many of the 20th century’s most hugely influential books were fiction, there were also plenty of non-fiction books that left an indelible mark on the era’s literary output. Case in point: historian and philosopher Thomas S. Kuhn‘s The Structure of Scientific Revolutions, where the author challenged the then-dominant view of scientific progress as a cumulative bundle of accepted theories, instead arguing in favor of an episodic model of alternating phases.
Nowadays, the ideas introduced by Kuhn here may not seem quite as novel anymore, but The Structure of Scientific Revolutions still reads as an absolutely brilliant cultural blueprint, one of those non-fiction books that are still a must-read in 2026. Its most influential contribution was the concept of paradigm shifts, one of the many reasons why this is essential reading not just for scholars, but for anyone interested in the history of modern science.
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‘Things Fall Apart’ (1958)
Throughout literature’s Victorian era and well into the first half of the 20th century, African texts were mostly dismissed by Western institutions as mere folklore, and English-language authors mostly wrote about Africa through an intensely colonial lens. Nigerian author Chinua Achebe‘s debut novel, Things Fall Apart, helped shift that narrative toward a far more authentic and less stereotype-heavy perspective hailing directly from Africa.
African literature as a whole was never the same again, nor was its reception on the international scene. Things Fall Apart, the first chapter in Achebe’s African Trilogy, is one of the most translated works of African literature in history. From pushing postcolonial studies forward to inspiring countless African authors to reclaim their native perspective, Things Fall Apart can’t be ignored as an essential piece of 20th-century literature.
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‘The Great Gatsby’ (1925)
What is The Great American Novel? It’s a debate that has been going on since the mid-19th century, and with the United States having produced so many internationally influential masterpieces over the years, it’s a debate that will never have any one definitive answer. One of the books most often brought up in that conversation, however, is F. Scott Fitzgerald‘s The Great Gatsby, a tragedy novel inspired by a romance Fitzgerald shared with socialite Ginevra King in his youth.
Fitzgerald was only 29 years old when the book was published, and even though it was a commercial disappointment (leading Fitzgerald to die believing himself to be a failure), the years have been nothing but kind to both it and Fitzgerald’s whole legacy. It was after the Council on Books in Wartime distributed over 150,000 free copies to American soldiers overseas during World War II that the novel’s readership was catapulted into the stratosphere. With that, by the late 20th century, The Great Gatsby had already become entrenched in international literary pop culture, one of the most defining masterworks ever written about wealth, class, and the American Dream.
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‘To Kill a Mockingbird’ (1960)
Harper Lee was an immensely important figure for 20th-century American literature, mostly thanks to the Pulitzer-winning To Kill a Mockingbird. This Southern Gothic masterpiece was an instant hit, and as the years have passed, it still continues to be widely remembered as one of the best American books of the last 100 years.
To Kill a Mockingbird is generally regarded as one of those books that everyone should read before they die, and for good reason. Published right as the Civil Rights Movement was gaining momentum, the novel proved the level of depth and nuance with which American books could study topics like racial prejudice, injustice, and empathy. Though there are definitely elements of the novel that haven’t aged the best by modern standards, they only add further nuance to the conversation on why To Kill a Mockingbird is one of the most influential books of the 20th century.
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‘Silent Spring’ (1962)
In the late 1950s, Rachel Carson started working on environmental conservation, and from that long period of research came Silent Spring. This unprecedented masterpiece of environmental science literature is mainly focused on the environmental harm caused by the indiscriminate use of DDT, a pesticide that soldiers used during WWII. Due to its critiques of the chemical industry, plenty of companies spoke out fiercely against Carson’s work upon Silent Spring‘s publication, but their complaints were for naught.
Silent Spring was nothing if not hugely successful in bringing issues of environmentalism to the public. Its immediate impact was most strongly felt in the United States, where it led to widespread legislative change. Even around the world, however, the book has proven massively influential, helping spark public awareness around the use of pesticides and boosting the global fight for protecting the environment.
5
‘One Hundred Years of Solitude’ (1967)
Sometime between the 1960s and 1970s, Latin America became the epicenter of world literature, benefiting from a literary explosion that catapulted the masterpieces of authors like Gabriel García Márquez into international prominence. There’s really no question as to which one of this legendary Colombian author’s works is most foundational, though: it has to be One Hundred Years of Solitude, arguably the most important Spanish-language book since Don Quixote—and certainly the most influential.
It was mainly magical realism that made Latin American literature so universally acclaimed throughout the late 20th century, so it’s no wonder that One Hundred Years of Solitude is one of the best magical realism books of all time. The book further enshrined this fantasy subgenre as a major literary force and helped shape generations of global talent. Márquez was awarded the Nobel Prize in Literature in 1982, and One Hundred Years of Solitude was a major reason why.
4
‘The Diary of a Young Girl’ (1947)
Commonly known as The Diary of Anne Frank, The Diary of a Young Girl is a book collecting the diary entries that German-born Jewish girl Anne Frank wrote while hiding for two years with her family during the Nazi occupation of the Netherlands. Though Anne died in the Bergen-Belsen concentration camp in 1945, her diaries were retrieved and delivered to her father, Otto Frank, who edited the text himself and ensured that her writing was shared with the world.
It’s one of the most heartbreaking books of all time, and though it proved hugely influential for the memoir genre as a whole, much of its influence came outside of the realm of literature. On top of helping to humanize the victims of the Holocaust, the book has become absolutely vital in understanding the psychological effects and the pure human cost of genocide. Across literature, education, international human rights, and the world’s understanding of the Holocaust, Diary of a Young Girl has proven to be one of the most influential non-fiction works of modern times.
3
‘The Lord of the Rings’ (1954–1955)
There are remarkably few fantasy books that rival The Lord of the Rings, and that’s because J. R. R. Tolkien‘s magnum opus completely changed the course of not just fantasy literature, but speculative fiction as a whole. Originally published in three volumes, this Hero’s Journey epic was actually not as much of a critical darling back in the ’50s as The Hobbit had been back in the ’30s. It was over the years that Lord of the Rings kept establishing itself not just as an undisputed masterpiece, but as the single most important fantasy novel of the 20th century.
It’s not just that Tolkien reshaped the way authors approached fantasy, establishing the blueprint for countless tropes in ways whose influence can still be felt today. The Lord of the Rings completely transformed pop culture itself, from tabletop RPGs to cinema, helping popularize speculative fiction within the mainstream like the world had never seen before. For several decades following the ’50s, pretty much any high fantasy epic that was published was either intentionally similar to Lord of the Rings or an intentional subversion of the rules it laid down.
2
‘Ulysses’ (1922)
If there is any one book from the 20th century that’s most often labeled as the era’s single greatest work of fiction, it’s James Joyce‘s Ulysses, one of those books that are an absolute masterclass in prose. Originally serialized in the American journal The Little Review between 1918 and 1920, the book was finally published in book form in Paris in 1922. Modernist literature saw writers reject traditional styles to reflect a world transformed by war and industrialization, and Ulysses is typically praised as the best and most important modernist novel ever.
This is a truly monumental paragon of 20th-century literature, written and structured like a stream of consciousness. Never before had the world read a novel so psychologically complex, so stylistically daring, and so gleefully transgressive. By mapping the mundane events of a single day in a character’s life in Dublin onto Homer‘s The Odyssey, Joyce not only proved that 20th-century folks’ ordinary lives could be as mythical as any ancient epic, but also that literature was readying itself for more dramatic transformations than it had ever seen.
1
‘1984’ (1949)
The debate on what the most influential book of the 20th century is is one where no singular answer could possibly satisfy everyone, but it’s quite likely that the most universally accepted response would be George Orwell‘s 1984. It was definitely not Orwell who invented dystopian literature, nor was 1984 even the first mega-influential dystopian masterpiece from the 20th century, but it sure was—and still is—the most culturally significant.
On the one hand, there’s the book’s impact purely on literature, having influenced countless artists who over the years have spoken out against totalitarianism, repression, and mass surveillance. Then, there’s the book’s overarching cultural impact, so large that it’s difficult to put into words. From introducing terms like “Big Brother” and “thoughtcrime” to the global lexicon, to the book’s timeless (and often referenced) warnings against fascism and oppression, to the birth of the also-often-referenced term “Orwellian,” 1984 has had a level of widespread influence that can’t be overstated.
Chiefs quarterback Patrick Mahomes extended his sympathy to a Kansas City media member after the “unexpected” death of his father.
“Praying for your family man,” Mahomes, 30, wrote via direct message to reporter Tucker Franklin, who shared the interaction via X on Sunday, September 6. “Chiefs and chiefskingdom is with you! 🙏🏽”
In response to the DM, Franklin, 28, told his followers, “I think it’s easy to wonder if the quarterback of your favorite team is actually a good guy.”
“We don’t have to wonder about that in KC ❤️,” he added.
Tucker, who covers the Chiefs for KC Sports Network, announced the death of his father, Doug, on August 31. He was 55.
“My dad, Doug Franklin, suddenly and unexpectedly passed away,” Tucker shared via X. “He was a great father, phenomenal husband, and an amazing man. The only thing he loved more than the Kansas City Royals was his family. He will be greatly missed.”
The journalist added, “It’s easy in times like these to be upset by all the things you didn’t get to experience. I’m crushed and devastated. Life is not fair but in these unfair moments, I’m choosing to be thankful for the 28 years I had with a man I was honored to call my father. Though, it should’ve been more. Thank you, Dad.”
Tucker was responsible for authoring his late father’s obituary, which he called “the hardest writing assignment of my life.”
“He was an advocate for teachers, having served on the Trenton R-IX School Board for six years, including the last three as president,” Tucker wrote about his dad. “On top of that, Doug worked as an adjunct professor for North Central Missouri College, teaching world religion and fire science.”
The obituary added, “He loved doing life together. He believed the church was the people. He gathered to camp, sit down at a table, and celebrate regardless of any inconvenience to himself. He showed up for people. He was not perfect and wasn’t afraid of it. His selfless nature was evident to everyone he came across.”
Tucker said he was “blown away by all the responses” after revealing his father’s death.
Joe Pierro, a beloved high school and basketball coach in Ohio, has died after being struck by lightning. He was 60. Pierro was killed while mowing the lawn at his home in Steubenville, Ohio on Friday, September 4, according to local reports. The incident happened just three weeks after Pierro retired following 30-plus years as […]
“I can never thank each and every one of you for reaching out, no matter our relationship,” he shared via X on September 1. “I’m overwhelmed. Thank you ❤️.”
Tucker returned to work on Monday, September 7, cohosting KC Sports Network’s “That Football Show,” which opened with a message about his late dad.
“In these times, it’s good to be together,” he said. “It’s great to see all the support … that I have had, that my family has had, from people that I’ve never met.”
Tucker continued, “That’s been really touching, really moving. I just want to say thank you.”
Ryan Reynolds’ surprise appearance at San Diego Comic-Con did not receive the universally enthusiastic response he may have expected. The “Deadpool” star crashed Marvel’s “Avengers: Doomsday” presentation on Saturday, July 25, and jokingly attempted to secure a last-minute role in the already-completed blockbuster. While the Hall H exchange was played for laughs, critics online quickly accused Reynolds of being overexposed, inserting himself into another Marvel project, and using the moment as a publicity stunt.
Several online critics dismissed Reynolds’ Comic-Con cameo rather than celebrating the possibility of Deadpool joining “Avengers: Doomsday.”
“Ryan Reynolds begging for a ‘Doomsday’ cameo is pure desperation,” one person wrote. “Deadpool’s already overexposed and Marvel doesn’t need him wrecking another film.”
Another questioned whether the actor’s surprise appearance had been designed primarily to attract attention. “Wait, is this actually real or just another Ryan pr stunt, dude never misses a chance to insert himself into everything; kinda getting old at this point tbh,” the commenter shared.
Others used the Marvel appearance to criticize both Reynolds and his wife, Blake Lively. “Nothing he does will save his career or his wife. They are DONE,” one person declared. Another remarked, “Probably needed a break from his lawsuit-happy wife.”
Robert Downey Jr. Tells Reynolds ‘It’s In The Can’
Reynolds appeared in Hall H as part of Marvel Studios’ presentation for “Avengers: Doomsday,” which is set to introduce “X-Men” characters into the Marvel Cinematic Universe. He joined several confirmed stars onstage, including Robert Downey Jr. and Paul Rudd.
Reynolds’ involvement in the upcoming movie has not been confirmed. He played into that uncertainty by asking the cast when production was scheduled to begin. “It’s in the can, bro,” Downey Jr. responded, confirming that filming had already been completed.
Downey then gestured toward the packed auditorium, where thousands of fans had gathered for information about Marvel’s future. “Look around you,” he told Reynolds. “Did you bump your head?”
Reynolds responded by pretending to be disappointed that his chance to join the film may have already passed. “I see. So there’s no additional photography, no overages, maybe last-minute additions…?” he asked.
The exchange suggested that Reynolds was jokingly lobbying for a Deadpool cameo rather than announcing that Wade Wilson would officially appear in “Doomsday.”
Critics Connect Appearance To Blake Lively’s Legal Drama
Several of the harshest reactions did not focus on Marvel or Deadpool at all. Instead, critics connected Reynolds’ return to the public spotlight with the ongoing controversy surrounding Lively.
One person referenced Reynolds concealing his face during the appearance and alleged that he would have faced a negative reception otherwise. “Makes sense he’s making a public appearance in a mask since he’d be booed showing his face after the train wreck case,” the commenter wrote.
Another speculated that the studio’s release plans had become complicated by the timing of Lively’s legal dispute. “Funny the studio has no choice but to release the film now since it was done when the mess of a lawsuit was happening (and now the fight of their greedy 8 million plus in legal fees lingers) in my view,” the critic shared. “I suppose they could wait a few years, but it seems to me it would likely do even worse by waiting.”
Ryan Reynolds Says Another Deadpool Film Is Coming
Despite the complaints that Deadpool has become “overexposed,” Reynolds has made it clear that he is continuing to develop the character’s future. The actor announced during an April 7 appearance at “Today’s Sunday Sitdown Live” that he had begun drafting another project involving the Merc with a Mouth.
He offered his most direct update yet at Fanatics Fest NYC earlier this month. “There’s a few really deep cuts that are missing from the movies, I think there’s a few deep cuts missing from some of the comics,” Reynolds said in a video shared on X on Sunday, July 19.
He pointed to material written by Deadpool comic creators Fabian Nicieza and Gerry Duggan as possible inspiration. “There’s certainly some stuff that I love that Fabian [Nicieza] wrote that is incredible. Gerry Duggan is a friend and an incredible comic book writer,” Reynolds continued. “There’s stuff coming, there eventually will be another ‘Deadpool’ film.”
Will Deadpool Join ‘Avengers: Doomsday’?
Reynolds last played Wade Wilson in 2024’s “Deadpool & Wolverine,” which earned more than $1.3 billion worldwide.
Although he has repeatedly suggested that he is not rushing into a conventional “Deadpool 4,” the actor has hinted that he is developing a different Marvel project involving the character and members of the X-Men universe.
His unannounced “Doomsday” appearance naturally fueled speculation that Deadpool could still turn up in the movie. However, neither Reynolds nor Marvel confirmed his possible appearance.
It’s been 22 years since we first boarded Oceanic Airlines flight 815 right before it crashed on a mysterious island in the middle of the ocean, but the legacy of Lost continues to loom large in the television landscape. Often regarded as one of the greatest TV shows of all time, the series garnered attention critically and with audiences at home. It won 11 Primetime Emmys along with hundreds of other industry award nominations. In the zeitgeist, it became the show that everyone had to watch right when it came out, because no one wanted to be spoiled for what happened on the island this week.
Created by Jeffrey Lieber, J.J. Abrams, and Damon Lindelof, the series ran for 121 episodes over six seasons on ABC, with the show being one of the most expensive on the air at the time as it included an ensemble cast and was primarily filmed on location in Hawai’i. But the investment was ultimately worth it as Lost became such a big hit that, decades later, people are still arguing about whether the finale was good or not, talking about the smoke monster twist, and crying over the “Not Penny’s Boat” scene. Sitting down with co-showrunner Carlton Cuse at the 2nd edition of Italian Global Series, Cuse reflected not only on the popularity of the show, but how the television landscape was changed by a show like Lost.
How Network TV Shaped the Drama of ‘Lost’
“I think Lost was really propelled by the sudden emergence of social media.”
Before audiences were being shocked by Ned Stark’s sudden execution or Walter White’s dark transformation into Heisenberg, Lost was the show that everyone couldn’t stop talking about. By Season 3, Twitter had officially been created, setting up a perfect space for fans of the show to scream about the series and discuss the weekly twists and turns. “We happened to be making a TV show that was engaging and also confounding, and the perfect thing to be discussing on social media,” Cuse explains, thinking back to the height of Lost. “There was this incredible, inadvertent confluence of those two events, and I think Lost was really propelled by the sudden emergence of social media.”
At the time, TV seasons could run for 20+ episodes, and each episode had to be timed to 42 minutes and 30 seconds long. The episodes couldn’t have curse words; a new episode had to be made every eight days, according to Cuse, and the flow of the episode had to accommodate the commercials. Cuse recalls the challenges they faced in the writers’ room: “The constraints of having to have an act break shaped the way we broke the story, so we thought a lot in the writers’ room about, well, what’s the teaser out, what’s the episode out, what are ways in which we can really ensure that the audience doesn’t disappear during a commercial break?”
These constraints, as frustrating as they might be, formulated the perfect environment for the writers of the series. “That narrative structure, I think, really helped shape the way Lost exists,” Cuse admits. “We had to find emotional intensity other ways than just having graphic content, whether it’s extreme violence, sex, language, and it gave us an opportunity because we were doing things that other people weren’t doing, to really be more singular.”
Networks like ABC weren’t — and still aren’t — putting out shows like Lost at the time. Those studios are sustained by familiar procedurals, shows that anyone can drop into and dip out of without losing the plot. Cuse admits that Lost being so different gave the show a leg up in the TV landscape. “There weren’t network television shows that were highly serialized, that had a big sprawling cast, where characters had done really bad things, like murder people. So I think that we benefited enormously from doing Lost in a network environment.”
22 Years Later and TV Has New Problems That ‘Lost’ Never Faced
“I will probably end up spending two and a half years making eight episodes of television, all told…”
Since the streaming boom and this new era of television, you’ll be hard-pressed to find shows with serialized stories like Lost lasting more than even 10 episodes, and it’s more than common to wait at least a year before another season drops. However, the pressure of that type of work environment, which led to Lost‘s success, isn’t necessarily something that Cuse wants to return to. “We made 24 episodes the first season, 23 the second season, 22, and then there was a strike short in a 14-episode season, and then we only made 17, and then 18. I mean, it’s insane when I think about it.”
“My partner, Damon Lindelof, and I would stay late in the office one or two nights a week until you know one or two in the morning, rewriting that week’s script, because we had to put a script out every eight days, and it’s kind of baffling that we were able to do it.” Cuse calls that traditional format of TV making “mind-boggling” and says that what exists today is completely different. “But I don’t really want to go back. I mean, it was just a very different time,” he says.
Cuse, who is currently working on a Netflix adaptation of Dan Brown‘s latest novel, The Secrets of Secrets, which follows Robert Langdon, the character formerly played by Tom Hanks in the three movies, is far happier with the pace of television making today. “I will probably end up spending two and a half years making eight episodes of television, all told, and it’s just completely different.”
Although this new approach is no doubt far less stressful on showrunners, it also means that extended productions lead to large gaps between seasons. Fans of these shows know firsthand what it’s like to feel like you’re waiting forever just for a handful of episodes to drop all on one day and then disappear again for another couple of years. HBO’s Euphoria had three years between Seasons 1 and 2 and then a whopping four years between Seasons 2 and 3. Netflix is known for its multi-year breaks between show seasons, with shows like Stranger Things and Wednesday having at least two years of a hiatus between seasons.
The problem with these long hiatuses is that whatever momentum is being built up during the show comes to a screeching halt by the finale. “I think I just read an article about how difficult it is for some streamers, how big a drop off there was in the second and subsequent seasons of most shows, and there are a few exceptions, but a lot of shows — even well-reviewed and regarded shows — are dropping off because audiences have lost any momentum they have for that show, because they have to wait a couple of years between seasons,” Cuse explains.
Can you imagine what it would be like to wait three years after “Through the Looking Glass,” the Season 3 finale of Lost that not only gave us the “Not Penny’s boat” moment but also the “We have to go back!” line from Jack? With so much happening on that show in terms of timelines, factions, and characters, waiting three years would take the wind out of the sails of such an impactful final moment, and that would be the case for any show trying to mimic the format of Lost. But, Cuse sees a new path forward for television that takes a more hybrid approach.
The Streaming Landscape Needs To Change and Carlton Cuse Knows How
“I think subsequent seasons of television are going to be more like movie sequels in a way.”
When asking Cuse if he thinks Lost would be the same sensation today as it was back in 2004, the producer admits, “I don’t think it would be quite as much of a phenomenon as it was back then; everything was so singular at that time.” But, in truth, the media landscape and the industry have been completely revolutionized in the last 22 years. How we watch TV is different, how we watch movies is different, and how we engage with media is completely different. While Lindelof and Cuse had to deal with how to get people to tune back in after a commercial break, showrunners today have to deal with how to keep people engaged after being gone from the cultural landscape for over a year.
For Cuse, the best way forward is to keep season stories contained rather than having multi-season arcs. “Personally, for me, I’m at a place right now where I like more limited storytelling,” he explains. “I created the show Jack Ryan with writer Graham Roland, and that show we have envisioned that each season was a complete story, and you could revisit it with a character. So, I think subsequent seasons of television are going to be more like movie sequels in a way, where they’ll tell an individual story with the beginning, middle, and end.”
This doesn’t mean that a throughline won’t always be there through a television show, but this approach allows for more complete stories to be told that won’t disappoint audiences if, God forbid, the show doesn’t come back until two years later or is cancelled altogether. “I think streamers will move to a place like in books, you know, there are many novelists who write books like Dan Brown with a certain character, but each story is its own closed-ended story.”
This is a pattern we’re already seeing in shows like Bridgerton, which is based on a romance novel series by Julia Quinn where each book follows a member of the family, but rather than having to read all the books in the series in order, you can jump in at any time. With the show focusing on one sibling every season, even with overarching storylines, the show becomes easier to keep up with. “I think you’re going to see more of that, because the idea of ending a show with a cliffhanger and expecting someone to remember what’s going on and pick it back up 18 months or two years later is really tough.”
Cuse points out that this method of storytelling will lead to a rise in more limited series, something that we’re already seeing more of today, but that doesn’t mean that’s the only way forward for TV. “On the other hand, I think you’re starting to see another evolution, which is someone who’s a really great producer, like John Wells, really pushing and reinventing the model with The Pitt, where they’re making 15 episodes a season, and they’re continually going writing and producing, so there aren’t these big gaps,” Cuse says. “I think The Pitt is an example of a hybrid model where they’ve taken the traditional network model, and they’re trying to apply it to streaming.”
With so much changing in television today, it’s hard to imagine a show like Lost surviving, but old stories are being rebooted and revived daily, so what’s stopping us from getting a new version of this beloved show? Especially since Lost is still raking in millions of streaming hours even today. Well, Cuse is personally not interested in revisiting the world himself. “In the years following the show, it would get raised by executives at ABC, and they would ask if we were interested in doing it, and we were kind of unhesitant in saying no. We felt like the story we told, we told it, and I think a lot of the reboots of TV shows haven’t gone that well, and so I think the answer for us is very much no.”
However, don’t let that disappoint you if you are champing at the bit for more of those Lost twists. Cuse is fully open to the idea of someone else adapting the series, saying, “I do think and believe that at some point some talented young writer or writers will come to ABC and say, ‘Hey, we have a great idea to do another story in the Lost world,’ and they’ll do it, and that would be great. I don’t have a problem with somebody else telling a story in the world of Lost. But I don’t see us doing it.” One can only hope that if (or more realistically, when) that time comes around, the studio involved will take a bit of advice from Cuse and adapt to this new approach to TV storytelling rather than try and catch lightning in a bottle twice with the old.
- Release Date
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2004 – 2010-00-00
- Showrunner
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Damon Lindelof, Carlton Cuse
- Directors
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Jack Bender, Paul A. Edwards, Tucker Gates, Eric Laneuville, Bobby Roth, Greg Yaitanes, Daniel Attias, J.J. Abrams, Karen Gaviola, Kevin Hooks, Rod Holcomb, Stephen Semel, Adam Davidson, Alan Taylor, David Grossman, Deran Sarafian, Fred Toye, Mario Van Peebles, Marita Grabiak, Mark Goldman, Matt Earl Beesley, Michael Zinberg, Paris Barclay, Robert Mandel
- Writers
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Jim Galasso, Christina M. Kim, Graham Roland, Kyle Pennington, Brent Fletcher, Dawn Lambertsen Kelly, Janet Tamaro, Jeffrey Lieber, Paul Dini, Jordan Rosenberg
Netflix takes pride in its roster of thrillers. From the post-apocalyptic Bird Box and the TSA anxiety of Carry-On to the hit crime action Rebel Ridge, the streamer has a knack for reimagining all kinds of scenarios—from the ordinary to the highly specific—and showing the many ways they can spiral out of control. Whether it’s a case of jealousy gone wrong or a classic detective mystery with a motive for everyone, these thrillers deliver much-needed suspense.
With tightly written scripts that leave little room for wasted moments and cinematography designed to make viewers feel as uneasy as the conflict itself, Netflix’s thrillers know how to keep audiences on edge. While the platform’s biggest hits have had their time in the spotlight, its underrated films deserve just as much recognition. In honor of those overlooked gems, here are forgotten Netflix thriller movies that are perfect from start to finish.
‘Fair Play’ (2023)
All’s fair in love and war. Fair Play follows freshly engaged Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), who look like the perfect pair. But when a promotion gets in their way, it’s a corporate battle from here on out. When Emily receives the coveted role instead of Luke, their once-supportive romance descends into a workplace rivalry gone wrong. From sarcastic, passive-aggressive remarks to a full-blown case of abuse, Fair Play exposes how fragile men can be at the sight of a woman’s success.
With Chloe Domont‘s relentlessly paced script, Fair Play continually ups the ante as Luke’s mounting anxiety spirals out of control. Despite Emily clearly being the more talented of the two, jealousy brings out the worst in Luke, pushing him to sabotage her success. It’s a biting commentary on how toxic ambition, particularly from a male perspective, can destroy another person — especially when that person is the one you love. The scary part is that Emily’s experience as a woman, where gender microaggressions are still present in corporate, is not far from fiction.
‘Reptile’ (2023)
Reptile follows Detective Tom Nichols (Benicio del Toro) as he investigates the brutal murder of real estate agent Summer Elswick (Matilda Lutz). Together with his partner Dan Cleary (Ato Essandoh), the two ask around those closest to the victim. Their suspects include boyfriend Will Grady (Justin Timberlake), estranged husband Sam Gifford (Karl Glusman), and local troublemaker Eli Phillips (Michael Carmen Pitt). While the evidence seems to point toward an obvious culprit, Tom refuses to accept the easy answer.
Reptile keeps audiences questioning because all three suspects have evidence tying them to different crimes. Through a familiar crime thriller formula, supported by del Toro’s strongest performance since Sicario, Reptile requires audiences to notice the inconsistencies. Just because someone is guilty doesn’t necessarily mean they’re the perpetrator behind the central crime. However, it does suggest that forces far bigger than del Toro’s detective are at play. What initially seems like a single case escalates into a wide corruption scheme, giving Reptile its man-versus-the-system edge.
‘The Killer’ (2023)
Gritty, bloody, and stylish, The Killer is a nod to the sleek hitman genre. After missing a high-profile sniper assassination in Paris, a nameless contract killer returns to his hideout in the Dominican Republic only to find his girlfriend brutally attacked in retaliation. Abandoning his rule of never making a job personal, he ventures across the United States to find the person responsible, bringing him to the client he ordered the cleanup back in France.
The Killer shows another side of the hitman profession. Beneath all the traveling, Michael Fassbender‘s detached voiceover reveals that the life of a contract killer is a lonely one, making the assault of his girlfriend even more personal. Because any sign of his true identity could expose him, he lives in constant isolation, whether he’s working from abandoned WeWork offices or relying on food delivery apps. There’s nothing glamorous about contract killing, especially when you’re too detached to reap the rewards.
‘His House’ (2020)
His House follows Bol (Sope Dirisu) and Rial (Wunmi Mosaku), refugees fleeing the civil war in South Sudan, as they undertake a dangerous trip of survival to Britain. However, along the way, they lose the young girl they claimed as their daughter during the crossing. Granted temporary asylum, they are assigned a rundown house and warned that leaving could result in deportation. As they struggle with their new surroundings, the last thing they would expect is an apeth, a sinister night witch tied to their past.
Unlike your typical supernatural ghosts, His House presents another kind of demon — one born from survivor’s guilt, grief, and displacement. Amid the jump scares and heart-racing tension lies the heartbreaking reality of living with the consequences of the impossible choices Bol and Rial were forced to make to survive. As much as it is a haunted-house horror film, His House also explores the effects of racism, xenophobia, and the expectations placed on refugees.
‘The Good Nurse’ (2022)
Based on the crimes of the real-life serial killer, The Good Nurse shows how danger can lurk even within an institution that’s meant to save people from death. Amy Loughren (Jessica Chastain), a compassionate nurse and single mother, struggles to support her family while hiding a life-threatening heart condition. Thankfully, she receives the help she needs at work when the thoughtful Charles Cullen (Eddie Redmayne) joins her shift as a fellow nurse. But beneath his warm smile, Amy begins to feel that something’s off about him.
It’s tough to play a character who is both disarmingly kind and deeply sinister, yet Redmayne nails the balance. At the beginning of The Good Nurse, Amy and Charlie share a sincere, trusting friendship as they bond over the exhaustion of working night shifts in the ICU, making it all the more heartbreaking when Amy discovers Charles’ true nature. While the film ultimately points to larger forces at fault for allowing Charlie to remain in the hospital’s hallways, it grounds the story in a heartfelt connection that goes sideways.
‘The Platform’ (2019)
In The Platform, Goreng (Iván Massagué) voluntarily enters The Hole, a mysterious vertical prison, hoping to earn an accredited diploma after serving six months. Inside, he discovers a brutal system where two inmates occupy each level, and a descending platform delivers food from the top down, leaving those on lower floors to starve. Every month, prisoners awaken on a different level, forcing them to experience privilege and deprivation alike — the latter spiraling into cannibalism, violence, and the collapse of morality.
Even in this dystopian prison, the unjust system persists. It’s a high-concept sci-fi thriller at its best, but The Platform is ultimately a powerful social allegory about wealth inequality, greed, and the darker side of human nature. Every monthly floor change brings new twists, forcing viewers to ask whether they would share their food or consume everything out of fear of ending up on a lower level. The slightest chance of survival pushes these inhabitants to consider the moral limits they are willing to cross.
‘Hold the Dark’ (2018)
No place makes a better backdrop for a thriller than the remote wilderness of Alaska. Hold the Dark is set in the aftermath of the disappearance of three children believed to have been killed by wolves. Retired naturalist and wolf expert Russell Core (Jeffrey Wright) is summoned by grieving mother Medora (Riley Keough) to track down her missing six-year-old son. As Core digs deeper into the case, he realizes that Medora’s account may not be entirely truthful.
Hold the Dark is a prime example of how the brutality of nature and the darkness of the human mind are deeply intertwined. Despite its icy setting, Hold the Dark has the gritty appeal of a Western, with Russell battling not only a supposed killer but also the unforgiving glacial wilderness. In the isolation of remote Alaska, people are free to commit horrific acts with little fear of consequences, leaving Russell with no one nearby to rely on.
With Christopher Nolan having moved away from sci-fi for the time being and the genre’s biggest hit this year being a feel-good space adventure, Project Hail Mary, there seems to be a gap in the market for the sort of cerebral projects that defined the genre for decades. Nolan established himself with The Dark Knight trilogy, but received greater acclaim for films such as Interstellar and Inception. During that same period, Denis Villeneuve made Arrival and Blade Runner 2049, and is now on the verge of concluding his epic Dune trilogy. Villeneuve’s Dune movies are perhaps the best-reviewed sci-fi titles in over two decades; the trilogy is certainly the most influential of its kind since the Wachowski siblings burst onto the scene in the late 1990s.
The siblings’ magnum opus, The Matrix trilogy, is now heading toward the Peacock streaming service for a new generation to discover. The series began in 1999 with The Matrix, which grossed over $470 million worldwide against a reported budget of $63 million. Starring Keanu Reeves, The Matrix is regarded as one of the greatest sci-fi movies of all time, and among the greatest movies of the 1990s. Following the film’s success, Warner Bros. put two sequels into production back-to-back. Both movies — The Matrix Reloaded and The Matrix Revolutions — were released in 2003.
Here’s When You Can Watch the Landmark Trilogy on Peacock
The Matrix Reloaded grossed over $740 million worldwide against a reported budget of $150 million, while The Matrix Revolutions generated $427 million globally against a budget of $150 million. All three movies have their vocal supporters, but the first is widely regarded as the best of the bunch. It now holds a “Certified Fresh” 83% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Thanks to the Wachowskis’ imaginative vision, The Matrix is a smartly crafted combination of spectacular action and groundbreaking special effects.” The second movie has a 74% score and the third movie has a 33% score. A fourth installment, directed solely by Lana Wachowski, was released in 2021, day-and-date on HBO Max and in theaters like the first Dune. Unlike Villeneuve’s film, however, The Matrix Resurrections grossed just $160 million worldwide against a $190 million budget. The franchise is now being rebooted with Drew Goddard at the helm, but you can watch the original trilogy on Peacock starting August 1. Stay tuned to Collider for more updates.
- Release Date
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March 31, 1999
- Runtime
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136 minutes
- Producers
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Andrew Mason, Barrie M. Osborne, Bruce Berman, Erwin Stoff
With Christopher Nolan‘s latest epic, The Odyssey, continuing its box-office domination this weekend, studios preferred to stay out of its way. Even Sony might be concerned about Spider-Man: Brand New Day, which debuts in a week. The movie will court an entirely different demographic, but The Odyssey is on a generational run, outpacing both The Dark Knight and The Dark Knight Rises. This weekend, the movie overtook two previous Nolan films — Tenet and Batman Begins — and was essentially given a wide berth by competitors. The only other new releases were Hadestown: The Musical, a filmed adaptation of the Broadway production that serves as an unusual companion piece to The Odyssey, and the action movie Motor City.
Starring Alan Ritchson, Motor City is being distributed domestically in around 1,600 theaters by the Independent Film Company. Ritchson has cemented himself as one of the streaming industry’s foremost stars over the years, and it’s no coincidence that Prime Video chose to release fresh trailers for his career-defining hit Reacher and its spin-off Neagley, on the same day as Motor City‘s release. The movie premiered at the Venice International Film Festival in 2025, where it received mostly positive reviews. The wider reception for the film remained mostly favorable following its commercial release, and it now holds a 65% score on the aggregator website Rotten Tomatoes. In his review, Collider’s Aidan Kelley wrote that the movie is “a thrill ride that has some janky turns and bumps, but the bulk of it is a smooth journey that has some really interesting things to say without saying a word.”
Here’s How Much ‘Motor City’ Grossed in Its Box Office Debut
With The Odyssey topping the charts once again, grossing around $85 million — a record for Nolan — in its second weekend, Hadestown: The Musical grossed just under $10 million for a top-five finish. Motor City found a spot in the top 10 despite its limited release, grossing around $1.6 million over the weekend against a reported budget of $30 million. Directed by Potsy Ponciroli, the movie also features Ben Foster, Ben McKenzie, Pablo Schreiber, and Shailene Woodley in supporting roles. Reacher, meanwhile, will return for a fourth season in August, while Neagley will be released in September. You can watch Motor City in theaters, and stay tuned to Collider for more updates.
- Release Date
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July 24, 2026
- Runtime
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103 Minutes
- Director
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Potsy Ponciroli
- Writers
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Chad St. John
- Producers
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Greg Silverman, Jon Berg, Chad St. John, Cliff Roberts, Joshua Harris
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