This summer is stacked with great movies. From Tom Holland’s return to the web in Spider-Man: Brand New Day to the fifth installment in the beloved Disney and Pixar franchise Toy Story, there is something for everyone. However, no more is more hotly anticipated — in spite of its divisive trailer — than The Odyssey. Christopher Nolan’s adaptation of Homer’s classical epic is scheduled to hit theaters on July 17, 2026, earning over 23,000 tickets for IMAX 70mm screenings almost a year ago in an unprecedented early haul.

After first appearing in Nolan’s 2014 effort Interstellar, Matt Damon played a crucial role in the multi-Academy Award-winning Oppenheimer in 2023. Now he is set to lead one of the great director’s movies in his most ambitious project yet. Damon is joined in a stacked Odyssey line-up by the likes of the aforementioned Holland as Telemachus, Anne Hathaway as Penelope, Robert Pattinson as Antinous, Charlize Theron as Calypso, Jon Bernthal as Menelaus, Lupita Nyong’o, Zendaya, Mia Goth, Elliot Page, Himesh Patel, and Benny Safdie.

Before The Odyssey sails onto our theatrical shores, another Damon-led adaptation, albeit one that was first released almost three decades ago, is a surprise streaming hit. The 1997 adaptation of John Grisham‘s novel The Rainmaker starred the likes of Damon, Mickey Rourke, Danny DeVito, Dean Stockwell, Jon Voight, and more, and was the legendary Francis Ford Coppola‘s last movie of the 21st century. The movie was a hit with critics, returning almost universal positive praise and even earning a Golden Globe nomination. At the time of writing, The Rainmaker is one of the ten most-streamed movies on the free streaming site Tubi in the U.S. The timing feels appropriate, given that one of TV’s best legal thrillers, The Lincoln Lawyer, was just cancelled by Netflix.

‘The Rainmaker’ Disappointed at the Box Office

Despite featuring an eye-catching cast and being based on a popular novel, The Rainmaker ultimately underperformed at the box office. Against a reported budget of $40 million, the movie earned just over $45 million worldwide, which was particularly disappointing, given that another Grisham adaptation, 1993’s The Firm, earned more than $230 million worldwide against a similar budget. Of course, The Firm benefited from a Tom Cruise at the peak of his powers in the lead role, as opposed to a fresh-faced Damon.

The Rainmaker is streaming for free on Tubi. Make sure to stay tuned to Collider for all the latest streaming news.

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Release Date

November 18, 1997

Runtime

135 minutes

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Director

Francis Ford Coppola

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Ariel Winter and Luke Benward have called it quits after almost six years together.

People reported on Thursday, May 14, that Winter, 28, and Benward, 31, quietly split in August 2025.

Taking to the comments section of an Instagram post shared by People about the news, Winter confirmed the breakup and added that the pair still have an amicable relationship despite going their separate ways.

“He’s still one of my best friends, a great human being and a great pup coparent,” she wrote. “Just because sometimes people aren’t meant to be doesn’t mean you don’t still appreciate the time spent and retain the friendship you shared … still a big luke fan over here!!!”

Related: Sarah! Ariel! ‘Modern Family’ Cast Then and Now

From the beginning, fans fell in love with the cast of Modern Family — but they sure have changed over the past 13 years. When the series debuted, many of the cast members were so young that they ultimately grew up on screen. “There’s definitely one season for me when I hit puberty right when […]

Us Weekly has reached out to Winter and Benward’s respective spokespersons for comment.

The Modern Family alum and Benward were first romantically linked in 2019, transitioning their once-platonic bond.

“You start with the attraction, and then you get the connection, and then you’re like, ‘OK, can I be friends with this person? Do I like this person?’” Benward exclusively told Us Weekly in June 2025. “We were already way past that. [Then] COVID hit, and it was just like, let’s dive in headfirst and see how this goes. And it went great.”

At the time, Winter gushed that she was proud her relationship had withstood a pandemic lockdown.

“We know a lot of COVID divorces, COVID babies, [but] not many COVID-strong relationships, but we’re happy to be one,” she quipped. “We’re proud to represent for the COVID-strong relationships.”

Winter and Benward also shared the screen in last year’s Don’t Log Off, telling Us that they were hopeful to have even more collaborations down the line.

“Well, we have obviously what you would expect a relationship to unfold as planned in the next five years,” the former Disney Channel star told Us. “And then, this is the start of the journey for us of producing together, which we’ve really enjoyed. We have this movie, and then we did a short that went really well.”

Related: Ariel Winter Through the Years: ‘Modern Family’ and More

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Young Hollywood royalty! Ariel Winter rose to fame on ABC’s beloved sitcom Modern Family, but her role as Alex Dunphy was hardly her first go-round. By the time the Virginia native landed the role of Phil (Ty Burrell) and Julie Dunphy’s (Julie Bowen) middle child, she had already appeared in shows including ER, Bones, Nip/Tuck […]

He added, “We just worked really well together. We compliment each other well professionally. We have a cooking show that we’re putting together that we’re going to be pitching.”

Benward further shared how he was a fan of Winter’s solo Hollywood endeavors.

“She won’t let me watch Modern Family with her. But sometimes I turn it on just to mess with her,” he quipped, referring to Winter’s role as daughter Alex Dunphy on the long-running sitcom. “I just love [Alex’s dad] Phil Dunphy. He never misses.”

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Winter, for her part, clarified that she never banned Benward from watching Modern Family — just without her. Even so, the duo had long shared relationship highlights via social media.

“Happy 26th to the most special man that gives me alllllllll the feels allllllllllll the time. I love you. I am beyond grateful for you,” Winter wrote via Instagram in 2021. “I feel incredibly lucky to spend each day together enjoying the great days and working through the tough days that we can’t go at alone. You’ve been my safe space and guiding light through all of the tough days this past year — thankful doesn’t even begin to describe how I feel. Obviously you are ridiculously handsome, but how ridiculously caring, smart, funny, empathetic, kind, talented and devoted you are to who and what you love is the most attractive.”

Winter previously dated Levi Meaden for three years before their 2019 breakup.

So you think you’ve seen every Netflix original the streamer has to offer. Well, no, you haven’t. Between the algorithm-driven churn, the relentless release schedule, and the platform’s habit of canceling shows before they find their audience, plenty of underrated Netflix shows end up slipping through the cracks.

In fact, some of the streamer’s best original series are still waiting to be queued up. We’re talking hidden gems that don’t fall apart in the final season and well-lit prestige storytelling you can actually see. Of these forgotten Netflix shows that are perfect from start to finish, each one, regardless of genre or popularity, offers a flawless binge-watching experience from the first episode to the series finale.

‘The Last Kingdom’ (2015–2022)

Image via Netflix

Based on Bernard Cornwell‘s Saxon Stories novels, The Last Kingdom chronicles the formation of England through the eyes of a Saxon-raised Dane named Uhtred of Bebbanburg (Alexander Dreymon) navigating loyalty, identity, and an endless series of kingly coronations and the religious upheavals that come with them. A historical action series that goes hard on the action — if you were to play a drinking game tied to the number of battles per episode, we’d worry about your liver after just one season — the show’s also got a cast that never lacks chemistry with Emily Cox, David Dawson, Ian Hart, and Mark Rowley.

It never quite got the prestige television conversation it deserved, possibly because it looked like Game of Thrones bait when it premiered. However, it outlasted the show it was compared to and finished on its own terms with a feature film that did Dreymon’s character justice.

‘The Society’ (2019)

Image via Netflix

We’ll be upfront here and admit that, despite how fun The Society is, it only lasted one season, which means its story is permanently unresolved. Netflix renewed it, then reversed course during the pandemic, so you’ll be ending on a cliffhanger should you take this one on. That said, you absolutely should watch this series because it happens to be one of the most underrated pieces of young adult science fiction streaming right now. It centers on a group of teenagers from a wealthy New England town who return from a cancelled school trip to find their entire community emptied of every adult and cut off from the outside world, with no explanation and no rescue coming.

With no one to defer to and limited resources, they have to either build a society from scratch or, you know, embrace the chaos. (A bunch of horny, rebellious young adults? We wonder which they’ll choose?) The show has a slew of young Hollywood talent — names like Kathryn Newton, Gideon Adlon, Kristine Froseth, and Rachel Keller — and a truly compelling premise that it wrings for every thrill and shocking twist you could hope for.

‘Godless’ (2017)

Image via Netflix

Scott Frank‘s seven-episode Western limited series is one of the most purely cinematic things ever made for television. Set in 1880s New Mexico, Godless has the scope of a dusty theatrical epic with a fascinating based-on-a-true story plot line to match. The show follows an outlaw named Roy Goode (Jack O’Connell) who flees his former gang and takes refuge in La Belle, a mining town whose population is almost entirely women after a catastrophic accident killed most of its men. His arrival makes the town a target, but the women of La Belle have no intention of becoming victims.

Jeff Daniels, Merritt Weaver, Scoot McNairy, and Michelle Dockery are all at the top of their game here. The finale, in particular, is an extended action sequence that rivals anything the genre has ever produced.

‘GLOW’ (2017–2019)

Image via Netflix

Set in the world of 1980s women’s wrestling, GLOW is a show about performance, reinvention, failure, and the specific experience of being a woman trying to make something of yourself inside a system that wasn’t built for you. Alison Brie and Betty Gilpin are extraordinary as Ruth and Debbie, former best friends with too much water under the bridge to traverse working together in the ring. And they’re joined by a ragtag group of outcasts (played by some severely underrated talent) managed by Marc Maron‘s Sam, a washed-up producer with an opportunistic streak.

The writing is sharp and filled with jokes, the period detail is impeccable, and the fact that Netflix cancelled it one day before the cast was due to begin filming its fourth and final season is one of the streaming era’s cruelest cancellations. Still, the three seasons of near-perfect television we did get weren’t really diminished by the streaming platform’s lack of vision.

‘Marco Polo’ (2014–2016)

Image via Netflix

In the early 2010s, everyone was chasing HBO’s Game of Thrones coattails, which is likely why Netflix dropped an absurd amount of resources into this sweeping historical drama chronicling Venetian explorer Marco Polo’s (Lorenzo Richelmy) time at the court of Kublai Khan (Benedict Wong). The result is one of the most visually lavish things the streamer has ever produced — an intricate, morally complex political drama wrapped in gorgeous fight choreography and stunning Central Asian landscapes.

It was expensive, ambitious, and ahead of its time, especially for a Netflix original series, which is probably why it got cancelled. What remains is two seasons of genuinely exceptional television that hold up better now than they ever got credit for.

‘Maniac’ (2018)

Image via Netflix

Cary Joji Fukunaga directing. Patrick Somerville writing. Jonah Hill and Emma Stone in the lead roles. A limited series that mashes up pharmaceutical dystopia, dream logic, and genre parody, all in one heart-pounding psychological thriller. What more could you want? Maniac is one of the strangest, most formally daring things Netflix has ever greenlit, a show that changes aesthetics from episode to episode while somehow maintaining a coherent narrative throughline.

The episode in which Hill and Stone find themselves inside a bizarre, ’80s-set thriller — complete with a con, a lemur, and a mistaken-identity caper — is a peak example of the show’s ability to be hilarious and heartbreaking within the same 30 minutes. It was too weird to market when it landed nearly a decade ago, which meant most people never found it. Their loss.

‘Sense8’ (2015–2018)

Image via Netflix

This 2015 sci-fi series is the Wachowskis swinging for the fences on a global scale. The show follows eight strangers across eight cities, all psychically linked and hunted by a shadowy organization while discovering what it means to truly share consciousness with another person. Sense8 is maximalist in every sense: emotional, inclusive, ambitious, and expensive. There’s a Season 1 sequence in which all eight sensates — scattered across the globe — simultaneously experience 4 Non Blondes’ “What’s Up,” cutting between their separate worlds in a moment of pure collective joy, which kind of serves as a thesis statement for what the show would end up being.

Netflix, not knowing what they had, cancelled it, then reversed course after some online fan outrage, ultimately delivering a feature-length finale that gave the story the ending it deserved. The complete run is a one-of-a-kind viewing experience that’s utterly unlike anything else on the platform. Treat yourself to a watch soon.

‘Bodyguard’ (2018)

Image via Netflix

Richard Madden plays war-veteran-turned-protection-officer, David Budd, who’s assigned to guard a politician he despises in Jed Mercurio‘s propulsive, tightly wound political thriller. Bodyguard, which also stars Sophie Rundle and Keeley Hawes, unfolds over six episodes of nearly unbearable tension, with a central performance from Madden that should’ve convinced the world he could do more than traipse around Winterfell in thick furs.

The British drama is a masterclass in sustained dread with an extended train sequence in which Budd talks a suicide bomber down from detonating her vest, that doubles as one of the most gripping cold opens in recent television history. Every episode after only raises those life-or-death stakes. Nothing is wasted here, and the finale delivers in a way that feels earned rather than convenient.

‘Sex Education’ (2019–2023)

Sex Education used the trappings of the British teen comedy to do something radical for its time: treat adolescent sexuality, identity, and emotional confusion with intelligence and compassion, without ever becoming preachy about it. Asa Butterfield plays Otis Milburn, a sexually inexperienced teenager whose mother is a renowned sex therapist. Armed with secondhand knowledge and a knack for giving advice he can’t follow himself, he starts an underground sex therapy clinic at his British high school and things spiral magnificently outward from there.

The show introduced a fresh batch of talent from across the pond when it dropped, names that included Ncuti Gatwa, Aimee Lou Wood, and Emma Mackey, with TV vet Gillian Anderson doing brilliantly restrained comedic work as Otis’ mom, Jean. It ran four seasons, said everything it needed to say, and ended with grace. In the landscape of streaming television where shows are either cancelled too soon or run until the goodwill is gone, that kind of clean, complete arc is genuinely rare.

‘Dead to Me’ (2019–2022)

Image via Netflix

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Christina Applegate and Linda Cardellini are two of the most underrated performers of their generation, and Dead to Me is the show that proved it beyond any reasonable doubt. A dark comedy about grief, guilt, and the kind of female friendship that can survive almost anything — including murder — it threads a needle that almost no show manages. Applegate plays a sharp-edged widow named Jen, still raw after her husband’s hit-and-run death, who forms an unlikely friendship with Judy (Cardellini), a warm, eccentric, seemingly guileless woman she meets at a grief support group.

There is, of course, a secret. Several, in fact. And fans learn them, often before the characters do, across three seasons that are devastating, surprising, and laugh-out-loud funny, often all at the same time. With a finale that more than sticks the landing, this is a show worth pouring your weekend into.

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Dead to Me

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Release Date

2019 – 2022-00-00

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Showrunner

Liz Feldman

Directors

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Liz Feldman

Writers

Liz Feldman

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Television has always been a powerful vehicle for social development, sparking difficult yet important conversations and challenging long-held beliefs. That’s not an easy thing for everyone to handle, and this aspect of TV has caused polarized reactions for almost as long as the medium has existed. It’s a tricky situation, but in many cases, the controversies also end up becoming the selling points of the shows in question, bringing them recognition from a wider audience.

Some shows do cause controversy by playing up traumatic situations for shock value, but the majority of these series are truly groundbreaking productions that make crucial points about society. Interestingly enough, many of the most controversial shows over the years (the good ones, at least) have been comedies that used humor as a medium to communicate progressive ideas. Without further ado, here’s our ranked selection of some of the most divisive shows of all time, including both landmark classics and more modern fare.

1

‘13 Reasons Why’ (2017–2020)

Image via Netflix

Based on Jay Asher’s eponymous 2007 novel, 13 Reasons Why is a teen drama series that stars Dylan Minnette and Katherine Langford as Clay Jensen and Hannah Baker, both students at the fictional Liberty High School. Two weeks after Hannah’s death by suicide, Clay finds a box of cassette tapes she left behind detailing the reasons why she chose to kill herself. Developed by Brian Yorkey and executive produced by Selena Gomez, the series also stars Christian Navarro, Alisha Boe, Brandon Flynn, Justin Prentice, Miles Heizer, Ross Butler, and more in key roles.

13 Reasons Why’s premise alone was a reason for controversy when it first premiered on Netflix in 2017, but it proved to be a popular watch among streaming audiences, becoming Netflix’s second-most-watched series at the time. The show’s first season was praised by critics and audiences for its themes, emotional depth, character development, and performance, but it was also criticized by mental health professionals and some viewers for its graphic depictions of suicide, sexual assault, and bullying. Subsequent seasons received significantly more negative reviews, especially for a brutal depiction of sexual assault at the end of Season 2.

2

‘Beavis and Butt-Head’ (1993–2011)

Image via Comedy Central

An adult-animated sitcom, Beavis and Butt-Head was created by Mike Judge, who also voices the titular teenage slackers. The show follows its apathetic, unintelligent, and decidedly lowbrow stars as they find themselves on various misadventures and watch a lot of music videos (their favorites are hard rock and heavy metal). Judge voices most of the characters, but Tracy Grandstaff, Kristofer Brown, and Toby Huss also star.

Beavis and Butt-Head was a massive hit on MTV in the ’90s, with its title characters becoming pop culture icons to Gen X while also drawing conservative criticism for their alleged impact on adolescents. For a while, the show was blamed for practically any sort of violent incident involving children and young adults, but that didn’t stop it from having a successful seven-season run. And though the original series ended in 1997, the show has had two revivals, in 2011 and 2022, and was adapted into two movies, Beavis and Butt-Head Do America (1996) and Beavis and Butt-Head Do the Universe (2022).

3

‘Murphy Brown’ (1988–1999)

Image via CBS

Created by Diane English, Murphy Brown is a sitcom that stars Candice Bergen as the titular character, a famous investigative journalist and news anchor. Set in Washington, D.C., the show follows Murphy’s life as the star reporter of a television news magazine series, where she and her co-workers inevitably end up at each other’s throats. Besides Bergen, the series also stars Faith Ford, Pat Corley, Charles Kimbrough, Robert Pastorelli, Joe Regalbuto, Grant Shaud, and more in lead roles.

Murphy Brown’s original run lasted 10 seasons, airing 247 episodes from 1988 to 1998, and it ruffled a lot of feathers over that decade. Like its protagonist, the show was never scared to address complex issues, no matter how much it infuriated some sections of society. Its most notable controversy erupted during the 1991-1992 season, during which Murphy became pregnant and decided to raise the child as a single mother. As divisive as it was in its day, Murphy Brown is now hailed as one of the greatest sitcoms of all time, and a 13-episode revival premiered on CBS in 2018.

4

‘Euphoria’ (2019–Present)

Image via HBO

Created by Sam Levinson, Euphoria is a psychological teen drama based on the eponymous Israeli miniseries. The show follows a group of high school students as they struggle to navigate drugs, love, and social media. Zendaya leads the ensemble cast as Rue Bennett, a teenage drug addict struggling to get sober and navigate life after rehab. Other main cast members include Maude Apatow, Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Hunter Schafer, Sydney Sweeney, and Colman Domingo, among others.

Ever since its premiere in June 2019, Euphoria has generated acclaim and criticism alike. The criticisms have been largely about the amount of nudity and sexual content, which some critics find excessive and problematic, considering it’s supposed to be a high school show with teenage characters. Despite the backlash, however, the show enjoys a sizable following and has earned consistent praise for its cinematography and performances. The series has also received several accolades, winning Zendaya two Emmy Awards, a Critics’ Choice Television Award, and a Golden Globe.

5

‘Maude’ (1972–1978)

Image via CBS

Created by Norman Lear and Bud Yorkin, Maude is a TV sitcom that was the first spin-off of All in the Family. Bea Arthur stars as the outspoken, politically liberal title character, who lives in suburban New York with her fourth husband, Walter Findlay (Bill Macy). Besides Arthur and Macy, the show also stars Adrienne Barbeau, Conrad Bain, Rue McClanahan, Esther Rolle, Hermione Baddeley, J. Pat O’Malley, and Marlene Warfield in key roles.

Maude aired six seasons on the CBS network in the 1970s, developing a sizable fan following. Though primarily a topical comedy, the show incorporated a lot of dark humor and drama as well, which attracted controversy. The series became a national talking point in 1972, when it showed Maude deciding to have an abortion in the two-part episode “Maude’s Dilemma,” which aired two months before the Roe v. Wade decision that legalized abortion across the country. And that was just the first season. Later storylines deal with more taboo themes of its time, like suicide, drug abuse, and alcoholism.

6

‘Skins’ (2007–2013)

Euphoria is hardly the first show to explore the sex lives of teenagers. Created by father-son duo Bryan Elsley and Jamie Brittain, Skins is a British teen drama series that follows a group of teenagers in Bristol, England, as they navigate dysfunctional families, mental illness, sexuality, gender, substance abuse, bullying, and even death. The show’s ensemble cast includes Nicholas Hoult, Hannah Murray, Joe Dempsie, Dev Patel, Daniel Kaluuya, April Pearson, Kaya Scodelario, and more.

At the time of its original broadcast in the late 2000s, Skins was, depending on your perspective, either the most infamous or most revolutionary show on British television. While its mature themes attracted controversy, it was also praised by critics and fans for its accurate representation of the contemporary youth experience. The show launched a number of careers and has developed into a cult favorite, and though it originally ended in 2010, a special seventh and final season was released in 2013.

7

‘Dear White People’ (2017–2021)

Image via Roadside Attractions

Created by Justin Simien, Dear White People is a comedy-drama series based on Simien’s eponymous 2014 film. A continuation of the film’s story, characters, and themes, the show follows a group of black college students at a fictional Ivy League institution, exploring modern American race relations from a critical progressive perspective. Logan Browning, Brandon P. Bell, DeRon Horton, Antoinette Robertson, John Patrick Amedori, Ashley Blaine Featherson, Marque Richardson, Jemar Michael, and Courtney Sauls star as lead characters, with recurring roles played by Giancarlo Esposito, DJ Blickenstaff, Caitlin Carver, Ally Maki, and more.

Dear White People caused quite a stir even before its premiere, with the trailer attracting angry responses from certain social media users who felt the show was racist towards white people. Ironically, the backlash brought the series wider recognition, and it also proved the show’s point in many ways. The series is undeniably provocative and smartly funny — an entertaining work of social commentary that asks hard questions and contemplates difficult answers.

8

‘South Park’ (1997–Present)

Image via Comedy Central

Created by Trey Parker and Matt Stone, South Park is an animated sitcom that revolves around the misadventures of four foul-mouthed boys in and around South Park, Colorado. Parker and Stone also voice the four leads, Stan Marsh, Kyle Broflovski, Eric Cartman, and Kenny McCormick, and the series follows their bizarre stories, satirizing practically everything. The show’s voice cast also includes Mary Kay Bergman, Isaac Hayes, Eliza Schneider, Mona Marshall, April Stewart, and Adrien Beard.

Being divisive and infamous is basically what South Park is all about. The show has been controversial ever since its premiere in 1997, and today, over 20 seasons later, it’s still as dark, provocative, and unfiltered as ever. The series regularly draws criticism from both conservative and liberal members of society, which has done nothing to bring down its acclaim in the eyes of critics and fans. The show has also earned numerous accolades, including five Emmy Awards and a Peabody Award. An Academy Award-nominated movie, South Park: Bigger, Longer & Uncut, was released in 1999.

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Release Date

August 13, 1997

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Network

Comedy Central

Directors

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Adrien Beard

Writers

David A. Goodman, Nancy M. Pimental, Kenny Hotz, Philip Stark, Dave Weasel, Dan Sterling, Susan Hurwitz Arneson, Trisha Nixon, David R. Goodman, Tim Talbott, Pam Brady, Robert Lopez, Dani Michaeli, Kyle McCulloch, Karey Dornetto, Jonathan Kimmel, Jane Bussmann

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I don’t know who needs to hear this, but I’m done wearing clingy clothes the second temperatures creep above 70 degrees. The minute I start feeling bloated, sweaty or overly aware of every seam digging into my body, I reach for loose, breezy dresses — and this flowy style may be the best one I’ve found lately. As a shopping editor, it’s practically my duty to implore you to buy multiple colors, because this look is currently 30% off!

What immediately sold me on this layerable style was the silhouette. It has that easy, oversized drape that skims over the stomach instead of clinging to it, plus roomy sleeves that soften the look around the arms and bra line. Basically, it’s the kind of dress I throw on when I want to feel comfortable first but still look like I put in effort.

Get the Anrabess V-Neck Midi Dress for $28 (originally $40) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

I’ve tried plenty of loose dresses that end up looking shapeless in person, but this one still has enough structure to feel polished. The lightweight fabric moves easily without feeling flimsy, and the relaxed fit makes it ideal for everything from running errands to casual dinners to long travel days when wearing hard pants feels offensive.

Related: Bloat? These 17 Loose Fall Dresses Make the Tummy Disappear — From $25

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Fall is around the corner, which means cozy weekends, crisp air and yes — a little extra indulging. Pumpkin spiced lattes and apple cider donuts are basically the ultimate fall foods but with them comes inevitable bloating. Luckily, this season’s flowy fall dresses make it easy to look slim and stylish. From draped wrap styles […]

Another thing I appreciate? I don’t have to ‘prepare’ my body for it. No shapewear, no sucking in, no adjusting straps every five seconds. The roomy cut naturally disguises bloating and belly fullness, while the looser upper half smooths over bra bulge in a way fitted dresses just don’t.

One shopper said the dress was “lays nicely” and “doesn’t cling,” especially around the midsection. Another reviewer shared that they loved the “comfortable fit” and get “lots of compliments” when they wear it.

At 30% off, this feels like exactly the kind of low-maintenance staple worth adding before peak sticky-weather season hits. If your closet could use one easy dress that feels comfortable the second you put it on, this is it.

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Looking for something else? Explore more loose-fitting dresses and breezy spring styles on Amazon, and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

While not necessarily a golden age for the genre, the last quarter-century has still been a pretty solid one for sci-fi writing. On the one hand, it’s given us more than a few crowd-pleasing blockbuster stories like Project Hail Mary and Murderbot. On the other hand, there have been several ambitious, though-provoking projects like The Three-Body Problem and What We Can Know, using their futuristic elements to get deeply philosophical.

With all that in mind, this list attempts to rank some of the finest sci-fi books of the last two and a half decades. Taken together, these literary efforts serve as reminders of what the genre can do at its best. Science fiction is still thriving, and it’s largely because of these works that keep pushing the boundaries of what the genre can be.

10

‘Ancillary Justice’ (2013)

Image via Hachette Book Group

“Justice of Toren once had thousands of bodies.” This space opera focuses on Breq, the last remaining fragment of a once-massive artificial intelligence that controlled an entire starship and its human “ancillaries.” Now confined to a single body, she seeks revenge against the ruler who destroyed her. The novel unfolds across two timelines: Breq’s past as a distributed consciousness and her present journey through a fractured empire.

From here, Ancillary Justice confidently blends older sci-fi traditions with modern sensibilities. You can feel echoes of writers like Ursula K. Le Guin, Iain M. Banks, and Frank Herbert, yet it never feels derivative. The revenge plot reels you in, the political thriller elements raise the stakes, and then, on top of all that, the book throws in some philosophical musing, too. At its core, Ancillary Justice asks what identity even means in a future where consciousness can be fragmented, copied, weaponized, or erased.

9

‘Seveneves’ (2015)

Image via William Morrow

“The moon blew up without warning and for no apparent reason.” Seveneves opens with a juicy setup: the moon shatters, and humanity is given a limited window before the resulting debris renders Earth uninhabitable. The story tracks the desperate efforts to preserve the human species in orbit. The novel is divided into distinct phases, leaping from the immediate crisis to the far future. This is very much a work of hard sci-fi, meaning that science and real-world concepts are front and center.

Author Neal Stephenson obsesses over engineering, physics, genetics, and orbital infrastructure in a way that gives the apocalypse impressive realism. Yet beneath the technical detail lies a bleak but compelling portrait of humanity under pressure. Alliances fracture. Politics sabotages cooperation. Personal rivalries become civilization-shaping events. Even in the face of a galactic catastrophe, our biggest problem is ourselves.

8

‘The Martian’ (2011)

Image via Ballantine Books

“I’m pretty much f—d.” Writer Andy Weir is back in the conversation again thanks to the success of the Project Hail Mary movie, but his overall strongest novel is his first one. In The Martian, astronaut Mark Watney becomes stranded on Mars after his crew believes him dead. He must find a way to stay alive using limited resources and his own ingenuity. Every chapter introduces new complications, failures, or impossible calculations.

Just when Watney solves one disaster, another emerges. Nevertheless, while his situation is pretty grim, the character himself remains energetic throughout, which is a big part of the book’s appeal. Watney’s log entries are packed with dark humor and exhausted optimism even when he’s facing seemingly imminent death. Plus, it’s fun seeing him MacGyver his way out of problems, drawing on his extensive knowledge of math, botany, engineering, and chemistry.

7

‘Children of Time’ (2015)

Image via Tor UK

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“We’re going to make a new world.” Children of Time boasts a very odd but intriguing premise: as humanity searches for a new home, a terraforming experiment goes wrong, leading to the rise of an entirely different intelligent species: evolved spiders. The narrative (spanning thousands of years) alternates between the remnants of humanity and the development of this new arachnid civilization. Impressively, author Adrian Tchaikovsky ensures that the spider society feels comprehensible without losing its strangeness.

A more mediocre sci-fi novel would’ve made the spiders basically just humans with eight legs. Instead, this book depicts their society, religion, communication, gender dynamics, warfare, and scientific development as fundamentally different from our own, rooted in their very different evolutionary starting points. In the process, Children of Time raises interesting questions around what alien intelligences might look like.

6

‘Pattern Recognition’ (2002)

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“We have no future because our present is too volatile.” Pattern Recognition is a novel by cyberpunk legend William Gibson, most famous for writing Neuromancer. In contrast to that classic, this book is more rooted in the present, specifically the decade it was written in. In it, Cayce Pollard, a marketing consultant with a unique sensitivity to branding, becomes obsessed with a series of mysterious video fragments appearing online. She seeks to track down their creator, turning this into a postmodern thriller/sci-fi hybrid.

The resulting book is a noirish funhouse mirror reflection of the early 2000s, conjuring up an icy globalized world of airports, fashion labels, internet forums, advertising agencies, corporate paranoia, and post-9/11 anxiety. Gibson writes cities, objects, clothing, and architecture with almost cyberpunk noir intensity, even though the setting is recognizably contemporary. As a result, the novel turns ordinary modernity into something uncanny.

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‘Exhalation: Stories’ (2019)

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“The universe began as a single point… and it will end as one.” Exhalation: Stories is a short story collection by Ted Chiang, who also penned Stories of Your Life and Others, which served as the basis for the movie Arrival. Here, he takes a different concept in each tale, from entropy and artificial intelligence to time travel and free will, and explores it with both intellectual rigor and emotional clarity. Some are framed as scientific reports, others as personal reflections or speculative histories.

These stories become philosophical thought experiments, often with a focus on ethics and morality rather than on the mechanics of the sci-fi elements themselves. For instance, “The Truth of Fact, the Truth of Feeling” examines how externalized memory technologies might alter human relationships. Similarly, “Anxiety Is the Dizziness of Freedom” explores parallel timelines and choice in a way that becomes less about quantum mechanics and more about regret.

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‘Annihilation’ (2014)

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“That’s how the madness of the world tries to colonize you: from the outside in.” Jeff VanderMeer‘s Nebula Award-winning Annihilation book provided the strong foundation for Alex Garland‘s brilliant film adaptation. It follows a team of scientists entering Area X, a mysterious region where the laws of nature seem to have broken down. As the expedition progresses, the environment becomes more disorienting, and the line between external threat and internal perception begins to blur.

That ambiguity is crucial to the story’s power. VanderMeer refuses to provide neat explanations about what Area X is, where it came from, or what it ultimately wants. For some readers, that uncertainty is frustrating; for many others, it’s exactly what makes Annihilation unforgettable. Even fans who’ve already seen the movie may find some more depth to enjoy here.

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‘Saga Vol. 1’ (2012)

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“Once upon a time, each of us was somebody’s kid.” Saga is the first installment in the phenomenal space opera graphic novel series by illustrator Fiona Staples and writer Brian K. Vaughan, who most famously penned Y: The Last Man. The epic, galaxy-spanning story centers on Alana and Marko, soldiers from opposing sides of a galactic war, as they flee with their newborn child. The narrative is framed by that child, Hazel, whose perspective creates an interesting tension.

The first volume hits the ground running, throwing us into the thick of the plot, mixing space-faring adventure and intimate family drama. The illustrations are vibrant, and the dialogue is killer. Overall, Saga draws on myriad inspirations yet still charts its own course, shifting nimbly between comedy, horror, romance, political satire, and tragedy. One page might contain absurd alien humor; the next might hit a crushing emotional gut-punch.

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‘What We Can Know’ (2025)

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“In love, we forgot that we too were things that could get broken or lost.” What We Can Know is the latest novel by Ian McEwan, most well-known for writing Atonement. It’s written from the perspective of an academic living in the year 2119 who is working on a project about a lost poem that was read aloud once in 2014. The character lives in a flooded future wracked by global warming, yet the focus is really on our present.

McEwan uses this premise to get really philosophical, exploring everything from artificial intelligence and social media to political instability, ecological collapse, nuclear war, and cultural breakdown. It’s a sharp commentary on the 2010s and 2020s. However, themes aside, What We Can Know simply works as an engrossing mystery and drama, with a surprisingly juicy plot and cast of well-drawn characters.

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‘The Three-Body Problem’ (2008)

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“The universe is a dark forest.” Perhaps the most ambitious sci-fi novel of the 21st century so far, Liu Cixin‘s The Three-Body Problem begins during China’s Cultural Revolution and gradually expands into a story that spans centuries, civilizations, and the fundamental nature of the universe. At its core is the discovery of an alien civilization and the implications of first contact, but the narrative moves beyond, delving deep into physics, philosophy, and the limits of human understanding.

In particular, the book interrogates whether technological advancement necessarily leads to moral progress. Humanity here is fragmented by nationalism, ideological conflict, ego, and fear. Some characters welcome alien intervention because they have become so cynical about humanity’s future; others see survival as justification for authoritarian control. Once again, a speculative idea is used to hold a mirror up to the issues of our own time.

By Robert Scucci
| Published 2 minutes ago

With Christopher Nolan’s adaptation of The Odyssey fast approaching, it’s time to get back into all of the great historical epics that have come out over the years. Gladiator (2000) is always a no-brainer thanks to Russell Crowe’s magnetic performance as Maximus Decimus Meridius, and if you want to channel your inner Spartan while a single tear runs down your cheek because you’re 37 and need to accept the fact that you’re never getting the abs back, you can fire up 300 (2007) to get your fill. Between those two films, though, is a little $185 million historical epic called Troy (2004), which wasn’t exactly a critical darling upon release (53 percent on Rotten Tomatoes), but has remained a fan favorite for decades.

Here’s the thing about historical epics based on Ancient Greek mythology: they almost always lose points for not properly representing the source material. But here’s my counterpoint: this is a movie, everybody speaks American English, and our main hero’s weakness is his heel because his mother dunked him upside down in the River Styx to make him immortal, but the water didn’t touch the spot where she was holding him. In other words, let’s suspend some disbelief, watch some epic battles, and enjoy the show.

I’m No Scholar, But Troy Is Badass

I hate long movies that don’t earn their runtime, but Troy is built differently because it fully commits to spectacle. There are plenty of names being said out loud that made me think, “Oh, that’s how you pronounce that, I’ve only ever read it before,” followed immediately by enough cinematic violence to distract me from the fact that I should probably brush up on both my history and my phonics.

Here’s the short and sweet version of what happens in Troy because, if I’m being real, I’m not watching this one for the plot. I’m watching it to see thousands of extras get leveled while armies wage war against each other and burn everything to the ground.

After Paris (Orlando Bloom), a prince of Troy, sparks a forbidden romance with Helen (Diane Kruger), the wife of Spartan King Menelaus, tensions between the two kingdoms explode into all-out war. The Greek armies unite under the ambitious Agamemnon (Brian Cox), bringing along their greatest warrior, Achilles (Brad Pitt), whose legendary fighting skills are matched only by his pride and ego. As Troy braces for invasion, noble prince Hector (Eric Bana) struggles to defend his family and city from destruction. What follows is a massive clash driven by love, revenge, ambition, and the pursuit of glory during a time when nothing else really mattered.

Beyond Epic In Scope And Scale

Filmed during that sweet spot in movie history where CGI enhanced a film instead of completely replacing practical filmmaking, Troy never feels like a green screen experience. Sure, digital effects were used to fill out backgrounds with massive armies and sprawling naval fleets, but the production still relied on thousands of extras swinging rubber swords during combat sequences so everybody could safely hack away at each other with reckless, military-sanctioned abandon. It’s even been reported that Brad Pitt and Eric Bana spent days rehearsing their final duel without stunt doubles to make sure audiences got the best fight sequence money could buy.

Speaking of Brad Pitt, his portrayal of Achilles is second to none. He brings a certain level of nonchalance to the role, like he’s a party guy who just so happens to be exceptionally gifted at war. He’s untouchable and unflappable, and he commands the screen whenever he shows up while channeling serious dude-bro energy anytime somebody asks anything of him. When we’re first introduced to him, he effortlessly kills Boagrius (Nathan Jones), a giant hulk of a man, while violently hungover and not even having eaten breakfast yet. It’s poetry in sandals, and it’s ridiculously fun to watch play out.

For every bit of charisma in Troy, however, there’s also a healthy amount of corn you need to chew through. The most egregious moment, to me, is when Ajax lets out his battle cry in the middle of combat, bellowing, “I am Ajax, breaker of stones! Look upon me in despair!” Don’t get me wrong, that’s an objectively badass thing to say, but Troy is set in 1184 BC and he delivers the line like he knows there’s a camera crew behind him and he wants to sound as cool as humanly possible. Moments like that can take me out of movies like Troy, but it’s also worth mentioning that this is still an incredible quote to casually work into real life whenever the opportunity presents itself.

In 2026, Troy’s legacy has far exceeded its initial reputation, which is reflected in its much stronger 74 percent Popcornmeter score on Rotten Tomatoes. The critics may have gone hard on this movie at the time, but it’s also worth remembering that critics don’t always know how to have fun. Troy is fun. It’s pure popcorn spectacle wrapped in armor, and if you’re looking for next-level fight choreography and carnage, it really doesn’t get much better than this.

As of this writing, Troy is not available through standard streaming subscriptions, but it can be rented or purchased on demand through Amazon Prime Video, YouTube, Fandango at Home, and Apple TV+.

Thrillers are such a special brand of cinema. Their narratives often eschew anything grandiose or epic in favor of something that cuts right to the bone. Maybe their impact is only skin deep, or maybe it drills deep down into the marrow, but they are more often than not effective and efficient. As a genre, the thriller may be one of the most pliable as well, able to combine with science fiction, horror, Westerns or action with equal ease. It’s maybe because of that pliability that the thriller itself can go a little undervalued.

Thrillers don’t have the devoted fanbase that horror and science fiction do, and even if they have broad appeal, it doesn’t always deliver the same box office success as their more action-packed counterparts. The streaming age has only worsened this situation, with the majority of thrillers bypassing theaters altogether and getting swallowed up by the algorithm. These newer overlooked thrillers are in good company with many older gems that remain hidden. New and old alike, these are ten amazing thrillers that you’ve been sleeping on.

‘Prime Cut’ (1972)

Image via National General Pictures

Prime Cut is a nasty little crime thriller that was controversial upon its release for some of its explicitly violent and sexual content. Depicting the conflict between a Kansas meat-packing magnate and a Chicago mob enforcer, the film isn’t afraid to get lurid or downright sleazy. However, it’s elevated above the lowest ranks of exploitation thanks to solid direction, some memorable suspense sequences and an overqualified cast of professionals and rising stars.

Lee Marvin plays Devlin, an enforcer working for the Irish Mob who’s sent to collect a debt from the boss of a meat packing plant in Kansas named Mary Ann, played by Gene Hackman. In the middle of their escalating conflict is the young Poppy (Sissy Spacek in her first screen role), who has been sold into prostitution. Prime Cut was directed by Michael Ritchie, who later became better known for his comedies like Bad News Bears and Fletch, but his direction on this lean piece of pulp shows the same affinity for character. The film isn’t the equivalent of a fine filet mignon, but rather some cheap and juicy chuck that’s still packed with flavor.

‘Race with the Devil’ (1975)

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City folk getting more than they bargained for on a rural excursion was a popular premise in the ’70s, as best exemplified by movies like The Texas Chain Saw Massacre and The Hills Have Eyes. Also popular during the decade were car chase movies, such as Smokey and the Bandit and Dirty Mary, Crazy Larry. The underrated thriller Race with the Devil combines both these genres with a dash of Satanic panic that makes it the real road trip from hell.

Peter Fonda and Warren Oates, who both separately starred in car movies, play co-owners of a motorcycle dealership who are headed to Aspen in an RV together for a vacation with their spouses, played by Loretta Swit and Lara Parker. The foursome’s plans are derailed when they witness a human sacrifice performed by a Satanic cult. Thus begins a pursuit across Texas as the couples try to survive increasing attacks from the cult and apathy from local law enforcement. Race with the Devil is a unique road thriller that’s had some minor influence, but deserves more eyes, especially for the shocking ending.

‘Trespass’ (1992)

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Walter Hill knows how to make a lean, mean thriller. The director is responsible for cult classics like The Driver, The Warriors, and Southern Comfort, which all put their protagonists up against a gauntlet of external threats. His most underrated effort, which many haven’t woken up to yet, is the tightly wound 1992 siege thriller Trespass. It’s got an all-star cast, a simple but effective premise, and a clever script that keeps things taut until the end.

Bill Paxton and William Sadler play two firemen who come across a map that leads to a supposed treasure hidden in an abandoned building. When they decide to seek out this treasure for themselves, they get a mountain of trouble for it after they unwittingly witness a gang murder. That puts them up against a dangerous group of criminals, which includes Ice-T and Ice Cube in their only film together. Trespass isn’t overly complex or groundbreaking; it’s just a down-and-dirty thriller with a great cast that should’ve been a hit.

‘One False Move’ (1992)

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Bill Paxton is the apparent king of underseen thrillers released in 1992. In addition to Trespass, he also played a key role in the massively overlooked neo-noir film One False Move. Co-written by Billy Bob Thornton, who also stars alongside Paxton, and directed by Carl Franklin, the movie received an overwhelmingly positive reception from critics but failed at the box office. Alas, that failure doesn’t diminish its lethal effectiveness.

Thornton is the leader of a trio of criminals who leave a pile of bodies in Los Angeles after they high-tail it out of town to sell a stash of drugs. Paxton is the chief of police of a small town that the trio is headed towards, and he has some secrets of his own. The film has unflinching violence and a stripped-down style that makes it pack a harder punch than you might expect. With a layered script and a perfect cast, One False Move lives up to its title, execution-wise.

‘Running Time’ (1997)

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For B-movie fans who only know Bruce Campbell as Ash from the Evil Dead franchise, Running Time offers slick, no-frills thrills that prove the actor has more skills than just slaying deadites. Made on a shoestring budget, this heist movie stands out thanks to its gimmick. The entire film takes place in real time and has the added layer of being filmed to appear as if it is one continuous shot, accomplished through old-school ingenuity and hidden cuts, taking a page out of Alfred Hitchcock‘s Rope.

Campbell plays Carl, an ex-con who has a heist planned for the same day he’s released from prison. That plan isn’t foolproof, as several criminally stupid mistakes put Carl and his crew on the run after the botched robbery. Running Time isn’t flawlessly executed, but it isn’t amateur hour either. There’s an undeniable skill to pulling off the film’s visual gimmick, and any rougher moments in the performances or occasionally stilted dialogue don’t take away from its well-timed thrills.

‘You Were Never Really Here’ (2017)

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As based on the novella by Jonathan Ames, there’s a version of You Were Never Really Here that could’ve been made as a much pulpier, more action-fueled movie along the lines of the original Taken. They’re all films about men with a certain set of skills that they use to punish criminals and protect innocents. However, Lynne Ramsay’s caustic thriller has a much sharper psychological edge to it, with a protagonist defined by his trauma in a way that breaks from the Hollywood anti-hero mold. The film was given a limited theatrical release before it promptly disappeared on Amazon, but it should not be allowed to fade away.

Joe (Joaquin Phoenix) is a mercenary whose specialty is saving young victims of trafficking. Brutality seems his second nature, rooted in his violent past. Joe is a fundamentally broken man, and no matter how much blood he spills, it will never free him from his trauma. The violence of You Were Never Really Here is fascinatingly filmed, with Ramsay often cutting away in a manner that denies the bloodthirsty catharsis that most action fans would want. It’s one of many ways in which the film makes its violence even more visceral, and it leaves an impact that will not be forgotten by anyone who watches it.

‘The Lookout’ (2007)

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The Lookout was the directorial debut of screenwriter Scott Frank, who had risen to prominence writing crime films like Get Shorty and Out of Sight, and would later find success on streaming with series like The Queen’s Gambit. It’s a small-scale heist film featuring a terrific lead performance from Joseph Gordon-Levitt in the middle of his resurgence as an adult actor.

Gordon-Levitt plays the retroactively distracting Chris Pratt, a once-promising high school hockey phenom who suffered a traumatic brain injury in a car accident, which left him impaired. He works as a janitor at a bank, which is what brings him into the orbit of a former high school classmate, played by Matthew Goode, who manipulates him into robbing the bank. Frank’s script for the film is characteristically clever, and the plot veers in unexpected directions even when it’s repeating beats we’ve seen before. The Lookout is a sublime crime thriller that has been overlooked for far too long.

‘Calibre’ (2018)

Image via Netflix

Another thriller sacrificed to the algorithm gods, Calibre is a menacing British thriller that premiered on Netflix internationally, making it simultaneously instantly accessible and frustratingly hidden. It’s a taut and terrifying thriller, turning the rural fears that have fueled so many films on its head. It’s a truly discomforting and nerve-wracking film to watch, but it is so well-made that you can’t help but admire it even when it’s making you squirm.

Jack Lowden and Martin McCann play friends Vaughan and Marcus, who have taken a weekend hunting trip together in the Scottish Highlands. After an accident leaves two people dead, the men swear each other to secrecy but quickly find themselves stranded in the nearby town, where tensions with the locals quickly begin to rise. Calibre grabs hold of you early and continues to tighten its grip until you can’t bear it anymore.

‘Bull’ (2021)

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Bull is another British thriller with far less recognition internationally than it deserves. It’s a brutal and violent revenge thriller that treads over familiar ground, but does it with such an unrelenting tone that it borders on the horror genre. It also benefits from a strong lead performance by Neil Maskell, who also appeared in the similar genre-shifting Kill List. Revenge thrillers, when done well, can offer a nasty bit of violent catharsis, and Bull does that with blood-soaked tenacity.

As Bull, Maskell is a feared enforcer for a dangerous gangster who is also his father-in-law. After being betrayed and seemingly killed, Bull returns to exact vengeance on those responsible as well as to find his son. Bull doesn’t pull its punches in the least. It means to be an old-school violent revenge thriller, and it is exactly that. It also has a twist ending that may hammer the point home a little too strongly, but the film doesn’t suffer drastically because of it. Fans of films like the aforementioned Kill List and Dead Man’s Shoes should check this one out.

‘Rebel Ridge’ (2024)

Image via Netflix

Jeremy Saulnier made his name on gritty thrillers like Blue Ruin and Green Room, which both include brutal body counts and bloodletting. His most recent thriller, Rebel Ridge, flips the script on that and presents itself as a non-lethal, or less lethal, action movie that focuses on tension over brutality. It’s been compared to First Blood for its plot that pits a former specialist against a corrupt police department, but even that comparison fails to capture the effectiveness of Saulnier’s thoroughly modern thriller. It’s another film that’s gotten swallowed up by Netflix, but is primed for discovery.

Aaron Pierre gives a star-making performance as Terry Richmond, a former Marine who has traveled to a small town in Louisiana to post bail for his cousin, but has his money unlawfully taken by the local police. That act sets off a chain reaction of escalating events between Terry and the police. It’s a gripping thriller that pulls some of its plot points directly from real issues, but it turns them into fodder for an engaging mystery action thrill ride. Rebel Ridge continues Saulnier’s evolution as a genre director, and it puts all others on notice for how effective its thrills are without riddling bodies with bullets.