“Torture porn” is a subgenre of splatter horror that was big in the 2000s, delighting in violence, gore, and sadism. However, the best of these horrors don’t just stick to brutal physical violence but instead delve deeper. Not content to simply maim their characters physically, psychological torture movies force them to confront unbearable moral dilemmas, manipulation, and emotional breakdown.

These psychologically intense and often scarring films are the focus of this list. Whether through sadistic games, cruel experiments, or elaborate revenge schemes, the titles below represent some of the most harrowing examples of horror cinema that go for the jugular and the cerebellum.

10

‘Antichrist’ (2009)

Image via IFC Films

“Chaos reigns.” Antichrist is less a conventional horror movie than a descent into emotional and psychological extremity. In it, a grieving couple (Willem Dafoe and Charlotte Gainsbourg) retreat to a remote cabin in the woods after the accidental death of their child. But their isolation amplifies their anguish, and the natural world around them begins to feel hostile and uncanny. Director Lars von Trier uses dreamlike imagery to blur the line between mental breakdown and supernatural menace. Along the way, the film inflicts truly terrible ordeals on the characters. Their suffering isn’t just violent but spiritually devastating.

Most of all, Antichrist weaponizes grief, portraying it as something that corrodes the mind from the inside. Gainsbourg’s character, in particular, becomes consumed by guilt and self-hatred, believing that she herself is somehow responsible for the death of her child. Her psychological breakdown slowly infects the entire atmosphere of the film. That fusion of emotional trauma, philosophical dread, and visceral horror is what makes Antichrist a grim classic.

9

‘Saw’ (2004)

Image via Lions Gate Films

“I want to play a game.” While much of the torture in Saw is very literal and physical, the first movie ultimately stands above most of its torture porn imitators in that the scenarios and dilemmas typically have a powerful moral or psychological component as well. The movie starts with two strangers, Adam (Leigh Whannell) and Dr. Lawrence Gordon (Cary Elwes), who awaken chained in a filthy bathroom with no memory of how they arrived. They soon discover they are pawns in a sadistic game orchestrated by the elusive Jigsaw Killer, who forces his victims into elaborate tests designed to make them appreciate their lives.

Indeed, Jigsaw’s targets are forced into impossible choices: maim themselves, sacrifice others, or confront truths about their moral failures. While the franchise later became synonymous with escalating spectacle, in this movie at least, the scenes are relatively restrained, and the focus is psychological. This approach resonated: Saw was a runaway success, grossing over $100m against a budget of just $1m.

8

‘Martyrs’ (2008)

Image via Wild Bunch

“Keep doubting.” Martyrs is generally considered one of the key films in the New French Extremity movement, a wave of films in the 2000s that embraced transgressive elements like hardcore violence and explicit sexual imagery (though director Pascal Laugier himself rejected that label). The film begins with Lucie (Mylène Jampanoï), a young woman who escapes captivity and later tracks down the family she believes tortured her. Her quest for revenge draws her friend Anna (Morjana Alaoui) into a hidden world governed by a secret organization obsessed with discovering what lies beyond death.

While the premise is pretty pulpy, Martyrs is a lot more philosophically ambitious than one might expect. It asks terrifying questions about the nature of suffering, faith, and the human desire to understand mortality. The aesthetics reflect this tone: the violence is not presented with style or thrills. Instead, it’s shot with stark realism and long, uncomfortable takes, forcing the audience to sit with the suffering rather than look away from it.

7

‘Audition’ (1999)

Image via Omega Project

“Words create lies. Pain can be trusted.” Takashi Miike’s Audition begins like a gentle romantic drama before revealing its true nature in the last act. Shigeharu Aoyama (Roy Ishibashi), a widower encouraged by his son to remarry, stages a fake film audition to meet potential partners. He becomes enamored with Asami (Eihi Shiina), a quiet and enigmatic young woman. As their relationship develops, subtle warning signs accumulate, hinting at a darkness beneath her composed exterior.

It all finally breaks out at the end, leading to several wincingly brutal scenes of torture, both physical and mental. Retribution is delivered through needles and piano wire. The shift is truly shocking and the single biggest reason why this movie is a cult classic. Audition is a brilliant example of a slow-burn structure being used to chilling effect. These scenes hammer home the themes around loneliness, misogyny, and emotional deception, and they exerted a massive influence over the whole “torture porn” boom.

6

‘The Killing of a Sacred Deer’ (2017)

Image via A24

“If you dig a hole and it’s in the wrong place, digging it deeper isn’t going to help.” This absurdist horror from Yorgos Lanthimos stars Colin Farrell as Steven Murphy, a successful cardiac surgeon who befriends Martin (Barry Keoghan), a teenage boy connected to a patient who died under Steven’s care. Martin insinuates himself into Steven’s family life, and an inexplicable illness begins to afflict the surgeon’s children. Eventually, Martin reveals that Steven must make an unthinkable choice to restore balance.

The movie’s title refers to the Greek myth of Iphigenia, in which a king must sacrifice his daughter to appease the gods. Lanthimos reimagines that myth in a modern setting. Here, the true torture is not physical pain but the unbearable responsibility of choosing who must die. Lanthimos makes this approach all the more unsettling through a clinical tone, where the dialogue is delivered in a flat, almost emotionless style. Conversations about horrific events are spoken with the calm detachment of everyday small talk.

5

‘Misery’ (1990)

Image via Columbia Pictures

“I’m your number one fan.” Misery is a masterclass in claustrophobic terror. Writer Paul Sheldon (James Caan) survives a car crash only to be rescued by Annie Wilkes (Kathy Bates), a former nurse and his self-proclaimed biggest fan. Annie takes Paul to her isolated home to nurse him back to health, but when she discovers he has killed off her favorite fictional character, her devotion curdles into something far more dangerous. Trapped and injured, Paul is forced to write under Annie’s watchful eye.

The late great Rob Reiner and his stars keep the tension perfectly coiled throughout. What makes Misery so effective is its focus on the shifting power dynamic between captor and captive. Paul is bedridden with shattered legs, completely dependent on Annie for food, medicine, and basic survival. Annie, meanwhile, swings unpredictably between kindness and terrifying violence. That emotional volatility creates a constant state of dread, because Paul never knows whether Annie will comfort him or destroy him.

4

‘Funny Games’ (1997)

“Why don’t we make a bet?” Funny Games is a chilling deconstruction of violence and spectatorship. The story centers on a middle-class family vacationing at their lakeside home when two polite young men (Arno Frisch and Frank Giering) arrive and gradually subject them to a series of cruel “games.” The intruders maintain an eerie calm throughout, treating their actions as casual entertainment. In the process, director Michael Haneke uses the home invasion framework to implicate the audience in the act of watching.

The style complements this message. The film frequently breaks conventional storytelling rules, disrupting expectations and denying catharsis. For instance, the tormentor Paul repeatedly breaks the fourth wall, addressing the audience directly. At one point, when a character seems about to fight back, Paul literally rewinds the film with a remote control to erase the moment. This shocking meta moment removes any illusion that justice or escape might occur.

3

‘Se7en’ (1995)

Image via New Line Cinema

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“Wanting people to listen, you can’t just tap them on the shoulder anymore.” David Fincher‘s grimmest masterpiece follows detectives Somerset (Morgan Freeman) and Mills (Brad Pitt) as they hunt a serial killer (Kevin Spacey) who stages murders inspired by the seven deadly sins. The investigation drags them through a rain-soaked city steeped in decay, where each crime scene is a grim moral tableau. As the case unfolds, the killer’s meticulous planning reveals a philosophy that is as disturbing as his methods.

Indeed, rather than being cartoonishly evil and doing bad for bad’s sake, John Doe believes he is carrying out a moral crusade against human vice. Each crime is painstakingly designed to represent one of the deadly sins, and the targets are carefully chosen. The grotesque detail of these scenes forces the detectives (and the audience) to confront the darker aspects of human nature and the uncertainty of justice, culminating in the harrowing fate Doe inflicts on Mills.

2

‘A Clockwork Orange’ (1971)

Image via Warner Bros.

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“There was me, that is Alex, and my three droogs.” With this one, Stanley Kubrick adapts Anthony Burgess’ novel into a stylized vision dystopian masterpiece. The story centers on Alex (Malcolm McDowell), a charismatic delinquent who revels in nightly acts of brutality with his gang. After being imprisoned, he volunteers for an experimental treatment designed to condition him against aggression. Alex is strapped into a chair and forced to watch graphic videos of violence and suffering. Drugs are administered to induce extreme nausea, conditioning him to associate aggression with unbearable physical sickness.

The procedure leaves him physically incapable of violence, but it also strips away his agency. Through this setup, Kubrick asks tough questions around criminality, authority, and free will. Chief among them: is a person still human if their choices are engineered? Ultimately, A Clockwork Orange uses satire and striking imagery to examine the ethics of behavioral control, arguing that the suppression of evil can come at the cost of individuality itself.

1

‘Oldboy’ (2003)

Image via Show East

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“Laugh, and the world laughs with you. Weep, and you weep alone.” When it comes to psychological torture, no movie can top the sheer existential nightmare of Oldboy. In this legendary revenge thriller, protagonist Oh Dae-su (Choi Min-sik) is inexplicably abducted and imprisoned for fifteen years. Without explanation or human contact, he obsessively trains his body and mind, preparing for the day he might escape. When he is suddenly released, he embarks on a desperate search for the identity and motives of his captor.

However, this set-up is only the start of his torment. His enemy, Lee Woo-jin (Yoo Ji-tae), reveals that the entire ordeal was part of a meticulously planned revenge scheme based on a seemingly minor event from their past. The movie then hits us with one of the most devastating twists in modern cinema, revealing that Dae-su has unknowingly been manipulated into committing an act that destroys him psychologically. The revelation reframes the entire narrative. At that point, only forgetting offers Dae-su a chance of survival.

By Chris Snellgrove
| Published 35 seconds ago

The X-Files was never really known for its crossovers, although it had a few: “X-Cops” was a collaboration with the popular Cops TV show, and a fun crossover with Millennium helped this canceled show finish out its doomsday plot. Oh, and a memorable appearance by Detective John Munch means that this show technically crossed over with Homicide: Life on the Street. These episodes were generally a success, though the show nearly had an early crossover that would have been a disaster.

Even though The X-Files was a Fox TV show, there was very nearly a crossover with the quirky CBS show Picket Fences. The networks wouldn’t play nice, so this collaboration quietly died, with the X-Files episode “Red Museum” scrubbing all references to the shared storyline. However, the Picket Fences episode “Away in the Manger” secretly kept some of the references in there, and some fans consider these references enough to place these shows in the same universe.

The Meeting Of The Minds

Where the heck did the idea to crossover The X-Files and Picket Fences come from in the first place? As it turns out, from the showrunners! Chris Carter and David E. Kelley worked for two different networks, but they both produced their shows at 20th Century Fox. They ran into each other in the studio parking lot, and soon enough, they began excitedly plotting an ambitious crossover between the two shows. Soon, Carter had written a script, and Kelley liked it enough to agree to a crossover.

How would this have worked, though? It would have started with an X-Files episode where our erstwhile FBI agents are investigating cows in a tiny Wisconsin town who may or may not have been injected with alien DNA. Next, Mulder would have popped up in a Picket Fences episode where similar things were happening in the show’s familiar town of Rome, Wisconsin. 

Why Did The Crossover Fall Apart?

Plans for this crossover died for the exact reason you’d suspect: money. Back in December 1994, an unnamed Fox source told Entertainment Weekly that the Picket Fences network, CBS, was “unwilling to help another show on another network.” The result is that both TV shows shot their intended episodes, but the X-Files episode “Red Museum” removed all references to Picket Fences, including changing the setting of the episode from Rome, Wisconsin, to the nearby town of Delta Glen. Otherwise, the bizarre, cow-injecting plot remained the same.

However, in an interesting bit of quiet rebellion against CBS, David E. Kelley kept several references to the crossover in his Picket Fences episode. The episode “Away In a Manger” refers to the events that happened in Delta Glen, and someone specifically mentions how the drama over there involved cows, alien DNAs, and a man named Dr. Larsen, who died in the X-Files episode “Red Museum.” The same character saying all of this even mentions that the FBI was investigating what happened, though he never mentions Mulder and Scully directly by name.

The Crossover Died (And That’s A Good Thing)

While I love the idea of Kelley giving CBS the middle finger and keeping these references in, I’m personally glad that the official X-Files/Picket Fences crossover was killed. For one thing, “Red Museum” was part of X-Files’ second season, when the show was still trying to discover its true identity. If the producers opened the door to silly crossovers early on, this could arguably have ruined the show because episodes would start focusing more on gimmicky marketing and less on lore and world-building.

Additionally, a crossover with Picket Fences would likely have contributed to continuity problems while making it difficult to stream this story in the future. As of this writing, Picket Fences is unavailable to stream without buying individual episodes. That means that if this crossover went through and you got invested in it as a fan, you would not have an easy way to stream the complete story and would have to resort to individual episode purchases or tracking down physical media (always good to have).

The Crossover Died So Two Shows Could Live

Finally, while Picket Fences was quirky in its own way, it was also a more comedic show, and one that reveled in offering social commentary. Generally, X-Files was more serious, both in terms of its characters and its conspiracy-loving subject matter. Long story short, I can’t help but think a crossover would have been bad for both shows, hurting Chris Carter’s show in its infancy and possibly killing David E. Kelly’s Emmy-winning show that much quicker.

Now, the crossover that could have been is nothing more than a weird bit of trivia. It might have happened and delighted ‘90s audiences back in the day, but on the subject of internetwork collaboration, CBS executives adopted the wisdom of Fox Mulder. Namely, to trust no one!

Tom Brady may have dominated the NFL for decades, but his life off the field appears far less predictable.

After the retired quarterback was spotted chatting closely with Yael Cohen Braun at a Los Angeles party, speculation quickly erupted about his romantic life.

Now, insiders are offering a surprising glimpse into the seven-time Super Bowl champion’s reportedly awkward approach to dating.

Tom Brady Sparks Buzz After Cozy Moment With Yael Cohen Braun

Tom Brady recently found himself at the center of relationship rumors after attending a birthday celebration for fellow NFL legend Tony Gonzalez in Los Angeles.

During the event, the former quarterback was reportedly seen spending time with Yael Cohen Braun, the ex-wife of music executive Scooter Braun.

According to reports, the pair were “huddled up at the bar together,” which immediately sparked chatter about Brady’s love life.

However, a source close to the situation quickly dismissed the speculation. Speaking to the Daily Mail, the insider said, “When it comes to Tom and Yael and if they are ‘hooking up’… not so fast.”

The source explained that their connection is rooted in shared interests rather than romance. “They are friendly because of her work with her cancer prevention non-profit, ‘F*** Cancer’. She is a major health activist, and Tom might be the healthiest guy in the world, so they have bonded over that,” the insider revealed.

The connection reportedly goes deeper due to personal experiences within their families.

According to the insider, “Yael’s mom had breast cancer and Tom’s mother did as well. They both have children and were friendly with each other when she was married to Scooter.”

The source added that their discussions often revolve around health and advocacy, noting, “They are currently friends and talk about what they can do to make sure people are healthy, especially in the world of cancer. Who knows if they will ever get together romantically, but as of right now, their connection is focused on their individual health goals and health goals for others.”

Ultimately, the insider suggested that romance simply isn’t part of the picture right now.

“That is what is important for them; hooking up right now is just silly. Just talk,” they shared.

Brady’s Dating Life After Gisele Bündchen

Since his high-profile divorce from supermodel Gisele Bündchen in 2022, Tom Brady has been linked to several women.

One of the most recent names associated with the former New England Patriots star is TikTok personality Alix Earle.

The two were first spotted spending time together during a New Year’s Eve celebration in St. Barths. Later, Brady was seen getting close to Earle at a party ahead of the Super Bowl in Santa Clara.

However, sources suggest the situation may not be serious.

A second insider told the Daily Mail that the retired quarterback is not actively searching for a committed relationship.

“Tom isn’t dating anyone specifically,” the source said. “He’s not really looking for that. Dating isn’t something ever on his mind.”

Tom Brady Reportedly Has ‘No Game’ With Women

Despite his fame and success, insiders claim Brady’s approach to dating is surprisingly awkward.

According to one source, the legendary quarterback doesn’t take the lead when it comes to romantic pursuits.

They shared, “He’s kind of awkward when it comes to dating. Surprisingly, he doesn’t really have great game. Usually, it’s a woman making the first move with him, which would surprise a lot of people. He lets them take the lead a lot of the time.”

The insider also clarified that Brady’s rumored connection with Earle should not be mistaken for a serious relationship.

They said, “Tom and Alix are not exclusively dating. It’s a hooking up and having fun type of thing, at least for now, but she is totally his type.”

Earle, for her part, recently ended a two-year relationship with NFL wide receiver Braxton Berrios.

Interestingly, Berrios once played for the Patriots during Brady’s time as the team’s starting quarterback.

Yael Cohen Braun’s Relationship Status Explained

While Tom Brady’s name has been attached to the speculation, insiders insist Yael Cohen Braun is unlikely to be pursuing anything romantic with the sports icon.

Cohen Braun separated from Scooter Braun in 2021 after seven years of marriage. The former couple shares three children: Jagger, Levi, and Hart.

Since the split, she has reportedly moved on with professional surfer Danny Fuller.

According to another insider, the pair were even seen spending the holidays together.

The source told the Daily Mail that a public relationship with Brady would be unlikely.

“She wouldn’t date someone else in the public eye like that, anyway,” they said, referencing the NFL legend.

Tom Brady Focuses On Family While Remaining Single

Although Brady’s personal life continues to attract attention, the football icon appears to be focused on family and life after retirement.

Since his split from Bündchen, Brady has been rumored to have spent time with several high-profile figures, including model Irina Shayk and actress Sofia Vergara.

However, those connections were later described as friendships rather than serious relationships.

Despite the ongoing speculation about his love life, Brady recently showed where his priorities lie.

On Valentine’s Day, instead of posting about a romantic partner, the former quarterback shared a heartfelt message dedicated to his three children.

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For now, it seems the legendary athlete may still be navigating life as one of America’s most talked-about single men.

Below Deck Down Under‘s Ellie Dubaich spoke out about the surprising offscreen divide between her and Daisy Kelliher and Jenna Woudberg.

“I was surprised because I didn’t mean to offend anybody. I was simply sharing what happened when I got the call after [stew] Joe [Caron] left,” Ellie exclusively told Us Weekly.

Ellie joined season 4 of Below Deck Down Under after some reconfiguration led to a stew position no longer being available but a spot in the kitchen opening up. After coming aboard the boat, Ellie agreed to make the move to the galley instead of interior, which caused backlash when Daisy and Jenna defended the assumption that someone’s job would have been at risk if Ellie hadn’t agreed to the swap.

“I was on my way to being a second stew because Captain Jason [Chambers] wanted to have the most experienced leadership team. I started working at sea when Jenna was in third grade in 2016. That’s not a dig. That’s a simple fact,” Ellie told Us. “It did make sense that Captain Jason would want me to be in a leadership position. [When he] asked me to change, I was happy to change. That’s all I was saying.”

Related: Biggest ‘Below Deck‘ Feuds — and Where the Relationships Stand Today

Viewers have had a front row seat to some of the biggest reality TV feuds since the Below Deck franchise debuted. The show’s spinoff series Below Deck Mediterranean shocked viewers when Hannah Ferrier and Captain Sandy Yawn‘s inability to see eye to eye turned into the most memorable firing to date. Since the captain joined […]

She continued: “I was happy that things worked out the way they did. But the way Jenna and Daisy responded was mean-spirited. It was unnecessary, and I was taken aback. So I think it’s going to be a little bit indicative of how the two of them approached me this season.”

Ellie called Daisy’s reaction a “one-sided” issue.

“It started this season, and we’ll see that evolve,” she teased. “But I don’t really have an issue with Daisy. She doesn’t like me. She doesn’t seem to like me for whatever reason. We’ll see how that happens. But I don’t really have an issue with her.”

Related: Below Deck‘s Biggest Drama Through the Years

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The Below Deck franchise has had its fair share of chaos over the years, but there were some moments that stood out more. During season 7 of the Bravo show, chief stew Kate Chastain and bosun Ashton Pienaar had a scary confrontation when the latter was drunk after a night out. Ashton ended up punching […]

Looking ahead, Ellie made it clear there’s no bad blood on her end.

“I had no problems to begin with,” she continued. “Let’s move on — as far as I’m concerned.”

Ellie originally made an appearance on Below Deck Mediterranean before returning this season alongside Captain Jason. After having a rocky start in the franchise, Ellie called coming back again “overwhelming” since the season had already started.

“I don’t know any one of these people and they’ve already established relationships. I’m starting a new job and I didn’t even know I was going to be doing this job,” she noted to Us. “I literally found out at the airport [that I] was gonna be doing this job. So it was just so many new things happening which were out of my control. I just didn’t even have the time to overthink anything. I was just like, ‘I have to put one foot in front of the other. That’s all I can do.’ I was just doing my best.”

Below Deck Down Under airs on Bravo Mondays at 8 p.m. ET. New episodes stream the next day on Peacock.

One of literature’s greatest characters has been given a brand-new origin story in the chart-topping Prime Video series, Young Sherlock. Brought to life by Guy Ritchie, the new series sees Hero Fiennes Tiffin as an unruly 19-year-old amateur investigator before he becomes the beloved detective we know and love. Through eight episodes, Young Sherlock takes on a singular mystery that keeps us guessing until the very end.

If you’ve zoomed through the brilliant debut season, you’re likely seeking a follow-up series to scratch your itch. We have series destined to entertain. Some are inspired by the same characters Young Sherlock brings to life, and others have the same tone or vintage setting. From mysteries to dramas, these series will keep you satisfied until the potential Season 2.

‘Sherlock’ (2010–2017)

Image via BBC

With countless adaptations of the Doyle character, there’s one 21st-century iteration that’s widely regarded as the premier version: Sherlock. Created by Steven Moffat and Mark Gatiss, the series is set in the present day. The show follows eccentric, brilliant consulting detective Sherlock Holmes (Benedict Cumberbatch) and his loyal friend, army doctor John Watson (Martin Freeman), as they use modern technology to solve complex, cryptic crimes. Using many of Doyle’s stories and elements in a contemporary, rapid-fire update, Sherlock blends thriller and drama into a stylish series that earned acclaim.

Though it spanned many years, the shocking thing about Sherlock is that there were only 13 episodes, including four three-part seasons and one Victorian-set special. Nevertheless, the brilliant chemistry between Cumberbatch’s high-functioning sociopath and Freeman’s techie allowed for a compelling partnership. Gone was the pipe, exchanged for a nicotine patch. Watson helps the duo find viral fame by blogging about their cases. Sherlock’s translation into the present is seamless. Now, with Dónal Finn providing a new interpretation of Moriarty in Young Sherlock, you might see Andrew Scott‘s menacing consulting criminal Jim Moriarty in a new light. Sherlock is an easy entry point into the evolution of Sherlock Holmes and the character’s timeless appeal.

‘A Thousand Blows’ (2025–Present)

Image via Hulu

Straying from the mystery, a series set around the time of Young Sherlock. Created by Steven Knight comes the brilliant two-season historical drama, A Thousand Blows. Lifting the real-life brutal, underground bare-knuckle boxing scene in the 1880s East End of London, the series centers around Jamaican immigrants Hezekiah Moscow (Malachi Kirby) and Alec Munroe (Francis Lovehall) as they navigate a violent new world. Though Hazekiah longs to be a lion tamer, he’s drawn into the boxing world, instantly forming a rivalry with seasoned boxer Sugar Goodson (Stephen Graham). Meanwhile, they attempt to integrate into London society, where they come face-to-face with the all-female crime syndicate, the Forty Elephants, led by the brilliantly ruthless Mary Carr (Erin Doherty). A sensationally gritty series about survival, ambition, and the clash of class, A Thousand Blows is an underrated smash hit.

Much like Knight’s other series we’ll talk about next, A Thousand Blows is a high-stakes and stylish take on the blood-drenched, lawless streets of London. By pulling inspiration from real-life individuals and stories, A Thousand Blows feels distinctly unique. Even if the atmosphere is dark and grungy, many of the characters are intriguing enough to root for. They are literally fighting for their lives. It’s part underdog story, part sports drama, and part crime thriller. They blend effortlessly for a wonderfully strong knockout. With a starkly different atmosphere, A Thousand Blows offers a different perspective from Young Sherlock.

‘Peaky Blinders’ (2013–2022)

Image via BBC

Sticking with Knight’s works, we move into his utter masterpiece, Peaky Blinders. Another historical drama, the gritty British period piece follows the Shelby crime family in post-World War I Birmingham, England. Led by the ruthless Tommy Shelby (Cillian Murphy), the gang rises from street-level bookmaker to international power brokers as they battle rival gangs and law enforcement while navigating trauma, betrayal, and the transformation of British society. Revered for its stylized, cinematic visuals, blending period imagery with a modern rock soundtrack, Peaky Blinders was a series like none before.

If you’re squeamish, perhaps Peaky Blinders isn’t for you. If the raw reality of this gangster family’s fight to maintain power is your speed, Knight’s series fulfills the brief. Peaky Blinders is built around characters, especially Murphy’s. Tommy is both protagonist and antagonist. He’s an antihero of sorts, anchoring the series with his rich depth, charisma, and ability to detach himself from emotion. A brilliant ensemble from top to bottom, Peaky Blinders‘ six-season run was near-perfection. As we patiently await the upcoming movie, there’s no better time than now to binge the entire series.

‘Gangs of London’ (2020–Present)

Image via AMC+

Sticking with the cityscapes of the UK comes the series based on the Playstation game, Gangs of London. Created by Gareth Evans and Matt Flannery, the high-octane thriller centers on Sean Wallace (Joe Cole) as he attempts to take over his kingpin father Finn Wallace’s (Colm Meaney) empire after his assassination. Sean must navigate betrayal, revenge, and undercover cops as the violent power vacuum of intense rivalries and international criminal syndicates battle for control. An unrelenting action-packed drama, Gangs of London is excessive violence done right.

Like many game-to-screen series today, Gangs of London smartly adapts the basic elements from the video game and crafts an entirely new universe. Even if you were unfamiliar with the game, Gangs of London stands on its own. Its visceral combat sequences are brilliant. Highly choreographed and tightly shot, whether shootouts or hand-to-hand fights, Gangs of London rivals many big-screen gangster films. With a fresh approach to the genre, Gangs of London continues to blossom. With Season 4 on its way, there is more to this sensational story to tell.

‘Grantchester’ (2014–Present)

Image via ITV

Moving back to the period mystery series comes the long-running Grantchester. Set in a seemingly quiet Cambridgeshire village during post-World War II, Grantchester is adapted from the James Runcie books. The series follows a vicar—first Sidney Chambers (James Norton), then William Davenport (Tom Brittney), then Alphy Kottaram (Rishi Nair)—who develops a sideline in sleuthing with the help of gruff, down-to-earth Detective Inspector Geordie Keating (Robson Green). Through themes of faith, morality, and social change, the buddy-crime series is about the unlikely duo’s investigation into dark crimes while balancing personal connections, relationships, and family ties.

Through ten series and counting, Grantchester is a delightfully neat, gently-paced detective series that keeps viewers engaged episode after episode. With a crime-of-the-week formula, Grantchester allows each investigation to inform the overall character development through the whodunit. With a picturesque backdrop, Grantchester may look bright, but the dark, complex narratives are highlighted through the brutality of the crimes. A comforting detective series, Grantchester is the show you never knew you needed to watch.

‘Elementary’ (2012–2019)

Image via CBS

If Sherlock was the modern British retelling of the classic character, Elementary was the American take. The series reimagines Sherlock Holmes (Jonny Lee Miller) as a recovering addict in modern NYC. He’s joined by Joan Watson (Lucy Liu), as they develop a platonic, non-romantic partnership. Blending typical procedural crime drama with a story of addiction, recovery, and human connection, Elementary excels at character development first and foremost. In turn, the seven-season CBS series subverted what we know to bring the essence of the characters into a new universe.

Unlike more stylized adaptations, this series offers a realistic approach to the detective game. As time went on, the nuanced Sherlock Holmes story still remained while the series developed its own identity. Elementary also boasted a brilliant ensemble, including Aiden Quinn as Captain Tommy Gregson and Jon Michael Hill as Captain Marcus Bell. Now, Watson wasn’t the only gender-bending character as Natalie Dormer took on Jamie Moriarty, the criminal mastermind who also posed as Irene Adler, Sherlock’s great love. A series that got better with age as it grew into itself, Elementary deserves a new lease on life through the current resurgence of Sherlock Holmes.

‘Watson’ (2025–Present)

Image via CBS

Speaking of the resurgence, CBS wanted to play upon the modern retelling of the Doyle character again in the new series, Watson. Set one year following Sherlock’s (Robert Carlyle) death, Dr. John Watson (Morris Chestnut) runs a Pittsburgh clinic treating rare, complex diseases. Leading a team dedicated to treating these diseases, Watson is a modern riff on a classic concept, blending detective-style drama with a medical thriller. Watson gives a fresh premise to the beloved sidekick. Tackling the case-of-the-week formula, Watson elevates the tropes found on House to a more optimistic tone while drawing on the Doyle character through a strong performance by Chestnut.

The obvious appeal is giving Dr. Watson a place to shine on his own. Though if the dynamic is what initially appealed to you, it’s not going to be here. Instead, he’s in the lead. The ensemble surrounding him is solid, but it’s the main baddie that draws back to Sherlock, who is most appealing. Per usual, we have a James Moriarty present, this time taken on by Randall Park. He might be the most sinister version of the character in modern adaptations. When you portray him as an everyman willing to be nefarious, that’s a threat you least expect. Though the series has been met with mixed reception, it’s a wonderful watch for Sherlock Holmes fans.

‘Doctor Who’ (1963–2025)

This might seem like a wild stretch of how Sherlock’s origin story has any relation to a two-hearted Time Lord, but their tones, especially the revival series, couldn’t be more similar. Plus, a central character and their pals solving mysteries? They’re a great companion for one another. The long-running natural treasure series follows an alien Time Lord known as “the Doctor,” who travels through time and space in the TARDIS. Accompanied by a human companion or few, the Doctor explores the universe, fighting villains like the Daleks to protect innocent lives and prevent catastrophic events. A story that emphasizes using wit and intelligence over violence to solve problems, the genre-blending Doctor Who explores time periods and planets for non-stop fun.

Young Sherlock‘s energy matches Doctor Who in its oft-bright and jovial demeanor. Further, if there’s any actor who could slip into the iconic role, it’s Tiffin. The eccentric, affable, charismatic approach to Sherlock feels very similar to how Matt Smith, Jodie Whittaker, and Ncuti Gatwa played their iteration of the Doctor. Both shows have a wonderfully grounded emotional core that makes a Doctor Who binge-watch a logical next step after Young Sherlock.

‘Lucifer’ (2016–2021)

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A character from religion and literature, the late 2010s brought an urban fantasy series to life around Lucifer. Based upon the DC Comics character of the same name, Lucifer tells the story of Lucifer Morningstar (Tom Ellis), who, after abandoning Hell, runs a nightclub in Los Angeles. But his life changes when he becomes a consultant to the Los Angeles Police Department. He joins Detective Chloe Decker (Lauren German) to solve murders while exploring humanity, compassion, and his own identity. With angels, devils, and humans living in this shared universe, the procedural-driven crime show brings celestial and earthly conflicts to the forefront.

With a highly praised performance from Ellis, the series masterfully blends comedy and drama for an engaging premise. Beyond the detective side of the series comes a rich subplot that dives into psychology. As Lucifer’s relationships rise and fall, he goes to Dr. Linda Martin (Rachael Harris) to analyze them all. Originating on Fox before moving over to Netflix for its final seasons, Lucifer is a smart fantasy detective series that is familiar enough in format yet deviates through theme to stand on its own.

‘The Gentlemen’ (2024)

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This final entry is here simply due to the man who made it: Guy Ritchie. After the success of the 2019 film of the same name, he brought The Gentlemen to life for a whipsmart eight-part series. Expanding upon the original story, The Gentlemen follows Eddie Horniman (Theo James), who inherits his father’s country estate, only to discover it hides a massive, illegal marijuana empire. Eddie tries to extricate his family from the criminal underworld but is drawn into it. Navigating his dealings with gangsters, including the sharp Susie Glass (Kaya Scodelario), while managing his chaotic brother, Freddy (Daniel Ings), The Gentlemen explores the tension between the British aristocracy and the criminal underworld in a stylish, entertaining manner.

The atmosphere within the series is quite precise. It’s over-the-top in all the right ways, and even when you think things couldn’t get more brazen, it does. There is a familiarity to the original film, but its extension gives it its own solid footing. James is a brilliant anchor, especially against bigger personalities like his brother. If you like violence, The Gentlemen is more than sufficient. It’s artistically graphic. At the end of the day, the series pays homage to Richie’s film for a truly fun journey.

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The Gentlemen

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Release Date

2024 – 2026-00-00

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Network

Netflix

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Writers

Stuart Carolan, Guy Ritchie, Haleema Mirza, Matthew Read

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First things first: The Lord of the Rings is the apex of cinematic fantasy. A flawless adaptation of J.R.R. Tolkien‘s literary masterpiece, Peter Jackson‘s three movies are spectacular examples of how large, epic-scale spectacle can go hand-in-hand with emotional, riveting, and deeply rewarding storytelling. The result is three movies that are not only genuine modern masterpieces but also the best examples of cinematic fantasy.

That being said, just because The Lord of the Rings is perfect, it doesn’t mean that some movies can’t be better. Think of it this way: Goodfellas is a brilliant gangster movie, but The Godfather is arguably better. In the case of fantasy, very few movies can claim to be better than Jackson’s trilogy — in fact, only three. Whether because of their approach, worldbuilding, or more affecting storylines, these fantasy movies outrank LOTR in the fantasy department, ever so slightly. It’s important to note that these fantasies cover similar topics as Jackson’s movies — after all, it would be silly to compare a high fantasy epic like LOTR to a fairy tale like Beauty and the Beast — and they might just do it better.

‘Howl’s Moving Castle’ (2004)

Quite possibly the hottest take on this list, Hayao Miyazaki‘s Howl’s Moving Castle is nothing short of a modern masterpiece. A simple yet profoundly powerful statement on war and its futility, the film is Studio Ghibli’s best and one of the most faultless entries into the fantasy genre. Adapted from the eponymous novel — and I mean really adapted — the film follows Sophie (Emily Mortimer), a young hatmaker who finds herself cursed by the Witch of the Waste (Lauren Bacall). Now turned into an old woman (Jean Simmons), Sophie must venture into the unknown to seek the help of the powerful wizard Howl (Christian Bale).

Miyazaki created Howl’s Moving Castle in response to the US invasion of Iraq in 2003, and it’s genuinely tragic how its anti-war message could perfectly resonate in 2026. Beautifully animated and ingeniously crafted, the film presents a distinct, Steampunk-influenced world with just enough lore to be compelling without overwhelming. Its message about the beauty and freedom of old age is especially resonant today, in a society obsessed with youth that discards and often forgets its elders. The characters are endearing and deeply relatable, especially Sophie, a unique heroine among Ghibli’s canon whose greatest strength lies in her empathy and warmth. Howl’s Moving Castle is a masterpiece in every sense of the word, and its message has not only aged beautifully but has also grown more important in the decades since its release.

‘Pan’s Labyrinth’ (2006)

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No director has mastered the fantasy genre in the 21st century as perfectly as Guillermo del Toro. From Gothic tales like Crimson Peak and Frankenstein to subversive fairy tales like The Shape of Water and his take on Pinocchio, del Toro is the true master of modern fantasy. However, his magnum opus is undoubtedly 2006’s Pan’s Labyrinth, quite possibly the greatest dark fantasy to ever grace the silver screen. Set in Francoist Spain, the film centers on young Ofelia (Ivana Baquero), a girl traveling with her pregnant mother to the countryside, where her stepfather, the sadistic Captain Vidal (Sergi López), hunts for rebels. Soon, Ofelia meets a faun, who tells her she’s the reincarnation of a princess and must undergo a series of tasks to reclaim her throne.

Overflowing with creativity and a biting, brutal approach to the horrors of war and tyranny, Pan’s Labyrinth is a masterclass in fantasy filmmaking, the likes of which we hadn’t seen before and haven’t seen since. The film is part sinister fairy tale, part war movie, and del Toro pulls no punches in portraying the ruthless nature of conflict. For their part, the fantasy elements are just as unforgiving, with Ofelia facing all manner of difficulties, most famously the sinister Pale Man. Yet, the core of Pan’s Labyrinth is all human. Del Toro explores the importance of rebellion in the face of injustice and despotism, using the premise to blur the lines between reality and fantasy and showcasing the unique and ultimately invincible power of imagination, as many of his projects do. The result is a triumph of the genre, a towering achievement that has aged like the finest of wines.

‘The Seventh Seal’ (1957)

Image via AB Svensk Filmindustri

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Ingmar Bergman is one of the best directors in cinematic history. He’s also among the most controversial, which has only made him a more fascinating, albeit understandably tricky to discuss. Among his remarkably strong oeuvre, perhaps the project that stands out the most is The Seventh Seal, his existential historical fantasy starring Max von Sydow as a medieval knight and Bengt Ekerot as the personification of Death. The two face off in a chess match, as Death comes to claim the knight’s life at the height of the Black Plague ravaging Europe.

Highly allegorical, The Seventh Seal blends religious messages with a profound examination of the nature of life and death. Although war is in the background, the Crusades are crucial to the desolate, broken world that Bergman builds here. Von Sydow’s knight is disillusioned and cynical, aiming to perform one last great deed before the end of a life he now considers aimless. Faith is also a strong theme, with Bergman pondering the concept of “the Silence of God” and the apparent futility of faith itself. Most impressively, The Seventh Seal finds just the right balance between artistic pretension and meaningful storytelling. Make no mistake, it is a pretentious movie, but there’s genuine power in its existential message about God, conviction, meaning, and the pursuit of logic in a world where nature will always win.