By Brian Myers
| Published 1 minute ago

Throughout most of the 1990s, the top-rated NBC sitcom Seinfeld dominated primetime television. The witty humor and superficial characters took viewers through bizarre happenstances surrounding relatable life situations that are seemingly mundane on the surface. The “show about nothing” proved to be more about everything else, but also weaved in the real-life interests of the show’s star and namesake, Jerry Seinfeld. A fan of superheroes, Seinfeld and his writers found ways of inserting references to comic book icons in multiple episodes, some a bit more concealed than others.

Fans of Seinfeld have claimed since the show’s run that the writers packed a Superman reference into every episode. If you count the noticeable Superman statue on Jerry’s shelf or the small magnets of the superhero on his refrigerator, you might come up with a visual reference for the majority of the show’s 180 entries. While the real tally of mentions and nods is far less than what some fans might have originally speculated, looking for and discovering these little Easter eggs has been a bonus to enjoying a much-beloved 90s TV staple.

Two Specific Episodes Do The Heavy Lifting

Two episodes are almost entirely dominated by Superman references. In the 1996 fan favorite episode, “The Bizarro Jerry,” Elaine begins a friendship with Kevin, with whom she has just ended a very short-term romance. As his new friend, Elaine discovers parallels between the life she experiences with Jerry and the gang, and Kevin and his friend group. Each person in Kevin’s life is the mirror opposite of every person in Jerry’s. Gene (George) and Feldman (Kramer) make up Kevin’s core friends, while Kevin is Jerry’s counterpart.

Kevin’s apartment also has details that, upon close examination, show Jerry’s interests in a twisted recreation. Aside from the layout being mirrored, there’s a unicycle on the wall where Jerry’s bike always hangs, Feldman always knocks before entering (instead of barging in, like Kramer), and continually restocks Kevin’s refrigerator and cabinets with groceries instead of bumming them. The cou de gras is positioned where Jerry’s prized Superman statue should be. In its place is Bizarro Superman, completing Jerry’s reference to Elaine being in “the Bizarro World” when she’s with Kevin.

The 1994 episode, “The Race,” sees Jerry have a rematch of a running contest that he deceptively won during high school. His old rival, Duncan Meyer, is revealed to be the employer of his newest love interest, Lois (as in Lois Lane, Superman’s girlfriend). Throughout the episode, Jerry utters memorable lines like “I’d have to be Superman to do that,” and “Faster than a speeding bullet.” The theme from Superman (1978) plays as Duncan gets his rematch with Jerry, which Jerry also wins after an unwitting headstart. He closes the show with a nod to the 1950s series, The Adventures of Superman, by uttering the line “Maybe I will, Lois. Maybe I will,” before breaking the fourth wall and winking at the camera.

Subtle Nods Through Dialogue

Most of the references to superheroes are revealed through the show’s dialogue instead of being visual cues. When George refers to Jerry’s new girlfriend, Gwen, as a “Two-Face” (the woman looks starkly different when the lighting changes), Jerry exclaims, “Like the Batman villain!” In another exchange, it’s revealed by Elaine that Jerry doodles naked pictures of Lois Lane. Yet another moment has George referring to Jerry as having only two interests, Superman and cereal.

Two-Face, Batman & Robin, and Superman aren’t the only DC superheroes mentioned in the series. On at least two occasions, Aquaman is the subject of conversations between George and Jerry. In “The Deal,” George wonders whether the character was “restricted to water,” while “The Glasses” has Jerry referring to his friend as “Aquaboy.”

“The Strongbox” Has Deep Cuts

One of the best superhero references occurred during an exchange between George, Jerry, and Elaine while the three were sitting in their favorite coffee shop in “The Strongbox.” Elaine has been seeing a new guy, a secretive fellow named Glenn. Elaine had previously speculated that he was probably married, given that he always met her out and refused to give her his phone number.

Jerry had interjected that the guy could be protecting his secret identity and that Elaine could very well be dating the Green Lantern. At the coffee shop, Elaine reveals that her new beau isn’t married, but that he’s been actively hiding the fact that he’s living in poverty. The exchange that follows is packed so full of lines revolving around DC characters, making it one of the greatest instances of snap dialogue over Seinfeld’s nine-season run.

Jerry’s one-liners included “We found out his superpower was lack of money,” “He’s the ‘got no green’ lantern,” and “He’s invulnerable to creditors.” A visibly annoyed Elaine gets up to leave, only to have George pipe up with “Maybe his girlfriend is Lois Loan.” Jerry deals the final blow when Elaine reenters moments later to retrieve something she’d left behind; “He can wipe out a checking account with a single bounce!”

References You May Have Missed

Superman-related references also make appearances in the following episodes:

In “The Pilot,” Jerry is clad in a wardrobe of red and blue, Superman’s colors.

During a scene in “The Secret Code,” Jerry tells George that his ATM passcode is “Jor-El,” the name of Superman’s father on the planet Krypton.

“The Stock Tip” sees Jerry and George debating whether or not Superman has a super sense of humor.

After George makes a bone-headed move concerning a new love interest in “The Face Painter,” he wishes he could turn back time in the way Superman could, by spinning the Earth in reverse.

“The Cheever Letters” makes one of several references to someone’s home being their “Fortress of Solitude.”

“The Invitations” has a montage of Jerry with his new fiancée, Jeannie. In one moment, the two of them are shown reading Superman comic books.

The next time you stream Seinfeld on Netflix, look and listen for the references aboveand others.

Heather Graham is letting fans in on her little secrets to maintain her chic physique.

The actress opened up about the rules she follows with her diet and self-care to ensure that she stays in shape. The youthful glow that seems to have never left her, even as she is now in her 50s, is seemingly thanks to everything but weight loss medication.

Heather Graham is living her childfree life to the fullest, enjoying the rewards of her work earlier in the industry. She gets her daily dose of happiness by focusing on enjoying the simplest things in life.

Going Under The Knife And Ozempic Are Not Part Of Heather Graham’s Routine

Graham had a chat this week where she told all on her secret to staying in shape, aging as an entertainer, and navigating through life. The actress explained how she tries to maintain her looks without succumbing to the pressure of going under the knife or using popular medications like GLP-1s.

For the Hollywood star, self-care is a top priority, and that includes her focus on staying active, eating healthy, yoga, and meditation. She strongly believes that “if you don’t have your health, you dont have anything” and as such she places her health as the most important thing in her life, even more important than her career. Graham, in her interview with US Weekly, revealed that she had unhealthy eating habits in her younger days.

She went through phases of being obsessed with sugar and eating frozen yoghurt for lunch and dinner. “I’d be like, ‘I don’t want to have dinner, so I’m going to eat eight candy bars or a pint of ice cream.’” Then I’d be like, “That was bad, so now I’m not going to eat any regular food.” After getting hands-on deep into meditation, she realized she needed to eat healthily. Now, she stays away from sugar by keeping it completely out of her house. and only sometimes indulges in two cookies.

The Actress’s Thoughts On Weight Loss And Aging

The entertainer was asked to share her thoughts on weight loss drugs and if they have a place in her regimen. In response, she stated that she does not see the appeal, even though there have been amazing reviews from people who use them. “But I’m fearful people haven’t been taking it long enough to know if there are bad side effects,” she added.

Graham then stressed that rather than turn to modern medicine for that purpose, she chooses to work out and have a prime diet instead. When it comes to cosmetic procedures, the star disclosed that she has never cut her face open. However, she has tried Botox, microneedling, and fillers. Her goal remains to look natural, she shared, adding “I dont want to look freaky. I wouldn’t completely rule it out, though.”

The “Hangover” star went on to answer questions about her career and aging in Hollywood. Recalling the time when there was a threshold age for women to get married before being tagged a spinster, Graham is glad to see that the industry is embracing female empowerment.

She gave a shout-out to Miley Cyrus, Dua Lipa, Doechii, and Cardi B for helping her through a breakup via their music. Ultimately, the actress is not worried about getting older as she has come to terms with aging as part of the laws of nature. Her focus remains on how she can enjoy and appreciate the life she has.

The ‘Boogie Nights’ Star Has Been Into Diet And Fitness For Years

Over a decade ago, Graham chatted with Refinery29, where she spilled details of her experiences while filming the 2012 film “At Any Price,” where she starred as Meredith Crown alongside iconic actor Zac Efron. During her talk with the outlet, the Hollywood star shared that the secret to her glowing skin was using generous amounts of moisturizer.

“I like moisturizing a lot, my whole body, my face. I use this inexpensive Body Shop Nourishing Night Cream, and sometimes I’ll use Crème de la Mer,” the actress disclosed. At that time, she also detailed how she managed to keep up with her diet and fitness regimen despite being on the road regularly for work.

Graham shared that she tries to avoid sugar as a broad rule, even though she falters at times. She also tries to steer clear of white flour. In that same 2013 interview, the actress talked about her relationship with exercising, disclosing that she was big on doing yoga. “I’m obsessed with yoga. For fun, I would go on a yoga retreat and do four hours of yoga a day. And then I do pilates. I also like going out dancing,” Graham said.

For The Entertainer, Aging And Happiness Go Hand In Hand

Last year, Graham stepped onto the 55th floor of life, and her shared secret is “enjoying the simple things in life.” The “At Any Price” star shared that aging is all about attitude, noting that as she grows older, she cares less about things that do not matter. The star told PEOPLE that with that mindset, she has become a happier person focused on “feeling good from the inside out.”

She also surrounds herself with positive energy from her friends and spends more time in nature. “I like to go out in nature, go to the beach, look at the ocean, go on a hike, go into the mountains, look at the trees,” she shared before adding, “I love just being by the ocean; anytime I’m at the ocean, I just feel happier.

Graham, in recent years, has embraced a more holistic perspective on life, and this has tilted her focus from the super ambitious younger version of herself to a woman who draws fulfillment from other parts of life besides her career.

Heather Graham Has Gone No Contact With Her Parents Since Early Adulthood

The movie star previously disclosed that she has not spoken to her parents in almost thirty years. The estrangement from her father, James, who was an FBI agent, and her mother, Joan, who was an elementary school teacher, stemmed from her decision to pursue a career in the entertainment industry.

The star shared that her father often actively discouraged her from getting into Hollywood, while her mom supported her creative and acting ambition, but did not protect her from James. “He regularly told me that the entertainment industry was evil and that Hollywood would claim my soul if I became an actress and appeared in anything with sexual content,” the actress revealed about two years ago.

ENews detailed that according to Graham, when she made her debut with “License to Drive,” staying at home with her parents became all the more difficult. She was determined to be successful and make a name for herself as a movie star. Friends became family to her, and she continued climbing the ladder to success. “I stopped talking to my parents when I was 25, and I’m estranged from them now. My friends are proud of me, and I’m proud of myself,” Graham concluded.

Roomies, it looks like fans have finally got their answer on where 21 Savage stands following Latto’s pregnancy announcement. Amid speculation about Big Mama and her baby, 21 seemingly weighed in with a few words for the first-time mom.

RELATED: Too Cute! Video Shows Cheetah-Inspired Baby Announcement With Latto & 21 Savage’s Names On It (WATCH) 

21 Savage Steps In With Some Words For Latto

Social media is going crazy trying to figure out if 21 Savage just confirmed he fathered Latto’s baby. On Wednesday, March 25, the rapper seemingly reacts to Big Mama’s baby announcement by posting her new Paper magazine cover with the caption, “Big Mama Not The Little 1.” He doesn’t stop there — he added three dagger emojis, which fans know is the same symbol tatted on his forehead and a tribute to his late brother Tay Man. Latto hasn’t reacted to 21’s post, but she’s previously made it clear before that he’s her bae. Back in 2025, she told TMZ she never gets tired of hearing about him because that’s “Her man, her man, her man!”

The Internet Said “Say Less” After 21 Entered The Chat

Once The Shade Room reposted 21 Savage’s message, the comment section went wild! Fans loved seeing him show love to his Big Mama, while other said trolls can be quiet now since 21 seemingly confirmed where they stand!

Instagram user @_therealtokyodrifting wrote, “Simple 😌♥️🫶🏽” 

Instagram user @laureaaall wrote, “He love his big mama ❤️” 

While Instagram user @kweenmocha wrote, “Wizard Kelly finally came downstairs 😂” 

Then Instagram user @iamjovimar wrote, “And there you have it yall😂 it’s FINALLY actually confirmed 👏👏 the internet is Always right.” 

Another Instagram user @binkyloc_ wrote, “y’all done bullied that man into claiming her openly 😭” 

instagram user @therealsiditydess wrote, “& thangggyaa🤏🏽🤏🏽🤏🏽” 

Instagram user @moni_d93 wrote, “Lawwwddd he dun gave the internet what they been wanting.” 

While another Instagram user @thats.seldom wrote, “Ok Big Mama getting posted🤣🥳” 

Instagram user @___wond___ wrote, “THESE PEOPLE DONT OWE YALL NATHAN 😩🙄🤦🏽‍♀️” 

Then another Instagram user @cydneedane wrote, “Alright nowwwww we getting somewhereeeeeee.” 

Finally, Instagram user @msashnicole2u wrote, “21 has spoken 🔥yall leave them folks alone. I love this ❤️” 

RELATED: Nothing To Prove! Latto Reacts To Speculation About Her Relationship & Pregnancy After “Big Mama, No Kids” Lyrics Resurface

Anne Hathaway set the tone for The Devil Wears Prada 2 by refusing to cast overly thin models in the film, her costar Meryl Streep shared in a candid new interview.

Streep, 76, admitted to being completely “struck by how not only beautiful and young” as well as “alarmingly thin the models were” when the cast attended real-life runway shows during Milan Fashion Week in 2025, she told Harper’s Bazaar in an article profiling Hathaway, 43, published on Wednesday, March 25.

“I thought that all had been addressed years ago. Annie clocked it too,” Streep added.

The actress, who reprises her role as Miranda Priestly (Runway magazine’s now-struggling editor-in-chief) alongside Hathaway’s Andy Sachs in the upcoming sequel, said that her costar wanted a more realistic beauty standard portrayed in the sequel and took action to ensure that would happen.

“[Hathaway] made a beeline to the producers about it, securing promises that the models in the show that we were putting together for our film would not be so skeletal! She’s a stand-up girl,” raved Streep.

It’s been two decades since fashion-loving fans got to see the original film in theaters back in June 2006. This time, Andy is a features editor at Runway after moving up the ladder from her junior personal assistant role.

Related: Would ‘The Devil Wears Prada’ Cast Do a Sequel? What They’ve Said

Fans of The Devil Wears Prada have long been hoping for a sequel, but the cast is torn about revisiting the 2006 film. Anne Hathaway starred as Andy, an aspiring journalist who lands a coveted job as the personal assistant to Miranda Priestly (Meryl Streep), the powerful editor of a fashion magazine called Runway (think: […]

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“Even though we were aware of the impact of the first film two decades ago, I think none of us were prepared for the ambush of both goodwill and avid attention that engulfed us,” Streep shared about the frenzy that followed. “We needed police barriers and crowd control.”

“Buses of fans turned up, and paparazzi swarmed and in one case kept jumping in front of the camera and the shot and got in a kerfuffle with crew!” added Streep while talking about shooting the sequel. “Annie kept her cool, but I was unnerved.”

As for what fans can expect to see in the second film, “The characters are obviously 20 years along in their careers and at very different places, and the world of media is in a very different place,” the movie’s director, David Frankel, shared. “Andy has had a career in journalism that mirrors a lot of people’s experiences in journalism these days.”

Related: ‘The Devil Wears Prada 2’: 5 Things We Want to See in the Sequel

Is the sequel to The Devil Wears Prada the most anticipated film of 2026? Well, why wouldn’t it be? It’s one of the most iconic films of 21st-century pop culture. It catapulted Emily Blunt into the mainstream, gave Anne Hathaway her then-biggest commercial success and forever cemented Meryl Streep’s iconic status as Miranda Priestly. And, of […]

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Outside of her role as Andy, Hathaway said that she’s embraced this next chapter of her own life as a mom of two.

“I think that very often, conversations about aging presume that the first part of life is the happiest and the most fulfilling, and I don’t necessarily think that’s true,” the star, who shares sons Jonathan, 10, and Jack, 6, with her husband Adam Shulman, said. She added, “I wasn’t expecting to find another gear at 40.”

Kylie Kelce says critics are taking her past comments about hiring babysitters when her husband, Jason Kelce, is at home out of context.

“It got so aggressively taken out of context that I was pissed about it for, like, months,” Kylie, 34, said during the Wednesday, March 25, episode of the “Conversations With Cam” podcast. “Because there comes a time where you can set the record straight. But then at what point are you just continuously [doing it]? And like, ‘I don’t need to.’ This is the same thing of, like, if I’m going to talk about it, I’ll talk about it. If I’m not, I’m not.”

Back in December 2024, Kylie caused a stir when she revealed that she would schedule a babysitter even when Jason, 38, is scheduled to be home with their kids. (The couple shares daughters Wyatt, 5, Elliotte, 4, Bennett, 3, and Finn, who turns 1 year old on Monday, March 30.)

“How do I say this nicely? No,” Kylie said during the debut episode of her “Not Gonna Lie” podcast. “When I have to do something — coaching, something for Eagles Autism Foundation, something for my podcast, a doctor’s appointment even — I will schedule childcare. My husband could tell me 72 times that he is going to be in the house during the time when I have to leave it, [and] I will still schedule childcare.”

Kylie added that their schedule is unpredictable now that Jason is retired from the NFL, so it’s hard to know when he will be able to watch the kids.

After the episode aired, critics online slammed Kylie for seemingly not allowing Jason to watch their children.

“Tell me you don’t trust your husband, without telling him you don’t trust him,” an Instagram user commented on a clip of the podcast at the time.

Another person added, “That’s really sad a guy can’t parent his own kids.”

Addressing the criticism on Wednesday, Kylie continued, “It got so taken out of context because people were like, ‘You won’t let Jason watch your kids.’ And I’m like, ‘What do you mean, let him watch the kids? They’re his kids.’ I’m not letting him do anything. They’re f***ing his.”

Kylie then reiterated her original explanation for hiring a babysitter.

“When I first started the podcast and we addressed this, which is when I said it, Jason was in football season for ESPN,” she said. “He had multiple other things going on where his schedule was, and still is, chaotic, but not nearly as much. There was like no structure happening.”

Related: Kylie Kelce Has the Perfect Clapback for Haters Who Are ‘Tired’ of Her

  Kylie Kelce is not here for the haters weighing in on her life or her new podcast venture. “My producer, Queen Emma, has pulled a couple of the comments that we’ve gotten over the last couple weeks,” Kelce, 32, said during the Thursday, January 2, episode of her “Not Gonna Lie” podcast. “One of […]

Kylie added, “And there were times where he would be sitting, and he’d be like, ‘Oh, I don’t have anything for the rest of the day.’ And then someone would call him, and he’d be like, ‘Oh, I actually have to take this.’ And then he would end up on a call for like 45 minutes to an hour. And like, it’s, they’re not calls where you can have little voices in the background.”

The podcaster also argued that she had a “sarcastic” tone when she made the original remarks.

“It’s always how someone wants to twist it,” she noted.

If there’s anything that history proves, it’s that nothing is permanent—not even nations. There have been several countries throughout the years that have disappeared, dissolved, or transformed into something entirely different. That certainly includes a few throughout cinema’s existence in the 20th century, which means that there are many movies out there whose home has vanished since their release.

Many such movies have either been forgotten by time or disappeared altogether, but there are a few masterpieces from countries that no longer exist that are widely counted among the greatest films ever made. From Yugoslav gems like pretty much Emir Kusturica‘s entire filmography to legendary Soviet movies like I Am Cuba, these are cornerstones of movie history that cinephiles should never allow themselves to forget.

‘I Was Nineteen’ (1968) From East Germany

Image via DEFA

Right before the end of World War II, the Allied powers agreed on the division of defeated Nazi Germany into occupation zones. The Soviet occupation zone turned into East Germany, officially the German Democratic Republic, a communist state whose economy soon became the most successful in the Eastern European Bloc. East Germany’s state-owned film studio was called DEFA, and the best movie that it ever produced is undoubtedly Konrad Wolf‘s I Was Nineteen. It’s a fictionalization of Wolf’s experiences, where a young boy who fled Germany with his parents returns as a lieutenant in the Red Army.

Due to its emphasis on subjective experience rather than propagandistic clarity, the DEFA disliked I Was Nineteen and tried to get Wolf to revise the screenplay in several ways. Yet, despite their interference, it is easily the best-made and most thought-provoking East German masterpiece. Though episodic, the film feels like a deeply intimate recollection of a man’s recollection of his tumultuous youth. It’s a stunning cinematic autobiography.

‘The Nightingale’s Prayer’ (1959) From the United Arab Republic

Image via Arab Film Distribution

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In 1958, a political union between Egypt and Syria formed the United Arab Republic. Just three years later, Syria seceded from the union following a coup d’état, but Egypt continued to be known officially as the United Arab Republic until it was formally dissolved in 1971. During these (roughly) 13 years, the United Arab Republic produced several of what have gone down in history as the greatest African movies of all time. The most noteworthy of these is Henry Barakat‘s The Nightingale’s Prayer, a romance drama that follows a woman’s revenge plot against the engineer who destroyed her family’s honor.

It’s an immensely powerful social melodrama that’s surprisingly bleak and anti-patriarchy for its era. The Nightingale’s Prayer, which looks and feels delectably similar to the best of noirs being produced in Hollywood at the time, hasn’t aged perfectly in every department, but it still feels as well-performed, well-written, and well-directed today as it surely must have been back in the 1959 United Arab Republic.

‘Time of the Gypsies’ (1988) From Yugoslavia

Image via Ljubavny Film

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Yugoslavia came into existence following World War I, being the first union of South Slavic peoples as a sovereign state in history. Due to a wide variety of factors and after a violent multi-stage process, the country broke up between 1991 and 1992. But during its existence, it was the source of some of the greatest European films and filmmakers of its time, chief among which is the great Emir Kusturica. One of Kusturica’s best movies is the Yugoslav-Italian co-production Time of the Gypsies, a coming-of-age fantasy crime drama about a young Roma boy with telekinetic powers who is seduced by the world of petty crime.

It’s one of those ’80s movie masterpieces that most people have forgotten about, which won Kusturica the Best Director Award at the 1989 Cannes Film Festival. Tragicomical, deeply moving, and unexpectedly dense (with a runtime of nearly two and a half hours), Time of the Gypsies is a beautifully chaotic epic that’s definitely a must-watch for history buffs and cinephiles alike.

‘Marketa Lazarová’ (1967) From Czechoslovakia

Image via Criterion

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In 1918, Czechoslovakia was created after declaring its independence from Austria-Hungary. In 1992, it split peacefully into Czechia and Slovakia. Throughout those 74 years, Czechoslovakia was the home of some of the greatest and most groundbreaking European films of the 20th century. During the ’60s in particular, filmmakers like František Vláčil led theCzechoslovak New Wave, one of the most notorious European film movements of the era.This movement birthed the country’s greatest cinematic masterpiece: Marketa Lazarová, an epic period drama about a young girl promised to God who is kidnapped and raped by a marauder.

It’s an unsettling and absolutely brutal masterpiece, but a masterpiece nonetheless. Clocking in at nearly three hours long and sprinkling surreal moments into the mix to enhance its psychologically intense atmosphere, it’s a dreamlike, poetic, and utterly mesmerizing work of art. Its score of 100% on Rotten Tomatoes is well deserved, since this is one of the most unforgettable period pieces in the history of cinema.

‘The Cranes Are Flying’ (1957) From the Soviet Union

Image via Mosfilm

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From 1922 until its dissolution in 1991, the Soviet Union was the world’s flagship communist state. The nation’s film industry was fully regulated by the central government in Moscow and, thus, often prone to censorship. Still, such a tremendously large number of cinematic masterpieces came out of that system that one can point to innumerable Soviet movies which could be counted among the greatest of the 20th century. One such movie is The Cranes Are Flying, a war drama about two lovers planning a rendezvous at the bank of a river, only for the man to be drafted into WWII shortly after.

Plenty of war films out there depict the horror and devastation of armed conflict in all manner of thought-provoking ways, as well as somewhat problematic war films that make war seem like an exciting prospect. But movies about the tedium of war, about how slow, boring, and existentially dreadful it can be? There aren’t nearly enough of those in existence, but Georgian-Soviet filmmaker Mikhail Kalatozov made this one, which is great enough to make up for the scarcity of such movies. It’s a timeless cinematic miracle; poetic, visually splendid, and deeply human.

‘I Am Cuba’ (1964) From the Soviet Union

Image via Mosfilm

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A co-production between the Soviet Union and Cuba, I Am Cuba is proof that propaganda cinema isn’t inherently bad. In fact, it is widely recognized by cinephiles and film historians as one of the greatest films of the 1960s,an anthology film and political drama with some of the most revolutionary cinematography in the history of the art form. Also directed by Mikhail Kalatozov, it follows four vignettes about the lives of the Cuban people during the pre-revolutionary era.

The film was almost completely forgotten until it was rediscovered by American filmmakers in the ’90s, and Martin Scorsese and Francis Ford Coppola were actually instrumental in its restoration and re-release in 1995. Politically radical, full of jaw-dropping visuals, and so ideologically profound that film scholars will probably continue to study it deeply for the rest of history, I Am Cuba is a must-see for all those who would say they love cinema.

‘Stalker’ (1979) From the Soviet Union

Andrei Tarkovsky was perhaps the greatest of all Soviet filmmakers, a poet with a camera who loved to work on his own terms. So much so, in fact, that he exiled himself from the Soviet Union in the early ’80s due to the unrelenting censorship and artistic interference from the government. The last film he made in the USSR was Stalker, one of the best and most beautiful arthouse sci-fi masterpieces of all time, full of the same kind of poetic pacing and philosophical depth that makes Tarkovsky timeless.Aside from being one of the sci-fi films with the strongest acting ever, the most gorgeous visuals ever, and the best dialogue ever, Stalker is a thought-provoking exploration of themes of faith, societal decay, and spiritual redemption. Its production was notoriously difficult (and led to Tarkovsky’s untimely death from cancer at 54 years old, since they shot in highly toxic locations), but the result is one of the most transcendental works of art in film history.

‘Underground’ (1995) From Yugoslavia

Image via Ciby 2000

The biggest masterpiece that Emir Kusturica ever directed was the satirical epic war film Underground, about two underground black marketeers who sell weapons to the Communist resistance in wartime Belgrade. Admirably genre-bending and enthralling throughout its nearly three hours of runtime, the film earned Kusturica his second Cannes Palme d’Or victory (after 1985’s When Father Was Away on Business), making him one of only ten directors in history to have won the award more than once.

It was a well-deserved victory, too, since Underground is an exhilarating masterpiece that offers an insightful look at life in Communist Eastern Europe. Hugely ambitious, disorienting, energetic, and carnivalesque, it’s movie magic in its purest form. Funny though it may be, Underground is also epically operatic and emotionally enthralling, making it one of history’s greatest cinematic masterpieces.

‘Come and See’ (1985) From the Soviet Union

Image via Sovexportfilm

Yet another Soviet masterpiece, the anti-war thriller coming-of-age Come and See is not only the highest-rated European film on Letterboxd, but the 4th-highest-rated movie on the platform in general. It’s a horrific, absolutely harrowing epic where, after finding an old rifle, a young boy joins the Soviet resistance movement against German forces during WWII. Plenty of movies make war seem like hell, but none nearly as effectively and potently as this one.

Directed by Elem Klimov and starring Aleksei Kravchenko, who delivers the most transformative and emotionally devastating child acting performance in film history, Come and See is not for the faint of heart. But daunting though it may be, it’s obligatory viewing for movie fans. It’s an unforgiving waking nightmare that you simply can’t forget, visually striking and full of hard-hitting scenes. Soviet cinema was rarely ever this good.

‘Andrei Rublev’ (1966) From the Soviet Union

Image via Janus Films

Actually, Soviet cinema was only ever slightly better than Klimov’s Come and See once, and that was when Andrei Tarkovsky made his magnum opus, Andrei Rublev, arguably the greatest movie of the last 100 years. It’s a three-hour-long arthouse biopic about the life, times, and afflictions of the titular Medieval Russian icon painter, though the movie is far more focused on Medieval Russian history than on Rublev’s life in terms of historical accuracy. However, Tarkovsky is even more interested in the thematic depth of this thought-provoking film about art, religion, spirituality, and where those things intersect.

Andrei Rublev will be an obnoxious bore for those who hate slow-burning cinema, but for people who love arthouse films that take their time and aren’t afraid to slow down and let the narrative breathe, it will be an unforgettable experience. The acting is phenomenal, Tarkovsky’s direction is so transcendentally powerful that it almost doesn’t feel human, and the long runtime doesn’t have a single second where it’s not absolutely fascinating. The Soviet Union may not exist anymore, but Tarkovsky’s work will prove eternal.

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Andrei Rublev

Release Date

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December 16, 1966

Runtime

183 minutes

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Director

Andrei Tarkovsky

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By Robert Scucci
| Published 1 hour ago

2022’s Squirrel doesn’t have a single squirrel in it, but it’s about a cult full of a bunch of nuts, so maybe that’s the connection writer-director Matt Glass was going for with the title. However, the nuts depicted in Squirrel aren’t so bad, and once you get to know them, they’re basically harmless. Sure, they might try to indoctrinate you, and they’re probably more than willing to make human sacrifices for honey, a fate Nicolas Cage is all too familiar with. They’re not making anybody drink any weird Kool-Aid, though, and they actually serve what looks like real food to their guests instead of gruel.

Not quite a horror movie, and not quite a comedy, Squirrel succeeds in subverting every expectation you have going in, and makes for a great watch if you’re looking for something a little left of center.

It’s All About That Red Honey

It may seem at first like there’s not much going on in Squirrel, as it’s your typical “couple in the woods gets taken in by a cult” setup. When we meet Charlotte (Tara Perry) and Casey (Alex Hyner), they’re on a camping trip where the latter tries to prove his manliness by building the worst looking fire you’ve ever seen. After a series of strange events, culminating in Charlotte seriously injuring her leg, the couple has a run-in with Tommy (Thomas Hobson) and Anderson (Tom DeTrinis), who take them into their compound.

Casey, who wanted Charlotte to break out of her comfort zone in the first place, is immediately suspicious of Tommy and Anderson, suspecting foul play. Charlotte, who’s grateful for the food and shelter, is more open to their hospitality. It’s quickly revealed that the two men belong to a cult that harvests a special red varietal of maple syrup with healing properties, and that their compound has been in trouble for quite some time.

Even worse, it’s alluded to, but never explicitly stated, that the cult, led by the charismatic and magnanimous Wilder (Curtis Anderson), may be looking for a human sacrifice to ensure a better honey yield. Charlotte is rightfully suspicious, but can’t argue with the results. Her leg injury rendered her immobile, Tommy rubbed some red honey on the wound, and she was walking in no time.

Casey, who becomes increasingly and disproportionately angry and unpredictable as the film moves through its first and second acts, may be more closely connected to the cult than he realizes, but he’s too blinded by his own paranoia to ever make the connection. This combination of personality and miscommunication is what really sells Squirrel, because there’s no real conflict here outside of each character’s assumptions about the people they’re interacting with.

The Third Act Payoff Is Worth The Wait

While you may find yourself wondering what’s so special about Squirrel early on, your patience will be rewarded. It has the kind of twist you’ll never see coming, and I’m saying that as somebody who almost exclusively watches psychological thrillers. Everybody seems like they’re up to something, and in most cases they are, but that “something” they’re up to is never quite what you expect, making the whole thing play out like a fever dream.

Squirrel, in all of its squirrelless glory, is currently streaming for free on Tubi.

It all adds up to something wonderful.

By Nick Venable
| Updated 1 hour ago

Back in 1983, Terry Gilliam and his Monty Python cohorts took on the Meaning of Life, never quite defining it other than demonstrating that our lives are the sum of our experiences. Gilliam’s 2014 candy-colored mind-bender, The Zero Theorem, is a film about a man who is also looking for a deeper context to this thing called existence.

Narrowing his scope to one character in The Zero Theorem, more or less, Gilliam is able to tackle vastly large ideas without having to pretend that he has all the answers. There is always meaning if you look for it. And if you don’t, well, that sure is some pretty scenery, isn’t it?

In The Zero Theorem, a hairless Christoph Waltz plays Qohen Leth, a computer programmer (for lack of a better job description) whose list of phobias, ticks, and eccentricities could fill a medical text. He lives the bulk of his solitude in a converted church where rats and birds are his unofficial roommates, only traveling outside to go to work for a company called Mancom that deals in crunching entities and liquid memory and other buzzwords that aren’t the point.

Qohen’s main goals in The Zero Theorem involve working from home and staying around his telephone. He’s waiting for a magical call that will reveal all of life’s mysteries.

Qohen is good at his unintelligible career, and that’s recognized by Mancom’s head honcho, Management (Matt Damon). Damon’s character is a Big Brother-ish personification of a demigod seeking an answer to the titular Zero Theorem.

Matt Damon’s Zero Theorem Wardrobe Is One Of Film’s Greatest Achievements

Though Damon is only on screen for a few minutes, the Management character is a constant presence throughout the film, always watching and manipulating things behind the scenes. Plus, his wardrobe is one of the film’s greatest achievements.

Though Qohen would rather live his life alone in front of his computer, a string of other characters enter his personal space, all seemingly trying to help him reach one breakthrough or another. There’s his supervisor Joby (David Thewlis), a genial chap who generally wishes to keep Qohen on the path to salvation despite never bothering to remember his correct name. Mélanie Thierry is excellent as Bainsley, a semi-femme fatale who opens Qohen’s eyes to a world of emotion that he hadn’t necessarily been looking for.

Also in The Zero Theorem, Bob (Lucas Hedges) is a teen computer genius who finds potential in Qohen and attempts to crack his third-person manner of living. Finally, Tilda Swinton appears via computer screen as Dr. Shrink-Rom, Qohen’s mandated and ever-present therapist.

Other The Zero Theorem bit parts are played by an itchy Peter Stormare, Sanjeev Bhaskar, and Ben Whishaw. Pay attention to the commercials playing on the endless digital screens lining the city streets, as you’ll see Rupert Friend, Robin Williams, Gwendoline Christie, and more.

A Huge Movie Filled With Big Things

To describe The Zero Theorem as anything other than “a Terry Gilliam movie” would be a disservice to the passion that went into it. Whether on a technical or storytelling level, this is a huge movie, filled with high-ceiling sets, retro-technical props, brilliant color schemes, dazzling costumes, depressing existentialism, and big performances.

Stop The Zero Theorem at any point, and the image on the screen could probably stand alone as a work of art, given Gilliam’s penchant for askew angles and fish-eye lenses. Plus, the entire production is a testament to the director’s efficiency in squeezing every iota of worth from the dollar, as this flick was made for around $8.5 million despite looking like it cost 10 times that much.

Zero Theorem Isn’t Brazil

Many people have compared The Zero Theorem to Gilliam’s classic Brazil, but it felt completely different to me, as it was more about the cog’s own inner mechanics rather than the outer machine swallowing everything up.

There’s a recurring image of an all-encompassing black hole that serves as either Qohen’s dream life or his worst nightmare, and it’s as good an example as any of Gilliam’s constant balance between the macro and the micro, taking big steps in small places. It won’t, or can’t, resonate with everyone, because not everyone is equipped to obsess over their station in life in such a way.

For me, though, The Zero Theorem was a singular treat from beginning to end, largely because Gilliam isn’t playing this as a deeply heady drama. There is darkness, to be sure, but it’s all wallpapered over with comedic surreality.

Zero Theorem Will Make You Ready For The Whims Of Eternal Nothingness

Maybe we’re not supposed to find humor in Qohen having to get dressed up in a complicated virtual reality suit in order to feel a sexual connection with someone, but I can’t assume Gilliam would want it any other way. To me, the film’s tone is fully expressed in Qohen’s stance that just because he wants to be alone doesn’t mean he’s lonely. We aren’t meant to feel sorry for Qohen, despite Waltz’s sympathetic performance.

Walking away from The Zero Theorem, I don’t feel that I know any more about myself or about the commercialized world around me, but I suddenly want to run out and get to know as many people as possible. Not only because my personal beliefs about life are tethered to connectivity and friendships, but because I’m hoping to run into a Bainsley or two before I succumb to the whims of eternal nothingness.

Returning for its third season last month, The Night Agent has cemented its place as one of Netflix’s best action thrillers with yet another batch of unmissable episodes. The Gabriel Basso spy series first made a splash on the streamer in 2023 and quickly became a favorite of millions. Accumulating over 812 million hours viewed in its first few months, there was no denying the show’s franchise potential.

Season 2 also proved popular, and, although the most recent third installment faced a 39.6% drop in viewership, it is still taking its rightful place among the upper echelons of the streaming charts. “With The Night Agent Season 3, Ryan and his creative team deliver a thriller that feels both entertaining and purposeful,” wrote Jen Vestuto in her review for Collider. “By tightening its storytelling, deepening its characters, and delivering deliberate, hard-hitting action sequences, The Night Agent has officially delivered its strongest season yet,” she added.

If you’ve finished your binge of Season 3 and are looking for what to watch next, here’s a handy guide to seven spy movies that are better than The Night Agent.

7

‘Kingsman: The Secret Service’ (2014)

Image via 20th Century Studios

Its subsequent prequel and sequel might not prove as successful, but the first installment in the Kingsman franchise perfectly captures an exciting era for spy stories. By using slow-motion action sequences and iconic rock songs — before this became a frustratingly overused trope — Kingsman brought the spy genre into the modern day after some in the audience had become tired.

Directed by Matthew Vaughn and based on the comic he devised with artist Mark Millar and Dave Gibbons, the movie follows Harry Hart (Colin Firth) who must help fashion stubborn new recruit Eggsy (Taron Egerton) into an agent to help take down the world-threatening eco-terrorist Richmond Valentine (Samuel L. Jackson). Fast-paced, vibrant, and a winner of two Empire Awards, Kingsman is a perfect follow-up to The Night Agent.

6

‘Black Bag’ (2025)

Image via Focus Features

The most recent entry on this list is one of the most underrated movies of 2025. In fact, Black Bag might well be the best sleeper hit from a mixed crop of modern-day spy movies. The film stars the brilliant duo of Cate Blanchett and Michael Fassbender as intelligence officers George Woodhouse and Kathryn St. Jean, whose relationship is put to the test when one is convinced the other is a traitor.

Directed by Steven Soderbergh and written by David Koepp, this slick, compact spy thriller trims the fat of a potentially bloated narrative and delivers a lean, 94-minute gem. Gripping from start to finish and boasting a wicked sense of humor, Black Bag wouldn’t be the same without its expertly assembled cast, which includes the aforementioned Blanchett and Fassbender alongside Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan.

5

‘Tinker Tailor Soldier Spy’ (2011)

Image via Focus Features

As fans of the Apple TV series Slow Horses will confirm, a spy story led by Gary Oldman is sure to be a hit. In 2011’s Tinker Tailor Soldier Spy, based on John le Carré‘s 1974 novel, Oldman plays George Smiley, an agent of the British Intelligence Agency a.k.a The Circus. After his boss, Control (Sir John Hurt), is ousted from his position and eventually dies, Smiley is left with the task of returning from forced retirement to solve the mystery around his death.

A slow-burner that is as intelligent as it is gripping, Tinker Tailor Soldier Spy features a bevy of famous British faces, from Oldman and Hurt to Benedict Cumberbatch and Colin Firth, all working in talented tandem thanks to a smart Bridget O’Connor and Peter Straughan script. The movie earned a trio of Academy Award nominations, including a nod for Oldman in Best Actor, although it sadly missed out in all three categories.

4

‘The Bourne Identity’ (2002)

Image via Universal Studios

This spy story changed the game. The first entry in the Bourne series stars Matt Damon as the now-iconic Jason Bourne, a man salvaged from near-death who, despite suffering from amnesia, is extraordinarily talented in the skillset of a spy. Desperate to learn of his past, Bourne sets out on a deadly mission, chased by malevolent assassins.

During a stale period for the genre, The Bourne Identity arrived and sacrificed CGI-heavy, unbelievable action with gritty, hand-to-hand combat, accentuated by the use of so-called “shaky-cam” to illustrate authenticity. True, this itself quickly became the tired norm for spy movies, but it’s impossible not to recognize The Bourne Identity‘s innovation.

3

‘Mission: Impossible – Fallout’ (2018)

Image via Paramount Pictures

Last year, in his Final Reckoning, Tom Cruise‘s Ethan Hunt rode off into the sunset, happy that every Impossible Mission had been made possible. But of these missions, which was his best? That would be Mission: Impossible – Fallout, the sixth installment in the franchise, which saw Hunt and his team face an unknown evil and a terrorist-for-hire group known as Apostles.

Packed with some of the most breathless, exhilarating action set pieces in recent memory, Fallout is by quite some distance the most innovative and stunt-heavy entry into the franchise. Focusing on practical effects and capturing Cruise at the peak of his “I do all my own stunts” powers, Fallout delivers a cinematic spectacle difficult to replicate.

2

‘Casino Royale’ (2006)

Image via Sony Pictures Releasing

A list of great spy movies would be incomplete without the most famous of all: James Bond. For my money, the best of Bond has happened in this century, courtesy of the suave Daniel Craig, and there is no better option from his impressive catalog than the very first, Casino Royale.

As we edge closer to the final act of Casino Royale, Bond comes face to face with poker player and private banker Le Chiffre (Mads Mikkelsen) in a game of Texas Hold ’em, with the climactic hand on the final night of the game simply some of the best spy cinema in modern movies. Add to that a cast stacked with talent and a fresh-faced Craig breathing new life into the role, and a recipe for success is born.

1

‘North by Northwest’ (1959)

Image via MGM

In the hands of the Master of Suspense himself, Alfred Hitchcock, the spy genre is able to blossom into its full potential. This is best on display in North by Northwest, the 1959 tale of New York City ad executive Roger O. Thornhill (Cary Grant) as he is mistaken for a government agent by spy Phillip Vandamm (James Mason) and ruthlessly pursued.

From its first to its last moments, North by Northwest is a thrilling masterclass in creating tension, as a late-era Hitchcock utilized all his extensive knowledge of cinema to create. Not only is the movie a perfect example of spy storytelling, but it’s also visually iconic, with cinematographer Robert Burks at the peak of his powers. Truly, there is nothing else quite like North by Northwest, and it is the most obvious choice for films that are better than The Night Agent.

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Release Date

September 8, 1959

Runtime

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136 minutes

Writers

Ernest Lehman

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