Comedian and paranormal enthusiast Matt Rife is facing criticism over his response to a social media comment made by an autistic man. The exchange has drawn attention online, with some users taking issue with Rife’s choice of words.

Rife has faced criticism from the paranormal community since purchasing the Warren Occult Museum, which the famous ghost hunting duo, Ed and Lorraine Warren, previously owned.

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Matt Rife and business partner Elton Castee are promoting the visit of the infamous Annabelle doll to Salem, Massachusetts, this month for a temporary exhibit. In their social media post, paranormal investigator Chris Mac reportedly wrote a lengthy post discussing the Salem Witch Trials, which, for some reason, irked the comedian.

Rife clapped back at Mac, allegedly writing, “sir, you are lifeless douchebag. Please remove yourself from this earth. Absolutely nobody is reading your novels in these comments. You do not matter to anybody. The event has already sold thousands of tickets. Now watch as i block you and you fall back into non existence,” per TMZ.

Paranormal Investigator’s Father Wants An Apology

Mac’s father is speaking out following Rife’s online attack on his son. According to him, his son, who has autism, is “mentally handicapped” and has been negatively affected by the public attention on him.

The paranormal investigator’s family claims Rife’s words were “unprovoked,” saying that Mac only requested the comedian not to place the Annebelle doll at a specific spot in the museum. Now, they want a public apology from Rife.

Mac also explained to TMZ that his message came from a place of concern. In the paranormal world, Annabelle is widely believed to be inhabited by a negative entity that may cause physical harm or misfortune to those who interact with it.

Mac said he was angered by Rife’s post and said, “Why should I forgive him? He’s not going to say sorry.” He also responded on Facebook, writing, “I don’t ever want see Matt bully a person with autism again do I make myself clear not ok to say with a person with autism I have autism.”

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An insider close to the comedian said Rife has been receiving “vile” comments and is frequently targeted in his social media posts. The comedian sometimes responds to these comments, only for users to later delete their original messages, leaving Rife’s responses online without context.

The source claimed there is also missing context in the exchange with Mac, and there is no proof to suggest the comedian knew he had autism.

Rife’s comments garnered mixed reactions. Many argued that his comments were offensive, regardless of whether or not the person was autistic. “Classic Matt Rife being a terrible and unfunny person,” one wrote

Some defended Rife, saying there must be a reason why he responded that way. “Y’all act like autistic people can’t be a-sholes too & can never do anything wrong,” commented one user.

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Rife doesn’t hold back when responding to people online.

In a screengrab of an exchange, an online user accused the comedian of telling them to “unalive” themself twice. “Stop being a d-ck and I’ll stop,” Rife clapped back, adding another comment saying that “a-sholes” shouldn’t be in his comments section. “You’re mad at me for defending myself – that’s psychotic,” Rife noted.

In 2023, as The Blast previously reported, Rife ripped into a 6-year-old, who commented on a joke from his comedy special. In a since-deleted comment, he wrote, “Santa isn’t real,” adding that his mother buys his presents with money she made from OF.

Per a 2025 report from The Blast, Rife and Castee purchased Ed and Lorraine Warren’s property in Connecticut, which includes the Occult Museum that houses Annabelle. While they own the home and museum space outright, they serve as “legal guardians” of the hundreds of artifacts in the museum for at least five years.

Some paranormal investigators criticized the duo, accusing them of prioritizing profit over historical preservation. The duo has plans to launch an exhibition space, and the original house is open to overnight stays. Admission prices for exhibitions exceed $100, prompting many to believe that Rife is running a tourist trap.

The Warrens’ grandson, Chris McKinnell, also weighed in on Rife’s purchase and said bringing the artifacts on tour was a “betrayal” of his grandparents’ legacy. “This legacy matters. It’s not a brand. It’s not content. It’s not entertainment. It’s sacred,” McKinnell wrote.

Television has never lacked stories about injustice; the challenge, however, has always been to tell them in a way that feels human rather than performative. For this reason, The Red Line stands out seven years after its debut. Released as an eight-episode CBS limited series in 2019, the drama arrived during a national conversation about police violence and systemic racism that, unfortunately, has only grown more urgent. Time hasn’t made its central questions feel dated.

Executive produced by Ava DuVernay and Greg Berlanti, The Red Line begins with a devastating tragedy before widening its scope into something far more layered. Rather than treating one fatal police shooting as an isolated event, the series examines the ripple effect left behind, following the lives of this cast. It’s an emotionally demanding watch, but one that rewards viewers with thoughtful performances, complicated relationships, and a willingness to explore difficult conversations without losing sight of the people at their center.

The Red Line Shows the Human Cost Behind One Tragic Moment

Image via Elizabeth Morris / ©CBS / Courtesy Everett Collection

In the opening scene of the series, we see the character of Harrison Brennan (Corey Reynolds), who works as a respected Black doctor in an emergency room, making a stop off at a store just before he reaches his husband Daniel Calder (Noah Wyle) and kid, Jira (Aliyah Royale). When the robbery occurs, Harrison tries to aid the injured cashier but fails as a police officer erroneously identifies him as one of the criminals present and shoots him in the back, killing him immediately.

The Red Line depicts the lives of three connected families as they deal with its repercussions. Daniel tries to keep his family united while mourning the death of his husband; at the same time, teenage Jira is trying to find out answers regarding her identity at a time when she is experiencing a great loss. Also in the midst of this, attorney and future city council candidate Tia Young (Emayatzy Corinealdi) unexpectedly bonds with this family through a personal discovery, while Police Officer Paul Evans (Noel Fisher) and his family face the effects of the shooting from the other side.

The Red Line in Chicago, by virtue of its name, exemplifies the institution the show conveys effectively: where individuals of different backgrounds and social positions are still connected – particularly through shared experiences and modes of communication.

Noah Wyle Anchors an Ensemble That Never Loses Sight of Its Characters

Image via Elizabeth Morris / ©CBS / Courtesy Everett Collection

The topics discussed in this series are undeniably heavy, but its greatest strength is that it avoids depicting the characters as mere political statements. Each important plot is primarily driven by emotional themes such as loss, family, and identity. Wyle delivers one of the strongest performances of his career as Daniel, a husband trying to parent through unimaginable heartbreak while wrestling with his own place in a national conversation. His restraint makes Daniel’s emotional breakdowns all the more devastating, and the series wisely allows him to be more than just the grieving spouse.

Royale is equally impressive as Jira, whose search for belonging becomes one of the show’s emotional pillars. Having lost the one parent who most understood her experiences as a young Black woman, Jira begins questioning where she fits and what family means after tragedy reshapes her life. Corinealdi also brings great depth to Tia, whose political ambitions are interwoven with very personal decisions. Instead of considering her just a useful narrative device, the production shows how public duties and personal tragedies sometimes clash in uncomfortable ways.

Even Paul, the officer who caused Harrison’s demise, is portrayed as more than just a one-dimensional villain. The series acknowledges his remorse and the broader atmosphere surrounding policing without leading viewers to believe he has committed irreparable deeds.

Its Themes Haven’t Become Less Relevant Since 2019

Image via Elizabeth Morris / ©CBS / Courtesy Everett Collection

The series addresses issues such as police accountability, racial profiling, adoption, political activism, LGBTQ+ families, disability, community identity, and systemic inequality while still feeling like it hasn’t made a list of social issues they feel like discussing. Rather, these conversations arise spontaneously from the characters’ experiences.

The Red Line does an amazing job of showing us that trauma doesn’t end when it’s no longer in the public eye. The legal process and public investigation will shatter relations and cause pain, and they will not spare anyone even after the tragedy has occurred. Watching the show today, we realize how little has changed since then. Things that are important today, like questions relating to policing, building trust, accountability, and racial equality, make the show feel quite relevant even now.

Broadcast television isn’t quite this daring these days. Back in 2019, The Red Line appeared to be quite different from anything CBS had on the air, combining relatable storytelling with topics other drama serials were normally afraid to tackle. Rather than giving straight answers, The Red Line shows the audience the lives of the people whose lives are forever changed by brutal violence, injustices, and different dilemmas they must face.

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The Red Line

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Release Date

2019 – 2019-00-00

Directors

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Kevin Hooks, Victoria Mahoney, Aurora Guerrero

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It’s now almost four months until the biggest date on the 2026 cinematic calendar. On December 18, Avengers: Doomsday will join Dune: Part Three (a partnership lovingly dubbed ‘Dunesday’) in making theaters the place to be, as millions across the world sit down for the biggest double-feature in recent memory. The former we now know will be the second-longest movie in the MCU, clocking in at 165 minutes, or 2 hours and 45 minutes, and falling short of Avengers: Endgame‘s eye-watering runtime. If it can have close to the same impact as Endgame, then the gamble will have paid off.

But last year, the chances of Doomsday hitting this high benchmark were put into question as all three MCU releases — each designed as a precursor to Doomsday — performed poorly at the box office. Of the three, which also included The Fantastic Four: First Steps and Captain America: Brave New World, it was Thunderbolts* that perhaps stood out as the highlight, introducing the world to the New Avengers ahead of their pivotal role in Doomsday. Among them was a returning Sebastian Stan as Bucky Barnes, one of the countless confirmed characters in the December 18 blockbuster.

In anticipation of Stan’s involvement in Doomsday, and also before he portrays Harvey Dent in 2028’s The Batman: Part II, one of the actor’s most underrated recent projects is back in the global streaming charts. Before he portrayed POTUS Donald Trump in the biopic The Apprentice, and starred in the 2025 gem A Different Man, Stan featured alongside Julianne Moore (Sirens) and John Lithgow (Dexter) in Sharper, a 2023 mystery flick telling the tale of a con artist in non-linear vignettes. At the time of writing, Sharper is one of the ten most-streamed movies on Apple TV worldwide.

The Latest MCU Movie Is Breaking Records

2025 might’ve proved a misstep for the MCU, but if the success of the latest franchise entry is anything to go by, then everyone is ready to splash their cash on Doomsday. After just one weekend, Spider-Man: Brand New Day has earned the biggest opening for any movie in domestic box office history, as well as becoming the second-fastest film to hit the $1 billion mark worldwide. As it stands, Brand New Day is on track to challenge for the title of the highest-grossing movie of all time.

For more streaming stories, make sure to stay tuned to Collider.

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Release Date

February 10, 2023

Runtime

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116 minutes

Director

Benjamin Caron

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Writers

Brian Gatewood, Alessandro Tanaka

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In the last 10 years, few action franchises have flourished at the same level as John Wick, which has blossomed with several spin-offs and four main installments. On the back of a stoic yet commanding performance from Keanu Reeves and some of the finest action directing from Chad Stahelski, John Wick has set a new standard when it comes to action movies. Although John Wick seemingly met his end in the final minutes of John Wick: Chapter 4, Lionsgate confirmed last year during CinemaCon that a fifth installment in the franchise was officially in the works, with Keanu Reeves and Chad Stahelski on board to star and direct, respectively. Reeves even starred in the first spin-off movie, Ballerina (starring Ana de Armas), but that won’t always be the case going forward.

The John Wick franchise is seemingly ready to move forward with or without Keanu Reeves, though, especially with the release of its next spin-off movie, Caine. Based on Donnie Yen’s character who was first introduced in John Wick: Chapter 4, Yen is also directing the action feature in addition to starring, but it’s been confirmed that Reeves will not have a role — this will be the first John Wick movie to not feature John Wick. Additional cast members for Caine include Bill Nighy, Mason Thames, Dacre Montgomery, and even Rina Sawayama, who starred as Akira in John Wick: Chapter 4. Details about the film are being kept quiet for now, but after wrapping filming earlier this year, it’s a safe bet that Caine will be released in theaters before the end of 2027. An official release date announcement is expected any day now.

Are the John Wick Movies on Streaming?

All four of Keanu Reeves’ John Wick movies are currently streaming exclusively on AMC+ at the time of writing. The films were recently streaming on HBO Max before being removed from the platform earlier this year. However, while the Ana de Armas-led spin-off film was streaming exclusively on Starz after the end of its theatrical run, the film has since made the jump to HBO Max, where it currently calls home in America. There’s also the controversial John Wick spin-off show, The Continental, starring Mel Gibson, but most fans agree that it’s not essential franchise viewing.

Stay tuned to Collider for more updates and coverage of the John Wick franchise, including Caine, which is expected in theaters before the end of next year.

Pirate movies are one of those ideas that should be huge in theory but are actually rather disappointing in execution. For most of the second half of the 20th century, few swashbuckling movies made a dent with audiences, and some infamous failures like Cutthroat Island all but sank the genre to the depths of the cinematic ocean. Then, in 2003, Pirates of the Caribbean: The Curse of the Black Pearl came out and revitalized the genre for the next decade or so.

The film was a certified hit that proved pirates could still sell movie tickets, and there was indeed room for some weirdness in mainstream filmmaking. It spawned a highly successful franchise, including three movies that practically defined blockbuster cinema in the 2000s, and two subsequent efforts that undid all the goodwill its predecessors had achieved. But which Pirates of the Caribbean movie is the best? Nostalgia will certainly play a significant part in this ranking, but there should be a consensus on which the best and worst entries are. We might all love the first three movies, but we can also tell when the franchise started going downhill and why.

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‘Pirates of the Caribbean: Dead Men Tell No Tales’ (2017)

Image via Walt Disney Studios Motion Pictures

Pirates of the Caribbean: Dead Men Tell No Tales is the latest entry into the franchise as of 2026. The plot sees a down-on-his-luck Captain Jack Sparrow (Johnny Depp) on a race to get the Trident of Poseidon while pursued by the ghostly Captain Salazar (Javier Bardem), who recently escaped from the Devil’s Triangle alongside his crew. Joining Sparrow on his quest are Carina Smyth (Kaya Scodelario), an astronomer accused of being a witch, and Henry Turner (Brenton Thwaites), the son of Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley), who seeks a way to break his father’s curse.

There are very few redeeming qualities to Dead Men Tell No Tales. There’s some witty humor, Bardem brings a ton of panache to what is otherwise a very simple role, and a few action set pieces manage to impress — at the very least, the franchise remained explosive until the very end. However, everything else is terribly tiresome: the love story between Henry and Carina is as bland as plain oatmeal, and the plot is somehow an uninspired retread of the franchise’s previous stories and an overly convoluted mess of ideas, none of which ever amount to anything coherent. Worst of all is Johnny Depp’s buffoonish, exhausting performance as Sparrow; what was once a wildly original and unpredictable character becomes a proper mockery of itself, a joke without a punchline. By this point, it was clear the franchise was way past its prime, and the box office reflected that, with the film becoming the lowest-grossing entry since the 2003 original. Talks of a sixth film are still ongoing, but judging by this last entry, the Pirates saga is best left at the bottom of the sea.

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‘Pirates of the Caribbean: On Stranger Tides’ (2011)

Image via Walt Disney Studios Motion Pictures

Pirates of the Caribbean: On Stranger Tides is the fourth film in the saga, and the first attempt to start a new story away from the overarching narrative of the original trilogy. Here, Sparrow encounters an old fling from his past, Angelica (Penélope Cruz), and the two board the legendary Blackbeard’s (Ian McShane) ship in search of the Fountain of Youth. Meanwhile, Captain Barbossa (Geoffrey Rush), now a privateer in command of the HMS Providence, is also in search of the Fountain, putting him into conflict with Sparrow once again.

On Stranger Tides is all noise, no substance. Depp’s performance isn’t as exhausting as it is in the follow-up, but Sparrow was already starting to wear out his welcome. His romance with Cruz’s Angelica is nothing particularly special, even though the chemistry is actually strong. McShane and Rush are just going through the motions, putting little to no pizzaz into their performances, and the supporting cast is not much better (there’s a Judi Dench cameo that’s pretty fun, though). As for the plot, it’s more contrived than ever, only coming across as sillier considering how unambitious it is. Overall, Pirates of the Caribbean: On Stranger Tides is a completely forgettable movie, the equivalent of children playing with wooden ships, clashing them against each other and accompanying the action with louds “Booms” and “Bangs.”

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‘Pirates of the Caribbean: At World’s End’ (2007)

The conclusion of the original trilogy, Pirates of the Caribbean: At World’s End is a strong contender for the defining movie event of the 2000s. Picking up where its predecessor left off, the film sees a crew of pirates, including Will Turner, Elizabeth Swann, and Barbossa, heading towards Davy Jones’ Locker to rescue Jack Sparrow. Meanwhile, Davy Jones (Billy Nighy) himself is under the control of Lord Cutler Beckett (Tom Hollander), wreaking havoc across the seven seas. The pirates prepare to gather the Brethren Court and launch one final stand against the East India Trading Company to secure the future of pirates and their way of life.

Pirates of the Caribbean: At World’s End is far from a perfect movie; in fact, it’s terribly flawed. The plot is needlessly convoluted and makes little to no sense, trying to do too many things at once and failing to provide a satisfying payoff to most of its narrative points. The movie also lags in the middle, to the point where you might start to wonder what you’re watching. However, the climax is so exhilarating that it almost makes up for the larger missteps—almost being the keyword. The climactic battle aboard the Black Pearl and the Flying Dutchman is one of the most thrilling sequences in Disney history, enhanced by incredible visual effects and Hans Zimmer‘s thunderous score. It has many moving parts, too many things happening at once, but the sheer spectacle of it all is more than enough to fully immerse you in the action. Davy Jones’ tragic ending and the conclusion to Will’s story with his father, Bootstrap Bill (Stellan Skarsgård), further elevate the ending and the film overall.

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‘Pirates of the Caribbean: The Curse of the Black Pearl’ (2003)

Image via Walt Disney Studios Motion Pictures

As previously mentioned, Pirates of the Caribbean: The Curse of the Black Pearl started it all. The plot centers on blacksmith Will Turner, who joins forces with the eccentric but surprisingly capable Captain Jack Sparrow to rescue Elizabeth Swann, the governor’s daughter who has been kidnapped by a band of pirates. As it turns out, the pirates, led by Captain Barbossa, are actually an undead crew looking to break their curse by reuniting the pieces of the cursed Aztec treasure behind their misery.

Hardly anyone expected anything from a movie based on a theme park attraction, which is why The Curse of the Black Pearl was such a pleasant surprise. The film is quirky, delightful, and action-packed, featuring a near-perfect balance of humor and thrilling action, the likes of which we seldom see anymore. The romance story between Will and Elizabeth is charming and perfectly utilized, bolstered by the strong chemistry between Keira Knightley and Orlando Bloom. For his part, Rush is having the time of his life as the undead Barbossa, a villain equal parts compelling and off-putting. The highlight of the movie, however, is Depp’s Oscar-nominated performance as Jack Sparrow, a truly original creation unlike anything fans had seen before. Sparrow was like a breath of fresh air, a complete subversion of what people expected a pirate to look and sound like. Over twenty years later, The Curse of the Black Pearl is still a perfect adventure movie and the peak of the swashbuckling genre.

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‘Pirates of the Caribbean: Dead Man’s Chest’ (2006)

Image via Walt Disney Studios Motion Pictures

The Curse of the Black Pearl is pretty perfect as a standalone adventure, but the film that truly represents the franchise at its best and most ambitious is Pirates of the Caribbean: Dead Man’s Chest. Picking up a year after its predecessor, the film sees Jack Sparrow hunted by the ruthless Davy Jones, the captain of the Flying Dutchman, to whom he owes a blood debt. Meanwhile, the wedding of Will and Elizabeth is interrupted by Lord Cutler Beckett, who arrests the latter while forcing the former to locate Sparrow’s magic compass, meaning to use it to locate the legendary Dead Man’s Chest.

Dead Man’s Chest features a lot of the franchise’s overall flaws: it’s overly long, needlessly convoluted, messy, and bombastic. Yet, it’s also ambitious, unrestrained, bold, and creative, a larger-than-life effort that perfectly encapsulates the true meaning of cinematic spectacle. The main trio is in fine shape, and the unexpected flirtation between Elizabeth and Jack is a welcome change. However, it’s Davy Jones who’s the real star of this show. Played by an Oscar-worthy Bill Nighy, Davy Jones is among the best cinematic villains of the noughties and a strong contender for the best and most original character of the decade as a whole. Visually, Jones is striking and incredibly realistic, marking a new peak of visual effects that has rarely been matched, let alone surpassed. In terms of performance, Nighy devours the scenery whole, actors and all, becoming a literal acting kraken. The result is an incredible, timeless villain in an incredible, timeless movie. Is it flawless? No. But Dead Man’s Chest is the best Pirates of the Caribbean movie, the epitome of everything the franchise ever hoped to be.

After Paramount Network’s continued success with Yellowstone and its spin-offs, why wouldn’t Netflix try to replicate that success with a neo-Western of its own? Adapted from Jodi Thomas‘ bestselling book series, Ransom Canyon has actually managed to make an impact by refusing to be just another ranching saga likeYellowstone‘s more obvious knockoffs. Instead, the show combines family rivalries and land disputes with a unique element not many would associate with Taylor Sheridan’s universe: romance.

Rather than trying to outdo Yellowstone at its own game, Ransom Canyon carves out its own identity in the growing TV subgenre of neo-Westerns by giving viewers the best of both. Across its two seasons to date, the series strikes a nice balance between frontier politics and heartfelt romance that makes for a comfortably diverting binge.

What Is ‘Ransom Canyon’ About?

At the heart of Ransom Canyon is Staten Kirkland (Josh Duhamel), owner of Double K Ranch — a swath of land that has been in his family for generations. As powerful corporate interests look to reshape the titular town, Staten struggles both to protect his land and heal from the tragedy of losing his wife and teenage son. Of course, the Double K isn’t the only ranch of its kind in town. Ransom Canyon is home to three powerful ranching dynasties, all at odds with one another over things like pipeline proposals, water rights, and financial desperation — not to mention old grudges.

Meanwhile, Staten also has a budding romance with Quinn O’Grady (Minka Kelly) to nurture. Quinn, a talented pianist and owner of the local dance hall, has loved Staten for years. Alas, feelings of grief and guilt — along with good old-fashioned poor timing — have kept them apart. Their relationship quickly becomes the emotional backbone of both seasons, giving viewers an ongoing will-they-or-won’t-they storyline that develops alongside the larger ranching conflicts.

If it sounds thorny, it’s because it is. It’s one reason Ransom Canyon stands apart from other hit Western dramas on TV: its commitment to the mess. Nearly every resident of the town has their own storyline, creating a jumbled web of interconnected relationships that makes the community feel genuinely lived-in. Characters are allowed to make mistakes, hold grudges, and gradually evolve, giving many of the relationships more depth than viewers might expect from a traditional streaming romance.

‘Yellowstone’ and ‘Virgin River’ Fans Will Love ‘Ransom Canyon’

After the first season’s finale left viewers with several cliffhangers to mull over, Season 2 expands nearly every major storyline while pushing its central relationships into new and unfamiliar territory — most notably, Staten and Quinn. Rather than stretching Season 1’s dynamic to its breaking point, the season — without getting into spoilers — actually lets the two confront years of unresolved emotions in a way that feels more rewarding than stringing things out even further just for the sake of keeping you watching. (And, like Season 1, it still leaves enough uncertainty to keep viewers looking forward to a continuation… that is, if this season’s lower viewership improves.)

Comparisons to Yellowstone are inevitable, especially given the show’s emphasis on ranching families battling over land and legacy, but this isn’t some trend-chasing copycat. Same goes for any similarities to Virgin River. Ransom Canyon has echoes of both, sure, but it still manages to find a unique identity. The Texas setting is a big part of that, but the show’s true appeal comes from watching these flawed and damaged people slowly rebuild their lives together. It provides just enough ranch drama to satisfy Western fans while also offering the type of comforting emotional storytelling that romance lovers enjoy. Season 3 isn’t official just yet, so you’ve got some time to get caught up now.

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Release Date

April 17, 2025

Network

Netflix

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Showrunner

April Blair

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Directors

Amanda Marsalis

Writers

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April Blair

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Not every television series is going to reward you instantly. Delayed gratification is something that’s well worth chasing, particularly when you start a new television series that requires your full attention from the very beginning. Some shows do it best when they spend years carefully building worlds, characters and mythology before everything clicks into place.

That’s been the story so far of Apple TV’s Foundation, because when the extremely ambitious adaptation of Isaac Asimov’s legendary novels first premiered, viewers were split right down the middle over the fact that the narrative sprawl and world-building seemed so damn complicated. However, with every passing season, those people that did stick with it are like people playing the slots at a casino and finally receiving a massive payout; the series has continued growing in confidence, earning widespread acclaim as one of modern television’s finest science-fiction epics. And yes, as audiences continue discovering it or rewatching it because they can’t get enough, Foundation is proving that Apple’s enormous investment has been more than worthwhile.

Foundation chronicles humanity’s struggle to preserve civilization as mathematician Hari Seldon’s revolutionary predictions suggest the Galactic Empire is on the brink of collapse. The series spans centuries, multiple worlds, and generations of characters. It’s a bit like Game of Thrones meets Dune meets, well, the United States Senate. It blends politics, philosophy, and just damn cool sh*t.

The series stars Jared Harris (The Terror) as Hari Seldon, Lee Pace (The Running Man) as Brother Day, Lou Llobell (Voyagers) as Gaal Dornick, Leah Harvey (A Thousand Blows) as Salvor Hardin, Laura Birn (A Million Little Things) as Demerzel, Cassian Bilton (The Crown) as Brother Dawn, and Terrence Mann (Sense8) as Brother Dusk. The series is created by David S. Goyer.

Is ‘Foundation’ Any Good?

The first season definitely split opinion, but since then, Foundation has only seen its reputation grow and improve as, to be blunt, more people get it. The later seasons have earned consistently stronger reviews and critics have been wowed by the show’s visual ambition, increasingly confident storytelling and Lee Pace’s standout performance as the various Cleonic emperors.

Today, Foundation is regularly mentioned alongside Severance, Silo and For All Mankind as one of Apple TV‘s defining original series and one of streaming’s best science-fiction dramas. Foundation is streaming now on Apple TV.

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Release Date

September 23, 2021

Network

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Apple TV+

Showrunner

David S. Goyer

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Directors

Alex Graves, Roxann Dawson, Jennifer Phang, Mark Tonderai, Andrew Bernstein

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Writers

Jane Espenson, Leigh Dana Jackson, Liz Phang, Eric Carrasco, David Kob, Addie Manis, Marcus Gardley, Lauren Bello, Olivia Purnell

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The funniest TV show of 2026 may also be one of the hardest for American audiences to watch. Released on Channel 4 in the U.K. and HBO Max in Australia, Make That Movie is the new comedy series from Australian actor and comedian Sam Campbell and Saturday Night Live UK star and writer Paddy Young. Already described by The Guardian as “the funniest TV show of the entire year,” the six-part series is a true comedic treat and a must-watch for fans of cringe-comedy risk-takers like Tim Robinson and Nathan Fielder.

The series follows a clear-cut premise: Campbell, playing a fictionalized version of himself, is a once hot-shot movie director who’s now scouring the UK for everyday people who have an idea for a feature film. In each episode, Campbell and his ragtag team of producers, filmmakers, and an awkward yet rich intimacy director (Aaron Chen) meet an ordinary person with a big movie idea, and do their best to make their project come to life. The premise is simple, but the comedic payoff is huge.

‘Make That Movie’ Is Hitting Comedic Gold

Make That Movie, shot in the fan-favorite mockumentary style, is a comedic force, packing more inventive jokes into six episodes than most sitcoms manage in an entire run. Whether it’s the inept idea-starters who know nothing about film, let alone social interaction, or Sam’s team, who are weirder and more unhelpful than he hoped, the series manages to pack one-liners, comedic twists, and laugh-out-loud moments in every aspect of the show. In the first episode, for instance, Sam’s team produces a heist thriller in which a couple suddenly gain the ability to turn into snakes, but only one of them can become a snake at a time. The ambitious project requires CGI, turning regular workers at the printing center into actors, and several live snakes to up the ante.

With that said, however, Make That Movie‘s release comes with a twist. Sadly for international viewers, the six-episode series was only broadcast on Channel 4 in the UK, and released on HBO Max solely in Australia. Per FlixPatrol, Make That Movie is surging well on the streaming charts in the country, though, reaching up to #5. Of course, the limited release becomes even more frustrating knowing the worldwide success some equally distinctive comedic voices like Robinson and Fielder have had over the years.

Among them were Robinson’s I Think You Should Leave on Netflix, which earned its own cult following, and Fielder’s The Rehearsal on HBO, which sees non-actors being put into unthinkable scenarios just like Make That Movie. Knowing that Make That Movie follows a similar absurd premise and uses that same cringe comedy, the series would certainly join in their success if only it were released to a larger audience.

‘Make That Movie’ Isn’t Available to Stream in the U.S.

In addition to Make That Movie‘s surefire comedy, which would certainly cater to millions of viewers worldwide, the series is scoring big with critics. While it hasn’t earned a Rotten Tomatoes score yet, The Guardian called the series “the funniest TV show of the entire year.” “This show is a celebration, not just of bad films in all their various forms, but of comedy as an art form,” wrote Stuart Heritage in his review. “It might be wrong to want it to run and run, because nothing will kill this thing faster than lapsing into formula, but hopefully it’s a sign that Campbell and his uncomprehending face will become a fixture on television for many years to come.”

But while that review certainly gave the series high praise, critics aren’t universally behind the series. To some, the series will only work if you’re a fan of Campbell already, be it from his time on Taskmaster or on the second series of Last One Laughing. “The ever-escalating irreverence isn’t for everyone, naturally,” wrote one review on Rotten Tomatoes. “It’s unlikely to win you over if Campbell’s comedy hasn’t already.” In addition to Campbell, Make That Movie also stars Lara Ricote, Helen Bauer, and David Hargreaves.

Despite a limited release in the UK and Australia, Sam Campbell’s new show Make That Movie is proving to be a force to be reckoned with. Being described as “the funniest TV show of the entire year” is no joke, and it makes the limited release all the more frustrating. With cringe comedy shows in the past receiving critical and public acclaim, here’s hoping Make That Movie can strike a new release deal soon and make waves on an international scale like it surely deserves.

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Release Date

May 28, 2026

Network

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Channel 4

Directors

Joseph Pelling

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Writers

Joseph Pelling, Sam Campbell

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There’s one particular genre that produced several of the greatest literary classics of yesteryear (a classic here being defined as any book released before the 21st century), and that’s the detective novel. From Sherlock Holmes to Hercule Poirot, some of the most iconic characters in the history of the printed page have come from detective books that are, through and through, among the greatest works of mystery literature the world has ever seen.

Throughout the 19th and 20th centuries, authors of the stature of Maurice Leblanc and Dashiell Hammett completely revolutionized detective literature. Nowadays, there is virtually no detective book that doesn’t owe at least some level of influence to these groundbreaking classics. From the older to the more modern, from the pulpy to the artsy, and from the serious to the more laidback, these terrific books are all essential reading for anyone who loves a good detective story.

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‘Arsène Lupin, Gentleman Burglar’ (1907)

Image via CreateSpace Independent Publishing

Even though it’s English-language literature that has produced the vast majority of the most iconic and widely celebrated detective books in history, other languages throughout history have also housed tremendously memorable detectives. Case in point: Arsène Lupin, the master of disguise and criminal mastermind that has become the center of a multimedia franchise among the most beloved in detective fiction. But it was the French collection of short stories Arsène Lupin, Gentleman Burglar by Maurice Leblanc that started it all.

The thing about Gentleman Burglar, however, is that it’s not a traditional detective book at all. In fact, it’s a clever inversion of classic sleuth stories where Lupin solves puzzles and deduces mysteries to commit crimes rather than solve them. This makes the character a sort of foil to Sherlock Holmes (who he actually encounters in this book), and makes each of the short stories contained in Gentleman Burglar awfully entertaining and inventive.

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‘The Maltese Falcon’ (1930)

Image via Alfred A. Knopf

As far as authors of hard-boiled detective books and short stories go, it doesn’t get much more important or groundbreaking than Dashiell Hammett, who pretty much invented the modern hard-boiled crime novel. His best-ever work was, without a doubt, The Maltese Falcon, the source material for the 1941 film starring Humphrey Bogart that’s regarded by some as the first true noir film in history. But as phenomenal as the movie still is over 80 years later, this is one of those common instances where the source material is even better.

The Maltese Falcon is nothing short of one of the best hard-boiled detective books of all time, originally serialized in the Black Mask magazine and later published in novelized form. It’s one of the greatest American detective tales of the 20th century, a gritty piece of elevated pulp fiction that popularized its genre for damn good reason. Told in a fully objective style, never describing the characters’ thoughts or feelings, it’s a masterpiece still worth reading today.

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‘The Murder at the Vicarage’ (1930)

Image via Fontana

Few authors have ever re-defined the detective novel quite as much or as well as British writer Agatha Christie, and rarely did she write any books better than The Murder at the Vicarage. It was the debut novel of Miss Marple, Agatha’s second most iconic character, an amateur consulting detective that’s easily among the most popular detectives in the history of fiction. Fittingly, her very first appearance is among the best mystery books of all time.

Aside from doing a masterful job at introducing Miss Marple herself through delectable first-person prose, The Murder at the Vicarage also serves as an absolute masterclass in misdirection and mystery-building all the way until the very end. Making an elderly spinster the protagonist of a detective novel rather than an eccentric mystery-solving man was revolutionary back in 1930, and even today, The Murder at the Vicarage still feels exquisitely fresh. It’s the blueprint for the cozy mystery subgenre of mystery fiction, genius in its structure and unforgettable in its reveals.

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‘A Study in Scarlet’ (1887)

Image via Penguin

If there’s any one character who can claim to be not only the single most iconic detective in the history of fiction, but even one of the most iconic and instantly-recognizable characters in the world in general, it’s Sir Arthur Conan Doyle‘s Sherlock Holmes. But before Sherlock Holmes and Doctor Watson became the most popular detective duo in all of fiction, they made their big debut in A Study in Scarlet. The first of only four full-length novels in the Sherlock Holmes canon, the book attracted very little interest from readers at the time. Today, though, it’s nothing if not an essential classic.

What a flawless way to be introduced to characters as memorable as Sherlock Holmes and Dr. Watson. Doyle greatly popularized and perfected the use of scientific elements (from forensic science to general chemistry) in detective fiction, something that was mostly quite uncommon toward the end of the 19th century. By turning deduction and investigation into such a rigorous process, Doyle completely changed the game when it came to the detective genre—and things haven’t been the same since.

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‘The Last Coyote’ (1995)

Image via Little, Brown and Company

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Before he was the protagonist of one of the best crime shows of the 21st century, Bosch was the protagonist of a series of crime novels penned by American author Michael Connelly. His Bosch series have set a whole new standard for the Los Angeles noir genre, and never has the genre been better than in The Last Coyote. It was the fourth novel both in the series and in Connelly’s whole bibliography, and it continues to be the highest-rated entry of the bunch on Goodreads to this day — for good reason.

The book, winner of the 1996 Dilys Award handed out by the Independent Mystery Booksellers Association, is one of the most gripping mystery thrillers that 1990s literature ever delivered. It’s a masterful police procedural that intelligently balances deep character work, riveting mystery, and atmospheric world-building. Grounded and psychologically intense, it’s perfect for those looking to get into classic detective literature who would rather start with something more in tune with readers’ modern tastes and sensibilities.

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‘The Long Goodbye’ (1953)

Image via Vintage Crime/Black Lizard

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Robert Altman‘s 1973 film The Long Goodbye is one of the best neo-noir mystery movies ever, and it achieves that status largely by lovingly satirizing and deconstructing the work of one of the most historic detective literature authors in history, Raymond Chandler. Chandler created Philip Marlowe, yet another of the most iconic detective characters in the history of fiction, and never was he more interesting than in The Long Goodbye, which Chandler once directly called his best book.

Frankly, it’s difficult to disagree with him. As exceptional as other Marlowe novels like The Big Sleep are, Long Goodbye and its profound critique of the American Dream are simply too perfect for any fan of the genre to pass up. Winner of an Edgar Award for Best Novel in 1955, the book serves as a genius subversion and deconstruction of the hard-boiled detective genre of its time, paying less attention to clever puzzle-solving than to emotional depth and thematic work. It still reads as one of the most delectably unique mystery novels of the entire 20th century.

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‘The Hound of the Baskervilles’ (1902)

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There’s really no question as to which Sherlock Holmes novel is the best of the bunch: It has to be the third of the tetralogy, far and away the most universally acclaimed of all, The Hound of the Baskervilles. Anybody who is even slightly intrigued by Holmes and the history of the character ought to read this absolute masterpiece at least once in their lives. Originally serialized in The Strang Magazine, the novel blends the tropes of traditional detective fiction with elements of Gothic horror in ways that feel like they were far ahead of their time.

It’s one of the mystery books with the most plot twists, and that helps it to be an absolute blast from start to finish. Deeply atmospheric and as clever as any detective story ever written, The Hound of the Baskervilles is probably the most famous mystery book in history, and for good reason. The sense of isolation and dread built by Doyle is still awfully effective over 120 years later, and the brilliant structural risks taken by the author (such as essentially removing Holmes himself from the middle section of the book) have aged like fine wine.

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‘The Murder of Roger Ackroyd’ (1926)

Image via William Collins, Sons

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It may not be the single most famous detective story in history, but it sure is high up there—and it sure is the best detective book the world has ever seen. It’s the great Agatha Christie’s The Murder of Roger Ackroyd, which is probably not the most iconic book about the meticulous Belgian detective Hercule Poirot, though it definitely is the best. It’s one of those mystery books that have aged like fine wine, originally serialized in the London Evening News and then widely praised as Christie’s masterpiece upon release.

Even to this day, The Murder of Roger Ackroyd is still largely controversial among diehard fans of detective fiction due to its jaw-dropping twist ending. In the eyes of many, however, that ending is precisely what makes the book so genius and so re-readable. The whole thing is structured and paced brilliantly by Christie, whose absolutely flawless and carefully-worded prose makes this the most deliciously twisty detective book ever written. Even when going in knowing the twist beforehand, it’s still a thoroughly enjoyable experience.

It was less than a month ago that box office history was made by Antoine Fuqua’s musical biopic, Michael. After a strong run of $900 million in most global theaters, the film opened in Japan and finally broke the long-standing biopic barrier. In mid-July, it was confirmed that Michael had become the first-ever billion-dollar biopic in cinema history. In total, the film has generated $1.016 billion in global revenue, leaving many to wonder if the story of the King of Pop will inspire a sequel.

Despite backlash from critics, such a big box office triumph will unsurprisingly encourage higher-ups to start work on a Michael sequel (perhaps just titled “Jackson“) with Lionsgate film chief, Adam Fogelson, even saying, “We are really excited about the progress we’re making with respect to a second ‘Michael’ film. All the conversations that we’ve been having with all of the appropriate parties continue to go exceptionally well.” This box office success quickly transformed into a streaming triumph after Michael moved to PVOD platforms. However, the arrival of the year’s latest billion-dollar movie at the box office has just helped knock Michael ​​​​​​from his perch.

At the time of writing, the newest #1 movie on the global iTunes charts is Spider-Man: No Way Home, as fans either remind themselves of what came before or binge the previous installments in preparation for the latest. This quick rise to the top of a chart usually reserved for new releases is no doubt courtesy of Spider-Man: Brand New Day‘s arrival in theaters, with millions flocking to see Tom Holland‘s Peter Parker as he faces a world that has forgotten him and a new threat with a tragic past.

‘Spider-Man: Brand New Day’ Has Smashed Box Office Records

After No Way Home became one of the decade’s highest-grossing movies so far, expectations were high for the world’s most famous webslinger’s box office return. However, no one quite expected just how well the film would perform. In just one weekend, Brand New Day has already broken multiple records, including the biggest opening for any movie in domestic history, and has become the second-fastest film to hit the $1 billion mark worldwide. Could Brand New Day become the highest-grossing movie ever? Only time will tell, but it’s certainly off to a strong start.

Make sure to stay tuned to Collider for the latest streaming stories.

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Release Date

April 24, 2026

Runtime

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130 minutes

Writers

John Logan

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Producers

Graham King, John Branca, John McClain

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