If there’s any genre that lends itself perfectly to making some truly addictive television, it’s science fiction. These tales of space exploration, hyper-advanced technology, and dystopian societies have a certain something to them that, when done right, makes them impossible to look away from. The ten most addictive sci-fi shows of all time are so engrossing that they can easily hook any fan of the genre from start to finish.

Whether it’s a classic like Cowboy Bebop or a modern cult favorite like The Expanse, these shows are the epitome of “just one more episode!” television-watching. Whether it’s thanks to their hugely imaginative premises, their fascinating characters, their entertaining stories, or a mixture of all of those elements, these masterpieces lure you in and don’t let you go until the credits roll on the series finale.

10

‘The 100’ (2014–2020)

Image via The CW

Based on Kass Morgan‘s young adult novel series of the same title, The 100 is proof that, when they set their minds to it, The CW can make some genuinely masterful shows. Post-apocalyptic YA stories were all the rage back during the 2010s, and in riding that wave, The 100 has aged as one of the best among such kinds of shows. Even today, it’s still a must-see.

It’s the kind of sci-fi show that gets darker (and better) every season, and that’s a big part of how it’s able to so easily hook its viewers. The show keeps reinventing and recontextualizing itself with every passing episode, introducing new layers and higher stakes to its already-engrossing story while never losing a single bit of its commendable narrative momentum.

9

‘Fringe’ (2008–2013)

Image via Fox

After his tenure in a certain other hugely addictive sci-fi gem, J. J. Abrams co-created Fringe with Alex Kurtzman and Roberto Orci. What starts out as a more episodic spiritual successor of The X-Files and The Twilight Zone in its first season soon transforms into a more heavily serialized cult classic about fringe science and parallel universes.

Thanks to its fast-paced procedural format and its refreshing focus on its deeply compelling characters, Fringe is able to constantly deepen its mythology in ways that never fail to be surprising and engaging. This is what makes it one of the most rewatchable sci-fi shows ever, a masterpiece that keeps its character-driven narrative as its emotional heart while still spending more than enough time building up some delightful lore.

8

‘Lost’ (2004–2010)

Image via ABC

Mystery box shows are a branch of the mystery genre composed of shows with vast, intricately complex narratives reliant on secrets and surprise reveals. Every time it provides an answer, a good mystery show knows how to bring up another two equally gripping questions. That’s the kind of show that Lost was. Divisive final season notwithstanding, there’s no denying the colossal pop culture phenomenon that this J. J. Abrams, Damon Lindelof, and Jeffrey Lieber creation was.

It’s one of those classic thriller shows that have aged remarkably well, a character-driven sci-fi mystery extravaganza with one of the most compelling ensembles in the modern history of television. Its answers are structured in such a way that they feel like they expand the unknown, not narrow it down, which feeds a level of curiosity in viewers that’s borderline impossible to resist.

7

‘The Expanse’ (2015–2022)

Image via SyFy

The Expanse is based on Daniel Abraham and Ty Franck‘s beloved series of novels of the same name, and it’s one of the best television adaptations of a series of sci-fi books that the world has ever seen. Hailed as one of the most scientifically accurate sci-fi shows ever, it was canceled by SyFy after only three short-lived seasons, but picked back up by Amazon for another incredible three. Now, what we’re left with is one of the best six-season TV shows in history.

The Expanse has a rather slow-burning first season that’s mostly dedicated to world-building, but people patient enough to get through it will find themselves irreparably hooked by the time they get to season two. This is one of the most nearly-perfect sci-fi shows ever, leveraging a constantly evolving blend of genres to keep the audience craving the next episode.

6

‘Severance’ (2022–Present)

Image via Apple TV

Severance can be argued to be this generation’s Lost, a gripping mystery box sci-fi show that everyone and their grandmother seems to be watching and talking about. After all, how could a show with such fascinating mysteries not be a massive topic of pop culture conversations? Indeed, Severance may well be one of the most perfect TV dramas of the last 15 years.

Even when the show isn’t deliberately building up an irresistible sense of suspense and character-driven tension—and most of the time, it is doing precisely that—, there’s at least a simmering feeling of dread underlying the whole thing. Through some highly visual storytelling and a fascinating ensemble of characters, Severance becomes one of the most gripping shows currently streaming. It may not have a conclusion yet, but it is nevertheless effortless in how it keeps you hooked throughout.

5

‘Battlestar Galactica’ (2004–2009)

Image via SyFy

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There are classic sci-fi shows from the 20th century that are borderline untouchable, and then there was 1978’s Battlestar Galactica. Though solid, it was in desperate need of an upgrade, and that’s where 2004’s version of the show comes in. One of the darkest, most mature, and most politically nuanced post-9/11 American shows, it’s one of those sci-fi shows that hold up surprisingly well.

Sure, Battlestar is very much a product of its time (at least thematically), reflecting the fears and anxieties of life in a post-9/11 world, but it’s still every bit as addictive today as it was back in its early days. The stakes are sky-high throughout the entirety of the series, and mixed with the highly complex narrative and the many mysteries that it builds up over the course of its run, the show cements itself as one of the most essential sci-fi series in history.

4

‘Dark’ (2017–2020)

Image via Netflix

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There aren’t very many sci-fi shows whose every episode is a masterpiece. Netflix’s Dark is one of those precious few gems. It’s one of the most complex, layered, and mind-bending sci-fi TV shows in history, so it’s definitely not for those looking for a “turn your brain off for an hour” kind of fiction show. Furthermore, watching Dark never comes down to just an hour, because it’s the kind of series that forces you to keep clicking “next episode” until it’s too late and you have to go to bed.

It’s just that well-written and absolutely engrossing of a show. It’s philosophically complex, admirably taut, and surprisingly plot hole-free for a show that’s primarily about time travel and parallel universes. Watching it rewards intense attention, and it constantly forces you to rethink everything that has come before. It’s textbook addictive televisual storytelling.

3

‘Cowboy Bebop’ (1998–1999)

Image via Sunrise

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Cowboy Bebop is one of the most important, influential, and groundbreaking anime series in history; one that’s widely credited with having helped popularize the medium in the Western world in the late ’90s and early 2000s. Part neo-noir, part space Western, it’s one of the best TV masterpieces of the last 30 years, a true must-see for anyone who enjoys science fiction—anime or otherwise.

Running for only 26 episodes, Cowboy Bebop is relatively easy to binge-watch over a single weekend. And boy, how tempting that prospect is. We’re talking about one of the most addictive anime series in history, one whose every element works in perfect conjunction with the others to hook the viewer: the delightful aesthetic, the fun music, the fast-paced structure, the cohesive emotional atmosphere… It all contributes to making this a show that’s impossible to stop watching.

2

‘Firefly’ (2002–2003)

Image via FOX

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Throughout history, many sci-fi shows have been canceled way too soon, perhaps chief among them being the cult classic Firefly. Created by Joss Whedon, this is the quintessential space Western, one whose avid cult following has remained steadfastly loyal over the course of the whopping 23 years since its untimely cancelation after only one season.

And through it all, Firefly has remained one of the most fun, original, and addictive genre TV shows in history. By establishing its clear and exquisitely entertaining character dynamics immediately, the show makes it a real treat to watch this ragtag spaceship crew interact with each other. Absence truly does make the heart grow fonder, as proved by the fact that the scarcity of Firefly episodes in existence actually adds to how addictive it is.

1

‘The X-Files’ (1993–2018)

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Anyone even slightly familiar with the history of small-screen science fiction will agree that there was a “before The X-Files” and an “after The X-Files.” This “case-of-the-week”-type mystery show completely revolutionized both science fiction and American genre television as a whole. To date, it still remains one of the most groundbreaking and influential TV shows since the ’90s.

It’s one of those classic sci-fi shows that have aged remarkably well, one that owes a ton of its entertainment (and addictiveness) value to the off-the-charts chemistry between both David Duchovny and Gillian Anderson and Mulder and Scully themselves. Their endlessly fun dynamic makes the episodic nature of The X-Files an irresistible delight from start to finish, and it makes the show’s slowly-growing mythology and lore all the more engaging.

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The X-Files

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Release Date

1993 – 2018-00-00

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Network

FOX

Directors

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Rob Bowman, David Nutter, R. W. Goodwin, Michael W. Watkins, Tony Wharmby, Daniel Sackheim, Michael Lange, Cliff Bole, David Duchovny, Jim Charleston, James Wong, Peter Markle, Rod Hardy, Thomas J. Wright, William A. Graham, Jerrold Freedman, Joe Napolitano, Kevin Hooks, Larry Shaw, Richard Compton, Tucker Gates, Allen Coulter, Barry K. Thomas, Brett Dowler

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By Jennifer Asencio
| Published 26 seconds ago

The latest trailer for Christopher Nolan’s controversial The Odyssey was released on May 5, 2026, and revealed more of the director’s take on Homer’s epic. Like the other trailers and casting announcements, it drew equal parts controversy, criticism, and avid defenders.

This time, most of the action is focused on Ithaca, where Penelope (Anne Hathaway) and Telemachus (Tom Holland) deal with the numerous suitors trying to assume the throne by marrying the queen. Robert Pattinson lurks and smarms as Antinous, trying to woo Penelope, while cutaway footage shows the tribulations of Odysseus (Matt Damon) against Calypso (Charlize Theron), the whirlpool Charybdis, armored giants, and the Trojan War.

Ancient Accuracy Versus Anachronistic Angst

There are a lot of new problems with this trailer that echo issues people already have with Nolan’s vision. Previous complaints include ahistorical armor from a later Grecian period, boats that look more Viking longboat than bireme, and a plethora of miscast characters, such as Jon Bernthal as Menelaus and Lupita Nyong’o as Helen of Troy.

One of the two main problems with the new trailer is Tom Holland. The actor who has been bringing Peter Parker to spectacular life in some of the rare good content from the Marvel Cinematic Universe looks like a lost child as Telemachus, and has been apparently directed to play the Greek hero that way. The parts of the trailer that aren’t Anne Hathaway angsting as Penelope feature Holland having plenty of angst of his own. Sure, Telemachus had some daddy issues, but Holland looks more like a kid looking for his mommy than a prince defending his father’s kingdom against overwhelming odds.

A large part of Holland’s failure in the new trailer is that the dialogue is extremely cringeworthy. At one point, Antonius actually says, “You’re pining for your daddy,” as though this is a CW teen drama and not a serious Homeric epic. “That world is gone!” Penelope cries with the appropriate amount of suffering and phony British accent.

The translation allegedly being used for the movie is based on the work of Emily Wilson, a feminist translator who felt that Homer’s epic didn’t have enough modern sensibilities. She simplified the poet’s gorgeous turns of phrase and literalized his abstract concepts, trying to take the focus away from the male point of view and focus on the women. Her translation has caused controversy among scholars. It is not confirmed that Nolan used this version to base his script on, but the quality of the dialogue is a poor rendition of modern Gen Z slang.

Follies In Formation

Another thing that stands out from this trailer is the battle scenes we are shown.

For one, Odysseus leads the Greeks in a very un-Grecian formation as he charges down a beach. The Greeks were known for their discipline and their deadly phalanx formation, not for charging into battle like a horde of barbarians. The scene looks more like a sword-and-board version of the opening of Saving Private Ryan than anything the Greeks would have actually done. That may sound like a nitpick, but the discipline of the Greek troops and their loyalty to their kings and to Greece is a huge theme of Homer’s duology.

The other is a ridiculous charge by a troupe of giants who are dressed in armor that looks like they salvaged it from the leftovers of a King Arthur movie than a Homerian epic. These silver-clad warriors look out of place and anachronistic in The Odyssey, another example of Nolan using spectacle and visual shorthand rather than something that actually reflects the source material.

Sure, the special effects look cool, with Charybdis a wide, gaping hole in the sea and the battle in Troy looking explosive. But so far, that’s the only thing The Odyssey has shown it has going for it. Between its snarky, modernized dialogue and its attempt to be a visual spectacle, the trailer looks more like Not Another Marvel Movie than it does a tribute to an important ancient epic.

While, I admit that I may be more sensitive to this vandalism of Homer because my family emigrated to America from Sparta, I can’t help but feeling affronted that my heritage as a Greek is being used by Nolan as a cynical Hollywood cash grab. This telling of Homer’s Trojan War sequel is looking more like a pageant of modernized filmmaking meant more to show that it, to paraphrase Ian Malcolm, could be done, regardless of if it should. Plus, the removal of the values Homer wrote about means that it is more like a presentist fanfiction than anything the Greeks may have written.

We will all find out when The Odyssey premiers in theaters on July 17, 2026.

Netflix had plenty of big shows break into the spotlight in 2025, but few did so as forcefully as The Hunting Wives. Netflix debuted all episodes of the psychological thriller at the end of July, and it took over streaming on its way to becoming one of the platform’s most popular binges of the summer. The show follows Sophie O’Neil (played by Brittany Snow), who moves to Deep East Texas and succumbs to the socialite charm of Margo (played by Malin Akerman), only to find herself in a web of obsession, seduction, and murder. Netflix renewed The Hunting Wives for Season 2, and production on the show’s sophomore outing has already wrapped.

One star from The Hunting Wives, who featured in a recurring role in Season 1, was Karen Rodriguez, who plays Deputy Wanda Salazar. Rodriguez has been bumped to a series regular in Season 2. During an upcoming episode of Collider Ladies’ Night with Perri Nemiroff to talk about The Hunting Wives and Spider-Noir, Rodriguez explained whether she saw this promotion coming, “No, it was totally a surprise, and I think it was totally the response and the fans saying, ‘We need the juxtaposition,’ We are watching the baddies, but we need that pillar of goodness to kind of give some danger, like somebody might catch them, you know?” she told Nemiroff. “I also think she’s just an aspirational character. She’s incredibly smart, and she’s so tenacious, and I think that we all want a friend like that, or we all want to believe we’re like that. I mean, definitely when I play her, I feel like a damn superhero. It’s unlike anything I’ve ever felt.”

Nemiroff also asked Rodriguez what, if anything, about her evolved role caught her by surprise, and she went deep into detail about Salazar’s role as the emotional pillar and a grounding force for the often highly outrageous series. She also spoke about how playing the character has helped teach Rodriguez to advocate for herself:

“It caught me by surprise at the ownership, because she is our main POV of that storyline, and I hadn’t had that experience, really. So, I have the privilege of, like, when I’m on set, she’s our main way in the cop world, right? She’s the emotional pillar of that storyline. And so having to kind of step into, like, ‘I’m not following the lead of somebody else,’ it’s like, ‘No, I’m the one that has to do that,’ and I never had that privilege to do it. So it was very much, again, like stepping into my power.

But I will say thank goodness for Salazar because the character makes it easy, because that is what she’s in constant conversation with. She’s like, ‘I’m the one that has to fix it,’ or ‘I’m the one that has the nose for it.’ So, yeah, stepping into my power. These are the things that they don’t teach you in actors’ school. They don’t talk about, like, there’s something about advocating for yourself, and just being a bad bitch on set.”

When Nemiroff moved forward and asked Rodriguez what challenged her as an actor about stepping into a large role, she told Collider, “What a wonderful question. Yes, I think just remaining open to her. This is a truthful answer.” She went on to explain that though Salazar has a sense of innocence, “her exterior is very hard, and she’s been through so much.” Rodriguez explained, “So that constant push and pull of not letting things in, but then still remaining so soft and gooey on the inside so that things can seep out, and then you couple that with my life and whatever I’m going through… Because I identify with her in that way. I just want to seal up. But she has an innocence that she has somehow fiercely protected, and I tapped into my own at having to be soft again. Oh gosh, I’m not gonna front, sometimes it was really tough.”

However, like all great actors, Karen Rodriguez is ready to meet these challenges head-on and overcome them. She admits that “no work is wasted,” and says, “There’s good work, and you can learn from it. That’s why you’re an actor, right? That’s why you do it. It does teach you about yourself.”

‘The Hunting Wives’ Season 2 Is Going To Exceed Your Wildest Expectations

The Hunting Wives was written and created for TV by Rebecca Cutter, who is also famous for her work writing episodes of Hightown, Gotham, and The Mentalist. Cutter produced one of the wildest seasons of TV of 2025 with The Hunting Wives, and Rodriguez tells Collider that fans can expect to see even more intensity from Season 2:

“I would say you don’t have to worry. You’re in good hands with Rebecca Cutter. There came a point where we were getting the episodes like a week before we shot, so we’re reading it, and literally, I mean, I have never seen cast and crew go to set and be like, ‘Did you read this episode?’ I mean, we were shook. And I told you, Season 1, when I read, I was like, ‘No!’ Season 2, I would have to put the script down and walk away. I’m like, You’ve got to be…” And also, being in conversation with the fans, I thought, ‘Oh, I’m so excited to hear what they’re going to think about that.’ I’m really excited.”

Plot details about The Hunting Wives Season 2 are being kept under wraps at this time. Additional cast members include Dermot Mulroney (Chicago Fire) as Jed, Chrissy Metz (This Is Us) as Starr, Jaime Ray Newman (Dopesick) as Callie, Katie Lowes (Scandal) as Jill, and Evan Jonigkeit (Sweetbitter) as Graham.

Check out the first season of The Hunting Wives on Netflix and stay tuned to Collider for Rodriguez’s full episode of Ladies Night.

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Release Date

July 21, 2025

Network

Netflix

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Directors

Julie Anne Robinson

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By Robert Scucci
| Published 12 seconds ago

I have this nasty habit of watching movies with no rhyme or reason, falling into genre holes, and slowly digging myself out. I do this with actors and directors too, most recently stumbling upon Megan Fox’s Till Death (2021). It’s a home invasion thriller that plays it straight, but has so many funny moments thanks to its pacing and situational humor. Having never seen 2009’s Jennifer’s Body, I figured now would be a good time to check it out, since I now know she works well in the blood-covered baddie wheelhouse.

Jennifer’s Body has everything you could possibly want in a horror comedy. It leans into young adult tropes, giving it an inherent amount of campiness because every adult is beyond clueless. It’s high school, you know, the most important four years of your life, so for the kids involved, everybody is in a heightened state because they have little to no real-world experience, but they’re also in mortal danger thanks to a very peculiar series of events that occur in their community.

Throw a blood-sucking succubus into the equation, add gratuitous amounts of splatter for dramatic effect, and Jennifer’s Body ends up being way more fun than it has any right to be, thanks to Megan Fox and Amanda Seyfried’s straight-faced commitment to the bit.

Besties Forever

Jennifer’s Body fittingly starts off more like Mean Girls than a horror flick when we’re introduced to our protagonist, Anita “Needy” Lesnicki (Amanda Seyfried), and her super popular bestie, Jennifer Check (Megan Fox). Jennifer is your stereotypical high school beauty queen who can have every underclassman groveling in her presence. Needy is much more reserved, dresses humbly, and likes to keep a low profile despite the fact that she’s best friends with the most popular girl in school.

Needy’s life changes forever when Jennifer decides to take her out to see the indie rock band Low Shoulder at a local bar. Their relationship dynamic goes like this: Jennifer wants to do something, Needy doesn’t, Jennifer bullies Needy into doing it anyway, and Needy reluctantly tags along.

A fire breaks out at the concert and destroys the venue, killing several people in the process, and the girls separate when Jennifer decides she wants to hang out with the band in their van against Needy’s advice. Needy goes home thinking Jennifer is going to do whatever Jennifer always does, but is horrified to learn that whatever happened between the fire and Jennifer’s return has changed her for the worse.

The next time we see Jennifer, she’s covered in blood, seemingly in a trance, before trying to bite Needy in the neck like a vampire. The next day at school, Jennifer looks totally normal, as if the previous night didn’t happen, complete with her usual glowing skin and on-point contouring. However, Needy sees through the illusion. Whenever Jennifer’s looks start to deteriorate, it means she’s hungry and needs to eat one of her classmates to preserve her beauty, starting with the captain of the football team, and chaotically spiraling from that point forward. 

A Vampire Story With A Twist

What sets Jennifer’s Body apart from its contemporaries is its willingness to have fun, and to do it with style. While a $16 million production budget may not sound huge these days, it was enough to allow for some great practical effects. The movie is mostly set in a high school, so it’s reasonable to assume a decent chunk of that budget went toward making sure we got some top-notch gore.

There’s also a level of campiness that really drives things forward because this movie is basically Mean Girls meets The Lost Boys in terms of its sense of humor. Jennifer knows she’s transformed into something terrible, and while Needy knows something is clearly wrong, she has to use her smarts to figure out exactly how to break the spell that turned her into a blood-sucking monster with impeccable taste in fashion.

The plot line involving the band, and their recurring presence in Devil’s Kettle, Minnesota, keeps things lively, but also hints at a much more sinister undertone once you learn how connected they are to Jennifer’s sudden transformation from high school bombshell to salacious succubus. There’s really no fat on this movie. Every character and plot line that gets introduced serves a purpose rather than getting brushed aside and forgotten about. 

In 2026, Jennifer’s Body feels like pretty standard horror comedy fare, especially after movies like The Babysitter (2017) and Little Evil (2017). Both films, along with plenty of others, latched onto a similar formula, but Jennifer’s Body is still one of the earlier examples of the modern mainstream horror comedy as far as I’m concerned. It’s gory, but not too gory. It’s sexy, but not over the top to the point where any mature teen watching with their parents would immediately want to crawl out of their skin. Most importantly, it’s fun.

Between the emotional manipulation and blood sucking, we’re still reminded that growing up anywhere is difficult, and friendship matters. Especially when the occult is involved and your best friend happens to be the person causing all the collateral damage. After all, you want to stay on Jennifer’s good side.

As of this writing, Jennifer’s Body is streaming on Netflix.

By Chris Snellgrove
| Published 18 seconds ago

Star Wars is a franchise full of quotable lines, which is why the Prequel Trilogy became the center of so many hilarious memes. One of my favorites comes from the Original Trilogy, when Darth Vader disses his old master, Obi-Wan Kenobi, with the hard line, “Now, his failure is complete.”

Even as a kid, I was fascinated by the idea that failure was not necessarily a fixed state. Just as the Dark Lord of the Sith could slip further and further into the Dark Side, it’s possible for a smaller failure to get increasingly worse over time.

Ironically enough, this line perfectly sums up the Disney era of Star Wars. The House of Mouse made some major mistakes with this franchise early on with a Sequel Trilogy so bad that it drove Star Wars out of theaters for the better part of a decade. They had to pivot to making TV shows, and the only real unqualified success was The Mandalorian. Now unable to get any new ideas to the big screen, Disney is about to premiere The Mandalorian and Grogu, and the fact that their last hope is to make a movie based on a past-its-prime series proves one thing: Disney’s failure is now complete.

The Beginning of the End

In retrospect, it’s clear that the beginning of the end for Star Wars was 2017’s The Last Jedi. While I personally enjoyed the film (it was beautifully shot and took big, creative swings), the majority of fans didn’t agree. The film subverted expectations in several hated ways, including killing Snoke and transforming Luke Skywalker into a cranky curmudgeon.

The second Sequel Trilogy film yielded solid box-office returns ($1.3 billion), but it generated enough negative word of mouth that the next movie suffered. Solo: A Star Wars Story made only $393 million against a $366 million budget, meaning it actually lost money once you factor in marketing and distribution costs.

This failure caused Disney to pivot, transforming several intended film projects (including movies featuring Boba Fett and Obi-Wan Kenobi) into TV shows. On paper, this was supposed to help drive subscribers to Disney+, letting the studio have it both ways: audiences would get their Star Wars fix at home through these series and in theaters through movies like 2019’s The Rise of Skywalker. However, that final sequel film was a critical and commercial failure (it made “only” a billion and has a 51 percent critical score on Rotten Tomatoes), which is why we haven’t seen a new Star Wars film in theaters since 2019.

See You, Space Cowboy

The Star Wars shows on Disney+ have proven to be a decidedly mixed bag. Some series that seemed like they’d be surefire hits failed to energize the fandom, including Obi-Wan Kenobi and The Book of Boba Fett. Some shows were hard to appreciate if you didn’t know the deep lore.

For example, you might be lost watching Ahsoka if you didn’t previously watch the entirety of Rebels. Meanwhile, The Acolyte was a complete and mind-bogglingly expensive failure. Ultimately, the only breakout success was The Mandalorian, which focused (at least, at first) on episodic adventures in the vein of a Firefly-esque space western. 

Now, Disney is bringing that show’s two main characters to the big screen later this month with The Mandalorian and Grogu. It’s the kind of film that fans would have eaten up a few years ago, back when The Mandalorian was the hottest show in a galaxy far, far away.

The show fell off in a big way over time. On Rotten Tomatoes, the first two seasons had both fan and critical ratings above 90 percent. But critics gave Season 3 an 84 percent, while fans gave it a much lower, much harsher 51 percent.

In other words, Disney waited until half the fandom hated The Mandalorian before deciding to bring its heroes to the big screen. Furthermore, even most fans looking forward to The Mandalorian and Grogu are worried it will feel more like an extended TV episode than a blockbuster feature film.

These factors at least partially explain why the film is projected to earn only $80 million in its opening weekend. That’s $4 million less than Solo: A Star Wars Story earned, meaning The Mandalorian and Grogu is on track to earn less money than any live-action Star Wars movie in cinematic history. 

Disney’s Failure Is Complete

Now, it’s clear that Disney’s failure is complete when it comes to Star Wars. The failure of the Sequel Trilogy created a ripple effect that turned Solo into a box-office bomb, ultimately canceling a series of intended films. After the failure of The Rise of Skywalker, execs kept canceling exciting movie projects, including Patty Jenkins’ Rogue Squadron. Disney was forced to focus entirely on Star Wars TV shows, which generated mostly disappointment and failures after the initial success of The Mandalorian.

Disney is now forced to put The Mandalorian on the big screen as a Hail Mary attempt to make Star Wars relevant to moviegoing audiences again. But after over a decade of mishandling the franchise, they have ensured that The Mandalorian and Grogu will have the worst opening of any live-action Star Wars film. Sure, more projects are in development (like Starfighter, starring Ryan Gosling), but Disney is in a precarious place. Should The Mandalorian and Grogu bomb as Solo did, it may poison future box office returns just like The Last Jedi did. 

That would make this more than just another cinematic failure for this galaxy far, far away. After nearly half a century of entertaining fans, we may actually be witnessing the end of the Star Wars franchise as we know it.

Latto knows how to keep her fans wanting more with vulnerable tracks, creative visuals, and catchy hooks. One thing about Big Mama, she’s always gonna deliver. Since the release of her album ‘Sugar Honey Iced Tea’ in 2024, many supporters have been waiting for her next body of work. However, following the latest announcement, the celebration has come to a halt as supporters reacted with mixed feelings.

RELATED: Sheesh! See Why GloRilla’s Sister Victoria Woods Mentions Megan Thee Stallion, Brandon Ingram & Latto In Diss ‘Therapy’ 

Latto Announces Her Plans To Retire From Rap 

After a hiatus from the public eye at the beginning of 2026, Latto lit the internet up back in March after revealing she was expecting a baby. She also shared that fans could look forward to her upcoming project, ‘Big Mama.’ Supporters felt like they had finally hit the jackpot and were excited to see her dropping music again. Fast forward to May, Latto shifted the energy for many supporters after taking to her X account to announce the next step in her rap career. The rapper thanked supporters in a tweet, writing, “5/29 my retirement album thank you for everything .”

Social Media Reacts 

Many gathered under The Shade Room Teens as they reacted to Latto’s announcement. While some understood that she could possibly be taking time away to enjoy mommy life, other fans were left upset and confused by the decision. Critics even questioned whether the rapper was seriously retiring or simply teasing the rollout for her upcoming project. 

Instagram user @chelseaafiaa wrote, “She better be playing, not in the mood for bs”

Instagram user @thetni_  added, “She might want to focus on being a mom for awhile. Nothing wrong with that”

While Instagram user @jaylynnsamara_ wrote. “bro wassup with the new rappers being quitters”

Instagram user @hoodbarbiie_vu wrote. “She ain’t even been in long enough to use the retirement shyt to get a few lil extra streams girl please”

Instagram user @niaprettyflacko added, “She been in the game since she was 12+, yall be forgetting !”

While Instagram user @we_liveon4 wrote, “So is this a tactic for everyone to listen???”

Instagram user @IOnglivetywrote, ““My retirement album” more clicks and plays… yall gone fall it for it everytime”

Instagram user @pyouongame added, “lol this is a lie yall! She too young, this”

While Instagram user @blancosent.ya wrote, “She about to be a mother, her baby daddy rich & she bad af. She dont gotta waste her time trynna be a rapper. I respect the hell out this. Get out while you ahead. Shoutout to her and best of luck to her with whatever she wants to pursue next.”

Here’s What We Know So Far About Latto’s ‘Big Mama’ Album

While Latto may be getting ready to step away from the music game, supporters are still waiting for her upcoming project. So far, the rapper has stepped out with two releases. Her first drop, ‘Buisness & Personal Intro,’ gave fans a glimpse into her world as an expecting first-time mommy. She later followed up with ‘GOMF’ featuring rapper GloRilla, where she appeared to clap back at some of the internet chatter and tea room comments. 👀

On Apple Music, the project currently appears to feature 17 tracks, including another song titled ‘Somebody.’ While Latto was announcing her pregnancy, she also shared that while she was away from the internet, she had really been cooking things up in the studio. The rapper has been very open that despite critics she’s more motivated than ever at this time of her life. 

RELATED: Latto Reflects On Accidentally Revealing Her Pregnancy In Viral Post Ahead Of Her ‘Business & Personal’ Video Release (WATCH)

Movie lovers today are living in a true golden age of sci-fi cinema. The releases of such monumental blockbuster epics like Project Hail Mary, the Dune movies, and even animated gems like The Wild Robot and Spider-Man: Across the Spider-Verse are just some of the bigger, more mainstream titles that exemplify the era of science-fiction perfection the 2020s have been so far. But the strength of the genre throughout the first half of the decade isn’t only presented in the most brilliant movie masterpieces it has seen.

Also bolstering the growing claim that the 2020s could be the greatest decade for sci-fi cinema in the medium’s history is an extensive list of great albeit slightly flawed films that capture the gravitas, spectacle, and cerebral might of the genre. Ranging from action epics to probing horror, underrated animated treats, and even experimental independent gems, these near-perfect sci-fi movies support the idea that the 2020s are the genre’s golden era on the big screen.

10

‘The Creator’ (2023)

Image via 20th Century Studios

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A compelling watch, not only in terms of its thematic insights and sheer spectacle, but in its ability to perfect some elements while mishandling others, The Creator is both incredibly close to achieving sci-fi perfection and quite a ways off it. Set in a future where humanity is at war with artificial intelligence, it follows former soldier Joshua (John David Washington) as he is recruited to uncover a new weapon that has the potential to wipe out mankind. However, when he discovers it is an A.I. in the form of a child, he struggles to go through with the mission.

Its original premise is supported by bold thematic ideas, stunning visual effects, and engrossing world-building. However, The Creator falters in its character development and its plotting, with an overly slow opening and a condensed and muddled ending, unable to support the weight of the central themes. It is undeniably a great sci-fi movie, a treat of blockbuster grandeur imbued with mindfulness and timely relevance, but it never quite achieves perfection despite its litany of admirable qualities. That said, it has become a streaming sensation of late despite its mixed critical reception and its box office failure.

9

‘Crimes of the Future’ (2022)

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While it certainly won’t be to everyone’s taste, Crimes of the Future is a peculiarly beautiful marriage of extreme body horror and piercing social commentary that epitomizes veteran director David Cronenberg at his absolute best. In a future where humans have evolved to a synthetic environment, performance artist Saul Tenser (Viggo Mortensen) and his wife and colleague publicly display the metamorphosis of his organs. As they are tailed by an investigator for the National Organ Registry, they also learn Tenser’s notoriety is being used by a group trying to expose the next step in human evolution.

It walks a fine line between grotesque gratuity and graphic, thematically loaded arthouse exuberance, but Cronenberg is, as always, assured in his ideas. Crimes of the Future’s exploration of mankind’s integration with technology, the exploitative nature of the human body being presented as art, and issues of surveillance and government control ensure it elevates above simple shock value to be a provocative, thought-provoking sci-fi horror.

8

‘The Invisible Man’ (2020)

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A number of films in recent years have served as remakes of classic horror titles that, rather than simply rehashing the original stories with more special effects, have molded the innate themes and ideas of the narratives to comment on trending social issues. The Invisible Man is one of the best examples, turning H. G. Wells’ renowned short story—and the iconic 1933 movie based on the tale—into a richly suspenseful meditation on the trauma that lingers in the wake of an abusive and toxic relationship.

Elizabeth Moss stars as Cecilia, the former partner of an optics engineer, who fled their house to get away from him, only to hear he had committed suicide two weeks later. As she struggles with feelings of sorrow and relief, she begins to feel disconcerted by an ominous, unseen presence around her, leading to a macabre suspicion that her ex’s death may not have been what it first seemed. Eerie, effective, and often excruciating, The Invisible Man is a snappy sci-fi thriller that loads a classic tale with modern sensitivities with impressive results.

7

‘Beyond the Infinite Two Minutes’ (2020)

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A hidden gem from Japan, Beyond the Infinite Two Minutes is a sharp and snappy sci-fi comedy that puts every cent of its low-budget production to exceptional use to deliver a high-energy, low-key treat of time travel tension. It transpires as a café owner discovers that his TV can show images from two minutes into the future. Chaos ensues when he and his colleagues try to use it for self-gain.

With a runtime of just 70 minutes, Beyond the Infinite Two Minutes develops an infectious sense of momentum, progressing at a delightfully rapid rate with its premise ensuring new disasters and twists come and go at a frenetic rate. While its frenzied pacing is enrapturing, the comedy sci-fi proves adept at juggling obscene, absurdist fun with well-defined characters and plenty of charm. Inspired, goofy, unique, and utterly magnetic, Beyond the Infinite Two Minutes is a masterclass in extracting profound entertainment from sheer lunacy.

6

‘The Substance’ (2024)

Grotesque, gruesome, and graphically grueling, The Substance continues science fiction’s longstanding relationship with horror cinema as a vessel for both squeamish visuals and cutting thematic prowess. A career-best, Oscar-nominated Demi Moore plays a fading actress who, desperate to return to her glory days, injects herself with a mysterious serum that promises a younger and more beautiful version of herself. Her dreams of rekindled stardom descend into a nightmarish hell, however, when she begins experiencing unexpected side effects.

Writer-director Coralie Fargeat brilliantly conjures a spectacle of striking shocks, defined by the visceral impact of Pierre-Oliver Persin’s extensive practical effects. The rich, meditative drama functions as both character-driven horror and a skewering satire of the superficiality of society and the entertainment industry. Mixing weird, absurdist fun with stomach-churning body horror, The Substance immediately established itself as a cult classic of sci-fi/horror cinema that is sure to be celebrated for years to come by enthusiasts of both genres.

5

‘Tenet’ (2020)

Image via Warner Bros. Pictures

The audience response to Tenet has been fascinating. While few would herald it as being Sir Christopher Nolan’s best movie, there was initially a striking divide between those who appreciated its ambition and those who rejected it for its dense exposition and confounding high-concept premise of inverted entropy. Just six years after its release, its reception seems to be far more favorable, recognized by many as a bold big swing from the modern maestro of blockbuster cinema that overcomes its flaws with a sense of sheer spectacle and audacity.

John David Washington stars as a nameless protagonist who is recruited by “Tenet,” a secret organization specializing in objects that run backwards through time. The operative is tasked with thwarting the apocalyptic plans of Andrei Sator (Kenneth Branagh), a Russian oligarch gathering weaponry from the future to use in the present. Tenet’s detailed plotting and time-shifting antics remain confusing, but the broad strokes present an absorbing treat of big production excitement defined by an arresting intensity, monumental action sequences, and a propulsive sense of momentum.

4

‘Mars Express’ (2023)

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As an action-packed adult animation released by the relatively small French distribution company Gebeka Films, Mars Express feels like a massive genre cult classic in the making. Covering everything from spy thrillers to noir mysteries, the 2023 release is a compelling concoction of ideas realized with a beautiful homage to the style of ’90s anime executed with 2D hand-drawn animation blended with digitally constructed, 3D backgrounds that fill out the infectious futuristic story world.

Set in 2200, it follows a private investigator and her android partner as they travel to Mars to track down a notorious hacker in the city of Noctis at the behest of a wealthy businessman. In their investigation, the duo finds a missing girl who holds a secret that could reshape the nature of humanity’s relationship with androids. A ravishing marriage of cyberpunk aesthetic and elaborate mystery sci-fi, Mars Express is sure to be revered as a near-perfect cult hit of the genre in years to come.

3

‘Bugonia’ (2025)

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While Yorgos Lanthimos’s Poor Things does stand firmly among the defining masterpieces of sci-fi cinema in the decades so far, it is harder to say with complete conviction that 2025’s Bugonia does. It is certainly an interesting movie, a typically eccentric convergence of genre ideas and thematic observations from Lanthimos that juggles elements of brutal black comedy, skewering satire, sci-fi paranoia, and brilliantly contained suspense to be a relentlessly absorbing watch.

Its narrative is defined by intricacies and twists, but the general outline of the plot revolves around two conspiracy theorists who abduct the CEO of a pharmaceutical company when they become convinced that she is a member of a malevolent alien species. Strengthened by outstanding performances from​​​​​​​ Jesse Plemons and an Oscar-nominated Emma Stone, Bugonia excels as an appropriately absurd and disturbing response to the maddening and often ridiculous suspicion prevalent in modern society. Its heavy-handed nature addresses its thematic point with unmissable weight, but its lack of nuance makes it less remarkable than the director’s more esteemed masterpieces.

2

‘The Mitchells vs. the Machines’ (2021)

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Riotous, relatable, and splendidly ridiculous, The Mitchells vs. the Machines was something of an immediate hit of animated adventure when it released on Netflix in 2021. With its eye-catching effervescence and exuberant energy, it engrosses viewers of all ages as it follows the gleefully dysfunctional Mitchell family, who, in the midst of a road trip vacation, discover that they are the last hope for humanity as a robot apocalypse erupts.

A true charmer, The Mitchells vs. the Machines thrives through its use of silliness, sight gags, and stupendous set pieces to propel the narrative rather than distract audiences from it. Yes, it isn’t quite on par with some of the decade’s other sci-fi animated sensations—few films of any genre or medium are the equal of movies like Spider-Man: Across the Spider-Verse. Still, the 2021 cartoon comedy presents a stunning balance of fun-loving lunacy and heartfelt warmth, resulting in one of the more enjoyable gems of science-fiction cinema and family-friendly animation in recent years.

1

‘Nope’ (2022)

Image via Universal Pictures

Hot off the back of his Oscar-winning debut with Get Out and his stirring sophomore outing with Us, Jordan Peele presented yet another daring high-concept concoction of social commentary, black comedy, harrowing horror, and sci-fi splendor. Adding elements of Western spectacle and family drama into the fold, Nope follows a Californian horse wrangler and rancher as he begins to suspect a lingering cloud in the sky is actually an alien ship and, with help from a small crew, embarks on an endeavor to capture footage of it to profit from his discovery.

While many critiqued its slow pacing and the muddled goals of its characters, Nope still thrives as an engrossing treat of sci-fi storytelling underlined with a timely thematic interest in the exploitation of the phenomenal for self-gain in the modern world of technology and social media. It’s also imbued with several unforgettable sequences of visceral tension, ranging from the terrifying “Gordy” flashbacks to the haunting scene of the alien digesting its prey. Nope is a brilliant exploration of the pitfalls of sensationalism wrapped up in a compelling story of alien discovery.

Action movies are a dime a dozen. Most of the time, audiences aren’t asking for a lot. Like horror fans with a predictable slasher, action junkies are usually happy if a movie gives them plenty of thrilling fight scenes, suspenseful car chases, and a few gun fights and cool one-liners thrown in. Actors like Steven Seagal and Chuck Norris built very successful careers this way, even though many of their films weren’t all that great.

When done well though, action can transcend the tropes and do so much more because the genre has so few limitations. In these worlds, whatever you can think of is possible. The Fast and Furious franchise recognized this. But then there are those action masterpieces that are something more, becoming a stunning visual work of art on the big screen. These 10 action movies will make your jaw drop.

10

‘Sicario’ (2015)

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Sicario is the product of two current Hollywood heavyweights. Directed by Denis Villeneuve from a script by Taylor Sheridan, the film follows FBI agent Katie Macer (Emily Blunt) as she joins a government task force to take down a drug cartel. Sicario isn’t a simple action flick with good guys and bad guys, because the more Kate gets involved, the more she sees that those show works for aren’t so trustworthy.

With Blade Runner 2029 and the Dune films, Villeneuve is regarded as a visionary. He’s treated his movies like art since the very beginning and Sicario is no different. Famed cinematographer Roger Deakins was hired to shoot the director’s seventh film. Instead of using chaotic camerawork to match the chaotic plot, Deakins pulls back and stays steady, putting the audience with the characters and letting them and the stunning visuals tell the story. His efforts resulted in a Best Cinematography nomination at the Academy Awards.

9

‘Die Hard’ (1988)

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It’s not hyperbole to say that John McTiernan‘s Die Hard might be the greatest and most famous action movie of all-time. Coming out in the late 80s, it could have been just another over-the-top shoot ’em up, but casting Bruce Willis, in the era of Arnold Schwarzenegger and Sylvester Stallone, to play the iconic John McClane added a touch of realism. In the film, McClane is a New York cop separated from his wife who must now save her when a group of terrorists led by Hans Gruber (Alan Rickman) takes over a Christmas party at L.A.’s Nakatomi Plaza.

Die Hard does have the tropes of 80s action, including a badass catchphrase, but what puts it among the greats is its cinematic flare. Most of the plot takes place indoors in the same building, and it’s never suffocating. Cinematographer Jan de Bont, who would later go on to direct Speed and Twister, creates unforgettable imagery. Bruce Willis, lit by the flame of a lighter in an air duct, is a perfect shot. So is the third act slow-motion leap from the top of Nakatomi Plaza, explosions going off in the background. Every scene makes full use of its limited space.

8

‘The Dark Knight’ (2008)

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Three years after Batman Begins, Christopher Nolan returned with The Dark Knight. As good as the first film was, the follow-up took things to a different level. Christian Bale was back as Bruce Wayne, this time going up against his most well known enemy, the Joker. It can’t be understated what Heath Ledger brought to the Oscar-winning role, but none of it would have mattered if everything around them didn’t work so well.

The Dark Knight also received Academy Award nominations for Art Direction, Visual Effects, and Cinematography, winning for Best Sound Editing. IMAX cameras made the film feel larger than life, while realistic blue and green hues brought it down to Earth with a real-world look not interested in the bright colors of the superhero genre. The Joker is especially framed perfectly in everything from the opening bank reveal of Ledger removing his mask, to the finale, where the camera twists and turns to show an upside-down Joker right side up.

7

‘Raiders of the Lost Ark’ (1981)

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If anyone knows how to make a movie pure cinema, it’s Steven Spielberg. By 1981, he’d already proven it several times over with movies like Jaws. Then, pairing up with George Lucas, he created a modern action classic with Raiders of the Lost Ark, the first entry in the Indiana Jones franchise. Harrison Ford‘s dry humor adds so much to the character as the adventurer sets out on a journey to get to the Ark of the Covenant before the Nazis can.

Raiders of the Lost Ark is a fun epic built for the big screen. The settings are dazzling and John Williams‘ bombastic score is known by all. At the 1982 Oscars, the film won five trophies, including for Best Sound and Best Visual Effects. It’s a shame that cinematographer Douglas Slocombe didn’t win one too. He brought the elements to cohesion with skilled lighting techniques and lingering tracking shots. From the brilliant opening scene onward, Raiders of the Lost Ark showed audiences what they had to look forward to for the next decade.

6

‘Terminator 2: Judgment Day’ (1991)

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James Cameron‘s The Terminator is a mixture of horror and sci-fi, with a killer cyborg on the hunt for Sarah Connor (Linda Hamilton), the future mother of the human resistance. Just like he did with Aliens, following Ridley Scott‘s Alien, everything about Terminator 2: Judgment Day is bigger and better. Now, the Terminator (Arnold Schwarzenegger) is the badass good guy, and he’s tasked with protecting Sarah’s preteen son, John (Edward Furlong). With such a big plot, Cameron goes all in.

Terminator 2: Judgment Day is near the top of every list for the best action movie ever made. The CGI effects are revolutionary and a supplement to a non-stop plot with one big set piece after another. The semi vs motorcycle chase scene is shot with precision by cinematographer Adam Greenberg. Another chase scene, where Robert’s Patrick T-1000’s chases after the heroes in a helicopter that swoops under bridges, is stunning in its impossibility. It won four Oscars and flipped the script on what action was capable of doing.

5

‘Seven Samurai’ (1954)

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Akira Kurosawa is a filmmaking legend responsible for such classics as Rashomon and Ikiru. Seven Samurai, however, is his masterpiece. You want cinematic? How about an action film that’s 207 minutes long?! When news spreads that bandits are planning to invade a small town, the residents are desperate for help. This leads them to the seven samurai who can protect them.

That’s a too easy synopsis for such a giant movie. Kurosawa nails it with the execution. He takes his time, establishing his characters first and letting the suspense build. When the action reaches a crescendo in an all-out climax, the director has the viewer on the edge of their seat with his multi-camera fight scenes and sweeping shots. Kurosawa’s directing style influenced everything from the American westerns that came after to more modern action films.

4

‘The Raid: Redemption’ (2011)

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Written and directed by Gareth Evans, the Indonesian action film The Raid: Redemption is remembered for its innovations. It stars Iko Uwais as Rama, a rookie cop who is one of the only members of his team left alive when they’re gunned down during a raid on a drug lord’s territory. He and a few others are in a fight to death in one violent gun battle after another all the way to the stunning finale.

The Raid: Redemption is absolutely brutal in its violence. It’s like a non-stop video game where a new bad guy is around every turn for our hero to deal with. It does it all in quarters tighter than what Die Hard had to deal with. Despite its intense pace, Gareth does not give into the usual 21st century shaky cam tropes. He focuses on the action, letting it play out like a twisted painting leaping off the screen.

3

‘John Wick’ (2014)

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You can take your pick about which movie from this franchise to put on the list. All of them are action perfection, but we’ll go with the 2014 original John Wick. Directed by former stuntman Chad Stahelski, Keanu Reeves stars as the titular character, a hitman looking for a way out. He only wants to grieve for his dead wife, but one day, thugs break in and kill the puppy his wife had left him. Pushed to the brink, Wick fights back and slaughters everyone in his path.

John Wick is like a samurai movie with guns in place of swords. It’s not about easy point and shoot gun fights. Stahelski delivers highly-stylized and choreographed fight scenes in front of dark, slick colors. The fact that it was made by a man who once made stunts his livelihood shows. The plot is thin, but it more than makes up for it with its unrelenting mayhem. Keanu Reeves’ performance in the chaos resurrected a lagging career and made him one of the most famous actors on the planet all over again.

2

‘The Matrix’ (1999)

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Before John Wick, there was The Matrix. It defined pop culture and science fiction in 1999. Written by the Wachowskis, Keanu Reeves is a computer programmer named Neo who discovers that the world he’s living in is a simulation. Now he helps lead a revolution to break free with the likes of Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) as they battle the Agent Smiths (Hugo Weaving) programmed to stop them from getting out.

The cinematography, led by Bill Pope, in The Matrix was legendary at the end of the 20th century and has been copied often. The film won four much deserved Oscars for Best Film Editing, Sound, Sound Effects Editing, and Visual Effects. Perhaps most impressive of all is what is called “Bullet Time”, which allowed multiple cameras to film the same scene from different angles, which made the viewer feel like they were witnessing the camera swoop in through a still shot.

1

‘Mad Max: Fury Road’ (2015)

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Several entries on this list were so good that they launched a franchise. Then there’s Mad Max: Fury Road, the fourth movie in George Miller‘s sweeping epic and the first without Mel Gibson. Now played by Tom Hardy, the post-apocalyptic sees Max mostly playing second fiddle to Charlize Theron‘s Furiosa, a War Rig driver who has decided to fight back and save her people.

The original trilogy was highly regarded, but no one was prepared for Fury Road put on the screen. It’s an action movie pushed to the limits in every technical aspect. The sweeping desert setting is amazing to look at, the score will make you sweat, and the characters are perfect over-the-top zaniness. What really sets this one apart, though, is how hard it pushes. Once it gets going, it doesn’t slow down, with one spectacularly wild scene after another. Nothing has been able to compare to it since.