Over halfway through 2026, and it’s clear that this has been an incredibly successful year for horror, with standalone stories like Obsession debuting to commercial and critical success alongside new installments of beloved series like 28 Years Later: The Bone Temple. Bridging the subsections of this year’s original and franchise horror releases is Ready or Not 2: Here I Come, a sequel to the 2019 horror-thriller Ready or Not, a relatively young franchise in the landscape of horror film series. Directors Matt Bettinelli-Olpin and Tyler Gillet returned to helm the second film, with Samara Weaving once again trying to survive a murderous game of hide-and-seek.

Much like its predecessor, Ready or Not 2 is a bloody and entertaining experience that received generally positive reviews and achieved moderate success at the box office upon its release in March 2026. As of this writing, Ready or Not 3 is not currently in the works, but fans needn’t worry: there’s a similar film that’s available to watch for free that can fill the void. You’re Next, an American horror film directed by Adam Winguard, premiered at the 2011 Toronto International Film Festival and received a theatrical run in August 2013. While it may have missed out on some “best films of 2013” lists, it made $27 million at the box office against a budget of $1 million and left a positive impression on audiences — for good reason.

‘You’re Next’ is a Must-See Entry in the Slasher Genre

Image credit via Lionsgate.

The story of You’re Next instantly hooks the viewer: A young woman, Erin (Sharni Vinson), is at her boyfriend Cristian’s family reunion (A.J. Bowen) when she finds herself fighting for her life as the group is suddenly attacked by sadistic killers wearing animal masks. As the family is picked off one by one, Erin must turn to her bravery and her survivalist background to get through the night. While the set-up may lean on some tropes from other slasher and horror films, You’re Next quickly distinguishes itself thanks to Winguard’s keen direction and strong performances from the cast.

Before the killers even start picking people off, the tension is already high in the opening scenes. During dinner, family members trade passive-aggressive remarks across the table with dialogue and delivery so authentic that it could double as footage of a real family’s worst Thanksgiving dinner. Coupled with occasional handheld angles and shadowy lighting, it’s almost a relief when the killers do begin their murder spree, delivering violence that feels like it was inevitable with this group of volatile personalities. Even when the first relative is taken out by a crossbow bolt through the window, the dysfunctional family can’t stop verbally sniping at each other, weaving in moments of dark humor that continue throughout the film.

And when the violence does get going, it doesn’t let up. In less than a hundred minutes, nails, hammers, axes, crossbows, and even a blender come into play as Erin, Cristian, and the rest of the family go up against the masked killers. Without spoiling the film, it’s safe to say no one walks away unscathed, and looking away from You’re Next risks missing the moment in which the next relative meets their horrific end. The use of practical special effects, as can be seen on some of the gruesome close-ups, means that every blow, cut, and kill looks painfully real and keeps us watching until the jaw-dropping final shot.

Why Fans of ‘Ready or Not’ Will Love ‘You’re Next’

The elements cited in positive praise for the Ready or Not films can also be applied to You’re Next. Winguard’s film is highly entertaining just like Ready or Not and Ready or Not 2, moving at an equally fast clip with a blend of black comedy and delightfully bloody violence. For the viewers who enjoyed the set-up of Ready or Not, You’re Next has a similar premise, as the protagonist is also stuck in a remote location with the family of her significant other (in this case, her boyfriend, not her new husband). And also like Ready or Not, Erin is a worthy “final girl” as she and Grace both carry their films across the finish line with their inspiring and unbreakable determination to live.

That being said, You’re Next is very much its own film and worthy of praise in its own right. It may be similar to Ready or Not, but it is by no means the same experience. For instance, Grace knows who her assailants are, as her in-laws clearly reveal their murderous intentions to her, and their ritualistic game of hide-and-seek leans into the world of the supernatural. However, in You’re Next, the killers targeting Erin, Cristian, and Cristian’s family are strangers hidden behind masks (or are they?), which lands the story closer to the mystery genre and always firmly grounded in reality.

Furthermore, Erin and Grace are not the same person. Erin is as strong of a “final girl” as Grace, just in a different way. The fun of Ready or Not comes from watching Grace start off unassuming and unprepared, but eventually triumphing against the odds over her more experienced pursuers. Meanwhile, You’re Next provides the satisfaction of an already very capable Erin dominating her attackers with years of survivalist experience and her overall grit, all the while staying cool, calm, and collected. The audience likely recognizes before the killers do that they chose the wrong would-be victim when they put Erin in their crosshairs — and it’s so much fun to watch her prove that she is not, in fact, next.

You’re Next is currently streaming for free on Philo, Plex, Pluto TV, and the Roku Channel.

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Release Date

August 23, 2013

Runtime

94minutes

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After a 10-year gap during which he experimented with long-form streaming and glamorous advertisements, director Nicolas Winding Refn made his long-awaited return to feature filmmaking with Her Private Hell. Starring Sophie Thatcher and Charles Melton, the movie divided critics and audiences and grossed $1 million at the box office. Refn’s last film was the 2016 thriller The Neon Demon, which made around $3.5 million; before that, he directed Only God Forgives, which ended its run with $10 million. All of this is to say that Refn hasn’t replicated, nor shown particular interest in replicating, the box-office success of 2011’s Drive. The movie took a decidedly arthouse approach to mainstream entertainment, and grossed more than $80 million at the box office. Drive remains one of the most acclaimed cult classics of the 2010s, and now, the movie that it was modeled on is available to stream on HBO Max for its fans.

However, the film won’t be around for much longer, as it’s slated to be removed from the platform next month. The movie was originally released in 1967, which makes it nearly 60 years old. It follows a silent assassin who must uncover why he’s being targeted. The classic film was directed by Jean-Pierre Melville, and has influenced everything from Refn’s Drive, the John Wick franchise, and Frederick Forsyth’s bestselling novel The Day of the Jackal, which inspired a 1973 movie and a 2024 series. Defined by its cool aesthetic and Alain Delon’s central performance as the suave assassin, the film also influenced Martin Scorsese’s Taxi Driver, Luc Besson’s Léon: The Professional, and the Star Wars series The Mandalorian.

Here’s How Long You Have Left to Watch the Influential Assassin Movie on HBO Max

We’re talking, of course, about the landmark neo-noir thriller Le Samouraï. The movie now holds a “Certified Fresh” 92% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Le Samouraï makes the most of its spare aesthetic, using stylish — and influential — direction, solid performances, and thick atmosphere to weave an absorbing story.” Quentin Tarantino has spoken about the movie’s impact on fashion, while Variety critic Peter Debruge hailed it as “the coolest film ever made.” You can watch Le Samouraï on HBO Max until September 30, and stay tuned to Collider for more updates.

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Release Date

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October 25, 1967

Runtime

105 Minutes

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Director

Jean-Pierre Melville

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  François Perier

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  Le Commissaire

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  Nathalie Delon

  Jane Lagrange

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This week began on a sad note. On Sunday, August 16, actress Hayden Panettiere passed away at the age of 36. Many former co-stars have spoken out about her passing, which came a few months after the release of her memoir. In addition, Prince Harry and Meghan Markle have announced plans to move back to the U.K., drawing mixed reactions. There have been a few more updates in the political world, and The Blast has exclusives ranging from “The Secret Lives of Mormon Wives” to a legal expert weighing in on the “completely different” strategy playing out in the Tupac murder trial. Check out the latest news and updates in another edition of The Weekly Blast.

Hayden Panettiere Passed Away At Age 36

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Best known for her roles in “Heroes,” “Nashville,” and the “Scream” movie franchise, many fans took to social media to pay tribute to the beloved actress, who was open with her struggles with mental health and addiction.

A doctor once warned her that she could be “dead within five years” if she didn’t get her drinking under control, but she was determined to “leave the world” a better place in final remarks made before her sudden death.

According to the autopsy report, no signs of trauma were found that would have contributed to her death, although 911 dispatch audio said a female was in “cardiac arrest.” The dispatch audio reportedly referenced a possible overdose.

Her mother blamed their estrangement on a “toxic individual,” while actor Jack Coleman called out the “predatory” treatment that she faced from paparazzi. One director who previously worked with the actor also recalled talks about an intervention before her sudden passing.

Questions Have Been Raised About Her Boyfriend, Brian Hickerson

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Hayden Panettiere’s neighbor made some troubling claims about her boyfriend, Brian Hickerson, including repeated calls to 911.

Reports of his money troubles also resurfaced. It is not clear if the two were involved following her death, but one source claimed that he had “inserted himself” into her life. Yet another insider said that they had gotten back together in a romantic relationship before he passed away.

Prince Harry & Meghan Markle To Return To The UK

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Following brutal advice to “disappear professionally” as they faced another major Hollywood flop, Prince Harry and Meghan Markle are heading back to the UK with their two children, Prince Archie and Princess Lilibet.

One expert claims that the decision has Prince William and Kate Middleton “tearing their heart out,” while others have questioned what the move means for the brothers’ estrangement.

For Meghan Markle, it’s been said that she is dealing with “mixed emotions” regarding the move, which may have been fueled by growing financial concerns.

Ariana Grande Gets Political & More Trump News

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Ariana Grande has asked the White House to stop using her music once again. It’s not the first time that she’s made the request. The singer has never been shy about discussing politics with her fans, and openly supported Kamala Harris during the 2024 Presidential Election.

Meanwhile, current U.S. President Donald Trump is in hot water after he told a little boy that he wouldn’t have jumped in to rescue him after a near-drowning, prompting backlash online.

Trump also threatened “tremendous” consequences for Iran allies and pushed a new crypto bill – the Clarity Act – after his family’s crypto ventures generated more than $1 billion in 2025.

His wife, Melania Trump, is also reportedly about her husband’s allegedly close relationship with his aide, Natalie Harp. The aide’s brother has also spoken out about the “sad” reason she is “infatuated” with the current U.S. President.

The Blast Exclusives: Everything You Missed This Week

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This week, the “Sexiest Data Scientist,” Bianca Stanciu, revealed the unexpected compliment that men secretly yearn for.

Jen Affleck teased a “huge divide” on “The Secret Lives of Mormon Wives” spin-off.

One Vegas attorney broke down the “completely different” strategy playing out in the Tupac murder trial.

Edwin McCain joined a “Big Time Rush” star for an unexpected Olivia Rodrigo cover.

One popular Vegas influencer turned a childhood magic dream into reality with a brand new show.

See inside the $37,000 “Let’s Marry Harry” plane that took Harry Jowsey to Vegas!

Anya Taylor-Joy is on top of the world right now after the release of The Super Mario Galaxy Movie, which was the first feature film of 2026 to reach $1 billion at the global box office. Other movies such as Michael, Toy Story, The Odyssey, and Spider-Man: Brand New Day have also reached the milestone. Taylor-Joy can also be seen on Apple TV starring in one of the most underrated crime thrillers of the year, Lucky, with Timothy Olyphant. Later this year, she’s confirmed to return and reprise her role as Alia Atreides in Dune: Part Three, which opens in theaters on December 18. Her wacky thriller with Chris Evans, Sacrifice, has been acquired by Netflix for release later this year — safe to say ATJ is as booked and busy as any star in 2026.

One of the most underrated movies of Anya Taylor-Joy’s career came back in 2022 when she teamed up with director Robert Eggers for The Northman. Taylor-Joy previously starred in The Witch for Eggers, who has gone on to direct other hits like Nosferatu. The Northman infamously bombed at the box office due to its bloated $90 million budget — the film grossed only $75 million, but it’s become one of the most popular movies in the world on streaming over the last few years. Right now, it’s available to stream on Netflix, and the streamer has not announced any plans for it to depart the platform anytime soon. Alexander Skarsgård, Nicole Kidman, Claes Bang, and Ethan Hawke all have key roles in The Northman, which was co-written by Sjón and director Robert Eggers.

What Is ‘The Northman’ About?

The official synopsis for The Northman, which earned scores of 90% from critics and 64% from audiences on Rotten Tomatoes, reads as follows: “Prince Amleth watches his father slain and his mother stolen away, escaping with one vow burning in his heart: avenge his father, save his mother, kill his uncle. Years later, grown into a fearsome Viking warrior, Alexander Skarsgård’s Amleth infiltrates his uncle’s (Claes Bang) fortress in disguise, aided by a mysterious sorceress (Anya Taylor-Joy), as fate drives him toward a brutal reckoning.” The Northman is the perfect mash-up of Gladiator and Vikings, as it features some all-time great historical action scenes set against the backdrop of a world steeped in immersive Norse lore.

Check out The Northman before it’s removed from Netflix and stay tuned to Collider for more updates and coverage of Anya Taylor-Joy’s future projects.

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April 22, 2022

Runtime

137 minutes

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Superheroes are inescapable nowadays, but there was once a time when they were actually a novelty, especially on live-action TV. Although DC and Marvel now dominate even prestige television programming, it was NBC’s Heroes that reintroduced the genre to larger audiences back in 2006, when most people thought about it only as Saturday morning cartoons. Created by Tim Kring, it imagined a world where some individuals suddenly found themselves dealing with newfound superpowers, and it even introduced traditional comic book structures and narrative formats before they became a thing on visual media. With one of the best first seasons on 2000s TV and three competent following installments, now is the perfect time to binge or revisit Heroes, as it has just arrived on Netflix, too.

‘Heroes’ Told an Original Superhero Story on TV Before the Rise of Marvel and DC

When Heroes first premiered in 2006, “Save the cheerleader, save the world” was repeated ad nauseam among viewers and in marketing pieces, making it one of the most celebrated phrases in 2000s pop culture. It was one of the many things about the series that stuck with the audience, one of the first things people usually remember about it, and the simplest way to describe the story, really, as the cheerleader in question, Claire Bennet (played by the late and great Hayden Panettiere), plays a pivotal role.

It all begins when, after a solar eclipse, seemingly random people around the world discover that they now have superpowers. Claire has superhuman fast healing, Japanese office worker Hiro Nakamura (Masi Oka) controls space-time, New York nurse Peter Petrelli (Milo Ventimiglia) can mimic other powered individuals’ abilities, and so on. The scope of their powers varies between each person, but, in general, they try to keep their abilities concealed — until a common threat brings them together to prevent a catastrophe in New York.

Of course, not every superhuman intends to use their powers for good. The story is put into motion when Claire, the cheerleader, is targeted by a serial killer who has been killing superhumans with particular cruelty. Soon, the few non-powered humans who are aware of this new reality start organizing, too, and what starts as a collection of individual stories about destiny and responsibility quickly grows into a larger conspiracy with stakes being constantly raised for everyone.

‘Heroes’ Also Introduced Typical Comic Book Structure and Devices Into Live-Action Television

Image via NBC

If Heroes sounds too similar to superhero comic book stories, that’s entirely by design. Tim Kring conceived the story to be relatable to the larger audience, but still rooted in a typical comic book structure. The biggest difference from other regular series of that time is that, although Heroes does have four seasons, the story is actually divided into volumes; Seasons 1 and 2 are one volume each, while Seasons 3 and 4 are two volumes a piece, each with its own conflict, dynamics, and looming threat.

Besides structure, Heroes also draws from the storytelling language, framing each episode as if it were an actual comic book issue. They end in cliffhangers more often than not and work like pages in a larger, overarching story where different storylines converge. The same goes for the visual language of the series; the most obvious nod is the in-universe 9th Wonders! comics, but even the framing in most shots feels as if they were taken straight from a comic book. It’s no surprise, then, to learn that big names from the comic book industry also worked on Heroes, like writer Jeph Loeb and artist Tim Sale.

Nowadays, this is all easy to spot in Marvel movies and series, but it was Heroes that blazed a trail for these tools to be incorporated into live-action. Two years before the MCU even began with Iron Man and its crossovers and event-based storytelling filled with post-credits scenes as cliffhangers, the NBC series was already keeping audiences hooked for the following week, excited to see who could even save the proverbial cheerleader. No multiversal shenanigans here, just good old-fashioned character-driven storytelling.

‘Heroes’ Well-Built Mythology Helped Launch and Consolidate Many Acting Careers

Saving the cheerleader to save the world might be the entry point, but as it gets there (and, eventually, past it, too), Heroes builds one of the best and most elaborate mythologies on 2000s television, and that’s saying something considering it aired at the same time as Lost. Besides learning how to control and conceal their powers, each character also has to understand their place among the other superpowered individuals, and that usually comes at a high price in terms of personal sacrifice.

Building mythologies from the ground up often requires sprawling ensemble casts, too, and, luckily, Heroes has that, too. The undeniable best, Zachary Quinto‘s Sylar, easily remains among the best villains in the superhero genre. His polar opposite, Milo Ventimiglia’s Peter Petrelli, brought the actor to a wider audience between his works on Gilmore Girls and This Is Us. And, of course, Hayden Panettiere will always be remembered for her standout roles in Scream and Nashville, among many others, but for some of us, she will always, always be the most important cheerleader in the world.

So, watching Heroes nowadays has an interesting double effect. First, it’s about how superhero stories were told on TV before they became a huge cultural phenomenon, and how much of what made the genre so big was already making Heroes special. Second, it’s like watching a time capsule of actors before they became the stars everyone knows them as today, and not just limited to Quinto, Ventimiglia, and Panettiere, of course. Considering this legacy, there’s just no better weekend binge than Heroes right now.

Heroes is available to stream on Netflix.

The weight of expectation hangs heavy over any HBO television production. Audience anticipation of a spectacle of unflinching storytelling and high-end production value is ever present, but this air of prestige and acclaim can be treacherous, especially when a series pivots away from tradition in an attempt to offer something completely original. While HBO has founded its brand on the back of series that excel in this regard, the network has also produced a number of hidden and misunderstood gems that simply didn’t click with viewers on release.

This can be for any number of reasons, from the first handful of episodes of a show being considered relentlessly bleak, thus seeing the series become known as a morbid and nihilistic slog, to detailed and intricately complex storytelling being received as incomprehensible by many who then label the show a convoluted mess. Whether they were misunderstood by the masses, maligned by critics, or dismissed by too many, these TV series should all be viewed as being among the network’s greatest releases, but they seldom are.

6

‘We Own This City’ (2022)

Image via HBO

Created by David Simon and George Pelecanos—two of the forces behind HBO’s The Wire—and based on Justin Fenton’s nonfiction book of the same name, We Own This City uses a shocking basis on real-life events to analyze corruption in the police system, the bureaucratic and cultural reasons why it is so hard to punish, and the intensifying divide between essential societal institutions and the public they are meant to serve. Framed as the FBI’s investigation into the illegal practices of the Baltimore Police Department’s Gun Trace Task Force, the six-part miniseries implements intense non-linear plotting that jumps sporadically between points between 2003 and 2018.

It is undeniably an approach that demands attentive viewing from audiences, but We Own This City was too quickly dubbed a convoluted and heavy-handed crime drama that veered away from the tone of David Simon’s earlier work in the genre. This reputation of excessive complexity and overbearing thematic work has endured to an extent, seeing the miniseries become something of a forgotten masterpiece when its piercing urgency and eloquent dissection of such relevant issues is timely. Brilliantly analytical, masterfully layered, and exuding a realism and intensity that is truly unforgettable, We Own This City is leagues better than its reputation of clunkiness would suggest.

5

‘Tokyo Vice’ (2022–2024)

Image via HBO Max

To some extent, Tokyo Vice was shrouded in controversy and dismissed by many long before its first episode had even aired. There were multiple reasons for this, from the casting of Ansel Elgort in the lead role to the dubious accuracy of Jake Adelstein’s memoir, which was the series’ source material, and even the decision to explore the Japanese underworld through an American protagonist. To be fair, all of these criticisms are valid, and the series was not at all helped by HBO’s suspiciously low-key marketing campaign and abrupt cancelation after its second season. But is Tokyo Vice’s reputation as a hollow “White savior” narrative entirely fair?

The answer to that question is yes and no. When the series focuses on Elgort’s American journalist, it lacks essence and punch. However, when it pivots away from him and invests more in the characters that surround him, such as Ken Watanabe’s Detective Katagiri and Sho Kasamatsu’s Yakuza enforcer, it soars as a rich and engrossing descent into a fascinating world of neon-lit style and cut-throat morality. Also bolstered by Michael Mann’s creative involvement, Tokyo Vice does largely surpass its uninspiring reputation, even if it still holds its fair share of faults.

4

‘Entourage’ (2004–2011)

Image via HBO

There was a time when Entourage was lauded as being the flagship series of HBO’s ventures into comedy television. But times change, and with them, so too do cultural sensitivities, attitudes, and interests. This point of evolving social standards is always difficult to address with regard to comedy entertainment, and Entourage is simply another once universally beloved genre highlight that has since come to be viewed as archaic, derogatory, and tastelessly offensive. To a point, the matter of whether this view is a valid criticism or a knee-jerk overreaction is up to each individual, but there are several elements of the series that its critics overlook.

It follows Vincent Chase (Adrian Grenier), a young breakout movie star relishing his new life of luxury and wealth in L.A. with his childhood friends. It is easy to regard as a shallow male fantasy that combines its crude irreverence with casual misogyny, but there is a point to be made that Entourage never treats its main characters as beacons of morality. While they’re fun and relatable, they are marked with a satirical edge rather than idolized glory. It may not pry into the characters’ adolescent wish-fulfillment lifestyles with quite as much depth as some would like, and its sense of escapist entertainment can, at times, stray close to casual endorsement, but Entourage has enough sense as an insider-look of Hollywood lavishness to mostly evade its reflective reputation as a harmful, outdated, and demeaning series, even if its eight-season run did get a bit long in the tooth.

3

‘Station Eleven’ (2021)

Image via HBO Max

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Over the past 15 years particularly, television lovers have been given a set vision of the end of the world. It doesn’t matter whether it’s due to zombies, humanity-decimating viruses, or nuclear war, post-apocalyptic drama is supposed to be bleak pessimism accentuated by glimmers of hope and, ideally, plenty of action. Station Eleven indulges none of this, with the miniseries adaptation of Emily St. John Mandel’s novel occupying an air of optimism and humanity as it follows a group of traveling actors roaming between settlements 20 years after a devastating flu virus decimated civilization.

An important point to make regarding Station Eleven’s initial reception is that it did air in 2021, amid the world of COVID-19, which perhaps didn’t make a story of deadly flus and hopeful Armageddons all that appealing. Moronic review bombing targeting the series’ diverse casting only added to its fledgling reputation. It was an unfortunate perfect storm that saw what is a beautifully tender and profoundly emotional exploration of humanity dwindle in the eyes of many as an uneventful misfire of apocalyptic suspense. That being said, Station Eleven did earn critical acclaim and has come to be viewed as something of a television cult classic.

2

‘Generation Kill’ (2007)

Image via HBO

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HBO has mastered large-scale war drama through miniseries like Band of Brothers and The Pacific, both of which were defined by the enormity of their productions and the sentimental humanity that serves as a tragic undercurrent to the sheer brutality of war. Generation Kill operates much differently, and anyone who went into it expecting the same balance of grandiose, albeit harrowing, spectacle and relatively comfortable morality would have had their expectations immediately shattered. Based on Evan Wright’s nonfiction book, the seven-part miniseries delivers an unflinching dramatization of the US Marine Corps’ 1st Reconnaissance Battalion, immersing viewers in the soldiers’ experiences during the first weeks of the Iraq War.

Defined by a tone of coarse realism, Generation Kill defies Hollywood’s penchant for realizing war drama with patriotic fervor and comfortable moral challenges. Even the unit camaraderie is presented with an acidic, darkly comic edge that normalizes the characters, but distances them from the traditional image of war heroism. Also buoyed by its authentic illustration of dysfunctional leadership, military bureaucracy, and the frustrating monotony of a soldier’s journey, Generation Kill is the definitive examination of modern warfare in media thus far. It’s a shame that it has come to be a largely underappreciated gem that is more renowned for its slow pacing, modest budget, bleak themes, and its less reassuring image of America’s armed forces than its dramatic ferocity and punishing commitment to realism.

1

‘The Leftovers’ (2014–2017)

Image via HBO

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The Leftovers is perhaps HBO’s single most underrated production of all time. The three-season series unfolds in a world of grief, loss, and unresolved trauma. On October 14, 2011, two percent of the world’s population mysteriously vanished without a trace in an event that is known as the “Sudden Departure”. The show opens three years later, plunging viewers into a world of unedifying grief and depression, festering nihilism, and simmering unrest between people who believe humanity must never forget the “Sudden Departure” and those who simply want to move on with their lives.

It is an interesting series to analyze in terms of its cultural impact and reputation. Its narrative style isn’t so much plot-driven as it is a lingering meditation on characters, thematic ideas, and expressions of misery. Needless to say, it is a departure from traditional television storytelling that can take some time to acclimatize to. However, many viewers didn’t, and instead of persisting, they wrongly dismissed the series as a relentlessly pessimistic and depressing watch that refuses to give satisfying, easy answers. It has led to something of a split reputation wherein some people deride it as a laborious, soul-sapping bore while others herald it as being one of the greatest feats in television history. That The Leftovers is viewed as anything other than a flawlessly written, perfectly performed, and ceaselessly absorbing masterpiece that epitomizes deep television drama at its empathetic and excruciating best is an injustice.

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The Leftovers

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Release Date

2014 – 2017-00-00

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Showrunner

Damon Lindelof

Writers

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Damon Lindelof, Tom Perrotta

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The 21st century has been excellent for TV fans, from those who love an intense drama, to those who prefer a cozy sitcom. The last 25 years have seen the premiere of a number of perfect drama series that have since become classics, including Breaking Bad, The Leftovers, and Succession. Similarly, so many fantastic sitcoms have been released in the last 25 years, and there are still some truly fantastic ones that are currently ongoing.

Among all the best sitcoms of the last 25 years, there are only a select few that are truly perfect. These series have hilarious and memorable characters, and they were generally able to maintain a strong quality throughout the duration of their runs. These shows also have sharp writing, episodes that stand out as some of the funniest of all time, and compelling character dynamics. These are the most perfect sitcoms of the last 25 years, ranked.

8

‘Happy Endings’ (2011–2013)

Image via ABC

Like all the best hangout sitcoms, Happy Endings follows a codependent friend group living in a big city. Jane (Eliza Coupe), Brad (Damon Wayans Jr.), Alex (Elisha Cuthbert), Dave (Zachary Knighton), Penny (Casey Wilson), and Max (Adam Pally) have all been joined at the hip for years. When Alex leaves Dave at the altar, though, their friend group starts to fracture. Thus, everyone else has to figure out how to try to all stay friends now that Dave and Alex are no longer a couple.

Happy Endings was ssadly canceled after just three seasons, but it is truly perfect from start to finish. The central friend group is one of the best in sitcom history. They are all more than a little bit obsessed with each other, and they don’t really know how to act with anyone outside of their group. They have their own strange rituals, like group insult pile-ons, as well as their own made-up holidays that they celebrate. Happy Endings has a hilarious and over-the-top sense of humor, and each of its episodes is uniquely funny and strange.

7

’30 Rock’ (2006–2013)

Image via NBC

Just two decades after it first aired, 30 Rock is widely considered to be one of the best sitcoms of all time, and for good reason. The series follows the writers, actors, and executives behind a sketch comedy show called The Girlie Show. When network executive Jack Donaghy (Alec Baldwin) is brought in to make some major changes, head writer and showrunner Liz Lemon (Tina Fey) struggles to adjust to this new development. One such change includes changing the show’s name to TGS with Tracy Jordan and bringing in the infamous Tracy Jordan (Tracy Morgan) to star in it.

30 Rock is one of the wittiest and most clever sitcoms of all time. It is packed with jokes, both in the writing, and in clever visual gags. The characters are all some of the best in sitcom history, with unique traits and flaws that drive quite a bit of the show’s humor. Additionally, 30 Rock has a brilliant and wildly funny blend of satire and meta-humor that it implements through its show-within-a-show.

6

‘What We Do in the Shadows’ (2019–2024)

Image via FX

Based on the movie of the same name, What We Do in the Shadows is a hilarious mockumentary series that follows a group of vampires who all live with their familiar in a Staten Island mansion. Nandor the Relentless (Kayvan Novak), Laszlo Cravensworth (Matt Berry), and Nadja of Antipaxos (Natasia Demetriou) are all traditional vampires who have spent the last century putting off their assigned goal of taking over the Tri-State Area. Colin Robinson (Mark Proksch) is an energy vampire who feeds by boring people out of their minds.

Guillermo de la Cruz (Harvey Guillén) is Nandor’s human familiar who has been waiting years for Nandor to finally turn him into a vampire. In the meantime, Guillermo assists all of the vampires with everything from finding people to feed on, to figuring out how to operate their emails. What We Do in the Shadows is a laugh-out-loud funny series with creative vampire lore and some of the best sitcom characters of the last 25 years, and each season of the series is truly fantastic.

5

‘Abbott Elementary’ (2021–Present)

Image via ABC

Abbott Elementary is still ongoing, with its sixth season premiering this coming fall. That said, the first five seasons of the series are absolutely perfect, and there’s no doubt that the show will keep this up when it returns. The series follows the faculty and staff of Abbott Elementary School, a severely underfunded public school in Philadelphia. Led by the unconventional Principal Ava Coleman (Janelle James), the teachers do their best to help their students, despite their limited resources.

Abbott Elementary is an absolute standout of the 2020s, with a hilarious and distinct setting, as well as uniquely quirky characters. The series draws attention to real-world issues in education, but it is also just deeply funny. Abbott Elementary has sharp writing, and each episode is packed with jokes and hilarious bits. Each season has its own individual arc, including last season, when the teachers and students of Abbott had to adjust after relocating to an abandoned mall.

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‘New Girl’ (2011–2018)

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New Girl follows Jess Day (Zooey Deschanel), an optimistic woman who needs to find a place to live after a bad breakup. Naturally, she decides to move into a loft with a group of guys whom she found on Craig’s List. Nick Miller (Jake Johnson) is recovering from a bad breakup of his own, while Schmidt (Max Greenfield) is trying to prove himself socially, and Winston Bishop (Lamorne Morris) is adjusting to his return to the U.S. after his time away playing basketball in Latvia.

Jess immediately comes into the loft with a great deal of energy, eager to get to know her new roommates. She’s very different from what they’re used to, but they all quickly strike up a close friendship with her that continues throughout the duration of the series. New Girl is one of the coziest sitcoms of all time, and it is also just very funny. Its characters are some of the very best in sitcom history, and its over-the-top sense of humor is an absolute delight.

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‘It’s Always Sunny in Philadelphia’ (2005–Present)

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It’s Always Sunny in Philadelphia is still going strong after over two decades, with its eighteenth season currently airing. The series follows a tight-knit friend group of people who can also barely stand each other: Dennis (Glenn Howerton), Dee (Kaitlin Olson), Mac (Rob Mac), Charlie (Charlie Day), and Frank (Danny DeVito). In between poorly running a bar together, they wreak havoc on pretty much everyone with whom they cross paths.

It’s Always Sunny in Philadelphia is as funny now in its later seasons as it was when it first aired. The gang have had the exact opposite of character development over the years, only becoming more set in their ways with each passing season. Each episode, they concoct a new scheme in order to either get something that they want, or to get out of a situation that they don’t want to have to handle. On top of being absolutely hilarious, It’s Always Sunny in Philadelphia also expertly tackles heavier themes and delivers poignant emotional scenes when the show’s storylines call for it.

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Community follow Jeff Winger (Joel McHale), a successful Colorado lawyer who faked his college degree. When Jeff’s lie is exposed, he has to become a student at the local Greendale Community College for the next (at least) four years. There, Jeff takes an interest in his classmate, Britta Perry (Gillian Jacobs). In order to get her attention, he forms a fake Spanish study group, which accidentally and quickly turns into an extremely close and codependent friend group.

Even after a little over a decade, Community still hasn’t really concluded, because it still has a movie on the way. That said, its six seasons tell an incredible and complete story – and they’re also absolutely hilarious. Greendale Community College is one of the best sitcom settings of all time, with its wonderfully weird classes and strange traditions. Additionally, each member of the study group is an excellent, complex, and delightfully strange character.

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‘The Good Place’ (2016–2020)

The Good Place follows Eleanor Shellstrop (Kristen Bell), a selfish woman who has just died in a grocery store cart accident. Eleanor is then sent to live out her afterlife in an idyllic neighborhood in The Good Place, but she quickly realizes that she was sent there by mistake. Desperate to avoid getting caught and sent to The Bad Place, Eleanor asks her mistakenly-assigned soulmate, former Ethics and Moral Philosophy professor Chidi Anagonye (William Jackson Harper), to teach her how to be a good person.

The Good Place is truly the most perfect sitcom of the last 25 years, with phenomenal and intentional storytelling that all builds up to one of the most beautiful series finales of all time. Each season fits very well together, while also having its own overarching storyline that drives it. Furthermore, The Good Place fully utilizes its unique setting and premise for comedy that is absolutely hilarious and outlandishly strange.

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The Good Place

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Release Date

2016 – 2020-00-00

Directors

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Dean Holland, Beth McCarthy-Miller, Morgan Sackett, Michael Schur, Jude Weng, Trent O’Donnell, Rebecca Asher, Linda Mendoza, Claire Scanlon, Ken Whittingham, Kristen Bell, Michael McDonald, Tristram Shapeero, Tucker Gates, Alan Yang, Julie Anne Robinson, Lynn Shelton

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