An ending can make or break a movie. Audiences will forgive clunky dialogue, ridiculous action, or paper-thin villains as long as the finale delivers a satisfying payoff. There are subpar movies with great endings that make audiences walk away feeling high, but there are also entertaining movies that plunge themselves into ridicule because they fail to stick the landing. Some endings are so frustrating that they overshadow everything that came before them, leaving viewers more annoyed than thrilled once the credits roll.

Here, we take a look at some action movies with the worst endings. Most of these movies have strong foundations, but they just forgot to conclude them neatly. These movies stumble into endings that feel unfinished, overly convoluted, emotionally hollow, or simply absurd. From fake-out conclusions to inconsequential universe-breaking twists, these action movies crash-land their endings and become memorable in ways they do not want. Warning: spoilers galore!

10

‘The Grey’ (2011)

Image via Open Road Films

The Grey follows a group of oil workers stranded in the Alaskan wilderness after a plane crash. Led by the group’s sharpshooter John Ottway (Liam Neeson), the men have to withstand freezing conditions and a relentless pack of wolves hunting them one by one. The film also stars Frank Grillo and Dermot Mulroney.

The Grey is not a bad film at all, and its infamous ending is actually in line with its introspective and philosophical tone. However, the marketing and trailers promised the audience “Liam Neeson versus wolves,” when it was actually a gritty, character-driven story. The ending sees Ottway preparing to fight the alpha wolf in what appears to be an inevitable last stand, only for the movie to cut to black before the battle begins. There is a brief post-credits shot which shows both the wolf and Ottway lying on the ground, both still breathing weakly. Depending on where you stand, the ending can be considered a terrible one.

9

‘Terminator Genisys’ (2015)

Image via Paramount Pictures

Terminator Genisys attempts to reboot the Terminator franchise by setting it on a different timeline. The film follows Kyle Reese (Jai Courtney) as he travels back in time to protect Sarah Connor (Emilia Clarke), only to discover that Sarah is now a seasoned fighter raised by an aging Terminator (Arnold Schwarzenegger) and Skynet is evolving into a new global operating system called Genisys.

The setup of Terminator Genisys is already wobbly. The film has one of the most badass and iconic characters being called Pops, and it is a standalone entry, but you still have to be familiar with the franchise to fully understand it. Its ending that teases future sequels undid everything that the characters went through. After seemingly defeating the immediate threat, the ending still teases that Skynet survives, clearly setting up sequels that never happened. Nothing feels resolved because Genisys is obsessed with launching a new trilogy instead of telling a complete story.

8

‘Edge of Darkness’ (2010)

Image via Warner Bros.

Edge of Darkness follows Thomas Craven (Mel Gibson), a Boston detective investigating the murder of his activist daughter, Emma (Bojana Novakovic). Believing that he was the intended target, he starts a mission to find out who’s responsible and uncover corporate and government corruption in the process.

As his first leading role after a brief hiatus following a notorious controversy, Mel Gibson shines in this action thriller. Helmed by Martin Campbell, who also directed Casino Royale, it is a gritty revenge flick with an ambitious storyline. However, its ending is too tacky for the film’s tone. After uncovering the conspiracy, Craven dies at the hospital before the spirit of his daughter comes to him and leads him to the bright light, which will probably trigger unintentional laughter. The film bombed at the box office, most likely because of its generic title and Gibson’s public persona, but that cheesy ending also did not help.

7

‘Savages’ (2012)

Image via Universal Pictures

Savages follows two California marijuana growers, Chon (Taylor Kitsch) and Ben (Aaron Taylor-Johnson), whose operation attracts the attention of a violent Mexican cartel. They share a romantic relationship with O (Blake Lively), and together they become trapped in a war with the cartel that escalates when O is kidnapped.

Leveraging the hottest young actors at the time, Savages is a solid crime film up until its fake-out ending. For a few minutes, the ending actually commits to a nihilistic tragedy. The three leads appear to die together in a murder-suicide after everything collapses around them; it’s bleak and honestly fitting for the story. Then the movie immediately reveals that the entire sequence was a dream imagined by O and that they actually survive and escape to start a new life abroad. It’s a Hollywood twist ending that doesn’t belong in this film, which is about violence and moral decay.

6

‘Extinction’ (2018)

Image via Netflix

Extinction follows Peter (Michael Peña), a factory worker haunted by recurring nightmares about an alien invasion destroying humanity. His visions begin affecting his personal life and mental health until the invasion suddenly becomes real. Massive alien forces attack the city, forcing Peter, his wife Alice (Lizzy Caplan), and their two daughters to find safety.

Extinction is one of the very first studio films to be dumped on Netflix, so that says something about its quality. It has an intriguing premise executed badly, hinging on a big twist that reveals that these characters are sentient AIs, and the aliens are humans trying to reclaim Earth. It is a smart twist, but the film’s ending is unsure about who to root for, as the AIs are sealed off and the humans successfully seize the city. So, are we supposed to be on Peter’s side, whom we have been following from the start, or the humans? The twist muddles this perspective, and the film itself crumbles thanks to it.

5

‘Lucy’ (2014)

Image via Universal Pictures

Lucy follows the titular character, played by Scarlett Johansson, as an ordinary woman forced to transport a synthetic drug in her stomach. That drug accidentally leaks into her bloodstream, giving her rapidly expanding mental and physical abilities. As she unlocks her full brain powers, she gains powers ranging from telekinesis to mind control to reality manipulation.

By the climax, Lucy has become incredibly powerful, even transcending human powers. The ending is infamous because it crosses the line from ambitious to absurd. Lucy literally transforms herself into an omniscient entity who dissolves into space and time before leaving behind a USB drive containing infinite knowledge; basically, she becomes a cosmic supercomputer, meaning all her powers are equivalent to a programme on a USB stick, which is disappointing. Even more disappointing is that the film suggests that all that knowledge can be contained.

4

‘Sweet Girl’ (2021)

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Sweet Girl follows grieving husband Ray Cooper (Jason Momoa), whose wife died after the company pulled the drug that would save her off the market. As Ray and his daughter Rachel (Isabela Merced) try to expose the corruption within the company, they become targets, chased by hitmen.

After Ray and Rachel spend most of the movie on the run together, there is a twist revealing that Ray actually died earlier in the film and that Rachel has been imagining him while she carried out all the revenge missions. It is a nonsensical and bizarre twist that may have worked well in movies like Fight Club or A Beautiful Mind, but Sweet Girl lacks the careful construction of Rachel’s psychological state and journey to justify it. It gets worse too. Rachel continues to go on the run and exchanges all her money for cryptocurrency, which is a terrible financial decision to make in this economy.

3

‘The Flash’ (2023)

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The Flash centers on Barry Allen (Ezra Miller) using time travel to prevent his mother’s (Maribel Verdu) murder. He accidentally creates an alternate universe where Kryptonians led by General Zod (Michael Shannon) invade Earth, and he meets Supergirl (Sasha Calle) and another version of Batman (Michael Keaton). Now, he has to return to his original universe and try to stop different worlds from colliding.

The core story is actually very strong. In Barry’s journey through time, he realizes that he cannot undo what’s done in the past, but he can try to make it right, and the scene where he briefly reunites with his mother is touching. However, everything fails because the film, and most likely the studio, wanted to push the multiverse aspect when in fact, it is very distracting and inconsequential to the story. After Barry helps his father win, the film ends with a multiverse-breaking in-joke where he meets George Clooney’s Batman. The result is an expensive misfire that further sinks the DCEU.

2

‘Next’ (2007)

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Next follows Cris Johnson (Nicolas Cage), a Las Vegas magician whose secret trick is that he has the ability to see two minutes into his future, leading the government to recruit him to stop a nuclear terrorist attack by using his powers. The film also stars Jessica Biel and Julianne Moore. Admittedly, the movie has a laughable premise by today’s standards, yet the sheer star power sells it.

Alas, it has one of the most notorious cop-out endings in modern action cinema. After the terrorists detonate a nuclear bomb and countless people die, the film reveals that the entire final act was merely one of Cris’ visions of the future, which does not make sense because his whole shtick is that he can only see two minutes, not like a whole day. So, he simply rewinds the story by warning the FBI ahead of time. A similar trick is also used in Twilight Saga: Breaking Dawn Part 2, but to a much more successful effect. In this film, it just felt lazy instead of shocking.

1

‘How It Ends’ (2018)

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How It Ends follows Will (Theo James) as he travels across a collapsing America with his girlfriend’s father, Tom (Forest Whitaker), after a mysterious apocalyptic event cuts off communication and plunges the country into chaos. As they travel to Seattle to find her, they find that roads are blocked by the military, finding themselves in the middle of desperate people trying to survive the disaster.

For a film with the title How It Ends, it never shows how it actually ended because it just abruptly stops. After spending most of its runtime building suspense around the apocalypse, Will reunites with her girlfriend, and they just continue their journey in post-apocalyptic America. It’s akin to that fake-out ending in The Simpsons Movie, but here, the film just continues to the end credits. It feels unfinished, as if the filmmakers ran out of ideas of how to close the film. Movies can leave questions unanswered, but maybe it should not be titled How It Ends.

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How It Ends

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Release Date

December 31, 1969

Runtime

113 minutes

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Director

David M. Rosenthal

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Lost is a TV show that dabbles in a couple of different themes. It follows a group of plane crash survivors, each of which has their time to shine in the spotlight thanks to the use of flashback scenes. However, they island they crash land on is more than meets the eye, as they encounter things beyond human understanding. These things let the show dip its toes into both sci-fi and fantasy.

The show, created by J. J. Abrams, famously tapers off in quality near the end, but is also known for being an all-time classic. Many people watch it over and over again, likely because the plot is so complex that multiple viewings are pretty beneficial. It’s not the most rewatchable fantasy TV show by a mile, though. There are a couple that are even more rewatchable.

6

‘Avatar: The Last Airbender’ (2005–2008)

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Avatar: The Last Airbender might just be one of the most rewatchable cartoons of all time. A Nickelodeon original, it forgoes the typical Nick format and focuses more on the story than on the outrageous comedy. It’s not that it doesn’t have its fair share of laughs; it just places more attention on the continuity of things. This means that, unlike other Nick comedy series, this show can’t be picked up and dropped at a whim; it has to be watched from beginning to end in order to be understood.

The story follows a continent called the Four Nations, which is comprised of… well, four nations. These nations correspond to one of the elements: air, fire, earth, and water. The Fire Nation has become industrialized and begins a conquest against the other nations. The other nations, and their elemental sorcerers called “benders,” fight back valiantly, but are quickly losing. In the midst of a continent in chaos, it is said that a chosen one called the Avatar will arise, master the four elements, and bring harmony to the land. This show is so rewatchable because it’s funny, it’s got heart, an amazing world, and some genuine moral wisdom. It’s good for kids and adults, because it offers some sage life advice that we all could do well to remember. Evidently, Netflix knows people love rewatching this series, because they came out with a live-action adaptation in 2024.

5

‘Shadow and Bone’ (2021–2023)

Image via Netflix

Shadow and Bone is a high fantasy series set in author Leigh Bardugo‘s Grishaverse, a shared universe where a significant chunk of her bibliography takes place. Unlike traditional high fantasy stories, which resemble Medieval Europe, this series feels more steampunk-ish and features a world more akin to the Victorian Era than the Middle Ages. Unfortunately for its dedicated fans, this show was axed after just two seasons. It’s not that it was bad–quite the opposite, in fact–it’s just that it wasn’t pulling in the ratings it really needed to succeed.

However, its fans still watch it, as do many of the readers of the original book series. The show was lauded for having witty, quippy dialogue, which is genuinely laugh-out-loud hilarious at times. Fans also adored its immersive world, unique setting, cast of lovable characters, and subtle punchlines, some of which are easy to miss if it’s your first time viewing. Even though it doesn’t really have a lot of episodes and is a fantasy series that can be finished in a weekend, it is still being rewatched. This is because there’s quite a bit to miss your first time around, and because the jokes and the world just never get old. Actually, it’s kind of a good thing that it’s so short, because it’s much easier to binge and re-binge that way.

4

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

Image via FX

What We Do in the Shadows has a pretty comical premise, true to its nature. This fantasy/horror/comedy is a simple “what if?” story, centering on what would happen if a bunch of vampires were dropped into the middle of present-day New York City. Obviously, these vampires would be pretty out of their element without Gothic castles and isolated landscapes, so a lot of hilarious situations arise as the vampires struggle to navigate through this new, weird world of ours.

The show is based on a 2014 movie of the same name, both of which were created by Taika Waititi, who is sort of known for his dark comedies. This show oozes his classic style, but also feels like a breath of fresh air in a sea of fantasy TV shows. It’s funny, raunchy, but also pretty serious at times, which is where it really shines. It’s a super fun show that never gets old, especially with how a lot of its punchlines can fly under the radar. Rewatch this one, and you’re bound to get a joke that you didn’t get last time, and this is probably true no matter how many times you rewatch it.

3

‘Buffy the Vampire Slayer’ (1997–2003)

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Buffy the Vampire Slayer was a massive hit for its time, for multiple reasons. The show stars Sarah Michelle Gellar as Buffy, who is an ordinary teenage girl by day, and a professional monster hunter by night. This was one of the earliest shows to pioneer the “monster-of-the-week” format, though it was far from the first to invent it. In short, vampires aren’t the only thing that Buffy is capable of slaying. This show is a lot less one-dimensional than it seems on the surface, however.

In fact, it became such a hit because it’s surprisingly relatable. Buffy might be a gifted individual with a really cool and dangerous, yet fictitious job, but she still has to navigate through the daily life of an adolescent. She still has to deal with the awkwardness of puberty, of the desire to fit in and belong, of having crushes, of seeking acceptance, and of finding her way and her purpose in life. Despite the fantastical setting, many of the things that Buffy feels are things that most people can relate to. It’s a great rewatch if you’re feeling lost in life, but also a great first watch if you happen to be a teenager yourself. It perfectly nailed the social climate of the late 90s and early 2000s, which is why it practically defined the era. Beyond that, people still rewatch this classic fantasy show today for nostalgic purposes.

2

‘His Dark Materials’ (2019–2022)

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His Dark Materials is based on a trilogy of novels by Phillip Pullman. Appropriately, this HBO series only lasted three seasons, one for each book. This is actually the second attempt at adapting the original series, following a disastrous movie adaptation in 2008. This movie was so bad that all plans for a franchise were canceled, and Hollywood refused to lay a finger on the books for over a decade. Make no mistake, though, this TV adaptation is much more faithful and has much higher quality.

The story is about a tyrannical organization called the Magisterium, which controls much of this parallel version of Earth. True to their name, they deal heavily in magical concepts and ideas, repressing people’s innate magical gifts and their special connection to their shape-shifting animal companions, called daemons. Standing against them is a youth named Lyra Belacqua (Dafne Keen), who has a daemon named Pantalaimon (Kit Connor), or “Pan” for short. The reason His Dark Materials is so rewatchable is that the show was made by fans of the book, who packed a lot of love into this series. There are countless references and Easter eggs to find, many of which only book readers will notice, and it’s almost impossible to catch them all on the first viewing. As such, the more one rewatches it, the more one notices about it, especially if they’ve read Pullman’s work.

1

‘Supernatural’ (2005–2020)

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Supernatural lasted a whopping 15 years before coming to a close, so you know they had to be doing something right. The story follows the two Winchester brothers, paranormal investigators who travel across the continental United States searching for new cases to tackle. But the things they encounter go beyond the simple ghosts and ghouls, as they frequently deal with vampires, demons, werewolves, and other monsters from folklore. This is one of those “monster-of-the-week” shows, which is to say, each episode features its own monster, or creature that the brothers do battle with.

Supernatural has a little bit of everything. It is primarily a drama, but it also includes bits of sci-fi, fantasy, horror, and its fair share of comedy as well. The main reason it’s so rewatchable is that it isn’t afraid to experiment and go outside its typical format to do something new. For example, one episode is entirely a musical, with little explanation given as to why the characters are suddenly singing everything they say. There’s just no telling what will come next, or how the show will surprise you in the following episode, which is why it never gets boring to rewatch.

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Release Date

2005 – 2020

Network

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The WB, The CW

Showrunner

Eric Kripke

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Directors

Philip Sgriccia, John F. Showalter, Kim Manners, Thomas J. Wright, Charles Beeson, Guy Norman Bee, Richard Speight Jr., Mike Rohl, John Badham, Steve Boyum, Amyn Kaderali, Jensen Ackles, Tim Andrew, Eduardo Sánchez, Jeannot Szwarc, P.J. Pesce, Nina Lopez-Corrado, James L. Conway, amanda tapping, J. Miller Tobin, Stefan Pleszczynski, John MacCarthy, Jerry Wanek, Ben Edlund

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Writers

Meredith Glynn, Davy Perez, Raelle Tucker, Cathryn Humphris, Brett Matthews, Nancy Won, John Bring, Ben Acker, Daniel Knauf, David Ehrman, James Krieg, Trey Callaway

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Back in April, the world was treated to their first look at the third outing of everyone’s favorite nihilistic psychic teen. It was confirmed that Wednesday Season 3 had entered production in Ireland, with Jenna Ortega back at Nevermore Academy to face her toughest case yet. The search for Enid (Emma Myers) is on, with Tyler (Hunter Doohan) looking set to return, and Winona Ryder joining the cast after teaming up with Ortega and Tim Burton on the legacy sequel Beetlejuice Beetlejuice.

It is likely that Myers, in particular, will play a huge role in Wednesday Season 2, with the actress continuing to impress in her young career to date. However, this isn’t her best small-screen performance, with that coming as Pip Fitz-Amobi in the cozy British murder-mystery series A Good Girl’s Guide to Murder. Based on Holly Jackson‘s popular book trilogy, the recent arrival of the second season on Netflix, which adapts the second installment, Good Girl, Bad Blood, is already proving hugely popular.

At the time of writing, A Good Girl’s Guide to Murder Season 2 ranks among the ten most-watched shows on Netflix in the U.S. Although unable to knock The Boroughs from the top spot, the show has made a good return to life on streaming, and even ranks as high as #2 in the likes of Hungary, Latvia, and Sri Lanka. In Jasneet Singh‘s review for Collider, she praised Season 2 for being “even darker, stronger,” adding that “Season 2 has forged its identity and hit a stride that elicits more excitement for the future of Pip’s story.”

‘A Good Girl’s Guide to Murder’ Has Scored Higher Than ‘Wednesday’

As Myers’ two biggest shows yet, A Good Girl’s Guide to Murder and Wednesday were always going to be compared. The release of the second season, however, has seemingly settled the debate. The average score of Ortega’s teen series on review aggregator Rotten Tomatoes is 80% (critics) and 81% (audiences), which simply pales in comparison to the 86% critics’ score and near-perfect 96% audience score of A Good Girl’s Guide to Murder Season 2. The puzzle-solving of Pip Fitz-Amobi is sure to stay around for many years.

A Good Girl’s Guide to Murder Season 2 is streaming now on Netflix. Make sure to stay tuned to Collider for all the latest streaming stories.

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Release Date

July 10, 2024

Network

BBC Three

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Writers

Zia Ahmed, Poppy Cogan, Ruby Thomas, Ajoke Ibironke

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  Adam Astill

  Toby Hastings

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  Annabel Mullion

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  Rosie Hastings

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Love them or hate them, documentaries take themselves seriously when they dive deep into hefty material. From a jaunt through history to a grim true crime investigation, it might seem like a difficult genre to parody, but then came a character perfectly suited to mock through satire: Philomena Cunk. Before Netflix got its hold on Diane Morgan’s impeccable character, she had been lovingly terrorized British audiences for years. Then, Cunk on Earth arrived with a 100% Rotten Tomatoes score, and the world has never been the same.

Across five masterful episodes, the mockumentary parodies historical documentaries as the titular character guides audiences through the entire history of human civilization from prehistory to the present day. Engaging in actual interviews with mostly unsuspecting experts, Cunk — a well-meaning but clueless reporter — drops her brand of knowledge and deadpan nonsensical questions that keep viewers laughing. Mockumentary sitcoms be all the rage, but Cunk on Earth flips the camera, placing it on the individual asking the hard-hitting questions. In return, viewers are given the gift of perfect comedy like no other show on television.

‘Cunk on Earth’ Is a Comedy Masterclass

While mockumentary sitcoms focus on the subject, Cunk on Earth puts the camera on the documentarian who knows even less than we do. Prior to her global domination, Cunk was a British icon. Previous mockumentary topics included Shakespeare, Britain, and Christmas. Comparatively, they were simple topics, while Cunk on Earth focuses on history, culture, science, and technology. The series is truly a showcase of Morgan’s masterclass character. Created by Charlie Brooker of Black Mirror fame, Cunk on Earth looks and sounds like a lavish BBC documentary, including stunning drone shots, sweeping landscapes, and rich historical context. That is then completely juxtaposed with utter nonsense, led by a incompetent narrator.

The series is brilliantly crafted, and the mundane is elevated thanks to Morgan’s top-tier comic prowess. Her deadpan delivery is unmatched. A beloved comedian outside the character, Morgan knows Cunk inside and out, providing a bulletproof confidence while being dead wrong in every scene. Though she’s admitted the occasional crack, the simple fact that she is rarely seen breaking character, committing fully, only makes the viewing experience funnier. The distinguished historians and academics play into the comedy as they are rendered bewildered by the one-liners she recites as if they are undisputed facts. We don’t laugh at them, but at the situation they find themselves in. History documentaries might not everyone’s cup of tea, but with Cunk at the helm, how could anyone turn away?

The Toughest Questions Get Asked by Cunk Through Necessary Satire

The draw of Cunk on Earth is the painstakingly authentic expert interviews. The one-on-ones are not meant to be gotcha moments; instead, they serve as a platform to recontextualize everything we thought we knew. Sharp satire is at the root of the series. Many of the topics explored throughout the five-part series are extraordinarily deep, and yet, through Philomena’s line of questioning and commenting, you’re left pondering the topics in a new light. When Cunk asks if Jesus was the “first victim of cancel culture” it’s not just hilarious, it’s using satire to call out parallels between history and our world today. Cunk on Earth gives viewers the freedom to think in ways they may not have before.

Who else is better equipped to ask what is more culturally significant, the Renaissance or “Single Ladies” by Beyoncé? Had it not been for Cunk on Earth, we might not have ever known the history of the Belgian techno anthem “Pump Up the Jam.” These are just examples of the sheer brilliance of the series’ writing. Like a smart comedy should, the recurring gags sprinkled in each of the five episodes make the series an entertaining binge. Between “Pump Up the Jam” and her mate, Paul, the bits and bobs add flavor to the writing.

Cunk on Earth is perfectly ridiculous. No other character could get away with what Cunk does. And there is no one else we could trust with the history of the world other than Cunk. An easy single-seat binge, Cunk on Earth will lead you to watch Cunk on Life as you await the upcoming Cunk on Cinema. We’ve seen her grisly commentary on technology; there’s no telling how she’ll take AI in Hollywood.

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Release Date

January 31, 2023

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Cast

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  Diane Morgan

  Philomena Cunk

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Although little is still known about it, it has now been confirmed that a second sequel to the ’80s action blockbuster Top Gun — following the enormous, billion-dollar success of its cinema-saving sequel, Top Gun: Maverick — is now in the works. Currently in early development at Paramount, Christopher McQuarrie has confirmed that the idea for a third Top Gun movie has been developed, with plans to pen a script now underway. Sometime soon, we’re likely to get another update on the journey to more Maverick.

As excitement for Top Gun 3 builds, it’s worth reminding oneself of where the action began. Released in 1986, the late Tony Scott directed the action classic, which also starred Kelly McGillis, Val Kilmer, Anthony Edwards, Michael Ironside, and more. The film shot to success, scoring the highest box office haul of any movie in 1986 (both domestically and worldwide), and holds its place as a consistent streaming favorite, despite modern competition.

Do you feel the need, the need to stream? Well, it seems most of the country does. At the time of writing, Top Gun is one of the ten most-streamed movies on Paramount+ in the U.S. Worldwide, the movie also ranks in the top ten, even outperforming its blockbuster sequel. This streaming success comes just a couple of weeks after Top Gun returned to the big screen for its 40th anniversary. The film earned a $3.3 million haul from 2,295 locations nationwide in its three-day revival, even helping it climb the all-time ranks and surpass the $259 million earned by 2009’s Fast & Furious.

What’s Next for Tom Cruise?

It’s been almost a decade since Cruise has starred in a non-franchise film, since 2017’s American Made. After finally flying off into the sunset as Ethan Hunt in 2025’s Mission: Impossible — The Final Reckoning, Cruise’s attention now turns to a fresh new chapter in his career, and one that might get him back on the awards hunt. Directed by Alejandro G. Iñárritu in his first English-language film since his 2015 hit The Revenant, the upcoming satirical black comedy Digger is scheduled to hit theaters on October 2, 2026, in time for festival and awards season. Cruise stars in the film alongside the likes of John Goodman, Riz Ahmed, Jesse Plemons, Sandra Hüller, and more.

Top Gun is streaming on Paramount+. Stay tuned to Collider for all the latest streaming stories.

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Release Date

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May 16, 1986

Runtime

110 minutes

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Director

Tony Scott

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Television has evolved into a medium where storytelling, character depth, and artistic vision have reached such soaring heights that some series are able to rival, and even surpass, films. This wasn’t always the case, as television used to be a more constricted medium that took fewer risks, and offered more generic entertainment that was often less creatively expressive than artistic works in other mediums. Today, television series incorporate layered characters, nuanced storytelling, and offer thoughtful commentary.

Experimental series like Atlanta push the boundaries of the medium and take it to new levels, while classics like The Sopranos have redefined the medium altogether while maintaining a consistent level of quality from start to finish. From comedies to dramas, this list includes series that are definitive masterpieces.

‘Chernobyl’ (2019)

Image via HBO

Chernobyl is a gripping HBO miniseries that depicts the catastrophic 1986 nuclear disaster in Soviet Ukraine and tells the story of the valiant individuals who risked their lives to contain it. After the sudden explosion of Reactor 4 at the Chernobyl nuclear facility, Soviet chemist Valery Legasov (Jared Harris), Soviet bureaucrat Boris Scherbina (Stellan Skarsgård) and nuclear physicist Ulana Khomyuk (Emily Watson) work together to devise a plan to contain the nuclear fallout before it spreads across the Northern Hemisphere. Their efforts are met with resistance and challenges as they navigate government lies, bureaucracy, and mortal danger.

Chernobyl is a dark and emotionally moving series that depicts the nuclear disaster with searing authenticity. With meticulous cinematography, excellent writing, and heart-wrenching performances, Chernobyl is undoubtedly one of the greatest miniseries of all time. Harris does a phenomenal job of portraying the tortured and frustrated chemist, Valery Legasov, while Skarsgård offers an equally captivating performance as seething bureaucrat Boris Scherbina. But perhaps the greatest performance of the series came from Jessie Buckley, who portrays the tragic Lyudmilla Ignatenko, whose firefighter husband was one of the first victims exposed to the reactors’ radiation. The well-coordinated pacing of the series delivers a constant sense of suspense and tension for viewers, and its commitment to historical accuracy makes it as fascinating a story as it is elucidating.

‘Better Call Saul’ (2015–2022)

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Better Call Saul is a character-driven spin-off series that tells the origin story of Saul Goodman, formerly known as “Jimmy McGill,” (Bob Odenkirk), a struggling but charismatic lawyer who is inevitably drawn to a life of crime despite attempts to lead an honest career. Set before, and slightly after, the events of Breaking Bad, Better Call Saul features Jonathan Banks in the role of bodyguard and fixer, Mike Ehrmantraut, Rhea Seehorn as accomplished lawyer and partner to Jimmy, and Michael McKean as Jimmy’s older brother, Chuck.

Spin-off series seldom live up to the legacy of their predecessors. But in some cases, they not only live up to the legacy of their predecessors but even outshine them. Better Call Saul saw Vince Gilligan and Peter Gould in top form as seasoned showrunners following their incredible work on Breaking Bad. The tragic tale of Slippin’ Jimmy unfolds through remarkable writing, as well as outstanding character work from Odenkirk, who does an excellent job of making Saul’s tragic character profoundly sympathetic. Better Call Saul, like its predecessor, only got better with time as audiences witnessed the shocking transformation of Jimmy McGill into the morally bankrupt lawyer who would play a significant supporting role in Breaking Bad. With a flawless ensemble cast supported by the memorable performances by Seehorn and McKean as well as a compelling story that builds into a brilliant crescendo, Better Call Saul is a masterpiece.

‘Succession’ (2018–2023)

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Succession is a satirical black comedy drama series that follows the lives of the Roy family, wealthy owners of RoyCo, a media and entertainment conglomerate. When the future of the ruthless aging patriarch of the family (Brian Cox) suddenly comes into question following the onset of health issues, his self-centered and inept children battle it out for the coveted position of CEO. Succession is a series that takes inspiration from the Murdoch and Royal families and features an ensemble cast that includes Jeremy Strong, Kieran Culkin and Sarah Snook.

Succession is a masterpiece for its razor-sharp writing, layered characters, and remarkable performances from a perfectly cast ensemble of actors. This impeccable series does an outstanding job of blending biting satire with profoundly human drama to explore wealth, privilege, and the dynamics of corporate business. It does so in Shakespearean fashion, as many viewers will likely note the similarities between the series and King Lear. The show’s usage of documentary-style camera work that features snap zooms, quick-pans, and off-center framing gives the series a realistic and personal feel that draws viewers with stunning efficacy. As one of HBO’s greatest series, Succession is a stylish masterpiece that was impeccable from start to finish.

‘Dark’ (2017–2020)

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Dark is an atmospheric German sci-fi thriller that begins with the mysterious disappearance of a child in the town of Winden. As families pursue the truth behind the child’s disappearance, they uncover a time-traveling conspiracy that implicates various town folk going back generations. Dark explores themes of fate, free will, and the nature of time itself, through a complex and thought-provoking narrative.

Dark’s intricately woven narrative is meticulously written in a manner that challenges its viewers to critically engage with the series. The show is filled with intentional symbolic imagery and critical, but subtle details that require audiences to pay close attention as they watch, making it a show that rewards multiple viewings. It’s not a superficial series designed to entertain its audiences, but rather a show that engenders them to think and truly to sit with the story. The moody and atmospheric style of the series is expertly crafted to pull audiences into the setting in a way that few series can. Dark‘s engagement with themes of time, fate, and human nature, as well as its unpredictable story and atmospheric style that lingers long after watching, make it a modern masterpiece.

‘The Sopranos’ (1999–2007)

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The Sopranos is a crime drama series that follows the life of New Jersey mob boss Tony Soprano (James Gandolfini) as he struggles to strike a balance between his crime family and his personal family. Tony’s life and psyche are examined through his interactions with his therapist, Dr. Jennifer Melfi (Lorraine Braco), as viewers witness Tony commit heinous crimes including theft and murder, while also attempting to be a father, husband, and family man. The Sopranos features an ensemble cast that also includes Edie Falco and Michael Imperioli.

Few series in television history have had an impact remotely close to the one The Sopranos has had on the media as well as popular culture at large. This is due to several factors, including the remarkable writing of the series that’s rife with subtext, and meticulous world building. Viewers who watch The Sopranos are immediately brought into a space that feels authentically lived in, with characters that are profoundly realistic. The depiction of the unique subculture of the Italian mob is portrayed with such careful detail that the FBI allegedly told producers that mob figures would discuss the realism of the series over wiretaps. Performances by Gandolfini, Falco, and Imperioli remain some of the best and most memorable of their careers, spawning a fan base that remains passionately devoted to the series nearly two decades after the final episode aired. The Sopranos also offers a fascinating commentary and critique on American culture that remains relevant today.

‘Breaking Bad’ (2008–2013)

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Originally conceived as the story of a man who transforms from Mr. Chips into Scarface, Breaking Bad depicts the rise and fall of former chemistry teacher turned meth kingpin, Walter White aka Heisenberg (Bryan Cranston). After a lifetime of mediocrity, a brilliant high school chemistry teacher discovers that they’re terminally with lung cancer. Struggling with money, and suddenly animated by the realization that they have little time left in the world, Walter White teams up with former student-turned-meth peddler, Jesse Pinkman (Aaron Paul) and the two men proceed to cook up the most premier meth in Albuquerque.

Cranston delivers a career-defining performance as the menacing Walter White, who undergoes a drastic transformation from a mild-mannered and unremarkable high school teacher into a ruthless, morally bankrupt meth kingpin. What makes this performance especially good is the subtle nuance of Cranston’s expressive acting, which initially captures the threatening, fiery ambition of Walter’s character through an economy of gestures and actions. By mid-series, White’s transformation feels natural and fully earned. Cranston conveys to the audience that this performance is less about Walter transforming into a monster, and more about simply embracing the monster he always was. The impeccable writing of the series propels the narrative forward in a constant progression that ultimately ends with one of the greatest climaxes and finales in the history of television.

‘Mad Men’ (2007–2015)

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Mad Men follows the personal and professional life of Creative Director Don Draper (Jon Hamm) and his colleagues at Sterling Cooper, a highly successful advertising agency in 1960s New York City. Don is smooth, mysterious, and highly skilled at his job, but he harbors a haunting secret: he’s not really who he says he is. Mad Men includes a phenomenal cast of talent that includes Elisabeth Moss in her breakthrough role as Don’s protégé, Peggy Olson, and John Slattery as the quick-witted Roger Sterling.

Matthew Weiner developed the idea for Mad Men while working for David Chase on The Sopranos, so naturally, audiences will notice similarities between the works, especially in terms of the brilliant use of subtext. The application of subtext in Mad Men is one of the primary qualities that gives it a sense of realism. Characters seldom reveal how they truly feel, giving audiences just enough dialogue and action to compel them to critically engage and interpret the narrative. Through this subtle form of storytelling, Mad Men often presents its characters as subjects of their particular historical setting and the culture, norms, and the influential external factors that come with them. This unique approach forms a fascinating and engrossing commentary on a unique time period without reducing itself to platitudes. Mad Men‘s meticulous attention to historical detail also makes it one of the greatest, and most accurately depicted, period pieces in television history. Viewers who enjoy literature will likely appreciate the masterfully executed “show-don’t-tell” approach of Mad Men.

‘Fleabag’ (2016–2019)

Fleabag is a comedy-drama television series created by Phoebe Waller-Bridge based on her one-woman play. This unique show follows the life of a sharp-witted, grief-stricken woman known only as “Fleabag”, as she copes with her tragedy while simultaneously trying to date in London. Fleabag also features Andrew Scott in the role of The Priest and Sian Clifford as Fleabag’s sister, Clair.

Fleabag is a one-of-a-kind series that masterfully blends razor-sharp humor with heart-wrenching emotional honesty in a fashion that’s unlike any other series. What makes this series so unique is Waller-Bridge’s constant breaking of the fourth wall to address the audience with exposition, inner monologues and additional running commentary. This subversive stylistic choice creates a deeply intimate relationship between the character and the audience that’s both jarring and profoundly captivating. As the series progresses, each moment viewers share with Fleabag feels raw and personal. Waller-Bridge gives a remarkable performance as sharp-witted, unapologetically candid Fleabag, who uses humor to hide her emotional pain and depression. This performance, along with the exceptional writing and style of the series, make it a unique masterpiece.

‘Atlanta’ (2016–2022)

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Atlanta follows the life of Earnest “Earn” Marks (Donald Glover), a Princeton University dropout who returns to his home in Atlanta and becomes manager to his cousin, hip-hop artist Alfred “Paper Boi” Miles (Brian Tyree Henry). Earn and Alfred are joined by their eccentric friend Darius (LaKeith Stanfield) and Vanessa “Van” Kiefer (Zazie Beetz), Earn’s on-again-off-again girlfriend and mother to their child Lottie, as they navigate the bizarre and surreal landscape of the Atlanta hip-hop scene.

Atlanta is a one-of-a-kind series that masterfully blends surrealism, sharp social satire, and dark humor to explore class, race, and identity in modern America. Glover’s subversive, genre-defying approach makes it one of the most unpredictable series in television history. Atlanta uses expressive cinematography and beautiful production to create a dream-like style that often blurs the lines of reality and presents bizarre scenes in a way that is reminiscent of the works of David Lynch, and its rejection of traditional narrative structure and exploration of existential themes hearkens back to the films of the French New Wave. With a slew of memorable performances, especially from Tyree Henry, and a stunning visual style, few series in history have taken such a radically experimental approach to television in as successful a way as Atlanta.

‘Veep’ (2012–2019)

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After losing the presidential election, U.S. Senator Selina Meyer (Julia Louis-Dreyfus) lands the job of Vice President, making her the second in command to the most powerful individual in the world. But Selina soon finds out that being Vice President is not all it’s cracked up to be. Veep is a political satire comedy series that follows the life of narcissistic Vice President Selina Meyer and her staff of bumbling employees as they navigate the complex terrain of Washington D.C. politics.

Veep is easily the greatest political satire ever produced for television, and for that alone it’s rightfully a masterpiece. This sharply written series features rapid-fire dialogue and a seemingly endless run of hilarious jokes from start to finish. Veep’s cynical depiction of American politics has been lauded for its striking authenticity. Louis-Dreyfus delivers a career-defining performance (which is already impressive given her legendary run as Elaine Benes) as the self-centered, hot-tempered Selina Meyer. While Louis-Dreyfus dominates every scene she’s in, the supporting cast, which includes Tony Hale as Meyer’s servile personal aid, and Anna Chlumsky as Selina’s neurotic Chief of Staff, Amy Brookeheimer, also offer hysterical performances. Over the impressive course of its seven-season run, Veep never faltered in quality, delivering what’s one of the most masterfully executed comedy series of all time.

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Veep

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Alaskan Bush People star Matt Brown has died at the age of 43, according to his brother Bear Brown.

“They found a body in the river a few hours ago and it was positively identified as being Matt,” Bear, 38, announced via TikTok on Saturday, May 30. “[Brother] Noah was with them and helped them pull the body out of the water. Noah identified [Matt].”

Bear said that he “never would have suspected that [Matt] would have hurt himself” even though his brother “struggled for a long time.”

“I was so worried that he would end up ODed or something like that. I didn’t think he would hurt himself,” Bear told his followers.

Bear confirmed that the coroner has not yet performed an autopsy on Matt though it is theorized that the death was “self-inflicted.”

“I would ask people to please, please be respectful to my family and to my mom. Please watch the comments that you leave, guys,” he asked. “Sometimes words can hurt more than fists can … In one of [Matt’s] last videos, he was talking about how negative people were on his posts. You guys should keep in mind that people on the other side of your screen, people you are watching a video of, are real people too.”

Bear thanked any followers who supported the rescue efforts for Matt after he went missing earlier in the week.

“I would just ask you to please, please, please be kind,” Bear pleaded. “Especially with my siblings … Please leave my family out of it.”

The confirmation of Matt’s death comes hours after Oregon authorities suspended search efforts for a missing man believed to be the reality star due to weather concerns.

“During the day of search efforts, the river conditions deteriorated and hampered search efforts,” a press release read. “After rainfall from the previous night, the river level and river current speed increased. The active river flow increases the likelihood that the male has not remained near the location last seen.”

Local authorities added, “The search has been suspended due to dangerous river conditions and pending information to focus on search efforts.”

Matt’s family expressed concerns about his well-being amid a police search for an unidentified man in his area. On Thursday, May 28, Matt’s brother Bear posted a TikTok video addressing claims that Matt was seen by a witness near a local river.

“I’m being told that late last night that Matt took his own life,” Bear, 38, said in the clip. “I can’t confirm that that’s true, but witnesses say that he was seen in a river, at a river or close to a river.”

Okanogan County Sheriff’s Office received a call on Wednesday, May 27, to report a man sitting in the shallow waters of the Okanogan River in Washington state, per TMZ. The caller, who remained anonymous, looked away and when they turned back because of a sound. The man was allegedly lying face down in the river and being swept away by the current, according to the caller.

TMZ confirmed that emergency responders searched the area but could not find a body. As of Friday, May 29, no body had been found and the search was to be resumed.

Prior to confirmation of his death, a source close to the Browns told Us Weekly that “the family is not sure what to believe” amid the speculation.

“They are not sure where Matt is but they are hoping that he is OK and that the information is wrong,” the insider explained at the time. “They are all in contact and speaking to police and waiting to hear. They have had their issues [with Matt] and Gabe has been the person most in contact with him.”

Alaskan Bush People aired for 14 seasons from 2014 to 2022 on Discovery Channel. The reality series followed the entire Brown family as they lived off the grid in Hoonah, Alaska. Matt appeared on the show from 2014 to 2019. He quietly left the series without an official explanation. Since his departure from reality TV, Matt has run his own YouTube channel.

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Over the years, Matt struggled with substance abuse. He went to rehab in 2016. After suffering a relapse, he returned from a second round of treatment two years later.

Alaskan Bush People came to an end in 2022, one year after the Bear family patriarch Billy Brown died age 68 after suffering a seizure. (Matt is the eldest son of Billy and Ami Brown. His siblings include Bear, Gabe, Joshua “Bam Bam” Brown, Noah Brown, Bird Brown and Rain Brown.)

If you or someone you know is in emotional distress or considering suicide, call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255). If you or someone you know is struggling with substance abuse, contact the Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline at 1-800-662-HELP (4357).

Editor’s note: The below contains spoilers for the For All Mankind Season 5 finale.

The Season 5 finale of For All Mankind is one for the alt-history books, keeping with the series’ tradition of setting up the next season in its final scene. “This Land Is Our Land” barely gives viewers any time to recover from the shock of losing Kelly Baldwin (Cynthy Wu) as the episode jumps past Saturn and a few years into the future, to 2020. To the tune of The Weeknd‘s “Blinding Lights,” a derelict spaceship suddenly comes back online as a computer lights up with Russian text. This ship is named Mars-94, while the text onscreen teases the possibility of an old acquaintance somehow returning and influencing the events of the series’ final season.

‘For All Mankind’ Season 5’s Final Scene Teases the Return of Mars-94

The return of Mars-94 is a direct tie to For All Mankind Season 3, which premiered in 2022. Back then, the events of the so-called race to Mars were at the center of the story, as NASA, Roscosmos, and Helios Aerospace each sent their own spaceship to try and claim the red planet first. Only two ships made it all the way: NASA’s Sojourner and Helios’ Phoenix. Mars-94’s engine is similar to the Sojourner, since, at that time, Margo Madison (Wrenn Schmidt) was secretly sharing information with Roscosmos’ Sergei Nikulov (Piotr Adamczyk). Both have nuclear fission engines, but Mars-94’s was put under too much stress and failed. As a result, radiation started leaking into the vessel itself, forcing its crew to abandon ship. Since then, Mars-94 has been adrift in space.

As a spaceship, Mars-94 is a single-stage-to-orbit craft, meaning it doesn’t lose any component during its ascent and remains a single unit from launch to landing. It took off from Earth and didn’t make any stops until it caught up with Sojourner and Phoenix on the way to Mars. That’s why, in Season 5, Mars-94 looks mostly intact and dark — it’s still technically in one piece, but with radiation flooding its interior, making it impossible for humans to command it from the inside.

Sergei Nikulov Could Play a Surprising Role in ‘For All Mankind’s Final Season

For All Mankind is a gem of speculative sci-fi on TV, but it’s definitely not the kind of show where the dead return. Still, the Russian text on the Mars-94 computer will definitely get fans talking about why Sergei’s name is there at all. Translated, it reads: “D:/ Detection of GW 3.06.0451 // Nikulov Loading…” Sergei’s last name is Nikulov, and he was the director of Roscosmos at the time of the mission, so his name showing up isn’t particularly strange, but the ship coming back to life after 26 years definitely is.

It’s worth remembering, however, that Sergei was assassinated by the KGB in 2003, so there is absolutely no way it’s him reaching out to Mars-94. What’s more likely is that he left code within the ship’s systems with specific guidelines or instructions, and Mars-94 might just have activated one of those in the vastness of space. Although it was evacuated, the ship hasn’t stopped coasting, and its nuclear engine could very well have the power to turn systems back on even decades after going dark.

The big question is what that code might be for. As Irina Morozova (Svetlana Efremova) mentions in the Season 5 finale, there are older Soviet satellites that can still be activated, and that’s how Happy Valley learns about the ceasefire ordered by the U.S. government. It could be that Mars-94 has the same system, and Mars (or another human outpost in the Solar System) has reached out to the ship for some reason. If there is a way to get rid of the radiation, the ship is still largely usable, and spacecraft of a similar construction have been reused before — Sojourner itself traveled to both Mars and Titan.

It’s also possible that Mars-94’s system has been programmed to boot up whenever it stumbles upon certain events. The “Detection of GW” part of the script is particularly curious. The letters likely mean “gravitational wave,” which could imply that Mars-94 is approaching a massive celestial body. There was no reason to ever assume Mars-94 would ever find itself in such a position when it launched, but Sergei was a dreamer and an idealist, so his programming it with more specificity isn’t that much of a stretch.

Mars-94’s Position in Space Might Be Tied to ‘For All Mankind’s Endgame

Image via Apple TV

For All Mankind has always told a deeply optimistic story about humanity’s potential to reach the stars, but Season 5’s final scene might actually be about the stars reaching back. Fans have always speculated that the series might end with first contact, and, with Season 6 confirmed to be the show’s last, this possibility just became even more likely.

Mars-94 is one of the furthest human-made objects from Earth in For All Mankind, and, given its specifications, it’s not impossible to consider that it might have reached another star system, like Alpha Centauri. The first contact theory could involve Mars-94 being acquired by another civilization and booted up as a response. Sergei thinking beyond the scope of the original mission is well within his character, and this system might be his final gift to humanity: a way of letting those who survived him know that they might not be alone in the universe.

President Donald Trump called for organizers of Freedom 250’s Great American State Fair concerts to “cancel” upcoming concerts due to artists dropping out.

“I am thinking about bringing the Number One Attraction anywhere in the World, the man who gets much larger audiences than Elvis in his prime, and he does so without a guitar, the man who loves our Country more than anyone else, and the man who some say is the Greatest President in History (THE GOAT!), DONALD J. TRUMP, to take the place of these highly paid, Third Rate ‘Artists,’ and give a major speech, rallying the Country forward like I have done ever since being President,” Trump, 79, wrote via TruthSocial on Saturday, May 30.

Martina McBride, Bret Michaels, Young MC and Morris Day and the Time have all pulled out of scheduled shows at the 16-day festival in Washington D.C. celebrating America’s 250th birthday over organizer Freedom 250’s connections to the Trump administration.

Freedom 250 describes its events as “nonpartisan,” though its website mentions the White House and the Department of War among its “founding government members.” Freedom 250 also publicly counts multiple corporations with ties to Trump — including Palantir, UFC and Oracle — as sponsors.

“I would like to talk to you and clear the air. I will not be performing at the Great American State Fair on June 25. I was presented with an opportunity to perform at a nonpartisan event but that turned out to be misleading,” McBride, 59, announced via Instagram on Thursday, May 28.

Michaels, 63, alleged that he’d received threats over his involvement in Freedom 250 before deciding to cancel his show.

“Unfortunately, what was presented to us as a celebration of our country has evolved into something much more divisive than what I agreed to be a part of,” Michaels said in a statement via his website. “Concerns have also been raised regarding the safety of my fans, band, crew, family and myself, including threats that are completely unfounded and unforgivable. Because of that, I have made the difficult decision to step away from this performance.”

In the wake of multiple artist cancellations, Trump compared the Freedom 250 controversy to his troubled attempt to renovate and rename the John F. Kennedy Center for the Performing Arts.

A judge ruled on Friday, May 29, that Trump’s name should be removed from the Kennedy Center’s marquee, in addition to temporarily blocking a planned two-year closure for renovations. (The president later threatened to “transfer this failing Institution back” to the “Radical Left Democrats” to force them to take ownership of renovation costs and planning.)

“We should have a giant MAKE AMERICA GREAT AGAIN RALLY, for 250, instead of having overpriced singers, who nobody wants to hear, whose music is boring, and yet who do nothing but complain,” Trump suggested. “Cancel it, just like I canceled my involvement with the failing and unsafe to be in Kennedy Center … The Kennedy Center is broken, unsafe, and $busted, and has been for many years!”

Prior to Trump’s statement, Freedom 250 spokesperson Julia Friedland addressed whether the festivities were truly nonpartisan during an appearance on DC News Now’s Sunrise on the Hill on Friday, May 29.

“I don’t think there’s anything partisan about America being around for 250 years … We have a history, obviously, but we have a president that wants to celebrate 250 years of America,” she insisted. “And that’s exactly what we’re doing. And that’s how it was sold to performers. We’ll have military bands, military ensembles as well. We will have representatives from every state and territory in the United States to come and represent their culture, what makes their state and territory unique.”

“So it sold the same way to everyone that we’re celebrating America’s 250th birthday,” she added. “We’ll have military bands, orchestras, talented performers. We will be announcing more in the coming weeks and days, and we will have something for everyone there.”

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Related: Musicians Drop Out of President Donald Trump’s Great American State Fair

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The Great American State Fair appears to have some drama surrounding its lineup of performers. Hours after event organizers announced the initial lineup of special guests, speakers and performers for the 16-day national exposition, some booked musicians said they wanted no part in the event set to take place in Washington D.C. between June 25 […]

Asked whether artists were told about the White House’s involvement when they signed on, Friedland said, “I can’t speak to negotiations that were made for performers. But what I can say is we’re selling it the same way to every single person in this country. This is a celebration of America, 250 years, glorious years. It’s inherently nonpolitical.”

Not every concert booked for the Freedom 250 concerts has been cancelled, as headliners Vanilla Ice and Fab Morvan of Milli Vanilli have both promoted their involvement via social media amid the backlash.

“Happy birthday America 250 years. It’s gonna be an epic party,” Vanilla Ice, 58, wrote via Instagram on Thursday, May 28. “This is to bring us all together. I’m tired of all the news channels dividing this country. We are all one.”