It’s rare enough to find a science fiction book that’s phenomenal, but to find one that’s built on genuinely perfect writing is all the rarer. That only means, however, that several of the greatest sci-fi book masterpieces of all time can even be counted among the greatest works of genre literature in history. From memorable prose to airtight pacing, to quotable dialogue, to well-rounded character arcs, there are many factors that can make it reasonable to say a book is perfectly written.

Of course, science fiction comes with demands all of its own. Aside from the aforementioned elements, authors must also pay close attention to immersive world-building, a powerful reflection of contemporary times, and achieving a healthy balance between the “science” and “fiction” parts of the equation. From modern sci-fi masters like Andy Weir to pioneers like Ursula K. Le Guin, many noteworthy authors over the years have written sci-fi books absolutely perfectly.

‘Project Hail Mary’ (2021)

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Andy Weir is one of the modern masters of the hard sci-fi subgenre, a category of science fiction that puts a strict emphasis on scientific accuracy and plausible logic. For proof of his quality as an artist, one needn’t look any further than Project Hail Mary, which was one of the most perfect sci-fi books about aliens well before it was one of the best space opera films of the 21st century.

The key mission of a hard sci-fi novel should be to remain true to its scientific accuracy while still offering plenty of entertainment value, and Project Hail Mary definitely passes with flying colors. Its highly accessible and compelling narrative about a deeply endearing friendship is balanced with some of the most interesting, best-written scientific language of any recent hard sci-fi book.

‘The Book of the New Sun’ (1980–1987)

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Gene Wolfe‘s The Book of the New Sun consists of four volumes and a coda, which were published over seven years; but it’s technically all one huge sci-fi epic unlike any other the world has ever seen. It’s science fantasy at its very best, winner of several awards over the course of the publication of its different volumes.

Wolfe’s prose is elegant and dense, blending regular and intentionally obscure archaic vocabulary to construct the book’s powerfully immersive atmosphere. It’s one of the best sci-fi books of the last 50 years through and through, a masterfully smart puzzle box narrative with a brilliantly crafted first-person perspective and some wonderfully layered lore.

‘Hyperion’ (1989)

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Dan Simmons‘ Hyperion, winner of the Hugo Award for Best Novel and the first installment in the Hyperion Cantos series, borrows the structure of The Canterbury Tales to tell a story that’s downright engrossing. Born from stories the author used to tell to his students back when he was an elementary school teacher, Hyperion has aged like fine wine as one of the biggest sci-fi cult classics of 1980s literature.

And as if its being perfectly written weren’t reason enough to check it out, Hyperion is also one of those sci-fi books that are even better the second time, helping turn this anthology of interconnected tales into a potently cohesive epic. With some breathtaking worldbuilding, philosophically charged themes and prose that’s heavily literary without ever growing overwhelming, Hyperion is a must-read for virtually anyone who loves classic science fiction.

‘Rendezvous with Rama’ (1973)

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Writer, futurist, inventor, and explorer Arthur C. Clarke was one of the biggest visionaries in the history of science fiction, without whom the genre would simply not be what it is today. Anyone looking for his most perfectly written novel ought to add Rendezvous with Rama, one of the best hard sci-fi books of all time, to their to-read list. Winner of Hugo, Locus, and Nebula awards, it’s ’70s science fiction at its most undeniably essential.

Anybody looking for a sci-fi book with a focus on plot or character depth is better off looking elsewhere. Rendezvous with Rama is instead written as more of an objective, meticulously detailed, almost documentary-like exploration of what would happen if an alien starship entered the Solar System in the not-so-far future. It’s a book all about ideas, one with a perfect balance between mystery, immersion, and imagination.

‘Stories of Your Life and Others’ (2002)

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Ted Chiang is one of the greatest science fiction authors writing today, winner of countless awards and well-known for his work as a short story writer. Stories of Your Life and Others collects his first eight sci-fi and fantasy stories, including Story of Your Life, the inspiration for Denis Villeneuve‘s Arrival. Though it’s not a novel, it’s still one of the best sci-fi books of the last 25 years, and a must-read for anyone interested in getting into sci-fi short stories.

Each one of the novellas, novelettes, and short stories contained in Stories of Your Life and Others is perfectly written from start to finish. The whole book is a testament to Chiang’s quality as a science fiction writer, with each story displaying a perfect balance between heady scientific concepts and deeply emotional stories. Perfectly paced and perfectly structured, each story the book presents is worth the reader’s time, making this one of the most filler-less short story books of the 2000s.

‘The Moon Is A Harsh Mistress’ (1966)

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Robert A. Heinlein is typically praised as one of the biggest, most groundbreaking, and most important science fiction authors in the history of literature, a pioneer of hard sci-fi who helped push the genre into the mainstream. Anyone looking for a gateway into his work should strongly consider reading The Moon Is A Harsh Mistress, one of those sci-fi books that are perfect from the first page to the last.

This is not only one of the most irresistibly entertaining hard sci-fi masterpieces in history, but also one of the most important. The way it integrates fully believable hard physics into a deeply immersive story about AI (which, quite terrifyingly, has become even more timely today than it was back then) is nothing if not admirable. Scientifically grounded but also hugely vibrant and fun, it’s essential for any science fiction fan with the ability to read.

‘The Gods Themselves’ (1972)

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Isaac Asimov is another one of the greatest and most important science fiction authors of the 20th century, having coined the term “robotics” and revolutionized not just the space opera subgenre, but sci-fi as a whole. He’s perhaps best-known for his Foundation series, but his most perfectly written novel is not part of a series at all. It’s The Gods Themselves, winner of the Nebula and Hugo Awards for Best Novel.

The story is divided into three distinct parts, all of which contribute with perfect cohesion to the book’s dissection of the petty politics of academia and the dangers of scientific and technological hubris. The pacing is flawless, the way Asimov writes about hard science is as compelling as it is satisfyingly challenging, and the psychological realism of the character writing is immensely effective.

‘Ubik’ (1969)

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Philip K. Dick was another one of science fiction’s greatest authors ever, and Ubik is typically regarded as his magnum opus for plenty of good reasons. Part sci-fi, part philosophical fiction, part pure existential horror, it’s one of the most exquisitely complex works of science fiction of the 20th century, and it has only gotten better with age. Anyone who wants to get into Dick’s work may as well take his best-ever work as the perfect starting point.

Delightfully twisty and profoundly philosophical without ever feeling overstuffed or tonally dissonant, Ubik truly is one of the greatest sci-fi masterpieces in the history of literature. Its existential aspects are deeply thought-provoking, its pulpy and fast-paced prose makes the story feel highly accessible, and the black comedy elements are razor-sharp. Few sci-fi novels have ever felt this complete or well-rounded.

‘The Dispossessed’ (1974)

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Modern science fiction would simply not be what it is today without Ursula K. Le Guin, one of the most revolutionary authors of speculative fiction in history. Her fantasy and science fiction works are equally phenomenal all across the board, but there’s really no question regarding what her sci-fi magnum opus is: It has to be The Dispossessed, a genuine literary triumph that’s still a must-read in 2026.

Part of Le Guin’s Hainish Cycle series of novels, The Dispossessed is one of the very few books in history ever to have won all three big awards (Hugo, Locus, and Nebula) for best science fiction or fantasy novel. Exploring themes of freedom, collectivism, and other utopian ideas, this seminal work is one of the most powerful studies of the very concept of a utopia that sci-fi has ever had to offer.

‘Dune’ (1965)

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Few sci-fi novels have ever been or will ever be as impactful, iconic, and influential as Frank Herbert‘s Dune, which can be argued to be to space operas what J. R. R. Tolkien‘s The Lord of the Rings is to epic high fantasy. Perfectly imaginative, perfectly immersive, and perfectly written all around, it’s one of the best sci-fi book masterpieces ever, a must-read for anyone who loves the genre—and genre literature in general, really.

Dune is hugely entertaining from the first page to the last, elevated by Herbert’s potently dense and philosophical prose to tell a political thriller story that’s hard to put down. But aside from being fun to read, Dune is also surprisingly thought-provoking, deconstructing the myth of the messianic hero and exploring themes of religion, politics, and environmentalism. It’s big, epic, complex, and one of the greatest works of speculative fiction ever written.

Of all the cinematic genres, comedy is the hardest to truly master. Humor is so context-dependent and changes so wildly from person to person (let alone between generations) that many comedies struggle to have a strong, immediate impact, and a lot of the ones that do soon become outdated and glaringly of their time. However, there have been plenty of comedy movies throughout cinematic history that have proven themselves to be timeless and stand among the best movies of all time.

In a sprawling range that spans from masterpieces of the silent era to striking satires and ’70s spoofs, and even to some instant classics of the modern age, comedy cinema is littered with hilarious hits. United by runaway creativity and a universal embracing of the sheer, unbridled joy of a good laugh, these quintessential comedy classics are sure to leave audiences in stitches.

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‘What We Do in the Shadows’ (2014)

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Wonderfully irreverent and slyly clever, What We Do in the Shadows brings a sense of absurdist fun to the realm of Gothic horror as it follows a group of vampires living as flatmates in modern-day New Zealand. Presented as a documentary team’s insights into how vampires live, the acclaimed vampire movie soars with its deadpan sense of humor and its ability to juxtapose tropes surrounding the mythical beasts with a mundane normality that is beautifully understated.

It captures the idea of immortal and endlessly powerful beings navigating chore wheels, nightclub bouncers, and rental agreements with a tone that is as wickedly hilarious as it is endearingly goofy. A surprise hit on the global stage, What We Do in the Shadows was pivotal to making Taika Waititi an international star, while the concept itself has even spawned a spin-off television series.

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‘The Lady Eve’ (1941)

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Coasting on Barbara Stanwyck’s typically outstanding performance, The Lady Eve is a dazzling delight of screwball comedy. She co-stars as Jean Harrington, a con artist working with her father and his partner. Aboard an ocean liner, the trickster trio set their sights on Charles Pike (Henry Fonda), a shy and bumbling snake expert who is the heir to a family fortune, but when Jean and Pike fall in love, the situation quickly grows complicated.

Like so many gems of the screwball movies of its era, The Lady Eve offers a divine combination of biting, cynical wit, slapstick absurdity, and romantic tension, all of which unfurl as the propulsive and fast-paced story jets along at breakneck speed. Its subversive qualities make it incredibly easy to enjoy today, not only as an impeccably acted and written comedy, but as a sweet and sincere love story as well.

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‘Toni Erdmann’ (2016)

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Coming from Germany, Toni Erdmann is an absorbing black comedy imbued with a uniquely piercing ability to combine absurdist and cringe-worthy moments with profound meditations on the modern day’s demanding work-life balance. Sandra Hüller stars as Ines Conradi, a career-driven business executive who finds herself in a bind when her jovial prankster father begins posing as her boss’s life coach, a joke he hopes can amuse his daughter while allowing them to reconnect.

The line it walks is nothing short of astonishing, with director Maren Ade mastering both the awkward quirks of familial relationships while, more pointedly, emphasizing the corporate drive, emotional hollowness, and personal sacrifices many people have to embrace for their work. Grounded by beautifully nuanced performances and expertly finding pathos and tragedy in even the most humorous of moments, Toni Erdmann is a somber masterclass in heartbreaking, thought-provoking comedy, and it stands as one of the genre’s best films of the 2010s, even if it isn’t necessarily the most joyous.

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‘Anora’ (2024)

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The Best Picture winner of 2025, Anora is a curious beast that ultimately finds its heart as something between a chaotic black comedy and a propulsive character study. Anchored by Mikey Madison’s ensnaring lead performance, it unfolds as a hard-edged sex worker from Brooklyn whose life is upended when she begins a tumultuous romance with the son of a wealthy Russian oligarch. The situation fast becomes a frenzied, farcical mess for all involved when news of their marriage reaches Vanya’s (Mark Eydelshteyn) parents, who insist on the union being annulled.

Running a little like a manic screwball comedy with an unflappable penchant for proclivity and profanity, Anora is, at times, a hysterical descent into a scenario that only grows more outrageous the more it unravels. It interrupts its gritty details and confronting rawness with outbursts of obscene hilarity to be one of the funniest movies of the decade so far, even if it is its dramatic wrath, hopelessly flawed characters, and brilliant performances that tend to stay with the audience.

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‘Scary Movie’ (2000)

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Armed with a penchant for parody that is more bombastic than surgical, Scary Movie is a procession of sidesplitting sequences that poke fun at everything from defining gems of slasher cinema to masterpieces of psychological horror. Broadly modeled as a lampooning of Scream, it follows Cindy Campbell (Anna Faris) and her friends as they begin to suspect they are being stalked by a serial killer exactly one year after they accidentally killed a man and dumped his body in the lake.

Its story may not be overly complex, but it does serve as a platform for all the movie’s jabs at genre tropes, satire of the relationship between audiences and art, and, of course, as a solid foundation for all the absurdity on display, which almost earned it an NC-17 censorship rating. It is by far the best and most inspired of the influx of spoof movies that became commonplace through the 2000s, and its impact on horror fans and comedy lovers alike continues to be felt to this day.

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‘Windy City Heat’ (2003)

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Cold-hearted and callous, Windy City Heat has become a true cult classic of early 2000s comedy with its intriguing blend of high-energy momentum and documentary intensity that flaunts a wickedly sadistic glee at the premise of puerile pranks. The movie is itself one big hoax, following American comic Perry Caravello as he believes he has landed a lead role in a crime film called “Windy City Heat.” In actual fact, his journey through the filmmaking process is an elaborate con.

While many critics dismissed it as a shallow and even cruel spectacle, general audiences were more accepting of its jovial tone. The dedication to the long-running prank creates many moments of obscene hilarity, while its sense of hustle imbues it with a relentless energy that is utterly transfixing. It is a propulsive, profane spectacle of unpredictable hysteria where absolutely anything can, and often does, happen.

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‘American Pie’ (1999)

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A cunning evolution of the sex comedy movies of the 1980s, American Pie imbues the subgenre’s set formula of gross-out gags and raunchy humor with genuine heart, making for a coming-of-age classic that is both obscenely hilarious and surprisingly tender. Nearing the end of their time in high school, four teenage friends make a pact to lose their virginity by prom night. Their efforts to make good on their promise lead to plenty of absurd misadventures, moments of soul-shattering humiliation, but, for some, the discovery of love as well.

More than just a painfully relatable crude comedy to many, American Pie has become a gem of warm nostalgia as well, with its high school setting serving as a time capsule of the late-90s and the early-internet youth culture of pop-punk and irreverence. Whether it’s making viewers laugh-out-loud with its vulgarity or presenting unexpectedly wholesome scenes between Jim (Jason Biggs) and his father (Eugene Levy), American Pie is a treat of yesteryear comedy that has held up surprisingly well over the years.

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‘Punch-Drunk Love’ (2002)

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While it may be something of a hidden gem compared to other noteworthy titles in Paul Thomas Anderson’s incredible filmography, Punch-Drunk Love is still a masterpiece in its own right. An understated and dramatic subversion of the flowery wonder many rom-coms exude, it coasts on the back of Adam Sandler’s against-type performance as Barry Egan, a lonely and reserved small business owner who finds love in the form of his sister’s co-worker, Lena (Emily Watson). However, he finds his explosive temperament tested when his budding romance is jeopardized by an extortion scheme tied to a phone-sex line.

Its comedic tastes aren’t necessarily prone to outbursts of uproarious laughter, but they do present a quirky and offbeat sincerity that is both clever and endearing. Complemented by its dreamlike atmosphere, appetite for eruptions of chaos, the heartfelt chemistry between Watson and Sandler, and its quiet meditation on Barry’s struggles with anxiety and anger management, Punch-Drunk Love is a unique treat of cinematic comedy.

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‘Shrek’ (2001)

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A stunning subversion of the integral elements of animated family fantasy that stands not only as one of the best examples of the genre, but as a universally adored comedy as well, Shrek is one of the defining movies of the early part of the 21st-century cinema. Skewering the fairytale fables Disney animation became famous for, it follows the most unlikely hero in Shrek (Mike Myers), a feared ogre who reluctantly agrees to rescue a princess for a fairytale-hating lord in exchange for peace in his swamp. However, Shrek’s journey takes an unexpected turn when he finds himself falling in love with Princess Fiona (Cameron Diaz).

Its parody of the form makes it an outstanding example of fantasy animation set to modern sensitivities. It isn’t just a hilarious lampooning of fairytales, but a heartfelt story of friendship, love, and the beauty of self-acceptance and authenticity that finds new depth in the genre. Bolstered by a litany of incredible voice acting performances, wonderful character dynamics, and a delightfully energized jukebox soundtrack, Shrek is animated comedy at its best and most accessible.

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‘M*A*S*H’ (1970)

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A razor-sharp and wickedly divine combination of piercing black comedy and anti-war sentiment, M*A*S*H is a true triumph of comedy cinema from Robert Altman that cleverly marries the absurdly hilarious with the considered and contemplative. It follows the American staff in a field hospital during the Korean War as they try to stomach the horrors of what they see by indulging in darkly humorous antics.

Imbued with the scathing, realistic bite that defined 1970s cinema, yet excelling as a timeless commentary on war and how the human condition responds to trauma, M*A*S*H manages to be both hysterically funny and poignant. It received five Academy Award nominations and won for its screenplay. It also effectively launched the hit comedy series of the same name that ran for 11 seasons from 1972 to 1983.

Jessica Biel is making her long-awaited return to making films with “Matchbox The Movie,” marking her first feature film in nine years. While the actress has remained active with television projects during that time, including starring in and producing several series, she stepped away from theatrical releases to prioritize time with her family. Now, Biel is back with the upcoming action-comedy film inspired by the iconic toy brand.

Jessica Biel attended the San Diego Comic-Con on July 25 with her “Matchbox The Movie” co-stars, including John Cena, Teyonah Parris, Sam Richardson, and Arturo Castro, to promote their upcoming Apple TV+ film.

The actress’ last movie appearance was in the political drama “Shock and Awe,” which premiered in late 2017. While speaking with reporters, Biel appeared surprised when it was noted that nearly a decade had passed since her last movie.

“Oh my god, really?” the actress exclaimed before telling Entertainment Weekly about her new movie. Biel said starring in the Mattel Films movie, which is based on the brand of mini die-cast toy cars that became a global phenomenon, felt nostalgic.

Biel said she played with Matchbox toys as a child, and that it was an “amazing opportunity” to be included in the film. “I really was excited about getting back into an action space, a comedy space, learning to drive these amazing cars, incorporating all this fun humor in this cool, like, collab genre,” she said of her new project.

The Actress Is Excited About Getting Back Into Films

At Comic-Con, Biel shared that she had been excited about getting back into making films, but said it had to be the right project. It seemed “Matchbox The Movie” checked the box.

The movie follows undercover CIA agent Sean (Cena) as he returns to his small town and reconnects with his childhood friends, thrusting them into an international mission to save the world.

Biel said filming the movie transported her back to her childhood when she and her siblings played with Matchbox cars, GI Joe, and Barbie. “We had a lot of Matchbox cars. And I mean, I’m still buying Matchbox for my kids now! It never goes away, it never gets old,” she told PEOPLE.

Jessica Biel’s Kids Joined Her While Filming

One of the reasons why Biel stepped back from film projects was to focus on her family. She and her husband Justin Timberlake share two boys: Silas, born in 2015, and Phineas, whom they welcomed in 2020.

Biel revealed the filming schedule in 2025 for her upcoming movie “literally couldn’t have been worse.” At that time, Timberlake was in the middle of his world tour, and she was about to shoot in Hungary, Slovakia, and Morocco.

It left her with no choice but to bring her boys with her. “We had our incredible [travel] teachers and our incredible nanny and our family helped out… The kids are good, we’re good, it’s all positive,” Biel told InStyle. While in the middle of working and taking care of her kids, however, the actress admitted that it became overwhelming at times.

The Actress Almost Quit The Industry

Biel co-founded Iron Ocean with Michelle Purple in 2007, and the actress admitted that she almost left Hollywood after a string of disappointments.

“I started it with her when I was 22 and for the first 10 years, we had almost no success at all,” she said in an episode of “The Bright Side” podcast in 2024. Iron Ocean optioned the series “The Sinner,” which starred Biel in its first season. The actress admitted that while pitching the project to networks, she considered leaving the industry if they couldn’t sell the anthology series.

Fortunately, it sold. Biel received Golden Globe and Emmy nominations for her role as Cora Tannetti, and the series aired for three more seasons before concluding in 2021. Biel also executive produced other projects, including “Cruel Summer,” “Candy,” “Limetown,” and “The Better Sister.”

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Jessica Biel Is Balancing Work With Motherhood

Biel has been open about her struggles with balancing work and being a present mother. The actress said that she and Timberlake arrange their schedules so that only one parent works full time in order for their kids to have a stable home life.

Admittedly, the actress said it’s difficult, and she doesn’t “do it well all the time.” She tries her best, though, and follows the advice Purple gave her after she gave birth to her eldest child. “She goes, ‘Listen, all you can do is: When you’re working, you’re 100-percent working, and when you’re home, you’re 100-percent home.’”

“Matchbox The Movie” is scheduled to premiere on Apple TV+ on October 9.

Interest in testosterone replacement therapy keeps climbing, and the TRAVERSE trial remains the largest randomized test of its cardiovascular safety. Here is what men considering treatment and their doctors need to know about the findings.

What Is the TRAVERSE Trial and Why Does It Matter?

The TRAVERSE trial is the largest randomized controlled study designed to test whether testosterone replacement therapy raises the risk of major heart problems in men with confirmed hypogonadism. Results were published in 2023 in the New England Journal of Medicine.

Researchers enrolled 5,246 men ages 45 to 80 who had preexisting cardiovascular disease or a high risk of it, symptoms of low testosterone and two fasting testosterone readings below 300 ng per deciliter. Participants received either daily transdermal 1.62 percent testosterone gel or placebo gel for a mean of 21.7 months, with mean follow-up of 33 months. The study was mandated after a 2015 FDA requirement that testosterone product makers investigate cardiovascular risk.

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Related: Can HRT Protect Your Heart After Menopause? New Research Explains

New research is changing what doctors know about menopause and heart health, and the findings are more significant than most women realize. Here’s what you should actually be asking your doctor right now. Why Does My Heart Disease Risk Go Up at Menopause? Estrogen loss is part of the answer, but it’s not the whole […]

Does Testosterone Therapy Increase Heart Attack or Stroke Risk?

No. In TRAVERSE, testosterone gel was noninferior to placebo for the primary composite of cardiovascular death, nonfatal myocardial infarction and nonfatal stroke.

A primary event occurred in 182 patients (7.0 percent) receiving testosterone versus 190 patients (7.3 percent) on placebo, with a hazard ratio of 0.96 and a 95 percent confidence interval of 0.78 to 1.17. “These findings provide reassurance about the cardiovascular safety of testosterone therapy over the typical duration of treatment in men in whom it is indicated,” said coprincipal investigator A. Michael Lincoff, MD. He noted that years of conflicting evidence from small trials and observational studies had left the question unresolved until TRAVERSE was completed.

Who Was Included in the Traverse Testosterone Study?

TRAVERSE enrolled middle-aged and older men with symptoms of hypogonadism who met the same low-testosterone threshold used to confirm eligibility, all of whom had preexisting cardiovascular disease or elevated cardiovascular risk.

That population matters. The researchers stress the safety findings apply only to men who meet medical criteria for testosterone therapy, not to men obtaining it from “low T clinics” or providers who prescribe without a clear clinical indication. “This study should not be used as a justification for the widespread prescription of testosterone to aging men,” said study chair Steven Nissen, MD, chief academic officer of Cleveland Clinic’s Heart, Vascular & Thoracic Institute.

What Are the Risks of Testosterone Replacement Therapy?

Even with reassuring cardiovascular findings, TRAVERSE flagged higher rates of atrial fibrillation, acute kidney injury and pulmonary embolism in the testosterone group compared with placebo.

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Pulmonary embolism occurred in 0.9 percent of testosterone patients versus 0.5 percent of placebo patients. Rasi Wickramasinghe, MD, PhD, FACC, chief of cardiology at Houston Methodist Sugar Land Hospital, told Cardiology Advisor that he thinks twice before prescribing testosterone in a man with prior venous thromboembolism or a known thrombophilia. He also cited observational data suggesting an increased atrial fibrillation risk of about 27 percent over five years in treated men. As Dr. Nissen put it, “This study shows that, for men with adrenogen deficiency in whom testosterone is clinically indicated, testosterone appears to be safe from a cardiovascular perspective, but it is not without adverse effects.”

What Does the Traverse Study Mean for Future Testosterone Treatment Decisions?

TRAVERSE sets a new baseline for how doctors weigh testosterone therapy in men with hypogonadism, but it does not settle every question about long-term use or specific patient subgroups.

Mohit Khera, MD, of Men’s Health Urology called the trial “a beacon for future research in testosterone replacement therapy and cardiovascular health,” pointing to the need for deeper study of the atrial fibrillation, kidney injury and pulmonary embolism signals. He urged individualized risk-benefit analyses to guide clinical decisions. The takeaway for patients, according to the researchers, is that testosterone replacement appears cardiovascular-safe when clinically indicated, provided prescribers screen for clot history and monitor for arrhythmia during therapy.

For nearly three decades, Silent Hill has encouraged players to question everything they see. That uncertainty doesn’t stop once the credits roll. Some of the series’ most beloved entries have sparked years of debate over which ending, if any, represents what “really” happened, with fans continuing to dissect every detail long after release. That tradition isn’t going anywhere with Silent Hill: Townfall. In fact, the upcoming horror game is doubling down on player interpretation.

During a roundtable interview attended by Collider’s Hannah Hunt following a hands-on preview of the game, writer and director Jon McKellan and Silent Hill series producer Motoi Okamoto confirmed that Townfall will feature five different endings. More importantly, they made it clear that players shouldn’t expect Konami to declare any one of them the definitive conclusion.

Asked whether players would need multiple playthroughs to experience every ending, McKellan revealed that Townfall includes five endings in total. Three can be unlocked during a first playthrough, while two more secret endings are reserved for New Game+. Unlike many narrative-driven games, however, those endings aren’t determined by obvious dialogue choices or last-minute decisions.

“They’re not based on the A, B choices. It’s more how you play, the things that you’ve done, the time you’ve spent in areas,” McKellan explained. “We’re trying to kind of… our ending system kind of tries to figure out what kind of player you were and what kind of ending feels natural to the way you played.”

‘Silent Hill: Townfall’ Wants Your Playstyle To Decide the Ending

According to McKellan, seemingly small behaviors throughout the game influence which ending players receive. Whether someone explores every corner of an environment, rushes past optional discoveries, or approaches encounters aggressively, they all subtly “move the needle” toward a particular conclusion. That philosophy extends to New Game+ as well. While players will need additional playthroughs to see every ending, McKellan said those runs will feature unlockable weapons and other additions designed to make revisiting the game quicker while encouraging players to intentionally change how they approach the experience. When Collider followed up by asking whether one ending should be considered the “correct” or canonical conclusion, both McKellan and Okamoto were quick to dismiss the idea.

“From our perspective, we don’t designate any single ending as the true canon ending,” Okamoto said. “We are aware that a lot of players personally take to heart that a certain ending is canon… but we take care not to signal that any one ending is more canon than the other.”

McKellan echoed that sentiment, explaining that he wanted every ending to feel earned rather than arbitrary.

“I don’t think there’s a canon of this is what happened,” he said. “I wanted to say feel like those endings feel correct for you and how you played.”

That approach feels especially fitting for a series built around psychological horror and personal interpretation. Rather than rewarding a single “best” ending, Silent Hill: Townfall appears designed to reflect the choices players make throughout their journey, even if those choices aren’t presented as explicit branching paths. With five endings to uncover and none carrying official canon status, it sounds like the debate over what really happened in St. Amelia is only just beginning.

. Check out Collider’s full preview for our initial thoughts here

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Silent Hill: Townfall

Released

September 24, 2026

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ESRB

Mature 17+ / Blood, Strong Language, Violence

Publisher(s)

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Annapurna Interactive, Konami

Franchise

Silent Hill

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Amanda Batula broke down exactly what led to her and Kyle Cooke’s sexless marriage — and eventual split — on the In the City reunion.

“I was depressed. Depression will do that. That was part of it,” Amanda, 34, shared on the Tuesday, July 28, episode of the hit Bravo series when asked about why she and estranged husband, Kyle, 43, didn’t have sex for four years before their January announcement confirming the pair had called it quits.

Kyle chimed in, claiming, “We went into a funk immediately after our wedding.”

The Loverboy founder alleged, “I tried for years to get us into couples therapy” following their September 2021 nuptials.

Amanda, for her part, told their castmates during part 2 of the In the City reunion that their issues in the bedroom began well before they tied the knot.

“This is a conversation we had in therapy also before our wedding, that I didn’t feel like — Kyle wasn’t courting me. This is how I felt,” Amanda explained. “I wasn’t being courted. There were no dates.”

She claimed, “He would work all day, work all night, then come to bed, tell me to answer an email and then try to have sex with me. It felt like there was no foreplay. There was no emotional intimacy. There was no conversation.”

Amanda noted that because “nothing else [was] happening in the relationship” she didn’t feel excited to engage in intimate moments with her spouse.

“I felt, this was not his intention or what he was doing, I felt [used]. I felt like I was just an object at that point,” Amanda confessed. “Then the depression hit also. Then it was an unfortunate storm.”

The Amanda Batula Swim founder alleged that Kyle would “still go out” and party — in addition to DJing into the late hours — so they would “get into big fights.”

That tension, according to Amanda, didn’t help their romantic relationship prior to their separation. (During season 1 of In the City, fans learned that Amanda told Kyle she was moving out in September 2025 on their four-year anniversary in hopes to help their marriage, but she never moved back in.)

“Can you imagine, this is not like a guy-girl thing. We get married and we never have sex,” Kyle asked his castmates. “We didn’t have sex — technically it wasn’t four years of nothing. We had, like, sex three times. I’m just saying.”

Amanda, however, claimed that she “expressed” her desires to him, and allegedly told Kyle “I want to be taken out on dates” and go for drinks but he was too busy.

“First I’m a workaholic, now I’m an alcoholic. I could never do anything,” a defeated Kyle explained. “Meanwhile, I’m providing. Everything in our life was on my shoulders.”

Kyle alleged that “every single thing we did” was because he “arranged it,” including every trip, vacation or dinner.

“I’m putting in the hours [then] so we could provide for our family later,” he said of his intentions to work so much when they first got married.

Amanda explained that was her whole point, arguing, “I was being put on the backburner.”

“It did take a toll on our romantic and intimate relationship because your priority was work,” she alleged. “And your solution was for me to read a book on how to date an entrepreneur and I wanted you to take me on a date.”

Kyle admitted that he did want Amanda to read a book about that topic, thinking it would help her understand his intense work ethic while building Loverboy.

“You’re literally saying exactly what I’m saying,” Amanda pointed out. “You worked really hard for our future but it did have an effect on our marriage and our relationship.”

Related: Kyle Cooke Claimed Amanda Batula Smoked Weed ‘Every Night’ Before Split

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Kyle Cooke aired his and estranged wife Amanda Batula’s dirty laundry on Summer House months before their split made headlines. “There are so many things that Amanda and I need to talk about,” Kyle, 43, told pals West Wilson and Jesse Solomon during the Tuesday, February 10, episode of the Bravo series. Fans previously saw […]

Fans were introduced to Kyle in 2017 during season 1 of Summer House, when he was a full-time cast member of the new series. Amanda also appeared on the first season of the Bravo show, but was a guest star as she was just starting to date Kyle.

Throughout the show’s first 10 seasons, viewers saw the ups and downs of Kyle and Amanda’s relationship, including their 2021 wedding and the months leading up to their January breakup.

As cameras began to document Kyle and Amanda’s life in the Big Apple during the fall of 2025 for In the City, the couple grew further apart.

Shortly after they announced their split, rumors surfaced that Amanda was dating their Summer House costar West Wilson. (West, 31, previously dated Amanda’s BFF Ciara Miller in 2023 and the pair were seen getting cozy again in summer and fall of 2025.)

Amanda and West initially denied their connection, but confirmed their romantic relationship in late March, sending shockwaves through the Bravoverse. At the time of the In the City reunion taping in June, Amanda and West were still dating despite the backlash they received for their hookup.

Us confirmed last month that neither Amanda nor West are returning for season 11 of Summer House, but Kyle is coming back to the Hamptons.

On Tuesday’s reunion, Amanda and Kyle gave an update on their divorce, confirming it is still ongoing.

“He did respond to my lawyer with some requests,” Amanda told host Andy Cohen of Kyle. “He wants to do a walkaway divorce but is not just walking away. I have to speak to my lawyer and get back to him.”

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Kyle claimed those “requests” were not that crazy, saying one of them was that he wants Amanda to “get your stuff out of my apartment.”

He said the other thing is “dog related” as the exes share two animals.

“There’s also money stuff,” Amanda alleged, to which Kyle responded, “I still pay your health insurance!” Amanda smiled, replying, “Thank you so much.”

Elon Musk is criticizing Anne Hathaway for a 2018 speech she gave in support of the gay and trans community.

“She’s just a marionette. Whoever wrote her speech is the real douchebag,” Musk, 55, wrote via X on Sunday, July 26, in response to marketing professor Gad Saad’s brutal critique of Hathaway speaking at the Human Rights Campaign National Dinner in Washington, D.C., nearly eight years ago.

The Odyssey star, 43, appeared at the September 2018 event to accept the organization’s National Ally for Equality award, speaking to the crowd about her societal role and greater surroundings.

“With the exception of being a cisgender male, everything about how I was born has put me at the current center of a damaging and widely accepted myth,” Hathaway said at the time. “That myth is that gayness orbits around straitness, transgender orbits around cisgender, and that all races orbit around whiteness. And it is a myth that keeps money and power in the hands of the few, instead of being invested in the lives of the free.”

Related: Elon Musk Claps Back After Billie Eilish Called Him a ‘Bitch Coward’

UPDATE: 11/19/2025 at 10:15 a.m. ET — Elon Musk has fired back at Billie Eilish after the singer called the potential trillionaire a “pathetic p**** bitch coward.” “She’s not the sharpest tool in the shed,” Musk, 54, wrote via X on Monday, November 17, while replying to a post recapping Eilish’s recent Instagram Stories about how the […]

Hathaway’s speech began with acknowledgment over how she viewed the world at the time.

“I’m pretty shellshocked by what I see every day, by what I hear every day. And I really don’t like to admit this but I get scared,” she told the crowd before advocating for equality. “I am just living the values my parents gave me. I’m loving you the way you deserve and yes, I am giving major side eye to anyone that thinks differently.”

She continued, “I know I’m speaking in abstractions, and that there’s privilege embedded in my ability to do so. I know that there are very real obstacles that block the path to true equality, and I know that removing them is easier said than done.”

Hathaway added that her hope for a clear path to equality is being met by the LGBTQ+ community.

“I know that myths are destroyed by the same thing that creates them: a community,” she explained, to near-immediate applause from the crowd.

In the X critique of Hathaway’s speech, created by Saad, 61, and captioned with the text “Anne Hathaway is a Degenerate Narcissist,” the actress’ delivery is labeled as “self importance,” and smug, while her “every conceivable syllable” is slammed as “wrong.”

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In another Sunday X post from Musk that addressed Hathaway’s speech, he reiterated that Hathaway was “just reading the script someone else wrote,” while arguing that “no critical thinking” had been used to write the speech. (Musk, the world’s first trillionaire, has a long history of sharing anti-trans sentiments and beliefs. The SpaceX founder, who has 14 children with four different women, is dad to an openly trans daughter, Vivian Jenna Wilson.)

Musk’s posts, shared via the social media platform he purchased as Twitter in 2022, comes after the businessman recently made multiple public jabs at The Odyssey, in which Hathaway portrays the ancient Greek mythological figure Queen Penelope.

Musk has publicly argued that the film, created by director Christopher Nolan, does not present an historically accurate reflection due to diverse casting choices such as Lupita Nyong’o as Helen of Troy and Elliot Page as the Greek warrior Sinon.