With streaming services competing for viewers’ attention every single day, it can be hard to determine what to watch first. We often go with our preferences in genre, cast, directors, and writers and go from there; sometimes it’s a clear win, and sometimes, even a well-cast, greatly made show can be a miss. Netflix has the most original programs thus far in a wide variety of genres, from horror to comedy and even animation.

Picking out Netflix shows that have no flaws whatsoever is really hard, because perfection is rare and often in the eye of the beholder. But, regardless of the genre or year of release, there are some original series that Netflix decided to produce and invest in that have no mistakes; these are seven Netflix shows without a single flaw.

‘Love, Death & Robots’ (2019–2025)

Image via Netflix

The adult animated anthology series, Love, Death & Robots, is a breathtaking showcase of what happens when you give the world’s most visionary animators complete creative freedom. Love, Death & Robots presents a collection of short films, each running between five and twenty minutes, that span genres from sci-fi and horror to comedy and fantasy, all unified by stunning animation and bold, often provocative storytelling. The show’s executive producer is David Fincher, while the animation studios hail from countries like the U.S., Spain, the UK, South Korea, Russia, Hungary, and Japan.

The series’ anthology format is perfect for flawless storytelling: with no recurring characters or overarching plots, every episode stands entirely on its own. Some of the most celebrated entries include “Three Robots,” “Bad Travelling,” and the hauntingly beautiful “Jibaro.” The show has won 13 Emmy Awards and holds a 100% Rotten Tomatoes score for its Season 3 and 4. What makes Love, Death & Robots flawless is its consistency across four volumes—while individual episodes vary in tone, the overall quality remains remarkably high, with no weak entries dragging down the whole. It’s a dazzling, unpredictable, and endlessly inventive masterclass in short-form storytelling.

‘Kingdom’ (2019–2020)

Netflix’s first original K-drama, Kingdom, is also the first K-drama to use a highly popular historical setting and combine it with zombies. In Kingdom, though, zombies are more than just mindless monsters—they often serve as a mirror to the rot of a corrupt society. Set in Korea’s Joseon dynasty, the show follows Crown Prince Lee Chang (Ju Ji-hoon) as he investigates a mysterious plague that turns the dead into flesh-eating creatures. But the true horror hides more in the scheming nobles and the power-hungry queen, who would rather let the kingdom die completely than let go of their power.

Across twelve episodes and a special, Kingdom delivers breathtaking set pieces, including a frozen lake battle and a nighttime siege that ranks among the most thrilling action sequences on television. The show holds a steady 98% Certified Fresh rating on Rotten Tomatoes, but Season 2 holds a perfect 100% score. Beneath the gore and sword fights lies a razor-sharp critique of class inequality and political negligence; Ju anchors the chaos as a prince who evolves from naive idealist to hardened survivor, joined by a formidable cast in the form of Bae Doona and Ryu Seung-ryong. Tight, brutal, and politically sharp, Kingdom is a flawless genre triumph that has helped Netflix’s investment in K-dramas blossom.

‘The Chestnut Man’ (2021–Present)

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The Danish crime thriller The Chestnut Man is one of the most perfectly constructed Nordic noir series ever made. Based on the bestselling novels by Søren Sveistrup, the creator of The Killing, the show follows detective Naia Thulin (Danica Curcic) and her Interpol-assigned partner Mark Hess (Mikkel Boe Følsgaard) as they investigate brutal murders in Copenhagen‘s bleak suburbs. The first season, released in 2021, adapted Sveistrup’s debut novel and was hailed as a flawless thriller (holding a 100% rating on RT). The six-episode run is tightly plotted, with every clue and red herring meticulously placed, building to a heavy, unexpected ending.

Five years later, Season 2, subtitled “Hide and Seek,” reunites Curcic and Følsgaard alongside The Killing‘s Sofie Gråbøl for a brand-new case. This six-episode sequel follows the detectives as they investigate the disappearance of a woman, uncovering a killer playing a disturbing game of hide and seek. While some critics found a controversial character’s death divisive, the season has been praised as “the pinnacle of the Nordic noir genre” and remains a cohesive thriller. Together, both seasons make The Chestnut Man a complete, gripping saga that can be rewatched over and over.

‘The Haunting of Hill House’ (2018)

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Mike Flanagan‘s adaptation of Shirley Jackson‘s classic novel is far more than a ghost story; The Haunting of Hill House is a multi-generational family drama that uses horror as a vehicle to explore grief, trauma, and the ways our pasts haunt us. The series follows the Crain family, dividing its narrative between the past, when the five children and their parents moved into the abandoned Hill House, and the present, where the now-adult siblings reunite with their father to confront the terror that shaped their lives.

Flanagan’s direction is masterful, employing long, unbroken takes and a non-linear structure that rewards careful attention. The performances are uniformly excellent, with standout turns from Victoria Pedretti and Kate Siegel, while the show culminates in a tragic revelation that reframes the entire story; this is why the show also has a high rewatchability factor (well, that, and the 43 hidden ghosts across the series). It’s widely considered one of the greatest horror series of all time, with Forbes saying that it “may actually be Netflix’s best original show ever.” It’s a flawless, emotional work of art that shows that the trauma we carry in ourselves can become a formidable monster, haunting our every step.

‘BoJack Horseman’ (2014–2020)

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An animated comedy about a washed-up ’90s sitcom star who also happens to be a horse should not be as profound, but BoJack Horseman is one of the most emotionally devastating and psychologically insightful shows ever made. Across its six seasons, the series follows BoJack (voiced by Will Arnett) as he navigates the hollow pleasures of Hollywood, grapples with his own self-destructive behavior, and searches for meaning and redemption. It starts as a cynical showbiz satire, but it grows into an unflinching exploration of depression, addiction, trauma, and the possibility of change.

The genius of BoJack Horseman is the range it encompasses: it often pivots from absurdist animal puns to gut-wrenching emotional revelations in the space of a single scene. The show never overstays its welcome, and after six seasons, it ends ambiguously but honors the development of the characters. BoJack Horseman is a masterpiece that will make you laugh, cry, and question everything; there’s not a wasted episode in its 76-episode run, and the show’s ability to tackle the darkest aspects of (human) existence while remaining consistently hilarious is nothing short of miraculous. It is a flawless meditation on what it means to try, fail, and keep trying anyway.

‘Midnight Mass’ (2021)

Image via Netflix

Mike Flanagan’s (second) follow-up to Hill House is an even more ambitious and thematically rich work, this time getting the seal of approval from the king of horror himself, Stephen King. Midnight Mass is a seven-episode limited series set on a small, isolated island community called Crockett Island, where the arrival of a charismatic and mysterious young priest, Father Paul (Hamish Linklater), and the former convict and Crockett native, Riley (Zach Gilford), coincides with a series of inexplicable miracles and horrifying events. It’s a slow-burning meditation on faith, doubt, purpose, and community that slowly grows into something terrifying and mesmerizing.

While the entire ensemble is brilliant, Samantha Sloyan and Linklater deliver some of the most mesmerizing performances in television history; he is unnerving and charming, while she plays a believer filled with intense, often terrifying, devotion. Flanagan’s writing is at its peak, using the horror genre as a vehicle to explore questions of faith, mortality, and the danger of religious extremism. Midnight Mass is a flawless masterpiece of atmosphere and emotional depth, with extraordinary monologues, intense scares, and a finale that is a beautiful reckoning with mortality that lingers for a long time.

‘Mindhunter’ (2017–2019)

Image via Netflix

No other show in Netflix’s library deserves the title “flawless” like David Fincher’s Mindhunter does. The series chronicles the early days of the FBI’s Behavioral Science Unit, following agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany) as they interview locked up serial killers to develop criminal profiling techniques and educate police officers and detectives across the country to recognize killers early. Mindhunter is a detective show elevated by Fincher’s meticulous, clinical direction and a script that treats its subject matter with a razor-sharp intellect.

Mindhunter is mostly built around conversations—long, tense, psychologically grueling interrogations—and yet it is more gripping than most action thrillers. The performances are uniformly outstanding, particularly Cameron Britton‘s chilling turn as real-life killer Ed Kemper. Across 19 episodes, Mindhunter never dips in quality, maintaining a consistent atmosphere of dread and tension that stays unbearable at times. It is a masterpiece in all respects, so much so that we can easily call it the greatest show Netflix has ever produced. The cancellation after season two is tragic, but what remains is flawless, essential television that changed the way we think about crime drama.

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Mindhunter

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Release Date

2017 – 2019

Network

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Netflix

Showrunner

Joe Penhall

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Directors

David Fincher, Carl Franklin, Andrew Dominik, Andrew Douglas, Asif Kapadia, Tobias Lindholm

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Influencer Nara Smith is reflecting on how daily moments with her 2-year-old daughter, Whimsy, have changed amid the toddler’s cancer battle.

“Cancer has a way of taking things you never realized you’d grieve,” Smith wrote via Instagram on Tuesday, July 7. “The day I ran my fingers through her hair, strands coating them, I realized I wouldn’t be brushing Whimsy’s hair much longer. It’s such a small thing, until it isn’t. Tiny curls on her pillow. Hair caught in my fingers after bath time. Hair loss is one of the first visible reminders that life has changed.”

She continued, “Watching Whimsy lose hers has been one of the hardest parts of this journey. It wasn’t just hair. It was the little curls I tucked behind her ears, the wispy strands that caught the sunlight, and all the ordinary moments I never imagined I’d miss.”

Alongside the message, she shared a glimpse of herself kissing her daughter’s head while Nara’s husband, Lucky Blue Smith, held onto their little one. (Nara and Lucky are also the parents of daughter Rumble Honey, 5, son Slim Easy, 4, and daughter Fawnie Golden, 9 months. Lucky previously welcomed daughter Gravity in 2017 with ex Stormi Bree Henley.)

Related: TikToker Nara Smith and Lucky Blue Smith Are ‘Absolutely Done’ Having Kids 

Nara Smith/YouTube TikTok star Nara Smith and her husband, Lucky Blue Smith, are not looking to have six children as they initially hoped. “After Whimsy, we are absolutely done now,” Nara, 22, told GQ Hype in a profile published on Wednesday, August 7. “Having toddlers is the best sort of birth control because they’re wild.” […]

In another clip, Nara rested her head on Lucky’s shoulder as he shaved their daughter’s hair. A final video showed their daughter walking down a hallway with a bald head while wearing a dress.

“Changes,” Nara wrote over the clip, alongside a simple white heart emoji.

Her caption continued, “If sharing these pieces of our story helps even one family feel less alone, or encourages one person to learn more about childhood cancer, then this vulnerable part of our lives is worth opening. Today her curls are returning🤍.”

Nara shared in June that Whimsy was diagnosed with cancer “late last year” after being brought to a pediatrician to have “something suspicious” on her body examined.

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Related: Why Is Influencer Nara Smith Storing Her Breastmilk Outside in the Snow?

Influencer Nara Smith is nothing if not resourceful, revealing the unique way she’s keeping her breastmilk cold this winter. Smith, 24, shared an Instagram photo of her breastmilk lying in bags outside in the snow on Thursday, February 26, confirming her new storage system was out of necessity. “Ripped out kitchen. Construction and no access […]

“When we took her into our pediatrician, I just remember him going really quiet and calm … My heart dropped in that moment,” she said via Instagram at the time. “I don’t know whether it was my gut telling me something or just a mom’s intuition, but the first thing that I felt was she has cancer.”

Whimsy underwent “a lot of X-rays, ultrasounds and finally a biopsy.” Nara and Lucky were called “immediately” afterward and told that she has cancer.

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“[They] told us it had spread and that she needs to come and start chemo treatments immediately,” Nara recalled.

The influencer later shared a series of photos of Whimsy amid her health battle — including one showing her with a bedazzled head.

“Little warrior girl🎀,” Nara wrote via Instagram on Friday, July 3. “Sharing something this vulnerable wasn’t an easy decision but seeing every message, prayer, story of a similar experience and kindness has made it a little easier. To every family or parent walking through something heavy right now, we’re thinking of you too🤍.”

The family of Nolan Xavier Wells has retained civil rights lawyer Ben Crump. The 18-year-old college student was found dead on Horn Island in Jackson, Mississippi, on Monday, July 6. Nolan went to the island with a group of friends on the Fourth of July and never returned. The Jackson County Sheriff’s Office claims Nolan willingly stayed on the island alone. According to a press release from Crump, the Wells’ family wants a “thorough and transparent” investigation into his death.

RELATED: Nolan Xavier Wells’ Death Ignites Social Media Conversation About Being The Only Black Person In Non-Black Spaces & Friend Groups

Nolan Xavier Wells’ Family Retains Ben Crump Amid Questions About His Death

Nolan was reported missing by his mother to the Jackson County Sheriff’s Office around midnight on Saturday after he didn’t return with the rest of the group. He was found two days later and identified through family confirmation and dental records, per WLOX.

According to ABC News, the group claimed Nolan wanted to stay on the island, so they “went back” without him. Nolan was seemingly one of the only Black people amid the seemingly majority white group. The lack of answers from the group he traveled with to Horn Island has raised suspicions and public demands for clarification. Sheriff John Ledbetter has already said his department doesn’t suspect foul play, but investigators are considering a drowning.

“From what we understand, he chose to stay there,” said Jackson County Sheriff John Ledbetter. Later adding, “There’s no information that we have right now that would lead us to believe that a crime has occurred.”

Crump released a statement after Nolan was found. The civil rights’ lawyer called for a transparent investigation into Nolan’s death.

“Nolan Wells was a beloved son, teammate and friend who went out to celebrate the Fourth of July and never came home,” reads Ben Crump’s statement. “His family deserves answers. They deserve the truth. We will not rest until every fact about what happened to Nolan on Horn Island is brought into the light, and we call on investigators to pursue this case with the urgency and transparency this family deserves.”

Nolan’s Mother Updates Public Profile Amid Son’s Death

The Shade Room previously reported that his mother, Christine Wonsley, shared a picture of Nolan with three friends on a boat taken on the same day he disappeared. She also on Tuesday updated her Facebook profile picture with a photograph of herself with Nolan.

His mysterious death prompted questions about how he died, and a video taken on Horn Island on July 4 raised more concerns. The video was shot from a boat and seemingly shows a man resembling Nolan standing by on the beach as an argument took place. One individual is heard yelling the F-word, but the audio is distant. It’s unclear if the college student was the target of the shouting individual as crowds of people are seen looking on.

Nolan’s Childhood Friends Spoke Out After His Death

According to the Sun Herald, Nolan’s best friend, Jayvon Williams, was supposed to ride out to Horn Island on the same boat as him. He didn’t because it was full, but he remembers last seeing Nolan around 4 p.m. on the island.

“As soon as we got out there, he told me that he loved me,” recalled Jayvon.

Another friend, Trace Carter, said he talked to Nolan before the trip. “Just hit me up when you get back,” said Carter. “Just be careful, bro. Watch out for yourself.” Nolan replied, “I got you. I’ll hit you up later.”

RELATED: Body Of 18-Year-Old Nolan Xavier Wells Found On Horn Island Two Days After Going Missing, Mother Confirms (UPDATE)

Taylen Biggs has spent years interviewing some of the biggest names in entertainment, but one celebrity continues to stand out above the rest. The 13-year-old journalist, influencer, and red carpet correspondent has spoken with actors, musicians, athletes, and entrepreneurs throughout her rapidly growing career. Yet when asked which celebrity left the strongest impression on her, Biggs immediately pointed to Selena Gomez.

During an exclusive conversation with The Blast, Taylen Biggs reflected on her 2024 interview with the singer, actress, and Rare Beauty founder, explaining that Gomez’s warmth and authenticity made the experience unforgettable.

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For Biggs, what made Gomez memorable wasn’t her celebrity status. Instead, it was the way she treated the people around her. “When I interviewed her, she was just so sweet and kind,” Biggs told The Blast. “She made me feel comfortable, and the conversation just flowed so well.”

The young reporter said Gomez created an environment that immediately put her at ease, something that isn’t always guaranteed when sitting down with a global superstar. That experience ultimately changed how Biggs thinks about interviewing others.

Rather than focusing solely on getting the perfect question or headline-making answer, she began paying closer attention to how guests feel during a conversation.

Their Rare Beauty Interview Resonated With Fans

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Biggs first interviewed Gomez in October 2024 during a special conversation for Rare Beauty. The interview quickly gained attention online as the pair discussed topics including mental health, self-confidence, personal growth, and navigating life in the public eye.

One particularly memorable moment came when Biggs asked Gomez what advice she would give her younger self. “Not be so hard on yourself,” Gomez responded.

Fans praised Gomez for her advice and for the natural chemistry between the two, noting how easily the conversation flowed despite their age difference. At one point, Gomez affectionately referred to Biggs as a “little sweetheart,” a moment many viewers still talk about to this day.

Selena Gomez’s Authenticity Became A Valuable Lesson

Looking back, Biggs said one quality stood out above all others: authenticity. In fact, during their original interview, Biggs described authenticity as Gomez’s “ultimate superpower.” That perspective has only strengthened with time.

According to Biggs, Gomez’s openness about her experiences and willingness to be vulnerable helped create a safe and welcoming environment. “She made me feel comfortable and calm,” Biggs explained. “It made me feel safe in the surroundings that we were in.” And for someone building a career around conversations, that lesson proved invaluable.

Biggs Continues Building An Impressive Celebrity Interview Resume

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While Gomez remains one of the celebrities who left the biggest impression on her, Biggs told The Blast that she has no plans of slowing down. Over the past several years, the young journalist has interviewed a wide range of actors, musicians, entrepreneurs, and influencers, building a reputation as one of the most recognizable young faces on the red carpet circuit.

She also opened up about her partnership with Invisalign and the role confidence has played in both her personal life and growing career. The 13-year-old explained that confidence isn’t about being perfect, but rather feeling comfortable with who you are.

Biggs shared that wearing Invisalign aligners has helped boost her confidence, particularly while attending red carpet events and interviewing celebrities. “Now I have the confidence to actually smile,” she said, adding that preparation is another key factor in helping her feel self-assured before major interviews.

The young journalist also looked ahead to her future ambitions, revealing that interviewing Taylor Swift remains one of the biggest items on her career bucket list. Along with hopes of sitting down with the global superstar, Biggs said she dreams of hosting her own talk show, pursuing more acting opportunities, and appearing on Jimmy Fallon‘s late-night show.

The Advice Taylen Biggs Still Uses Today

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The experience continues to influence how Biggs approaches interviews. “I kind of want to use those things that I felt and give it to other people,” she told The Blast. “When I interview people, I want them to feel comfortable with me.”

Biggs also recalled another piece of advice Gomez shared that has stayed with her long after the cameras stopped rolling. “Take time for yourself,” Gomez told her.

As Biggs balances school, content creation, red carpet appearances, and an increasingly impressive interview résumé, it’s advice she still carries with her today.

Charlize Theron fed eyes online before turning heads at “The Odyssey” premiere.

The highly rated actress, who has had no struggles stripping down into her birthday suit on screens over the years, had fans drooling over her once again just before her most recent movie hit the big screen.

Charlize Theron addressed her stance on sultry scenes for movies almost two decades ago and continues to maintain a professional view of the perks that come with her job.

Theron stepped out for the movie premiere’s after-party looking elegant in a Givenchy long red dress with a hip-high slit. The draped red velvet dress was custom-made, swapped from the black version of Sarah Burton’s Givenchy Fall 2026 line, which she wore for the premiere. 

The actress completed her look with a pair of black leather Bonbon gloves with puffed sleeves and a pair of black heels whose color matched perfectly with Theron’s pedicure. Although the style of the gloves was eye-catching thanks to the elbow-length puffy sleeves, they did not steal the focus from the stunning dress.

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The halter top style and high slit took their reign in the front of the gown, while the back pulled eyes with the dramatic bow-spine feature running down Theron’s bare back. She had her hair in a sleek side-swept wet look with few strands left free to the side of her face. The movie star rocked a pair of Desert diamond earrings from London jewelry house Glenn Spiro.

The Actress Wore Nothing But Her Diamond Earrings Hours Before The Movie Premiere

Theron shared a sultry photo on Instagram shortly before stepping out in style. In the photo, the “Monster” actress posed topless, wrapping her arms around her chest.

It was evident that she was getting ready for the occasion as her hair and glam were already done. The classic makeup look stood out as the light hit her smileless face in the picture.

The picture also highlighted her bright red lipstick and an important piece of jewelry: her diamond earrings, which she stepped out in later that evening.

In what appears to be her hotel room, her premiere dress can be partially seen on the bed in the background of the snap. The movie star simply captioned her post by tagging “theodysseymovie”

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The Eye-Catching Photo Wowed Fans

The racy photo caught fans’ attention, to say the least, just as much as her outfits made heads turn when the TV personality stepped out with poise. The comments and reactions continue to increase even after her premiere looks have made headlines.

Theron’s post has gathered over two thousand comments, many of which are from fans writing compliments about her beauty. Stunning, beautiful, and gorgeous are some of the few words repeatedly used by fans in the comment section as they expressed how smitten they are by the actress’s looks.

“Ethereally beautiful,” a commenter wrote. “Goddess!” another remarked, while a different user added, “Wow, beautiful as always.” Countless fans sent love to the award-winning actress from different parts of the globe, and notably, others could not hold their thirst in the comments. Many heart and flower emojis also rolled in as the reaction to the post surpassed a hundred and forty thousand within hours.

The ‘Atomic Blonde’ Star’s Stance On Explicit Movie Scenes

Back in 2009, Theron sat down with Vogue, where she discussed her views tied to on-screen nudity. Being 34 at the time, she revealed that she was still approached to play naive young woman characters on screen despite her age.

Theron maintained that she will continue to do what many young actresses are asked to do and is willing to be filmed in her birthday suit if the role requires it.

One of her movies, “The Burning Plane,” was referenced, where the mom of two does not have any clothing on in the opening scene. “This isn’t about me,” Theron said of her nude appearance in the scene, adding, “I don’t look at the movie and go, ‘Jesus, my a-s is really saggy.’” 

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The conversation shifted into talks about her plans as regards building a family, and “The Italian Job” star was so sure about having five sons at the time.

She also presumed she would build a family wth her longtime beau Stuart Townsend, whom she had dated for almost nine years and had hopes of embarking on that path of life together.

Charlize Theron Has Grown And Embraced Change

Oh! How the tables have turned! Theron’s family-building plans have taken a steep turn in a far different direction. The movie star has welcomed two kids via adoption, and no, they are not sons, very different from her 2009 plans. She has daughters, Jackson and August, whom she adores and lives for.

The “Mad Max” star’s relationship with Townsend also came to an end in 2010. Her past experiences with relationships have influenced her decisions moving forward. She recently shared that while she has not closed the door on romance, she has a strict no-cohabitation rule.

As reported by The Blast, Theron disclosed that she has her foot down on that rule for any future partners she may have. The Oscar-winning actress explained her non-negotiable during an appearance on “The Drew Barrymore Show,” stating that her future partner would live nearby but not under the same roof as she and her daughters.

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She further emphasized that her children are her priority and her decisions are strongly tied to their well-being amd safety.

Should fans expect more eye-catching posts from Charlize Theron?

It’s hard to believe that the first decade of the 21st century was so long ago. It’s also hard to believe that the decade produced some shockingly bad movies. Some that could never be made today. In the world of comedy, these films were so abysmal that you had to wonder if a comedy would ever be made again. OK, yes, that’s a hyperbole, but they might have made you swear off comedies until a good one came through.

The films on this list are not only some of the worst comedies of the decade, but they might also be some of the worst of all time. From star vehicles that nearly destroyed careers to tone-deaf sequels that made you question why they were even greenlit, these movies are in distinct company with their fellow flops.

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‘Analyze That’ (2002)

Image via Warner Bros. Pictures

Sequels are hard. Even with a stellar ensemble, it’s not a slam dunk that a follow-up will capture the same charm. Analyze This is a beloved film. Analyze That is the exact opposite. Harold Ramis united with Robert De Niro and Billy Crystal to create a truly dismal flop. Analyze That follows mob boss Paul Vitti (De Niro) as he’s nearing the end of his prison sentence. He begins behaving erratically, which he believes is a mental breakdown. Authorities release him under the custody of his former therapist, Dr. Ben Sobel (Crystal). Figuring it out that it’s just a get-out-of-jail act, Sobel finds himself dragged right back into Vitti’s chaotic world. To prove he can live as an honest citizen, Vitti takes on various everyday jobs with disastrous results, including getting caught up in a complicated mob dispute, which forces the dynamic duo back into action. What should have been a surefire hit proved that abandoning what worked in the original would result in tired slapstick within a dreadful plot.

Without its charm, Analyze That floundered. The original worked because De Niro and Crystal evoked a novel chemistry. The tension between a mobster’s life and a therapist’s professional boundaries was funny at first, but it just became tired and a nuisance the second time around. De Niro was forced into a caricature of his character. De Niro doing West Side Story is funny, until it’s not. Ramis played upon duplicating themes as sequels tend to do. He did attempt to shake things up, but the convoluted schemes just brought groans. Joining De Niro and Crystal, Lisa Kudrow’s talent was severely wasted. She played a frustrated wife well, but she’s more than the script lets her do. As much fun as the duo was having, it was a misfire. The truth is, Analyze That is criminally unfunny.

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‘Deuce Bigalow: European Gigolo’ (2005)

Image via Sony Pictures Releasing

If we were making a list of the worst ‘90s comedies, it’s very likely Deuce Bigalow: Male Gigolo would be on the list. And yet, six years later, the green light was given to make a sequel. Even though it wasn’t the original studio. Nevertheless, Deuce Bigalow: European Gigolo became one of the least necessary sequels in the history of comedy cinema. Reprising his role, Rob Schneider brought his titular character to Amsterdam to visit his friend and former pimp, T.J. Hicks (Eddie Griffin). T.J. soon becomes the prime suspect when Europe’s finest male escorts start turning up dead. In order to clear T.J.’s name, Deuce steps back into the “man-whore” business, though this time he finds himself escorting a series of women with unusual physical deformities and quirks, doing his best to make them feel special and safe. While dodging an uptight Dutch police inspector and an elite society of European gigolos, Deuce must uncover the true identity of the serial killer. Falling deeper into a world of abysmal and unfunny humor, Deuce Bigalow: European Gigolo found the lowest hanging fruit and yanked at it, tossing it in the faces of the very few who suffered through it.

For whatever reason, the creative team leaned far too much on stomach-churning shock humor. The low-brow reliance on crude bodily fluid jokes, blatant homophobia, and deeply mean-spirited gags was simply uncomfortable. It’s not even fair to call the film lazy; it was intentional. Much of the humor relies on Hicks being so horrified at being perceived as gay that he would rather be convicted of serial murder. The female characters are primarily reduced to a cavalcade of “freaks” or physical-deformity jokes. In retrospect, it’s not shocking this type of comedy would come from a Schneider project. The film does have one thing it can call a legacy: five Razzie nominations, which the star embraced. At least he had a good time. Someone had to.

3

‘Freddy Got Fingered’ (2001)

Image via 20th Century Fox

The early aughts were a time in which new stars were emerging, hoping to take the baton and become the decade’s next big thing. In the world of comedy, that honor was bestowed upon Canadian comedian Tom Green. Though some stoners may disagree, it nearly all came crashing down with Green’s absurdist disaster, Freddy Got Fingered. The surreal, black comedy follows Gord Brody (Green), an eccentric, childish slacker and aspiring cartoonist who moves back in with his parents and younger brother, Freddy (Eddie Kaye Thomas). When his fed-up father, Jim (Rip Torn), pressures him to get a job and move out, Gord retaliates by spreading malicious rumors that his father is sexually molesting Freddy. The lie completely fractures his family and sets off a series of chaotic and bizarre events. A notoriously polarizing cult comedy that has aged abysmally, Freddy Got Fingered is unapologetically offensive.

Freddy Got Fingered was plotless and pointless. The barrage of gross-out stunts and deliberately shocking scenes got people talking, mostly high school kids, in a divisive way. Perhaps it came out at the right time because, had it arrived during the time of viral videos, the film and Green might have been subjected to cancel culture. Instead of a cohesive story, the movie strings together bizarre, mean-spirited events that only lead to excruciating frustration. The fact that the film found its footing by revolving a central molestation prank is truly mindblowing. And yet, it only presented Green, who served as a co-writer, as a rising star. Call it modern sensitivity, but laughing at the humor today is uncouth. Back then, comedians could get away with much more. Though it has received praise over time as a bold comedy, it’s truly a tone-deaf time-capsule film.

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‘Gigli’ (2003)

Image via Sony Pictures Releasing

It’s mindblowing to know that back in the day, Ben Affleck and Jennifer Lopez were seen as a perfect Hollywood couple because, if you base their chemistry on their dismal connection in Gigli, you’d be shocked that they even got together in the first place. But maybe that’s why they’ve essentially been on again, off again since 2003. Written and directed by Martin Brest, Gigli follows Larry Gigli (Affleck), an inept, small-time Los Angeles mobster, assigned to kidnap the intellectually disabled brother Brian (Justin Bartha) of a federal prosecutor, whose job gets complicated when a free-spirited female enforcer, Ricki (Lopez), is sent to supervise his work and ensure it goes smoothly. As romcoms go, Gigli begins to fall for Ricki, only to find out she’s a lesbian. At first conceived as a straightforward mob movie, Gigli devolved into a romantic comedy to capitalize on the real-life tabloid romance of Bennifer. In turn, a cinematic disaster was both.

Affleck and Lopez are great at their craft, but not when they are thrust into a baffling script. Blame it on the shifting tones, the clunky dialogue, and the awkward plot, but the chemistry was lacking. Gigli didn’t know what it wanted to be. Was it a crude mob drama, a nonsensical romance, or a reductive comedy? Perhaps had the media circus not been what it was, there could have been a semblance of hope, but because Bennifer was top of mind, it was highly scrutinized. Another example of a tone-deaf plot, the film portrayed a character with a mental disability in a manner that crossed the line. We have to thank Gigli for being a terrible film, because it remains a nostalgic throwback to simpler times when you actually had to go to the movies to see what the hype was all about. Gigli certainly benefited from it.​​​​​​​

5

‘Grandma’s Boy’ (2006)

Image via 20th Century Studios

Stoner comedies aren’t always bad. In fact, the ‘90s saw them thrive! But in the ‘00s, that wasn’t always the case. In fact, audiences seemed to outgrow them even if the filmmakers didn’t believe them. Perhaps one of the worst of them all was Grandma’s Boy. The cult classic comedy follows Alex (Allen Covert), a 35-year-old video game tester who is evicted and forced to move in with his wacky grandmother, Lily (Doris Roberts), and her two elderly roommates, Grace (Shirley Jones) and Bea (Shirley Knight). To save face, Alex tells his younger co-worker, J.P. (Joel Moore), that he lives with three hot women, leading to wild and absurd consequences. Giving Covert a chance to lead a comedy, Grandma’s Boy became a dismal vehicle that relied too heavily on cheap humor and a paper-thin plot.

When it comes to stoner comedies, the same tropes are utilized to death. That was the case here. And yet, in hopes of making it unique, the script also tapped into cliché nerd-fantasy tropes because of the video game element. What resulted was stereotyping video game lovers of a certain age. Grandma’s Boy was littered with marijuana, sex jokes, and juvenile antics rather than traditional storytelling, creating a truly aimless plot. Obviously, since its 2006 release, marijuana has become more widely accepted. Then, it was used as a punchline for the grandmas who eventually not only embrace it, they partake in it. They literally drink the pit because they believe it’s tea. It’s not funny as a plot point; it’s funny because it’s three revered actresses being forced to do this on film. And that’s essentially how the cult classic status was earned. ​​​​​​​

6

‘Pledge This!’ (2006)

Image via Pop Films LLC

In hindsight, the Paris Hilton experiment was genius. The socialite was one of the biggest personalities in pop culture, dominating reality TV and the gossip rags. Oh, and the occasional film. None showcased her as a great actress, but while House of Wax and Repo! the Genetic Opera were so bad, they were good. Pledge This! was simply dreadful. One of the many National Lampoon nightmares of the decade, Pledge This! dropped the former sex tape star in an unlikely locale: college. The direct-to-DVD comedy follows Victoria English (Hilton), the ruthless, glamorous president of the exclusive sorority, Gamma Gamma, at South Beach University. When the sorority gets the chance to win the title of “hottest sorority in the country” and land a magazine cover, Victoria admits a group of misfit, unconventional, and dorky outcast freshmen to maintain an image of diversity. Forced into “Hell Week,” fed up with the abuse, the leader of the misfits, Gloria (Paula Garcés), sneaks into the sorority house to steal embarrassing photos and videos of Victoria, sparking a chaotic war of revenge. Hilton was known for her catchphrase, “That’s hot.” This film was absolutely not.

To call it a bottom-tier film would be kind. Pledge This! rode the Paris Hilton hype, botching the potential immediately. Though it leans into her character, Hilton’s Victoria is unlikable and one-dimensional. The film fell flat, relying on poor humor and gratuitous nudity to sustain an otherwise sunken plot. Even with cameos from Carmen Electra, Paulina Rubio, and Sofía Vergara as themselves, there was no way to salvage this film. Pledge This! is a painful viewing experience with no redeeming moral or heartwarming undertones. Though with this premise, how could there be? Dumb comedy to the max, the badge of honor is owning a 0% Rotten Tomatoes score.

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Pledge This!

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Release Date

December 1, 2006

Runtime

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91 minutes

Director

William Heins

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Writers

Anna Obropta

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  Paris Hilton

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  Victoria English

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  Paula Garcés

  Gloria Torrez

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  Sarah Carter

  Kristen Haas

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Before jumping into a ranking of the best graphic novels of all time, it’s important to try to establish the difference between graphic novels and comic books. One way to do it fairly simply is by suggesting that graphic novels are like the movies of the comic world, and that comic book series – as in those that are published monthly – are kind of like the TV shows of the comic world.

Things get complicated when some issues of an ongoing series tell a standalone story, though, and then that story might be collected into a graphic novel. You’re not going to please everyone with any definition, and people might get very passionate about this. But if a comic tells a mostly self-contained story, and that story can be (and has been) collected in a single book, then it counts as a graphic novel for present purposes. If you disagree, uh, sorry, or whatever.

10

‘The Crow’ (1989)

Image via Gallery 13

The Crow is a story about revenge, to some extent, but it’s also probably more about angst and grief, at least in its original form. The movie version, which is probably a little more famous, does also convey those emotions, but it’s more coherent and straightforward, by design, so the revenge aspect of it all feels more pronounced. The graphic novel, on the other hand, is a good deal more emotionally intense and primal, for lack of a better word.

James O’Barr used it as a way to process the feelings he had after his fiancée died because of a drunk driver. He channeled that grief and anger into a story about a man who, alongside his fiancée, is murdered, and then he comes back from the dead to avenge both his own murder and that of his fiancée’s. It isn’t easy to follow, yet grief itself isn’t really all that coherent or understandable when you’re going through it. In that sense, and as something truly visceral/raw, The Crow succeeds immensely at achieving what it sets out to do.

9

‘From Hell’ (1989–1998)

Image via Top Shelf Productions

The first graphic novel written by Alan Moore worthy of mention here is From Hell. Now, this one is pretty long, but it can still be compiled into a physical book, so it feels worth considering as a graphic novel. It was originally published over almost a decade, and is, overall, a very intense and oftentimes genuinely unpleasant story about the Jack the Ripper murders; one that suggests a conspiracy behind them that makes the already horrific killings feel even more difficult to grapple with.

There are some interesting directions From Hell goes in, even beyond the historical speculation, and those parts are often the most effective and nightmarish. Speaking of nightmarish, this is one of the most graphic (in terms of violence) graphic novels ever published, and a strong stomach is pretty much required if you want to read it. It’s controversial and challenging for sure, but also very much powerful and unique.

8

‘Uzumaki’ (1998–1999)

Image via Shogakukan Inc.

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The one manga that’s going to be included here is Uzumaki, and if you feel it shouldn’t be, because you think manga works are too different from graphic novels, then too bad. It’s the only manga here, so you’ve got nine other “actual” graphic novels to focus on. Nine out of ten ain’t too shabby. Anyway, this was published over the course of just over a year, originally, with 19 main chapters all up, but all of it can be condensed into a single book that’s a little over 600 pages in length all up.

Basically, Uzumaki is a work of psychological horror that focuses on a town that becomes cursed by spirals. People start to see spirals everywhere, and then this drives them mad, with lives constantly being ruined, and then it just keeps escalating from there. Reading it in whole, the pacing is a bit choppy and repetitive, but there is something inherently unsettling about the whole thing, and the artwork here is undeniably striking and nightmare-inducing… that feels like the most important thing, in terms of inspiring a visceral sort of horror, in all honesty.

7

‘Batman: Year One’ (1987)

Image via DC Comics

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It’s very nice of Batman: Year One to summarize what it’s about with the title alone. Like, this is focused on Batman just beyond his origin, capturing the first year or so of his time as the Caped Crusader. If you’re more knowledgeable about movies than comic books and graphic novels, like the person typing this, uh, may or may not also be, Batman: Year One was a big inspiration for the recent 2022 film, The Batman.

There, the origin story of Bruce Wayne/Batman was not focused on, but the Robert Pattinson Batman was someone who was just starting out, and that approach proved more interesting than doing yet another origin story. Batman: Year One is satisfying in a similar way, and is easily one of the best Batman-related graphic novels. Frank Miller was the writer behind this, and there is one other Batman graphic novel he did that’s worth mentioning, for present purposes… but more on that one in a bit.

6

‘Supergirl: Woman of Tomorrow’ (2021–2022)

Image via DC Comics

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Thank or blame Supergirl (2026) for putting the spotlight on Supergirl: Woman of Tomorrow, which was eight issues of Supergirl that formed its own arc, and so it’s being counted as a graphic novel here. That 2026 film, which was originally titled Supergirl: Woman of Tomorrow, did make a kind of half-hearted attempt to adapt the comic, and it wasn’t a total miss (like some people might have you believe)… but also, the graphic novel, in this instance, was better.

Much of it comes down to the visuals being a whole lot bolder and more eye-catching in the graphic novel, while the movie looked comparatively drab, outside a few shots here and there. Woman of Tomorrow, across its eight issues, tells a much more compelling story of revenge and redemption, and it’s understandable why it’s already become something of a modern classic, as far as comic books/graphic novels are concerned.

5

‘V for Vendetta’ (1982–1989)

Image via Vertigo Comics

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Before From Hell, and another Alan Moore-related graphic novel that will be gotten to in a bit, there was V for Vendetta. This is pretty legendary as far as works of dystopian fiction go, with the setting being a futuristic England that’s in a pretty dire spot all around. Like, Children of Men bad, or maybe even a bit worse. But there is one revolutionary figure known only as “V” who might be able to make a difference, or maybe not. He very intentionally keeps things mysterious, to both his enemies and his (potential) allies.

This Alan Moore graphic novel got a movie adaptation, too, and that movie adaptation is liked by some, but it doesn’t quite hold a candle to the thrilling source material. Moore’s work is generally hard to adapt, and best appreciated in its original form. V for Vendetta is one of those stories where, if it didn’t age well, that’d probably be a sign that the world was headed in a good direction. But it’s about 40 years on, now, from when it was published, and V for Vendetta is, somewhat regrettably, still aging well, and still feeling relevant.

4

‘Persepolis’ (2000–2003)

Image via Pantheon Books

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If you ever ran into someone who thought great graphic novels didn’t deserve to be held in the same high regard as great novels, Persepolis would make for a pretty compelling work to use as a way to show such a person the error of their ways. This is an autobiographical graphic novel by Marjane Satrapi that also happens to be an all-time great coming-of-age book, graphic novel (in its presentation) or otherwise.

The central character here is named Marjane, after the author, and she navigates life in Iran during the 1980s, at the time of the Islamic Revolution, with later parts of the story taking place when she’s a young adult, during the 1990s. It’s about a girl, then a young woman, growing up during a dramatic time in 20th century history, with it being done in an authentic and ultimately moving way. It also inspired a notable – and pretty great – movie of the same name, which was released in 2007, and did an overall good job at translating the material of the graphic novel to the big screen.

3

‘The Dark Knight Returns’ (1986)

Image via DC Comics

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Frank Miller returns, here, and so does the Dark Knight, what with this being called The Dark Knight Returns and all. This was published the year before Batman: Year One, and can be contrasted with that graphic novel (or limited series, or whatever you want to call it) in the sense that The Dark Knight Returns is all about an aging Bruce Wayne/Batman doing his thing as he nears retirement, rather than being in, you know, his first year and stuff.

The Dark Knight Returns has not been directly adapted into a live-action film yet, but there are certainly elements here that proved influential for Christopher Nolan’s The Dark Knight Rises. The Dark Knight Returns is better as a graphic novel than that one is as a film, though, and there’s a solid argument to be made that it’s the ultimate – and most compelling – arc in the history of this particular series.

2

‘Maus’ (1980–1991)

Image via Pantheon Books

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Maus is not a particularly long story, but it was completed over a fairly lengthy amount of time, with all the chapters collected into one book ultimately being a graphic novel. It’s something of an autobiographical graphic novel, with author/artist Art Spiegelman putting himself into the work, and having it be about him speaking to his father, Vladek, about his experiences as a Jewish man in the lead-up to, duration of, and then aftermath of World War II.

It’s about the Holocaust, but also about the legacy of those who survived such an ordeal, all done in a brutally honest and sometimes startlingly introspective manner. Maus also makes the artistic decision to depict all its characters as different kinds of animals, depending on their race/affiliation during the war. But it’s still entirely realistic, since this artistic decision doesn’t make it fantastical or anything of the sort. It’s one of those works that’s hard to stop thinking about, once read, and it easily ranks among the most important – and artistically bold – graphic novels of all time.

1

‘Watchmen’ (1986–1987)

Image via DC Comics

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If you find subversive superhero stories a bit played out at this point, you can’t be entirely blamed. At least on the television side of things, it almost feels like there are more popular anti-superhero shows than actual superhero shows, thanks to the likes of The Boys and Invincible, to name just a couple. But 40 years ago, when Watchmen was first published, taking a grittier, darker, and more violent approach to comic book/superhero conventions felt a whole lot more groundbreaking.

Watchmen is definitive, in that regard, and essential for pushing superhero stuff forward considerably, in so many ways. There are adaptations of it, but there’s a uniquely apocalyptic and heavy-going feel to the original graphic novel (initially published in 12 issues throughout 1986 and 1987) that’s proven hard to capture in another medium. Even if you’re not usually wild about graphic novels, Watchmen is pretty much required reading. Putting it at #1 here feels equal parts predictable and well-deserved.

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Watchmen

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Release Date

March 6, 2009

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Runtime

163 minutes

Director

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Zack Synder

Writers

Alex Tse, David Hayter, Alan Moore, Dave Gibbons

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