Taylor Sheridan‘s days at Paramount are numbered, with a new partnership with NBCUniversal lined up. But the television mogul isn’t taking it easy and resting on his laurels. His latest series for the studio has emerged as a major hit, tying a bow on his decade-long association with Paramount. It had already been renewed for a second season before premiering this year, and it was recently announced that the series will return for a third season as well. This may be the final season of television that Sheridan creates for Paramount during this stint, with many of his older hits either having ended already or nearing their final seasons.

Sheridan’s relationship with Paramount began with the neo-Western Yellowstone, which became one of the biggest pandemic-era hits in the United States. The show ended its five-season run in 2024, after a behind-the-scenes dispute between Sheridan and star Kevin Costner. Two spin-offs — 1883 and 1923 — have also been aired, with a third one lined up: Dutton Ranch premiering next month. Sheridan’s run continued with Mayor of Kingstown, which will return for a fifth and final season; Tulsa King, which is set to return for a fourth season and a spin-off; Lioness, which is expecting a third season; and Landman, which has been renewed for a third season as well.

Taylor Sheridan Will Move to NBCUniversal in 2029

Sheridan’s latest series is The Madison, which was initially touted as a Yellowstone spin-off but was later revealed to be a standalone series. Starring Michelle Pfeiffer and Kurt Russell, the six-episode series ended its first season in March, having received mostly positive reviews and pushed Sheridan towards uncharted waters in the world of streaming. The show holds a 63% score on the aggregator website Rotten Tomatoes, where the critics’ consensus reads, “The Madison may not be an all-inclusive stay, but it offers a top-tier Michelle Pfeiffer, beautiful East Coast locations, and an expansion of the Taylor Sheridan universe, which is satisfying enough.”

According to FlixPatrol, The Madison has now spent more than 30 days on the Paramount+ streaming charts, joining Sheridan’s previous titles as a bona fide hit. Sheridan, who received an Oscar nomination for writing Hell or High Water, is eying a return to films with next year’s F.A.S.T. and the recently announced Call of Duty adaptation, set for release in 2028.

Stay tuned to Collider for more updates.

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Release Date

March 14, 2026

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West Wilson is speaking out about his controversial relationship with Summer House costar Amanda Batula after receiving backlash from fans and costars.

“There was no overlap. I know there’s a thousand different theories on the internet right now but that is one thing that for sure did not happen,” West, 31, said on the Monday, April 20 episode of his and Sophie Cunningham‘s “Show Me Something” podcast, referring to his past romance with fellow costar Ciara Miller and Amanda’s marriage to estranged husband Kyle Cooke. “Everyone was single.”

West added that he and Amanda, 34, later “realized things” between them were “a little bit serious.”

After the couple’s romance took the internet by storm in March, West shared that he has been keeping things low-key and has stayed off his phone. However, he has reached out to some of his Summer House costars to explain things.

“I’ve sent some texts. Haven’t gotten responses from everybody yet, which is to be expected and I get it. That’s the hardest part,” he reflected. “I think with this whole situation is my actions have hurt people I care about. But the reunion’s coming up and I can give those apologies face-to-face and also clear up all of the crazy s*** that’s been on the internet.”

Amid ongoing rumors about their relationship status, Amanda and West confirmed their romance in a March 31 statement.

“We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity,” the pair said in a joint statement posted via Instagram at the time. “It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we needed a little space to process things privately before speaking on it.”

While Amanda and West have “shown up for each other as friends over the years, through all the highs and lows,” they insisted their romance “was the last thing either of us expected,” adding that it “grew out of a genuine, longstanding friendship, which made it especially important for us to approach this with care.”

Related: West Wilson Weighed in on Kyle and Amanda’s Marriage 2 Months Before Romance

West Wilson weighed in on Kyle Cooke and Amanda Batula’s marriage — and rocky relationship — two months before confirming his romance with Amanda. “They are very different people,” West, 31, exclusively told Us Weekly in January of Kyle, 43, and Amanda, 34, after the then-couple’s marriage struggles were teased in a trailer for season […]

Their statement concluded: “As our feelings evolved, we wanted to take time to understand exactly what we were feeling. We also recognize that this has had an impact beyond just us and never wanted our actions to cause any hurt or be perceived as careless. We truly appreciate the understanding and respect as we navigate this.”

Prior to Amanda and West going public with their romance, they were both in relationships with other Summer House cast members. Amanda and estranged husband Kyle, 43, announced their separation in January after four years of marriage, while West dated Amanda’s friend Ciara, 30, in 2023 and hooked up with her in recent weeks, sources exclusively told Us Weekly.

In the wake of West and Amanda’s hookup scandal, an insider told Us that Ciara was “heartbroken” by the situation, noting, “She and Amanda were very close, and she feels more betrayed than ever by both of them.”

“Ciara cut off both Amanda and West after finding out,” a second insider told Us at the time. “She’s furious at West but even more hurt by Amanda. ‘Disappointed’ doesn’t even cover it. This is so much more to Ciara than just breaking girl code.” (Ciara has since broken her silence about the scandal, telling Glamour it’s been a “major mindf***.”)

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Related: ‘Summer House’ Cast Reacts to Amanda Batula and West Wilson’s New Romance

The Summer House cast has found a front-row seat to one of Bravo’s most shocking romances. On Tuesday, March 31, Amanda Batula confirmed her unexpected relationship with BFF Ciara Miller’s ex-boyfriend West Wilson more than two months after she split from husband Kyle Cooke. “Given the complicated relationship dynamics involved and the scrutiny that comes […]

As for Kyle, he confessed the ordeal was “a mental mind-f*** for me” in an April 1 TikTok video with street journalist Adam Glyn.

“I can imagine West is using the same charm that he’s used on every other chick,” he said.

Kyle also revealed that he had been “in touch” with Ciara amid the scandal.

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“I think she had more evidence at her disposal than I did,” he explained. “She was trying to, like, let me come to terms at my own speed. It’s just a lot to process.”

While Kyle was “still in shock” and “disbelief” over the revelation of Amanda and West’s romance, he opted to give his estranged wife “grace just because I know she — just from a mental standpoint — is fragile.”

“Right now, I’m honestly more concerned about Amanda’s mental health and I am trying to get to the bottom of it because I am worried about her,” he elaborated. “I don’t think West is in a place to offer her what she needs. I’ve been caring and providing for her for 10 years. It’s a weird position to find myself in.”

Marcus Rosner plays a pivotal role on season 4 of Sullivan’s Crossing as Maggie’s secret husband, Liam.

Season 3 of the hit series, which started streaming on Netflix in August 2025, initially hinted at Maggie’s (Morgan Kohan) ex when she mentioned Liam (Rosner) to Lola (Amalia Williamson) as a summer fling she had met before finishing medical school. After a meet-cute while on a trip abroad, Maggie and Liam fell out of touch.

Liam was brought up again when Cal (Chad Michael Murray) found letters Maggie had written to Liam explaining why their relationship couldn’t work long-term because she wanted to prioritize her career.

The rest of the season focused on Maggie and Cal’s relationship. Despite them not being an official couple, they faced several challenges, including Cal reconnecting with his estranged father who was battling a terminal illness.

Related: Meet the Season 4 Cast of ‘Sullivan’s Crossing’ After Secret Husband Reveal

Season 4 of Sullivan’s Crossing will be picking up the pieces after Cal met Maggie’s secret husband — but who else is expected to appear? Based on the book series by Robyn Carr, Sullivan’s Crossing centers around neurosurgeon Maggie (Morgan Kohan) after she moves back home to rural Nova Scotia to reconnect with her estranged […]

After Maggie supported Cal through the difficult reunion, they returned to Sullivan’s Crossing, where he asked her to move in with him. They started planning their future just as the season came to an end, which is when a guest who checked in earlier that day revealed himself to be Liam. He then shocked Cal by referring to himself as Maggie’s husband.

Season 4, which premiered on The CW on Monday, April 20, will feature flashbacks that offer more insight into Liam and Maggie’s romance before she moved to Canada. Keep scrolling for everything to know about Rosner:

What Did Marcus Rosner Star in Before ‘Sullivan’s Crossing’?

Marcus Rosner’s most notable roles include UnREAL, Arrow, Supernatural and Once Upon a Time. He has also been a very consistent presence in Hallmark movies such as Autumn In the Vineyard, Love on Harbor Island, Romance to the Rescue, Flipping for Christmas, Love on the Right Course and Falling Like Snowflakes.

What Has Marcus Rosner Shared About His Personal Life?

In December 2020, Rosner announced his engagement to longtime girlfriend Alison Kroeker. They got married one year later. In January 2026, the couple welcomed their first child.

What Did the Cast Know About Liam Before His ‘Sullivan’s Crossing’ Debut?

Morgan Kohan previously teased the surprise twist, telling Swoon in July 2025, “I remember hearing a little bit [about Liam early in season 3]. I didn’t know they were married. There started to be talk when we filmed the scene with Lola and having summer flings. I knew that he was going to be coming into it, but I didn’t really know when or in what capacity. That cliffhanger was so much fun for me to read as well.”

Kohan acknowledged that Maggie’s trepidation about getting serious with Cal could have come from her past with Liam, adding, “I feel like it came up so last minute that I didn’t really have time to think about it, but I think it definitely would. It makes a lot more sense, for sure, for her to be more hesitant.”

The actress noted that she was just as in the dark about Liam’s role in season 4 as the audience.

“At the same time, I still don’t know the history, so who knows when we get to find out a bit more of that information, what he really means that he’s her husband and all that kind of stuff,” she continued. “I mean, there’s gonna have to be a few conversations had [between Maggie and Cal]. It’s going to be a trust thing to have to build up again because that is a pretty big thing to leave out.”

Related: Who Is Liam on ‘Sullivan’s Crossing’? Maggie’s Husband Reveal Explained

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Sullivan’s Crossing took a surprising turn when Cal met Maggie’s secret husband — but who exactly is Liam? Season 3 of the hit series, which started streaming on Netflix in August 2025, initially hinted at Maggie’s (Morgan Kohan) ex when she mentioned Liam (Marcus Rosner) to Lola (Amalia Williamson) as a summer fling she had […]

Could Liam Break Up Cal and Maggie on ‘Sullivan’s Crossing’?

Showrunner Roma Roth teased what the newcomer’s arrival meant for Maggie and Cal.

“There’s never a dull moment at Sullivan’s Crossing,” Roth told Collider in July 2025. “A romance drama series needs to have push and pull between your characters … we’re going to have a pretty big shoe drop at the end of the season that we’ll get to see play out in season 4.”

Roth said she wanted season 3 to reflect the theme of “second chances,” sharing, “These characters have been through a lot over two seasons. We wanted to give them an opportunity to explore love. I think that’s what we actually even called one of the scripts.”

Roth concluded: “Because we’re dealing with a lot of emotional issues we wanted to have some lightness and levity this season, by giving people a reprieve and having them have some hope and positivity in their lives. Continuing the journey from the head to the heart — with emotion and drama and a few surprises.”

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How Has Marcus Rosner Transitioned From Acting?

In addition to being in front of the camera, Marcus Rosner has directed and written for projects as well.

“I’ve been fortunate to have a really privileged career both in front of the camera and as a producer, but in many ways it feels like all of that has been building toward stepping into the director’s chair,” he told The Northern Arizona Times in April 2026. “Acting is still my favorite part of the process, those moments between action and cut, but directing offers a different kind of creative fulfillment. Having that level of control keeps you engaged and creatively stimulated throughout the entire day, and that’s something I’ve found myself really craving.”

He added: “My background has been incredibly valuable in that transition. Acting gave me a deep understanding of performance, while producing taught me how films actually come together. Together, those experiences made stepping into writing and directing feel grounded and intentional. I have a clearer sense of what’s achievable, what’s interesting, and how to shape a visual and tonal language that feels specific to me.”

Spring hits and suddenly every dress in your closet feels like it’s clinging in all the wrong places. For many of Us, finding a dress that looks polished without squeezing the midsection can feel like a part-time job.

Good news: Cute spring dresses that disguise the tummy absolutely exist, and they don’t require shapewear or sacrificing your ability to breathe. The trick is strategic ruching, A-line cuts and fabrics that drape rather than cling. We pulled together 17 dresses that smooth and flatter your midsection while actually feeling good to wear all day. No gimmicks, just smart design.

Slimming Dresses That Hide the Tummy

1. Our Favorite: Hiding your tummy doesn’t mean hiding your silhouette. This curve-accentuating wrap dress uses a V-neck faux wrap to define your waist while the midi length keeps everything smooth and comfy.

2. Flowy Fit: The tiered ruffle design on this green floral maxi creates movement that skims right past your midsection. The short sleeves and a V-neckline keep you cool when spring temps climb.

3. Figure-Flattering: The wrap design on this navy floral mini dress cinches at the narrowest part of your waist. At $15, it’s the most affordable tummy-flattering spring dress in this lineup.

4. Clever Ruching: Strategic ruching along the midsection of this tie-waist T-shirt dress smooths your tummy without feeling restrictive. The slim fit and side slit give it more polish than your average dress.

5. Disguised Waistline: If you want a comfy spring dress that truly hides the tummy, this floral empire waist sundress is your move. The high waistline lets loose fabric drape over your midsection without clinging.

Related: These 19 Pricey-Looking Amazon Fashion Deals Are *Actually* Worth It

Working at a boutique trained my eye fast — I can spot expensive-looking clothing items from a mile away. It usually comes down to the little things, like eyelet fabric, great draping or spot-on tailoring that actually flatters. While scrolling through Amazon’s Big Spring Sale, I zeroed in on finds like eyelet maxi dresses and […]

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6. Cleverly Tailored: Eyelet embroidery gives this A-line spring dress a textured look that feels elevated without trying too hard. The cinched waist and V-neckline create a defined shape that draws attention upward.

7. Comfy Classic: When you want to feel comfortable but still look dressed up, this tiered swing dress delivers. The loose midi silhouette hides your tummy, while the cap sleeves keep your arms cool.

8. Vacation-Ready: This blue and white floral sundress has a vacation-print vibe that makes you look relaxed and pulled together instantly. Short sleeves and a flattering cut skim your midsection without feeling tight.

9. Throw-On-And-Go: Running late but still want to look pulled together? Throw on this comfy shift dress and walk out the door. The V-neck adds some shape and the loose body skims right past your stomach.

10. Desk-To-Dinner: Wear this floral shift dress to your desk, then head straight to dinner without changing. The short sleeves and shift silhouette keep you comfortable for hours while hiding the tummy.

11. Expensive-Looking: Want to look like you spent three figures on a spring dress? This Swiss dot wrap dress pulls it off with cap sleeves and a flowy ruffle maxi shape that naturally smooths the midsection.

12. Date Night-Ready: Date nights call for a dress that makes you feel confident, and this belted midi wrap dress comes through. Swiss dot fabric and a flowy shape glide over your tummy while the belt cinches your waist.

13. Must-Have Maxi: Most maxi dresses sacrifice shape for comfort. This flattering wrap maxi keeps things comfy with an elastic waist, while the V-neck wrap creates definition that minimizes your tummy.

14. Belly-Smoothing: When you’re feeling bloated, reach for this blue striped midi dress. The drawstring waist gives you full control over how loose or fitted it sits around your stomach.

15. Non-Clinging: Clingy fabric is the enemy of tummy confidence. This non-clinging floral maxi falls loosely from the bust down, keeping everything smooth and covered, while the cap sleeves add a polished touch.

16. Has Pockets: This scoop neck maxi dress boasts a fit-and-flare cut that hides the tummy. Plus, it has functional pockets you can actually use.

17. Brunch-Ready: Wear this short-sleeve floral midi to Sunday brunch and let the compliments roll in. The square neckline is unexpectedly flattering, and the midi silhouette smooths your midsection.

Stars including Suki Waterhouse, Rihanna, Sienna Miller have changed the definition of maternity style, making their baby bumps the focal point of an outfit.

Waterhouse — who announced in November 2023 that she’s expecting her first baby with Robert Pattinson — flashed her belly while taking a stroll in Los Angeles. At the time, she styled a pair of low-rise jeans with a white crop top, a tan button-down top, a black purse and sunglasses.

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Miller, meanwhile, commanded attention when she attended Vogue World: London in September 2023. For the event, she stunned in a puffy Schiaparelli cloud skirt and ruffled crop top. She paired the getup with sheer black tights and Schiaparelli flats that outlined her toes.

Lindsay Arnold also showed off her growing baby bump in a coral crop top and low-waisted skirt while enjoying a tropical girls’ trip in April 2026.

Keep scrolling to see the best bump-baring looks celebrities have donned.

Editor’s Note: The following contains spoilers for The Rookie Season 8, Episode 16.

It’s no secret to anyone that I absolutely hated The Rookie‘s last episode. I find the documentary-style episodes to be pointless — they take us away from the main cases we’re interested in and away from the characters we love so much. Luckily, this week, the ABC procedural returns to storylines that are compelling, and our favorite cops are back at work saving the people of Los Angeles (even if that means they have to protect a less-than-worthy villain).

‘The Rookie’ Puts a Serial Killer in Danger, Only To Rescue Him

Liam Glasser (Seth Gabel) has definitely been one of the best villains to come out of The Rookie‘s eight-season run. Episode 16 picks up with his lawyer, Malcolm (Sean Patrick Thomas) talking with Glasser on the phone, when he overhears gunshots. Glasser is targeted in a drive-by shooting, but doesn’t actually get hit. This means that although the LAPD isn’t exactly a fan of the serial killer they were unable to put behind bars, they’ll still need to protect him from further violence. We learn that since Glasser was accused of being a killer, his wife, Miranda (Hannah Barefoot), took their kids and left him. But somehow he’s managed to land a new girlfriend named Daisy. Despite Glasser suing the city for $6 million for claiming he was a serial killer, the LAPD must put him under 24-hour security, led by John Nolan (Nathan Fillion). Nyla Harper (Mekia Cox) is also tasked with finding Glasser’s shooter.

Related

‘The Rookie’s Latest Season 8 Chenford Twist Is a Surprisingly Welcome Change to the Couple’s Dynamic | Review

Meanwhile, a criminal we’re sick of returns for another heart-pounding episode.

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It’s pretty clear that Glasser and Miranda’s custody battle is a heated one. A red herring in the episode occurs when their son, Theo, goes missing. A lockdown is called for in the courthouse, only for Daisy to have unwittingly taken Theo for a break. Miranda unleashes her anger, stating that she knows Glasser is merely toying with her. Miranda does admit to Nyla that she recently bought a handgun that matched the shooter’s weapon, but that she wouldn’t do anything to put her children in danger (including running the risk of him ending up with full custody). Then, the true action ramps up. Miles Penn (Deric Augustine) drives Glasser home, when Lance Thomas, whose father was killed by Glasser, shoots at them. After a chase ensues, Nolan arrives and ends up jumping in front of Glasser, saving his life. Luckily, Nolan is just hit in his bulletproof vest. So, we know who the drive-by shooter was, but then, in a last-minute twist, Nolan learns that Miranda has gone missing with her children, and will essentially be charged with kidnapping. Will Glasser ever be taken down, or will Miranda and her children be more of his victims?

‘The Rookie’ Season 8, Episode 16 Offers Wesley His First Case Back as a Defense Attorney

Wesley Evers (Shawn Ashmore) and his partner, Sean Del Monte (Michael Trucco), are working from home on their first day after switching to being defense attorneys. Monica Stevens (Bridget Regan), who obviously should never be trusted, gives them their first client. Ethan McAvoy had a massive party, and Wesley and Sean discover that one of the partygoers is actually dead in his home. Wesley is able to delay the police by demanding they have a search warrant — which definitely doesn’t sit well with his wife, Angela Lopez (Alyssa Diaz). The police eventually spot Ethan buying tons of supplies that would help someone dispose of a dead body, and when they all get to the house, Ethan is perp-walked out of his home wearing a disgustingly bloody apron. Turns out Ethan was duped by another criminal into setting up the victim in order to get some Bitcoin. Wesley promises he’ll try to get him a good deal since he didn’t actually kill the guy, but this case is a sobering one for Wesley and Sean, who are wondering whether they have what it takes to head back into the world of criminal defense.

I’m definitely tiring of the Monica storylines, but she’s back again in this episode. She claims she’s working as a “double agent,” and has set up a ploy to get big baddie, Aidan Warner, in her good graces. She sets up his right-hand man, but she’s still a bit surprised when Aidan just turns around and shoots the guy for his perceived disloyalty. Monica states that she’s merely looking for an exit package so that she will have enough money to get out of the game for good. At the end of the episode, she sees a note on her car that simply says, “Cooper Johnson.” We have no idea what this name means, but hopefully, it will set up a final adventure that will allow Monica to bow out of The Rookie for good.

We Finally Get an Exciting Chenford Development in ‘The Rookie’

I’ve been eagerly anticipating some forward movement in the Chenford relationship, and this episode finally provided some. We get a glimpse of Chenford being happy at home when Tim Bradford’s (Eric Winter) mom, Joy (Sela Ward), shows up. We learn that Tim is ready to propose to Lucy Chen (Melissa O’Neil), which sets up the humorous, fun side plot for the whole episode. Because it seems that Joy is set on Tim proposing with his grandmother’s ring, and it turns out to be hideous. When he shows it to Angela, she claims the ring is a “monstrosity,” and Nyla has the same opinion, telling Tim that Lucy will for sure turn him down if he proposes to her with that ugly of a ring. In the end, Tim tells his mother that he got the ring appraised, and it’s actually fake glass. To help with her hurt feelings, he suggests that Joy go ring shopping with him. I love this whole storyline, not only because it offers the episode some light-hearted energy, but also because it feels hopeful. Tim is finally resolving a lot of his emotional issues, and including Joy in more scenes is always a plus in my mind.

It seems several of The Rookie relationships are thriving now. We also get two scenes with Nolan and Bailey (Jenna Dewan) being sweet, especially after Nolan is injured saving Glasser. It’s nice to see that their connection is still strong, and I don’t mind Bailey popping in for scenes like this, which allow her character to fit in nicely with the group. I’m excited to see where the Glasser storyline will head next, and am truly rooting for our gang to finally nail him.

New episodes of The Rookie air on Monday nights on ABC, with episodes available to stream on Hulu in the U.S.

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Release Date

October 16, 2018

Showrunner

Alexi Hawley

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Directors

Tori Garrett, Chi-Yoon Chung, Michael Goi, Sylvain White, Lisa Demaine, Lanre Olabisi, Bill Johnson, David McWhirter, Liz Friedlander, Daniel Willis, Toa Fraser, Anne Renton, Jon Huertas, Cherie Nowlan, TK Shom, Rob Seidenglanz, Valerie Weiss, Barbara Brown, Charissa Sanjarernsuithikul, SJ Main Muñoz, Nelson McCormick, Marcus Stokes, Adam Davidson, Anna Mastro

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Writers

Corey Miller, Bill Rinier, Zoe Cheng, Mary Trahan, Ally Seibert, Liz Alper, Nick Hurwitz, Racheal Seymour, Madeleine Coghlan, David Radcliff

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Pros & Cons

• We finally get to see some forward movement with Chenford.
• Both main storylines offer danger and excitement.
• Glasser is the perfect, creepy villain.

• The Monica storyline still feels really played out.

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The fantasy genre has brought to life some of the most celebrated and enchanting experiences in cinematic history, with each era of film history having its own selection of genre-defining fantasy masterpieces. From all-time classics of Hollywood’s classic era like The Wizard of Oz to massive blockbuster juggernauts like The Lord of the Rings trilogy, fantasy will continue to be a pathway for exceptional filmmaking brilliance. The 2020s have been no different when it comes to impactful fantasy filmmaking, although only a select few fantasy films have managed to achieve genuine perfection in their execution and delivery of the genre’s greatest strengths.

Whether it be stylish and intelligent renditions of classic fantasy stories or brilliantly crafted original stories, each of these fantasy films has a sense of magic and brilliance imbued within them to make them otherworldly in their scope, tone, and execution. More than any other films this decade so far, these fantasy films show that the genre is still as strong as ever, able to create exceptional and masterful cinematic masterpieces just like the days of old.

5

‘Guillermo del Toro’s Pinocchio’ (2022)

Image via Netflix

Guillermo del Toro has stood as one of the defining architects of exceptional 21st-century fantasy filmmaking for a while now. His original offerings in The Shape of Water and Pan’s Labyrinth are often celebrated as some of the most beautifully striking fantasy films ever made, as his reputation is exceptionally upheld in the 2020s by his exceptional stop-motion adaptation of Pinocchio. The film acts as this exceptional blend of the timeless elements of the original story with del Toro’s distinct dark gothic style, creating something that both aligns with the original novel and feels like its own wholly unique experience. Especially with so many other Pinocchio movies that were released at the same time as this film, the exceptional brilliance of this film stood out that much more as the best adaptation of the material since the original Disney masterpiece.

The film absolutely ramps up the fantasy elements of the already classic fantasy story, adding in elements of the afterlife and repeated lives that this seemingly immortal Pinocchio experiences. Del Toro’s dark and dreary world-building also finds its way to this adaptation, with the film taking place against the backdrop of Italy during the rise of fascism and the ruthless hardships felt by many during the film. However, even with its darkest and most painful story beats, the film manages to stay upbeat and relatively family-friendly, thanks in great part to the masterful stop-motion animation, standing up there with some of the most visually striking in the entire medium of feature-length stop-motion. Even those who aren’t familiar with del Toro’s distinct style of fantasy filmmaking will find a lot to enjoy in his adaptation of Pinocchio, as its masterful exploration of the classic story still holds up tremendously in the years following its release.

4

‘Petite Manan’ (2021)

Image via NEON

One of the greatest difficulties that modern fantasy films face is that it is so much simpler to just remix or further adapt already existing stories and fairy tales, rather than create something new that can live up to the same level of recognition or emotional weight as these ingrained classics. This is even more of the case when it comes to films that attempt to replicate a fairy-tale tone and energy, although this difficult task isn’t impossible, as French director Céline Sciamma followed up her romance masterpiece, Portrait of a Lady on Fire, with Petite Maman. This distinct love letter to the fairy tales of old feels sweet and heartwarming in a way that is simply not often seen from many contemporary fantasy films. Gone is the sense of self-awareness and overwhelming focus on craft and spectacle, instead telling a simple yet beautiful story about family, the differences and growth that come with age, and dealing with grief and loss over time.

The film follows a young eight-year-old girl Nelly (Joséphine Sanz), who is still dealing with the confusion and sadness caused by the death of her beloved grandmother. As Nelly is brought to her mother’s childhood home during their process of moving things out of this place, overwhelmed with bittersweet memories, she spends the time exploring the woods surrounding the area. While in the woods, she finds an unexpected friendship with a mysterious girl of the same age, with their unlikely friendship sending Nelly on a fantastical adventure that gives her a greater understanding of her loss and her connection to her family. Like many great fairy tales of old, Petite Maman‘s greatest strength comes from the inherent messaging and insightful feel-good elements that come from its distinctive twists, with its heartfelt love and passion feeling like the cinematic equivalent of a warm hug.

3

‘Puss in Boots: The Last Wish’ (2022)

Image via Universal Pictures

During the 2000s, Shrek was a fantasy icon that was largely inescapable within the genre, taking part in a multitude of acclaimed blockbusters and adding a distinct edge of satirical wit to the fantasy genre in the process. While the franchise had largely been dormant throughout the 2010s, it made an unexpected return with spinoff sequel Puss in Boots: The Last Wish, with this film surpassing all expectations that a long-dormant sequel to a spin-off that had a mixed reception could actually be amazing. The original Puss in Boots was far from bad, but Puss in Boots: The Last Wish, by comparison, stands as some of the greatest work that DreamWorks Animation has ever released and the undeniable height of the Shrek franchise. The film sees classic fantasy legend Puss in Boots (Antonio Banderas) embarking on a journey to find the mythical Last Wish, hoping to restore his nine lives after he has been brought to his last life, and on the run from a deadly, seemingly unstoppable foe.

It uses the fairy tale crossover elements that were a tool for parody in previous films and creates a dynamic world and story of acceptance and finding happiness within life, even while being aware of its eventual end. However, it still maintains the distinct sense of wild humor that made previous Shrek films so entertaining, especially when it comes to massively entertaining side characters like Jack Horner and Goldilocks and the three bears. The animation is also exceptionally mesmerizing, employing a distinct usage of stylized animation that makes the animation pop on-screen and feel that much more dynamic and entertaining. It has helped the film achieve overwhelming praise not just as an all-time great fantasy masterpiece of the 2020s, but also as one of the defining animated masterpieces of the 2020s.

2

‘All of Us Strangers’ (2023)

Image via Parisa Taghizadeh / © Searchlight Pictures / Courtesy Everett Collection

The immediate thought process that comes to mind in the fantasy genre is that of fantastical creatures and pure magic on-screen. However, fantasy filmmaking and storytelling can be much more grounded than the most extravagant concepts out there, instead decisively honing in on a few fantasy elements to amplify the emotional pull and weight of the film as a whole. All of Us Strangers is the absolute best example of this type of mellow, mature fantasy drama, utilizing the fantasy genre to explore the pain and emotional weight of coming face-to-face with emotions long since considered dormant. The film follows Adam (Andrew Scott), a lonesome man living an isolated life in London, who has an unexpected surge of emotion after a chance encounter with his mysterious neighbor, Harry (Paul Mescal). This encounter ends up sending Adam on a journey of remembrance of his fractured past, giving him the chance to find peace with the past and hopefully pave the way for a greater future.

All of Us Strangers proves to be much more intricate and emotionally charged than the traditional fantasy film, largely keeping most of its most direct fantasy elements hidden until their slow reveal during the film. However, these fantasy elements, while undeniably important to the narrative and essence of the film, largely feel complementary to the real strength and impact of the film, which comes from these dynamic performances and exploration of emotional depth. It’s the type of film that hits the audience right in the feels, allowing them to reminisce on their own life and placing elements like family, love, and grief all into perspective. It’s certainly a heavier and more difficult film compared to the vast array of comparatively simple fantasy films, but that makes the experience of witnessing its emotionally intelligent filmmaking all the more fulfilling and impactful as an audience member. It’s unmatched in terms of its perfectly paced emotional depth within the fantasy genre and deserved so much more love and recognition than it received when it released.

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‘The Boy and the Heron’ (2023)

Image via Studio Ghibli

Few filmmakers have laid claim to as many fantasy masterpieces as Hayao Miyazaki, as nearly every fantasy film that he’s directed has been an absolute masterpiece that makes the most of striking fantasy worlds and breathtaking animation. While this means that it isn’t particularly surprising that his return to feature filmmaking after spending a decade in retirement, The Boy and the Heron, is yet another emotionally striking fantasy masterpiece from the director. However, even among the massively celebrated fantasy films that Miyazaki has brought to life over the years, The Boy and the Heron is a masterful swan song that plays to his greatest strengths and acts as one of his greatest, most beautiful films. It plays into the inherent strengths and elements that have made Miyazaki’s storytelling so mesmerizing for generations while also commenting on said elements within his own storytelling, reflecting upon a life of fantasy storytelling and paving the path for a future without him.

It plays out as if Miyazaki had never stopped creating films after The Wind Rises, with him weaving together an intricate tale of fantasy brilliance and emotional weight like it’s second nature. The world and fantasy creatures are as beautiful and striking as ever, and the characters are exceptionally memorable and filled with layers of depth and symbolism. The Boy and the Heron is distinctly aware of its own stature and the legacy that it is tasked with upholding, and as a result, sets out to create about as classic a sprawling fantasy world as imaginable. It continuously finds new ways to delight and charm the audience throughout the runtime, utilizing the strengths of the fantasy genre to their absolute highest strengths with its combination of classic conventions of Miyazaki’s storytelling and new evolutions of his style for the modern age. The film’s importance and impact on fantasy and anime filmmaking grow more and more with each passing year, as it feels largely impossible for this film not to be among the conversation as the absolute best of fantasy in the 2020s when the decade finally ends.

Objectively good movies aren’t always what you need for a night in. Sometimes, you need a flavor of wondrously bad and beautifully outrageous to finish off your week. Funnily enough, mythological adaptations have plenty of these kinds of films, where the legends are so terribly misshapen in the film that you can barely recognize them, and the costumes look like they were borrowed from the local LARP group. Examples like Clash of the Titans or The Mummy are victims for this, yet we keep coming back to them for all their quirks.

2016 gave us another mythological mishap, Gerard Butler‘s Gods of Egypt, which once again proves that we love movies labeled as “bad,” as it surged on the Netflix charts almost a decade later. But this re-imagining of Egyptian myths, which is streaming for free on Pluto TV, was also steeped in dire controversy, from a poor critical reception, a huge loss at the box office, and a ruthless rant by the Australian director, Alex Proyas. Afterward, Proyas would take a huge break from Hollywood, but the film’s delayed popularity begs the question: was it really deserving of all this drama?

‘Gods of Egypt’ Faced Huge Controversy Before It Was Released

There’s one thing that should be an easy win for mythological adaptations, yet it is also the one thing that is commonly overlooked or neglected: appropriate racial casting. Before the film was even released, the trailer and movie posters, which featured a mainly white cast in a supposedly Egyptian legend, sparked immense controversy online. It set a negative tone ahead of the film’s release, and it didn’t help that the CGI, green screens, and overall effects in the trailer were less-than-well-received, especially since Gods of Egypt is a big-budget fantasy saga. But Proyas admitted that their “casting choices should have been more diverse” and apologized for it alongside Lionsgate.

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However, upon release, the situation did not improve for Gods of Egypt, as it flopped at the box office, opening with $14 million domestically and $24.2 million internationally after a budget of $140 million, and was met with dismal critical reception, only garnering 15% on Rotten Tomatoes. Unfortunately, what added fuel to the fire was Proyas’ social media tirade against critics, blaming them for spending their time “trying to work out what most people want to hear” rather than properly evaluating the film on its own merits. His strongly worded post added to the heated debate around the film.

Bear in mind, Gods of Egypt was a memorable blip in Proyas’ directorial career, but it certainly doesn’t define it. Beforehand, he had directed a string of successful and widely applauded films, some of which have turned into cult classics, including 1994’s The Crow, 1998’s Dark City, and 2004’s I, Robot. Although he did take a step away from Hollywood after the fantasy flop, he eventually resurfaced in 2020 with a horror short called Mask of the Evil Apparition and later founded the Heretic Foundation in 2021, a studio that focuses on independent films.

Is ‘Gods of Egypt’ Truly Irredeemable?

Apart from the drama that precipitated around the film, is Gods of Egypt really deserving of it? In her review, Collider’s own Perri Nemiroff identified it as a film that couldn’t even fit into the “so bad, it’s good” category, but its resurgence in 2025 perhaps says otherwise. Maybe the film needed a decade to stew, where all the mythological inaccuracies, from the costumes to the blatant brush over Egyptian culture, can be enjoyed with a laugh now. With Gerard Butler taking on a muscles-on-muscles godly role, transforming into a jackal-like creature, and trying to usurp his brother’s throne (Nikolaj Coster-Waldau), it’s a fun romp into a golden, shiny world, as long as you treat it as a fantasy without roots. With swords, sorcery, waxed chests, and bizarre CGI creatures with glowing eyes, it’s an easy movie to chuck on in the background for a chuckle — even if that wasn’t the film’s intention.

Gods of Egypt is definitely marred with controversy and should have had a more thoughtful approach to casting, storytelling, and Egyptian mythology, but it still echoes the ambition of a director who simply missed. While the film does take itself too seriously at times, it seems that the audience certainly isn’t, making it the perfect film to turn your brain off to.

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Gods of Egypt

Release Date

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February 25, 2016

Runtime

127 minutes

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Director

Alex Proyas

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