Sci-fi is a genre that has been a pervasive and widely important part of pop culture long before the breakthroughs of feature-length filmmaking. All-time classics like A Trip to the Moon and Metropolis paved the way for sci-fi stories to be told in the cinematic format, as the genre hasn’t slowed down for even a second in the over 100 years of technological advancements in the medium of film. Especially as a genre that is uplifted by the latest technologies and breakthroughs in science, modern sci-fi filmmaking continues to break new ground and evolve upon the strengths of the past.

Sci-fi filmmaking has been at a place of consistently high quality and groundbreaking craft since 1990, as it finds new ways to reinvent itself and shift to fit the capabilities and tastes of both new audiences and die-hard sci-fi fans. Of these prominently celebrated sci-fi films of the modern era, they have managed to be so meticulous in the craft and brilliant in their execution that they are often considered not just the best sci-fi films of the modern age, but some of the greatest sci-fi films of all time.

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‘WALL·E’ (2008)

Image via Pixar Animation Studios

One of many massively celebrated masterpieces from Pixar’s golden era in the 2000s, WALL·E seamlessly blends the bleak consequences of a lifeless, abandoned planet Earth with the charm and joy of a robot love story. The film follows lovable trash-cleaning robot WALL·E as the sole inhabitant on Earth, finding himself on a journey across the cosmos to return humanity to their home planet. It’s one of the most visually striking and beautiful animated films ever made, complete with a timeless message of action and paving the way for the future of the next generation and the planet as a whole instead of lazily going about life.

Its seemingly impossible balancing act of being a perfect dystopian film while also being a lighthearted and approachable family film is one of its greatest qualities, as it never feels the need to talk down to its audience, utilizing the strength of its storytelling at its core. While the film was already massively celebrated when it first released, time has only been kind to the legacy and influence of WALL·E, as it is now considered one of Pixar’s greatest achievements and one of the greatest animated sci-fi films of all time.

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‘Terminator 2: Judgment Day’ (1991)

Image via Tri-Star Pictures

No matter the genre, it’s incredibly rare for the sequel to a genre classic to live up to the legacy and stature of the original film, especially when said sequel goes for a completely different tone and approach from the original. However, James Cameron‘s action-blockbuster approach to Terminator 2: Judgment Day makes it not only better than the original Terminator, but a genuine contender for one of the greatest sequels of all time. It has some of the absolute best action in blockbuster history and features a mixture of exceptional practical effects and groundbreaking computer effects.

Cameron’s inherent strengths as a sci-fi filmmaker are at their absolute apex within this iconic sequel, finding a seamless blend between action and emotion as it ups the ante and stakes of the original film considerably. It helps that the bleak, apocalptic inevitability of the Terminator world makes it one of the most compelling sci-fi worlds out there, with Terminator 2 continuing to emphasize the gravitas and impact of this world. Even as Cameron has continued to deliver great sci-fi movies in the years since, Terminator 2 still stands as one of his absolute greatest achievements as a blockbuster filmmaker.

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‘Eternal Sunshine of the Spotless Mind’ (2004)

Image via Focus Features

One of the greatest examples of how an amazing sci-fi story doesn’t have to rely on massive visual effects or hard sci-fi attributes, Eternal Sunshine of the Spotless Mind makes perfect use of its soft sci-fi concept for a story of humanity and our relationship with love and memory. It follows heartbroken Joel (Jim Carrey), who decides to get a procedure to remove his ex-girlfriend Clementine (Kate Winslet) from his memory after she did the same. However, Joel comes to realize mid-procedure that he still loves Clementine, now trapped in his mind fighting to maintain his memories.

The abstract visual style and compelling supporting cast do a great job of amplifiying the inherent beauty of the film, yet Eternal Sunshine‘s true brilliance comes from its insightful connection between love, memory, and painful yet important heartbreak. The film speaks to the whims and passion of young lovestruck people in a way few romance films could come close to capturing, with its wild sci-fi concepts playing a major part in its ability to delve into such psychological and meta-physical elements. The fan-favorite has been massively celebrated since its release, with it now being considered one of the greatest romance movies of the 21st century.

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‘Everything Everywhere All at Once’ (2022)

Image via A24

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With so many recent sci-fi movies tapping into the infinite potential and creativity latent to the multiverse, Everything Everywhere All at Once is the absolute best at balancing this inherent madness with a beautiful story of family dynamics and looking for a purpose in life. There are so many different elements that make the film so endlessly compelling, from the exceptional action choreography to the colorful visual style that is constantly changing for each universe and concept.

The modern-day classic stands as the definitive multiverse story, not only because of how it goes to absolute extremes in terms of the comedic and narrative potential of the multiverse, but because the multiverse is simply one element of its greatness instead of the entire appeal. Themes of the immigrant experience, generational trauma, and positivity for life itself make it a much more approachable experience, being a surprisingly emotional roller-coaster that utilizes its own absurdity to catch the audience off guard.

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‘The Matrix’ (1999)

Image via Warner Bros. Pictures

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While the film was technically released in the 20th century, no singular sci-fi film felt like such a massive leap forward and an omen for the future of sci-fi filmmaking in the new millennium like The Matrix. This legendary blockbuster utilized a captivating central premise and groundbreaking camerawork and action to become a genuine phenomenon that was able to directly compete with the likes of other sci-fi juggernauts like The Phantom Menace. The perfect sci-fi film is sleek and oozing with style from beginning to end, with the brilliance of its filmmaking forging a powerful legacy as one of the greatest sci-fi movies ever made.

It’s a film that proves to be a true best-of-both-worlds in terms of being equal parts an explosive, high-energy blockbuster as well as an insightful, self-reflective story about our relationship with reality and identity in our attempts to control it. Few sci-fi films more distinctly define the past 30 years like The Matrix, being a dominating piece of culture that has persisted in the decades since its release as one of the most influential sci-fi blockbusters ever made.

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‘Interstellar’ (2014)

Image via Paramount Pictures

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In terms of sci-fi films that are making the absolute most out of the modern capabilities of filmmaking and creating a powerful experience that has been the highlight of the genre in the past 30 years, it’s hard to deny the exceptionalism present within Christopher Nolan‘s Interstellar. One of many masterpiece blockbuster experiences from the director, Interstellar‘s sci-fi story of space exploration is a perfect blend of beautiful sci-fi visuals and powerful themes tackling the nature of time and the power of love. It finds inspiration from many sci-fi films of old, utilizing some of the greatest visuals in cinematic history to bring to life its powerful display of the vast cosmos.

The film has been heralded as an icon of sci-fi ever since its release, as an undeniable masterpiece of the genre that will continue to influence the future of sci-fi as one of its greatest stories of the current era. It feels timeless and brilliant in its execution in a way that only the very best sci-fi films are capable of, utilizing the concepts and tools of science fiction to tell a layered story about our own humanity and our relationship with the world as a whole.

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Interstellar

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Release Date

November 5, 2014

Runtime

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169 minutes

Writers

Jonathan Nolan

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If there’s been one recurring element in the marketing for Avengers: Doomsday, it’s that Doctor Doom (Robert Downey Jr.) will be as menacing and complex as he is in the pages of Marvel’s comics. Both the official trailer and a “special look” trailer released at D23 highlight Doom blocking a blow from Thor (Chris Hemsworth) and resurrecting an army of mutant-hunting Sentinels. It’s a line from Sue Storm (Vanessa Kirby) that offers the most intriguing glimpse into Doom’s madness. “He used to be different,” she tells her fellow heroes, implying that she and the rest of the Fantastic Four have a history with the metal-clad monarch. He used to be kind. He used to be caring. And then everything he loved was taken from him.”

The biggest clue to Doom’s loss is a massive painting of a woman holding a child hanging in his castle. The first glimpse of this painting occurred when the official poster for Avengers: Doomsday was released; it can also be glimpsed in the “special look” trailer, where Doom is gazing upon it with a forlorn expression. Speculation is running wild about the painting’s subject, but fans familiar with the comic book lore have deduced it may depict Doom as a child with his mother, Cynthia, whose soul he’s tried to free from Hell.

Doctor Doom May Be Trying To Save His Mother in ‘Avengers: Doomsday’

Image via Marvel Studios

Before he ruled Latveria with an iron fist, Doctor Doom was Victor Von Doom, the son of a tribe of Romani travelers. To protect her people from the tyranny of Baron Vladimir Fortunov, Victor’s mother Cynthia made a deal with the malevolent Mephisto to augment her magical abilities. However, a battle with Fortunov’s men led to Cynthia’s death, and her soul being dragged into Hell. Victor eventually used both his mother’s magic and his technological skills to try to find Cynthia’s soul; the experiment backfired, scarring him and leading him to don his iconic armor. Doom has also frequently battled Mephisto for his mother’s soul, with the most iconic clash happening in Doctor Strange/Doctor Doom: Triumph and Torment by Roger Stern and Mike Mignola.

Given Doom’s history, it’s entirely likely that his grand goal in Avengers: Doomsday is to remake the world so that his mother can finally be free. If he can’t defeat the Devil, he might as well wipe out all creation and start fresh. It also ties into the line Doom says to the Avengers: “All of you have lived stolen lives. And now you must give them back.” This implies that he resents the Avengers for fighting against time and space itself to save half the universe in Avengers: Endgame, with many fans theorizing that the multiversal Incursions at the heart of Doomsday are fallout from Endgame.

A Potential Link to Doctor Doom’s Mother Was Shown At The ‘Avengers: Doomsday’ Comic-Con Exhibit

In addition to Doom’s prized mural, another massive hint at Cynthia von Doom’s existence lies in the official Marvel exhibit at this year’s San Diego Comic-Con. Said exhibit featured costumes from Avengers: Doomsday, including a group of robed figures known as “Latverian Witches.” This immediately sparked a rumor that Wanda Maximoff was one of these witches, but it might be hinting that Doom will track down the coven his mother belonged to in order to help him save her. After all, Cynthia was a powerful witch, so it stands to reason she was in contact with other spellcasters.

Avengers: Doomsday is laying the groundwork for Doctor Doom to become one of the most complex villains in the Marvel Cinematic Universe, and the battle to free his mother could be key to making it work. Who wouldn’t move heaven and Earth, or in this case, multiple Earths, to save their mother’s soul?

Avengers: Doomsday premieres in theaters on December 18, 2026.

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Release Date

December 18, 2026

Runtime

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165 Minutes

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“Real Housewives of Orange County” star Emily Simpson has been open in recent years about some of the struggles in her marriage to Shane Simpson. Recently, in a new interview, the “RHOC” star opened up about how their dynamic has changed, as well as giving an update on them after sharing his eating disorder on the show.

Simpson was interviewed for Page Six’s “Virtual Reali-Tea” podcast in August 2026 to discuss season 20 of “The Real Housewives of Orange County.” During the interview, the hosts noted the show’s conversations about her marriage and asked for an update.

The 50-year-old said, “We’re good.” After that, she noted that they “just have so much going on with kids” that they’re not concerned with “whatever happened on the show.” Simpson explained, “Because we have our own daily issues. We can’t bring any more.”

After that, the “RHOC” star stated that her husband was aware that she discussed their marriage on the series. According to her, “I don’t think he was like super happy about it, but he also is very authentic on camera like I am so.” She went on to state that Shane understood that the things she mentioned on the show were products of the way she felt in the moment.

The ‘RHOC’ Star Says Her Husband No Longer Working Plays A Part In Their Issues

As the interview continued, the podcast host noted that Simpson’s costar, Gina Kirschenheiter, had told them in a previous interview that some of their marital issues in “RHOC” season 20 were a bit more intense than previously shown.

When asked why she believed her costar would feel that way, Simpson began by highlighting that she and Shane have been married for 18 years. She continued, “I think the shifting dynamic of Shane not working and being like full time with the kids is a lot on him.”

After that, Simpson described how her husband “dealt with” the change, stating that he was “snarky” with her “all the time.” She then admitted she did not know whether that was “a fair assessment.” Simpson then said, “And I just felt overwhelmed by everything that I had to do.

In giving examples, she mentioned their shared podcast, “Legally Brunette,” noting that she does “all the research” for it. The “RHOC” star also stated her commitment to the hit Bravo show as part of what made her feel “overwhelmed,” as well as being a mother.

She then said, “I just felt so overwhelmed by everything.” However, the reality star went on to call their union “a normal marriage.”

Emily Also Says Her Husband Needs Validation

While continuing to discuss her marriage, the podcast hosts noted that Simpson comes off as someone who takes on others’ problems while keeping hers to herself. She agreed before adding, “And I think Shane needs, like- to me, it always seems like he needs a lot of gratitude.”

From there, she joked, “All these people want gratitude- like, let it go. Everybody wants a thank you all the time.” She went on to proclaim, “I’m not that person. I’m not- I show gratitude in loyalty and actions. I’m not a really like verbal kind of person.

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Simpson was then asked if Shane liked “words of affirmation.” She responded, “He does, and I’m not that person.” Later, she was asked if things have improved and if he’s “taking more responsibilities off of [her] plate. The “RHOC” star stated, “No. I think it’s just still hard every day.”

Emily Simpson Discussed The ‘Ups And Downs’ In Her Marriage Ahead Of ‘RHOC’ Season 20

Simpson was interviewed by ExtraTV in July 2026 ahead of the season 20 premiere of “The Real Housewives of Orange County.” During the conversation, she was asked about her marriage to Shane after the trailer showed what appeared to be more problems for the couple.

She said, “Here’s the thing, I’ve been married to the same man for 17 years. We have amazing ups, and we have downs, and we have never altered our behavior on camera. So, you know what? The audience can think what they want to, say what they want, but it is a real marriage.”

The mom of three added, “We’re not pretending. We’re not trying to sugarcoat it. We’re not trying to get along because the cameras just got there. We’re like living life and trying to be parents, and trying to navigate marriage, and trying to navigate kids. And I have a son who has lots of issues, and it’s not easy. And so, you know, it is what it is. It’s a real marriage with ups and downs, and all the things.”

The Bravo Star Gave An Update On Her Son

Simpson revealed that her young son, Luke, had been diagnosed with Avoident/Restrictive Food Intake Disorder in July 2025. Most recently, during her Page Six interview, she gave an update on her son’s health.

She said, “You know, it’s hard for me to answer that question. I don’t think that he’s better. I think that we’re still in the trenches and trying to understand everything with him.”

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Bold and the Beautiful early spoilers for the week starting August 24th with John Finnegan (Tanner Novlan) begging and pleading to put his marriage back together with no idea that Steffy just went behind his back and broke her vows. Plus, Miss Dylan (Sydney Bullock) is going to get her man in every way that she wants him.

Also, during the week of August 24th through the 28th, we’re going to see Sheila Carter (Kimberlin Brown) causing more problems, Deacon Sharpe (Sean Kanan) struggling, R.J. Forrester (Brayan Nicoletti) making a pitch, and lots of guilt for Carter Walton (Lawrence Saint-Victor) and Steffy Forrester (Jacqueline MacInnes Wood).

And as we always do on early edition day, we go over what is happening the rest of this week, then we get into what is coming next week. So, let’s get right to it. Wednesday, August 19th on B&B.

Bold and the Beautiful Spoilers: Steffy Drowning in Guilt

Steffy is struggling because she feels like she can never trust her husband Finn again. She doesn’t want Sheila around at all. But I do give Steffy credit because she was pretty calm when she was talking with Taylor Hayes (Rebecca Budig), but she was shell shocked by waking up with Carter.

Steffy told her mom that Finn didn’t know that Sheila got on the plane and that Finn legit tried to get Sheila to leave and just exit Monaco, go back to LA. So Steffy might play nicer with Finn since she is now drowning in guilt after having slept with Carter. We’re going to see Finn begging forgiveness while Steffy knows she did something so much worse. But I don’t see her taking a softer stance on Sheila, but she may dial it back on heaping blame on Finn.

B&B Steffy Pregnant with Carter’s Love Child?

I don’t see Steffy walking away from Finn for good. But we also know she and Carter were not careful. And you know what that means on a soap. Steffy could be headed for her third paternity test in the next few weeks. We’ll see. Daphne Rose (Murielle Hilaire) is not going to be happy with Steffy or Carter.

And I hope when Finn finds out, he stands up to Steffy after all the years of her bossing him around. She also kissed Liam a few times and never told Finn, which I know bothered a lot of fans, and that’s still a secret. And now, of course, Steffy has shared her body with Carter, which was a huge betrayal to Finn. At Forester Creations, Dylan and Electra are facing off again.

Bold and Beautiful Spoilers: Electra Full Of Herself

Electra Forrester (Laneya Grace) is all pumped up about being the face of the new youth line. R.J.’s honestly the worst influence on her because she’s channeling him when she tells Dylan, “I am Electra Forrester. If I want it, you’re gone.” Dylan replies to that with a glare. And I don’t think she’s going to put up with Electra’s antics. Nor is Dylan going to stop seeing Will. But since Daphne’s not leaving, maybe Dylan can go back to working on fragrance instead of jewelry. Unless, of course, Steffy wants Dylan on the youth line.

Katie Logan (Heather Tom) is suspicious of Dylan’s motives, and Katie’s taking shots of Will this week. Katie needs to want what Will wants, want that for him instead of pushing her agenda. But it’s not going to happen. Katie’s at Will’s beach house and ripping him a new one. She snaps. If he misses Electra so much, why is he hooking up with Dylan? I don’t think Will’s going to take this from his mom.

He really likes Dylan and is not going to want to hear Katie saying nasty things about Dylan. And if Katie reports back to Bill Spencer (Don Diamont) that she told Will to stay away from Dylan, I suspect Bill might tell Katie to leave Will alone and that Electra is bad for their son. Thursday, August 20th, Daphne and Carter talk things through. They reach an understanding. Now that Daphne is not going to Paris and wants to stay with Carter, they may talk about what’s next. They may consider alternate measures like IVF. Things obviously would break with them if Steffy turns up pregnant.

Bold and the Beautiful Spoilers: R.J. Makes a Shift

R.J. talks about his new youth line concept to Zende. And I’m sure this is R.J. telling Zende they need Electra as the face and that it would be the two of them designing together. I think Zende will be ecstatic to hear this news because his designs will finally be put to good use and get off the shelf.

But at the same time, Zende is not a big fan of working with R.J. So, we’ll see how that goes. Friday, August 21st on the Bold and the Beautiful. We’ve got an awkward encounter between Will and Dylan, who run into R.J. and Electra at Bikini, the site of the infamous Eric Punch. I am guessing R.J. and Electra are going out to celebrate the new youth line and run into Will and Dylan hanging out there. They might even be on an official date. But wait to see if R.J. gets into Will’s face again or vice versa.

B&B Spoilers: Will & Dylan Heat Up

Dylan was trying to sell R.J. on the fact that he’s better for Electra and she’s better for Will. But even if R.J. stays zipped, Electra might say some nasty things to Dylan. You know, something different instead of R.J. beefing with Will. I don’t think it’s going to be pleasant and Dylan may wind up going home with Will. Ridge Forrester (Thorsten Kaye) listens as Daphne opens up to him and she might be telling Ridge about the big fight and her giving Carter her rings back and then changing her mind.

I’m sure Ridge is going to encourage Daphne to stay with Carter and that they can work things through. And I saw some people joking on soap Twitter about Ridge being excited when he finds out Steffy’s carrying Carter’s child and that Ridge will be the granddad of Carter’s first kid that he ever has. We’ll see if she turns up pregnant, but it is a funny thought.

Bold and the Beautiful: Secrets, Youth Lines, and Relationship Cracks

The week of August 24th through the 28th on Bold and the Beautiful. Sheila knows that she screwed up Finn’s marriage by stalking him to Monaco, but she may make bad matters worse if Sheila shows up to apologize to Steffy, who just wants to never see this woman again. So, if Sheila does that or comes to see Finn at work, he might go nuclear on his mom. And Sheila may also have to face Li Finnegan (Naomi Matsuda) and her wrath for the stunt that she pulled following Finn and Steffy and messing up his marriage.

It’s going to kill Li to see Finn so upset with Sheila to blame. Dylan and Will’s running with Electra and R.J. may be what inspires Will to take Dylan to bed. Official B&B spoilers say by the end of the month they’re making love and it’s everything she’s ever wanted with Will. And this might cement for him that he and Electra are done and it’s time for him to move on. Also, Dylan is likely leaving Forester soon. Whether she’s fired by Electra or quits, either way, I think Dylan’s going to end up over at Logan with Will and Bill and Wyatt Spencer (Darin Brooks) and all of them, Katie probably won’t be so happy.

Bold and Beautiful Spoilers: Carter & Steffy Wrestle with Guilt

Carter and Steffy are going to struggle with the guilt of their secret one night stand. We know the truth will come out and in the end, you know, I do wonder if something will happen like they’re whispering about it at the office and are overheard. That’s typical soap trope stuff. Good thing Katie’s gone because she was always a big eavesdropper at Forrester. R.J. makes a formal pitch to Ridge and Steffy about a new youth line with Electra as the face.

And I think they are going to give it the green light right away. And I can see them planning to use this to blindside Katie and Bill with this launch to compete against Logan. Dylan’s mother, Darcy Dylan (Kelly Sullivan), touches down in LA this week. And it’s a good thing because I’m sure Dylan could use her mom right about now. I can’t wait to see Darcy facing off with Katie, but I think Darcy will probably love Will. We may also see Darcy interacting with Remy Pryce (Christian Weissmann) since he is her nephew, but also a creep. Once Dylan and Will make love, I’m sure she’ll make sure Electra knows.

Bold and the Beautiful Spoilers: Dylan Leaves FC

And if Dylan is still working at Forrester at that point, that will likely be when Electra bounces her out the door. But Steffy may not like that since she’s the one who hired Dylan. We may also see Taylor and Deacon’s relationship starting to have some cracks and be on a decline now that Taylor rejected Deacon’s proposal.

He has said that he understands and Taylor said she appreciates that understanding, but Deacon is still obviously hurt and even worse, he knows that Taylor wanted to marry Ridge not that long ago. So, Deacon should be offended that she doesn’t want to marry him. Out of the two of them, despite Deacon’s criminal past, I actually think he’s the better man. We’ll see how it goes.

Farrah Abraham says she was getting peanuts while her “Teen Mom” co-stars were walking off with donuts!

The reality TV star who appeared on the MTV hit show for seven seasons has revealed her low earnings from the show. She revealed that even though she rose to fame on the show, her bank statements did not reflect her success from the series.

Farrah Abraham, since leaving the “Teen Mom” set, has gone on to work on other projects in and out of the world of reality television. She also dabbled in entrepreneurship, with several business ventures.

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Abraham has finally shared information with fans about what her paychecks looked like for appearing on MTV’s long-running hit shows. She initially starred in “16 and Pregnant” in 2009 and later became a regular on the spinoff series “Teen Mom” until 2017.

During an August 18 appearance on the “We Need To Talk” podcast, she told the host, “It was only $3,500 from that first one. And then I think I only got $25,000 from ‘Teen Mom.’” 

The TV personality started on the inaugural season of “16 and Pregnant” while she was pregnant with her and Derek Underwood’s daughter, Sophia. Her story, like that of the other co-stars, centered on navigating pregnancy, academics, and motherhood as a teenager. 

Abraham’s story had a peculiar spin to it, as the father of her daughter, Underwood, died in a fatal car crash in December 2008, a few months before Sophia’s birth.

She became a main cast member on “Teen Mom” for the first four seasons and remained part of the series when it was rebranded as “Teen Mom OG” for seasons 5 through 7.

How The Reality TV Star Learned Her Co-Stars Earned Significantly Higher 

Abraham claimed she learned from her castmates, Catelynn Lowell and Tyler Baltierra, that they were allegedly earning a higher wage. She recalled the moment she was hit with the alleged pay discrepancy, sharing that they were filming a scene for “Teen Mom” where she told them she wanted to get a boob job because she was depressed.

The conversation led them to discuss salaries, during which Lowell and Baltierra “say they’re making $10,000 an episode,” while she was only making $25,000 in total.

The mom of one confessed that she was “so upset” about the huge pay gap, in addition to the fact that her co-stars did not have any on-hand parenting responsibilities at the time, while she was shouldering all the bills for hers and Sophia’s care.

Lowell and Baltierra had given up their daughter, Carly, for adoption due to being parents so young. Abraham went on to admit that she lied about her pay on the spot “out of spite.”

“I make up a story, and I say, ‘Oh yeah, I’m actually making $15,000 an episode’ because I was so hurt,” she shared, expressing that she felt it was unfair to her since she was “not in the same situation” as her co-stars.

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Farrah Abraham Revealed She Went Through A Homeless Phase

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Abraham, in her conversation with the podcast host Paul C. Brunson, disclosed that she had to opt to live in her car when she was not filming, as the money she made could barely cover her and Sophia.

“I couldn’t get any realer because I’m living in my car, not sleeping for two days because I’m working, going to school, watching my kid…” she said, recounting her struggles. Details of her living situation got out, and “three of the female producers” stepped in to ensure she was paid.

The TV personality continued that she was ‘stuck’ under the same contract, which meant she struggled to negotiate a higher rate with producers, despite being paid less than her co-stars with less responsibility. 

Abraham claims that before she was fired from the show in 2017, she tried to get producers to pay Sophia more since she was always on set. She argued that her parents were not filming as much, and Underwood was also not receiving any pay since he was dead, while her daughter was always filming. Her request was reportedly “refused” because, according to the show’s organizers, “all the kids need to be paid the same.” 

The Mother-Of-One Turned To Adult Entertainment

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Abraham was reportedly fired from “Teen Mom” for venturing into the adult entertainment industry. Her termination came immediately after she hosted a live, Halloween-themed adult webcam show. She went on to become a content creator on OF, which she shared was a financially rewarding decision.

The reality TV star revealed last year that she earns millions of dollars from being a creator on the subscription-based platform. Although she did not disclose a specific amount, it is way more than what she made on the MTV series as a young mom.

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According to The Blast, Abraham also earns from podcasts she hosts on the platform’s video streaming service, OFTV, which features non-adult content. The only exact figure she dropped at the time was that she earns around $30,000 for an appearance on a friend’s podcast.

How Much Is Farrah Abraham Worth Today?

From making less than $5,000 on reality TV to becoming a millionaire, Abraham has come a long way. She tried her hand at business with a children’s boutique, a frozen yogurt shop, and a furniture store.

Her business endeavors were short-lived, but after she released an adult film in 2013 marketed as a “leaked sex tape,” followed by a second adult film and a line of adult entertainment products, she opened doors to other opportunities in reality TV. Abraham appeared on “Couples Therapy,” “Celebrity Big Brother UK,” and “Ex on the Beach.”

From her adult film “Farrah Superstar: Backdoor Teen Mom,” distributed by Vivid Entertainment, she made over a million dollars. According to Celebrity Net Worth, Abraham has a net worth of $1 million, primarily from her time on television and her work as an adult content creator.

Did other MTV stars have a similar experience to that of Farrah Abraham?

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VisionQuest will mark the end of an era for Marvel Studios. It marks the end of a trilogy that began with WandaVision and Agatha All Along, and a shift in Marvel’s strategy for developing Disney+ television series. It’ll also see Paul Bettany return as the Vision — specifically, a version of the Vision struggling to reconcile his lack of emotions with memories of his past life. The Vision won’t be alone; his consciousness contains the different artificial intelligences created within the Marvel Cinematic Universe, including his homicidal “father,” Ultron (James Spader). An exhibit at D23 may have featured a deep Marvel Comics cut that’s tied to Vision’s history.

At D23, fans noticed that the VisionQuest display featured a mysterious figure engulfed in flames and sporting a web of circuitry within its frame. This image might be teasing the arrival of Jim Hammond, the original Human Torch and the first-ever Marvel superhero. Long before Johnny Storm gained his fiery abilities and became part of The Fantastic Four, Hammond made his debut in Marvel Comics #1, eventually crossing paths with Namor the Sub-Mariner. If Hammond appears in VisionQuest, it’ll pay off one of the longest-running Easter eggs in MCU history.

Jim Hammond Made a Cameo in ‘Captain America: The First Avenger’

Image via Marvel Studios

In Captain America: The First Avenger, a key scene features Steve Rogers (Chris Evans) being taken to the Stark Expo by his best friend, Bucky Barnes (Sebastian Stan). Jim Hammond is one of the exhibits at the Expo, renamed the “Synthetic Man.” This is both a nod to Hammond’s history as one of the first artificial intelligences in the Marvel Universe, but also his origin in the comics. When Hammond’s creator, Phineas Horton, first showcased his creation at a traveling fair, Hammond’s skin burst into flames when exposed to oxygen — transforming him into the Human Torch.After his battle against Namor, the Human Torch fought alongside Captain America in World War II and helped found the superhero team known as the Invaders. While Hammond remained a mere cameo in Captain America: The First Avenger, his presence hints that artificial intelligence has been in the works for decades in the MCU. Bringing him back into VisionQuest could be a great way for showrunner Terry Matalas to further explore that thread, and also give Vision another personality to interact with. Paul Bettany previously teased that VisionQuest may bring back more than a few characters presumed to be dead during D23:

“It’s been an enormous joy playing Vision as he’s evolved through the years, helped turn the tide in some enormous battles… rather inconveniently died a number of times … Although I’m told in the Marvel universe no one is really dead, unless Kevin says they are.”

Jim Hammond and the Vision Share a History

Jim Hammond appearing in VisionQuest ​​​​​​would be extremely fitting, given the Vision’s comic history. In his first appearances, it was revealed that Ultron used parts of Hammond’s body as the basis for the Vision, effectively making Hammond the Vision’s “grandfather.” VisionQuest could follow a similar path; if Hammond is revealed to be the first artificial intelligence in the MCU, how did that lead to the creation of other programs like J.A.R.V.I.S. and F.R.I.D.A.Y.? Could he be the key that Vision needs to reclaim his humanity? Fans will either have to wait until the Marvel Television and Animation panel at New York Comic Con, or until VisionQuest premieres to find out.

The MCU has also been paying off a number of long-running Easter eggs in its latest releases, whether it’s Captain America: Brave New World featuring the Leader as its main foe or Ironheart finally featuring Ezekiel Stane in a main role. VisionQuest could be the latest project to do this, and it would actually fit its story like a glove.

VisionQuest premieres on Disney+ on October 14.

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Release Date

October 14, 2026

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Disney+

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If you’re the kind of fantasy TV fan who watches the credits roll on a series finale and immediately opens six tabs looking for more dragons, more magic, and more insane world-building, hi, hello, this list is for you.

These fantasy shows from the last 25 years, ranked from great to life-altering, each with a pitch for why it should be the thing you queue up for tonight. Some run tight; a few pile on the laughs; and one features a 6′ 5″ Lee Pace as a touch-averse pie maker. But all of them earned the descriptor “perfect” in an honest way: by giving us incredible stories we can’t stop thinking about.

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‘A Discovery of Witches’ (2018–2022)

Image via Sky One

Deborah Harkness‘ academic-witch romance got a genuinely lush adaptation on Sky One, with Teresa Palmer as Diana Bishop, a reluctant Oxford historian, and Matthew Goode as Matthew Clairmont, the vampire geneticist who won’t stop stalking her all over the Bodleian. Across three seasons and twenty-five episodes, A Discovery of Witches treats alchemy and evolutionary biology with the same straight-faced rigor it brings to the Congregation of supernaturals policing them both.

Cinematographically, it’s one of the prettiest fantasy shows of its era, shot with a painterly eye for English stone, Venetian canals, and the Auvergne countryside where the Clairmont family keeps its château. The plot layers together a lost alchemical manuscript, a genetic mystery about why the supernatural species are dying out, and a Season 2 time walk to 1590 London that lets Diana train with the School of Night and reintroduces Christopher Marlowe (Tom Hughes) as a member of Matthew’s old circle. The show’s real charm, though, is its worldbuilding: vampires, witches, and daemons are treated as distinct species with their own biology, history, and internal politics. All done in a three-season arc that’s as swoony as book fans could hope for.

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‘Preacher’ (2016–2019)

Image via AMC

AMC’s adaptation of Garth Ennis‘ comic stars Dominic Cooper as Jesse Custer, a small-town Texas preacher on the verge of quitting the church when a rogue entity called Genesis, the forbidden offspring of an angel and a demon, hurls itself into his body and hands him the Word of God. Basically, whatever he says out loud, people obey. He picks up his old flame Tulip O’Hare (Ruth Negga) and a chatty Irish vampire named Cassidy (Joseph Gilgun) and hits the road to find God Himself, who has abandoned Heaven and gone missing somewhere on Earth. Four seasons of that hunt, chased at every turn by a resurrected cowboy assassin from Hell and Herr Starr’s doomsday-cult bureaucracy.

Preacher is genuinely funny and, also, genuinely nasty, often in the same scene. There are chainsaw brawls, a Hitler subplot played for pitch-black laughs, angels getting killed and resurrected in motel bathrooms. The show swings hard at ideas most prestige dramas wouldn’t touch with tongs, and when it connects, which is often after the New Orleans arc kicks in midway through Season 1, it’s one of the most unhinged action-comedies of the last decade.

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‘The Magicians’ (2015–2020)

Image via SYFY

Syfy’s college-set fantasy took Lev Grossman‘s novels and grew it into something the books never quite managed: a musical, a heist, a therapy session, a surprisingly insightful argument about the ethics of magic. Quentin Coldwater (Jason Ralph) is depressed and reading a Narnia knockoff at a Brooklyn coffee shop when he’s yanked into Brakebills, a graduate school for magicians. There, he meets friends and foes, eventually going on an alternate-universe-spanning adventure with a bunch of gifted weirdos who become family.

What The Magicians figured out is that fantasy is the best available language for the stuff realist drama flattens: depression, grief, addiction, and assault. The show routes all of it through a magic system that runs on precision and memory, through a cast of unforgettable characters.

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‘Pushing Daisies’ (2007–2009)

Image via ABC

Bryan Fuller‘s candy-colored ABC confection about Ned the Pie Maker (Lee Pace), who can bring the dead back to life with a touch, was killed by the writers’ strike before it could stretch its legs. What Pushing Daisies left behind is 22 episodes so aesthetically committed that the visuals feel like a Wes Anderson pop-up book, and a central romance between Ned and Chuck (Anna Friel), who can never touch again, that made an entire generation of TV writers rethink what “will they, won’t they” could mean.

Kristin Chenoweth sings. Swoosie Kurtz and Ellen Greene, as Chuck’s shut-in ex-synchronized-swimmer aunts, spend most of the series eating cheese and harmonizing in a kitchen that looks like a Fabergé egg. The fact that it existed at all, on network television, in the late 2000s, is a small miracle.

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‘Lost’ (2004–2010)

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Yes, the ending. We’re all going to talk about the ending forever, and that’s fine, because it means we’re still talking about Lost two decades after the pilot aired. Damon Lindelof’s brainchild gave us six seasons, 121 episodes, one polar bear, and roughly 48 characters worth caring about. Jack (Matthew Fox), Kate (Evangeline Lilly), Sawyer (Josh Holloway), Hurley (Jorge Garcia), Locke (Terry O’Quinn), Sayid (Naveen Andrews), Sun (Yunjin Kim), Jin (Daniel Dae Kim), Ben (Michael Emerson), Desmond (Henry Ian Cusick), Juliet (Elizabeth Mitchell): pick a favorite, defend them to the death.

Structurally, Lost invented the modern mystery-box show. Oceanic 815 goes down over the Pacific, the survivors wash up on an island that isn’t quite an island, and across six seasons they contend with a smoke monster, a decades-old scientific cult called the Dharma Initiative, and an ancient feud between two immortal brothers who have been using the island — and the people who wash up on it — as pieces in a much longer game. It’s a fantasy show pretending to be a survival drama, and once you accept that, everything clicks.

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

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Taika Waititi and Jemaine Clement‘s 2014 mockumentary was already a cult object, but the FX series they developed from it did the near-impossible and improved on the source, trading Wellington flatmates for Staten Island housemates and giving the bit room to actually breathe. Nandor the Relentless (Kayvan Novak), Laszlo (Matt Berry), Nadja (Natasia Demetriou), Colin Robinson (Mark Proksch), and human familiar-turned-vampire-hunter-turned-something-else Guillermo (Harvey Guillén) share a crumbling New York house and, for a decade of viewer time, absolutely nothing changes about their vibe, which is the whole point.

Berry delivers every line as if he’s tasting it. Guillén’s slow-burn Guillermo arc is one of the great long-form character studies in recent comedy. Novak’s Nandor is a 750-year-old warlord rendered as the loneliest man on Staten Island, and Demetriou’s Nadja — Balkan-accented, monstrously vain, in a codependent feud with her own ghost trapped in a doll — is one of the funniest performances anyone gave on television in the 2020s. The comedy here makes the fantasy better…and vice versa.

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‘Interview with the Vampire’ (2022–Present)

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Rolin Jones‘ AMC adaptation of Anne Rice‘s novel reframes the story in 2022 Dubai, where an aging, Parkinson’s-afflicted Daniel Molloy (Eric Bogosian) sits down with the vampire Louis de Pointe du Lac (Jacob Anderson) for a second, more honest interview decades after their first one. What follows is Louis’ life across 15 episodes: turn-of-the-century New Orleans, his making by Lestat de Lioncourt (Sam Reid), the vampire child Claudia (Bailey Bass and Delainey Hayles) they raise between them, and the Parisian coven that eventually takes them all apart.

Anderson and Reid are the reason it works. Anderson plays Louis as a Creole man trying to hold his dignity together while the century and his boyfriend take turns dismantling it. Reid’s Lestat is theatrical, cruel, needy, and impossibly in love. Season 2 hands the back half to the Théâtre des Vampires, a coven that stages actual murders as avant-garde theater, and lets Ben Daniels devour every frame as Santiago. The trial and the ruined-house reunion in the finale are the best 20 minutes of television anyone put out that year. Bailey Bass and then Delainey Hayles are both extraordinary as Claudia, Assad Zaman‘s Armand reshapes the show’s power structure, and the universe the series built keeps expanding.

3

‘Arcane’ (2021–2024)

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Netflix’s League of Legends prequel had every reason to be a corporate cash-grab and instead turned into a two-season, 18-episode animated epic that made grown adults sob over sisters from an underground slum. Vi (Hailee Steinfeld) and Jinx (Ella Purnell) grow up in Zaun; up in Piltover, Jayce (Kevin Alejandro) and Viktor (Harry Lloyd) invent Hextech and doom everyone. That’s the basic plot.

Arcane‘s animation, by the French studio Fortiche, is the best-looking work in the medium right now, and the show uses its soundtrack, filled with hits from Imagine Dragons, Stromae, and Ashnikko, to help its emotional beats land. One late-season episode set in an alternate timeline is, on its own, worth the price of admission.

2

‘Game of Thrones’ (2011–2019)

We know. But, the first four seasons of Game of Thrones are, minute for minute, still the best sustained run of fantasy TV ever produced. Ned Stark’s (Sean Bean) execution, the Red Wedding, Tyrion’s (Peter Dinklage) trial, Oberyn (Pedro Pascal) versus the Mountain (Hafþór Júlíus Björnsson), Blackwater Bay. Lena Headey, Emilia Clarke, and Diana Rigg circling each other for a decade, 73 episodes, and eight seasons. Yes, we’re all going to fight about which point the wheels came off. What still holds up is the cultural shift the show pulled off.

Fantasy went from a genre people apologized for liking to one dissected weekly by New York Times critics. It reset HBO’s budget ceiling. And it briefly made swords and dragons the default cultural conversation instead of a niche one.

1

‘The Leftovers’ (2014–2017)

Image via HBO

If you love fantasy TV for the way it can bend reality until something true falls out, The Leftovers is your show. Lindelof and Tom Perrotta built a series on one gorgeous, terrifying premise: two percent of the world’s population vanishes at the exact same second. Three seasons follow the people left behind, including Justin Theroux‘s grieving cop Kevin Garvey, Carrie Coon‘s Nora Durst (who lost her entire family in a single instant), plus Amy Brenneman, Christopher Eccleston, Regina King, and Kevin Carroll as they try to figure out how to keep going.

The show leans all the way into its weirdness in the best possible way. There’s a cult that dresses in white and refuses to speak. There’s a hotel in the afterlife where Kevin has to sing karaoke to save the world. There’s a Season 2 opening credits sequence set to an Iris DeMent song that you will never get out of your head. It’s dreamy and devastating, and too good to spoil. If you’ve ever finished a fantasy show and wished the emotional stakes matched the mythology, this is the one.

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The Leftovers

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2014 – 2017-00-00

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Damon Lindelof

Writers

Damon Lindelof, Tom Perrotta

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Brenda Song is opening up about a personal struggle she experienced after welcoming two children with Macaulay Culkin.

The “Running Point” star and Culkin welcomed their first son, Dakota Song Culkin, in 2021 before expanding their family with a second, Carson Song Culkin, the following year.

For Song, stepping into parenthood brought plenty of adjustments to her body and her style that also affected how she felt about herself.  

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During a recent interview, the “Scandal” actress did not shy away from detailing how it was difficult to find her personal style and feel comfortable with her appearance. 

“I actually really struggled the first couple years after having two kids because my body had changed,” Song told US Magazine.

 “What was important to me in my wardrobe changed, and there was a second there where I was like, ‘I don’t feel confident in my body, I’m just gonna wear sweats,’” she added.

However, a shift came for the 38-year-old when she realized that it was a “mindset” and started to focus on what would work for her. She began searching for pieces that offered comfort and were still fashionable. 

“And that was what it really took, was sort of me kind of breaking down, ‘What do I like now? What fits my body?’ I can’t wear what I was wearing when I was 27. I’m 38 now. My body has changed, and my lifestyle has changed.”

Brenda Song Had ‘FOMO’ While Juggling Motherhood With Her Career 

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While being candid about her body changes, the actress has also shared how she navigated work and parenting, admitting to feeling left out of some important milestones of her baby’s life. 

After having Dakota, the former Disney star shared that she felt the pressure to return to work soon. However, balancing her career with caring for her newborn proved challenging. She revealed that on some days, she returned home only to find her baby already asleep.

“The hours away from my son took a toll on me,” Song admitted, per People Magazine. “Missing those hours with my newborn son, it pains me, but at the end of the day, Mama’s got to put food on the table.” 

Despite handling the demands of motherhood and acting, Song has remained deeply involved in raising her sons. She previously revealed that she and Culkin are hands-on parents who chose not to hire a nanny, relying only on occasional help from her mother.

Why Macaulay Culkin Hides This One Thing From Their Kids

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As Song talks about parenting, Culkin has also offered glimpses into life at home, including how his kids react to one of his most famous films, “Home Alone.”

As The Blast reported, Culkin revealed that his children have a special fondness for the film and simply refer to it as “Kevin.” He added that they find the character funny, but he has chosen not to tell them he was the actor behind it. According to Culkin, he wants to “keep the magic alive.” 

Culkin continued that seeing the movie now is more meaningful because he experiences it through his boys’ reactions, and takes pride in knowing he was part of something they love.

How Macaulay Culkin’s Strained Relationship With His Dad Shaped His Parenting 

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While enjoying fatherhood, Culkin has reflected on his own troubled relationship with his dad and how it influenced the way he raised his boys. 

Per The Blast, the actor recalled that one of the earliest memories he had of his father was thinking, “This is not how I’m gonna be with my kids.” 

Culkin went on to share that they have been estranged for thirty years, and called him narcissistic, recalling how strongly he resisted seeing him as a child.

Macaulay Culkin Praised By Fans After Heartfelt Father’s Day Post

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Culkin’s commitment to his children has also resonated with fans, particularly given his difficult upbringing. For Father’s Day in June, the actor shared a photo of himself watching his children play with their train set. 

In the accompanying caption, he reflected on the ordinary yet demanding responsibilities of parenthood and the importance of being present, even when he is exhausted. 

Fans were quick to praise Culkin for embracing a different path from the one he experienced growing up.

According to The Blast, one commenter wrote, “Seeing men with sh-t dads turn around and be amazing fathers is such a beautiful thing.” 

Crime novels aren’t known for having quality prose. Rather than serving up well-crafted sentences, they typically lean into juicy plots and grizzled, world-weary protagonists, along with a hearty helping of murder, betrayal, and sexual tension. There’s nothing wrong with that; sometimes you just want a fun story to get lost in.

That said, there are a select few crime novels boasting genuinely strong writing that is just as compelling as the story itself. In the titles below, the word choices, sentence construction, and narrative flow are deliberate and impactful, adding to the book’s mood or simply reeling us deeper into its world.

‘Red Dragon’ (1981)

Image via Corgi Books

“The reason you’re here, Dr. Lecter, is that you know you’re going to get caught.” Though not as famous as its sequel, The Silence of the Lambs, Thomas Harris‘ Red Dragon is still a banger, certainly one of the best thrillers of the 1980s. In it, former FBI profiler Will Graham is drawn out of retirement to hunt a serial killer known as the Tooth Fairy. To understand the murderer, Graham reluctantly seeks advice from imprisoned cannibalistic killer Hannibal Lecter, leading to an unpredictable, unsettling relationship.

Obviously, Lecter is one of the finest villains in all of fiction, and his presence, limited as it is, greatly elevates the proceedings. However, Harris’ writing also does a lot of heavy lifting, helping us get inside the characters’ heads and just generally maintaining a tense, unnerving tone. Here, his prose is lean and focused, with virtually no wasted phrases, and the dialogue is especially strong.

‘Thus Was Adonis Murdered’ (1981)

Image via Constable

“… clearing aside the tangled thorns of Error with the keen secateurs of Intellect…” In this witty gem, the notoriously impractical young lawyer Julia Larwood joins an Art Lovers’ excursion to Venice, only for the holiday to end in murder, with Julia herself as the prime suspect. She and her friends frantically set out to uncover the truth and clear her name… before the real killer can strike again.

Interestingly, the story is told from the perspective of side character Hilary, an academic, and much of the book is epistolary. The structure is inventive, and the writing style is enjoyably ornate, defined by long, flowing sentences and grand descriptions. It’s also frequently funny, full of jokes, absurd situations, clever subversions, sarcasm, and wordplay. The result is a mystery that feels intellectually satisfying without sacrificing fun or momentum.

‘Small Mercies’ (2023)

Image via Harper Large Print

“People carry old wounds longer than they carry old grudges.” Penned by Shutter Island and Mystic River author Dennis Lehane, Small Mercies takes place in Boston during the turbulent desegregation crisis of the 1970s and centers on Mary Pat Fennessy, a tough working-class mother whose daughter disappears under suspicious circumstances. As Mary Pat searches for answers, she uncovers uncomfortable truths about her community, its prejudices, and the forces that control it.

While Lehane has written plenty of great books and scripts, Small Mercies may represent the peak of his craftsmanship. The book functions simultaneously as a mystery, a character study, and a portrait of a city in conflict, drawing on extensive research and the author’s Boston roots. Each element strengthens the others, and the cumulative effect is a lot more emotional and moving than you typically find in this genre.

‘Say Nothing’ (2018)

Image via Vintage

“Everyone involved had their own version of the truth.” This is a work of nonfiction, but it’s as gripping as any hard-boiled thriller. In Say Nothing, author Patrick Radden Keefe examines one of the most infamous unsolved crimes of the Northern Ireland Troubles: the disappearance of Jean McConville, a widowed mother abducted from her home in 1972. From this starting point, the book expands into a broader exploration of political violence, memory, justice, and the human cost of conflict, built on extensive interviews and Keefe’s stubborn pursuit of the facts.

The whole thing is remarkably tense, while also painting all of the people it describes in shades of gray. Refreshingly, Keefe refuses to reduce individuals to heroes or villains; instead, what we have is people shaped by impossible circumstances and difficult choices, not following a set plot but merely trying to go on. Thanks to his extraordinary skills, Say Nothing delivers both a suspenseful mystery and a masterful reconstruction of almost seven decades of history.

‘The Murder of Roger Ackroyd’ (1926)

Image via HarperCollins

“The truth, however ugly in itself, is always curious and beautiful to seekers after it.” One of Agatha Christie’s classics. When wealthy businessman Roger Ackroyd is murdered shortly after receiving a shocking piece of information, detective Hercule Poirot (perhaps second only to Holmes in fame) is drawn into an investigation filled with secrets, lies, and hidden motives. The suspects rapidly multiply, and the case becomes increasingly difficult to untangle.

The Murder of Roger Ackroyd is rightly famous for its legendary twist, but the plotting and narrative techniques are immaculate, too; they need to be to pull the twist off. Particularly impressive is the subversive way Christie uses point of view. Every clue serves a purpose and every piece of misdirection is carefully calibrated. Thanks to this well-planned writing, readers get all the information necessary to solve the mystery, yet few succeed on their first attempt.

‘The Name of the Rose’ (1980)

Image via HarperVia

“Books are not made to be believed, but to be subjected to inquiry.” Set in a remote Italian monastery in 1327, The Name of the Rose follows Franciscan friar William of Baskerville and his novice Adso as they investigate a series of deaths. Although the plot mechanics borrow extensively from the murder mystery tradition, author Umberto Eco ultimately turns it into an exploration of religion, knowledge, politics, and the power of ideas… as well as the dangers posed by those who seek to suppress them.

The book is rich, thoughtful, and dense with allusions. For instance, William being from Baskerville is a wink to Sherlock Holmes, while the blind librarian character named Jorge de Burgos is a reference to the writer Jorge Luis Borges, one of Eco’s inspirations. The confinements of the monastery are both a blessing and a curse, and Eco brings them to life in stunning detail. The movie adaptation with Sean Connery and Christian Slater is great, too, and well worth checking out.

‘The Talented Mr. Ripley’ (1955)

Image via W. W. Norton & Company

“I always thought it would be better to be a fake somebody than a real nobody.” One of the most influential books of the 20th century, The Talented Mr. Ripley follows the titular con artist as he struggles to find his place in the world. When he is hired to travel to Italy and persuade wealthy playboy Dickie Greenleaf to return home, Tom Ripley becomes increasingly obsessed with the man’s lifestyle and freedom, ultimately leading him down a dark, deadly path.

What takes the novel from simply good to great is the psychological precision of Patricia Highsmith’s writing. Rather than focusing on a detective pursuing a criminal, the novel places readers inside the criminal’s mind. Ripley is treated with enough complexity that we find ourselves occasionally sympathizing with him even as we are incredibly disturbed by him. Indeed, Ripley is a fascinating antihero: intelligent, insecure, manipulative, and strangely vulnerable.

‘London Falling’ (2026)

Image via Doubleday

“It is easy to charm a person who talks too much: all you have to do is listen.” Patrick Radden Keefe strikes again. While not as ambitious in its historical sweep as Say Nothing, London Falling is doubly addictive as a mystery. At the start of the book, we know only a few things: 19-year-old Zac Brettler has been found in the River Thames, security camera footage shows him jumping from an apartment window to the waters below, and local businessmen come forward saying that they knew Zac, but that he had told them he was the son of a Russian oligarch.

From here, Keefe digs incredibly deep, going even further than the police in his quest for truth. In the process, he paints a vivid, damning portrait of contemporary London, where wealth and crime are uncomfortably interlinked, and uncaring authorities frequently turn a blind eye to wrongdoing. It’s sobering, occasionally harrowing, and always compelling.

‘The Big Sleep’ (1939)

Image via Penguin

“I was neat, clean, shaved and sober, and I didn’t care who knew it.” The Big Sleep is one of the archetypal hardboiled novels. Here, the iconic private detective Philip Marlowe is hired by the wealthy Sternwood family to deal with a blackmailer. But what appears to be a simple case quickly spirals into a labyrinth of murder, corruption, gambling, pornography, and deception, drawing Marlowe into one of the most complex investigations in crime fiction—so complex, in fact, that the author himself said he didn’t know the solution to one of the subplots.

While the plot is famously intricate, the novel’s greatness lies less in its mystery than in its atmosphere, dialogue, and voice. Marlowe, especially, stands out from most detective protagonists with his wit, intelligence, and unyielding moral code. He operates in a corrupt world yet refuses to become fully corrupted himself, making him an easy protagonist to relate to.

‘In Cold Blood’ (1966)

Image via Vintage

“There was no possibility of taking a walk that day.” Arguably the most influential work of crime writing ever, Truman Capote‘s In Cold Blood is a nonfiction novel about the brutal 1959 murder of the Clutter family in rural Kansas. The book traces both the crime itself and the lives of the murderers, constructing an unusually detailed portrait of what happened. Back in the mid-’60s, it was groundbreaking stuff, effectively creating modern true crime.

Indeed, few books have ever delivered so much painstaking, meticulous, deliberately crafted investigation alongside such compelling, near-irresistible storytelling. Capote never loses sight of the victims, yet he also examines the perpetrators and their circumstances with real psychological depth. On the technical side, the prose is elegant and controlled, and every scene contributes to a larger understanding of the tragedy. Not for nothing, In Cold Blood is still read and studied the world over.

Days of Our Lives early spoilers for the week starting August 24th with Theo Carver (Tyler Joseph Andrews) grieving after his mom Lexie Carver (Nikki Crawford) dies and he’s going to be lashing out at several people.

Plus, Alex Kiriakis (Robert Scott Wilson) is crumbling over this horrible diagnosis that Joy gets and what it’s going to mean for little Kelsey. Also, the week of August 24th through the 28th, there’s more desperation from Philip Kiriakis (John-Paul Lavoisier) and Xander Cook (Paul Telfer).

Gwen Rizczech (Emily O’Brien) is playing let’s make a deal. EJ DiMera (Dan Feuerriegel) tries to avoid arrest and Javi Hernandez (Jacob Martinez) makes some really big life changes. And as we always do on early edition day, we’re going to talk about what’s happening the rest of this week and then we will get into what is happening next week.

Days of our Lives Spoilers: Xander Gets an Offer

Wednesday, August 19th, on Days. Xander gets an offer to buy the Kiriakis mansion. I wouldn’t be surprised if it was EJ, just to be awful because that’s totally his style of revenge. But maybe it’s Gabi Hernandez (Cherie Jimenez). Maybe it’s even Gwen. Given how much of a crush she had on Xander in the past, you never know. But I think this is going to be pretty interesting.

Kate Roberts (Lauren Koslow) is comforting Philip at the mansion on Wednesday and I’m sure he is distraught about them losing the Kiriakis family home and them being on the cusp of also losing Titan within the next few weeks. Also, Philip’s going to give it one more try to convince Gabi to lend him the $5 million to play in that high stakes poker game, but I suspect she thinks giving Philip that money would be like flushing it down the drain. But he might be able to guilt Gabi into it.

DOOL Spoilers: Leo Won’t Back Down

Still in Alamania, we have Leo Stark (Greg Rikaart) not backing down and he tells Dimitri von Leuschner DiMera (Peter Porte) if he really loves him, then Dmitri should let him go. But he’s shaking his head no at Leo. Despite all of that, Leo is back in Salem by the end of this week. Brady Black (Eric Martsolf) and Sarah’s relationship takes a huge step forward. Brady’s going to tell Sarah Horton (Linsey Godfrey) that he loves her and she says she loves him, too. and they’re kissing and they seem happy, but her heart is with Xander.

Days of our Lives Spoilers: Chessboard Mystery Continues

Marlena Evans (Deidre Hall) gets pulled into the chessboard mystery even though she wanted no part of it. We are soon going to get a glimpse of the guy who’s been leaving the clues and that really has Chad worried. Then on Thursday, August 20th episode of Days of Our Lives, Theo is absolutely not going to forgive his cousin Johnny DiMera (Carson Boatman).

As far as Theo is concerned, Johnny is a liar who is going to let his mom Lexie die alone in the DiMera basement. Johnny tried to explain he was honoring Lexie’s last wish. And I am curious if his mom is going to tell Theo that yes, that is what she asked EJ to do, and he was honoring her request.

Theo Furious with Johnny on Days

But Theo may never want to see Johnny again. Theo already told Johnny that he really is EJ’s son, and that was not a compliment. Gus (Michael Ocampo) gets some things off his chest with Javi, and I suspect that Gus is going to snap over Javi’s ongoing concern for Leo. The bottom line is Gus and Javi just aren’t compatible and they just need to go ahead and call it quits.

Meanwhile, Gwen is thrilled to see that Leo is back in Salem. She had asked Chad DiMera (Billy Flynn) to help her bring him back. So, the big question is, did Dmitri stay behind in Alamania and just give up or did he and Leo come back to Salem together? Alex is supportive when Joy gets scary news from Kayla Brady (Mary Beth Evans) and she’s telling Joy that the worst case scenario would be paralysis.

So, Alex is hugging and comforting a devastated Joy while Stephanie Johnson (Abigail Klein) is spying and watching this happen without context. And then Chad comforts and upsets Stephanie. Hopefully, she’s not assuming the worst and won’t lash out at Alex because he may snap on Stephanie given the stress that he’s under about Joy’s diagnosis and what this means for Alex’s daughter.

Days Spoilers: Death, New Life, and Desperation

Friday, August 21st on Days of Our Lives, we’ve got Jada grilling EJ. She got nowhere fast with Gwen. And I do love that she told Jada that she didn’t have a warrant, you know, and so she knows that that letter cannot be used in court because it was stolen from her lawyer. And I wonder if Jada is grilling EJ about Lexie or if it’s about Gwen. You know, maybe Jada hints that Gwen agreed to testify against him, which would be a lie. Jada may also have questions for EJ about Kristen DiMera’s disappearance. She may be asking him about points from Gwen’s letter.

But as a lawyer, I doubt EJ is going to entertain any nonsense from Jada. If Dmitri is in town, kidnapping charges might stick, though. Abe and Theo are hoping for more time with Lexie, but she passes away on Friday. This week, Theo and Abe Carver (James Reynolds) are at her bedside. Lexie’s crying, Abe’s crying. EJ comes in to check on Lexie, and Abe explodes and tries to throw EJ out of the room. At the same time, Chanel’s labor takes a turn for the worse.

DOOL Spoilers: Paulina Freaks Out

Kayla has to kick Paulina Price (Jackée Harry) and Lani Price (Sal Stowers) out of the room when Johnny says Chanel is bleeding. She’s really scared. The doc reassures Chanel that they are in the home stretch. She’s screaming in pain, though, because there’s no epidural allowed. So, Johnny’s thrilled when their baby is born, but Chanel might be in critical condition from blood loss and those chemo complications.

So, while this is happening, Lani and Eli are sitting outside waiting for an update, and Lani’s having some PTSD back to when she lost their baby during childbirth because of complications. I suspect that Chanel might have a near-death heavenly encounter with Lexie that will result in Chanel coming back to Johnny after a big medical scare. I’m also wondering if the baby is actually a girl and they’re going to name her Alexandra.

Days of our Lives Spoilers: A New Addition & Devastating Loss

Then the week of August 24th through the 28th on Days of Our Lives, we’ll have Chanel and Johnny’s baby born, but obviously it’s going to be bittersweet. Abe and Theo, of course, will be excited to meet the new addition to the extended family, but at the same time, completely devastated they’ve lost Lexie again. So, we’ll see Paulina happy for Chanel and Johnny, but absolutely devastated for Abe and Theo.

Losing Lexie again is more than devastating, and Abe and Theo are leaning on each other. Abe may remain furious with EJ, even if Lexie tries to smooth things over before she passes away. We’ll also see if Theo is going to quit his job at DiMera to get away from EJ and Johnny.

Plus, Stephanie and Alex face a rougher road now that Joy’s got this tragic prognosis. And if Stephanie’s not sympathetic, I think Alex will be annoyed. Also, this may have Joy rethinking her stance on Stephanie because Joy may realize that they’re going to need more support than just Alex.

Days of our Lives Spoilers: Javi Listens to His Heart

So, she may, you know, back off on the Stephanie issue because they need help. Leo and Javi reunite soon because he’s realized Leo is his soulmate. He’s still in love with his ex and not Gus. But unless Dmitri gives up and stops chasing Leo, it’s going to be very, very messy.

We’ll see if Dmitri followed along to keep wooing Leo. Gwen may need witness protection if EJ truly believes that Gwen’s cooperating with the Salem PD or the FBI. She did turn them down, but she may be having second thoughts about all this, but she’s also very worried about antagonizing EJ.

DOOL Spoilers: Gwen Determined

I still don’t think that Gwen’s going to back off buying the hospital, though. Look for JJ Deveraux (Casey Moss) to make more effort to develop a brother relationship with Gwen. Also, watch for Belle Black (Martha Madison) and Chad and Marlena to dive deeper into this chess set mystery.

And I wonder if Belle and Chad are going to insist that Marlena comes with them to Italy after Chad does his father-daughter dance and is free to go explore. And we’ll see if Philip gets the ante for the high stakes poker game.

He’s trying to gamble their way out of this big Kiriakis and Titan mess. So, we’ll see also if Xander has to accept the offer on the Kiriakis mansion, even if it’s from somebody that he does not like.