Last week’s episode of High Potential left off with the major cliffhanger reveal that the man (John Pyper-Ferguson) who’s been following Arthur (Mekhi Phifer) was the person who abducted Roman 16 years ago. In this episode, it’s revealed that his name is Eric Hayworth, and that he was previously in Special Forces for the military. Not much else is revealed about Hayworth yet, except that he was hired to abduct Roman by an extremely dangerous woman named Willa Quinn. Meanwhile, this episode sees the return of Dottie (Michael Hyatt), Morgan’s (Kaitlin Olson) instructor from the training academy. The episode starts with a murder attempt being made on Dottie’s life, and Major Crimes working to solve the case while she’s unconscious in the hospital.

This episode, titled “If You Come For the Queen,” focuses primarily on Dottie’s case, which later connects to another case that Major Crimes is investigating. Daphne (Javicia Leslie) finally gets her first solo storyline this episode, as it’s revealed that Dottie was her training officer, and they used to be very close. Daphne takes the lead on Dottie’s case in what is an excellent, character-centered episode with a number of powerful storylines.

In ‘High Potential’ Season 2, Episode 14, Major Crimes Investigates an Attempt on Dottie’s Life

Image via ABC

Daphne and Morgan are assigned to Dottie’s case, while Karadec (Daniel Sunjata) and Oz (Deniz Akdeniz) investigate a murder. While working on Dottie’s case, Daphne tells Morgan that she and Dottie were very close during the five years they worked together, even after Daphne made detective and Dottie became a full-time instructor at the academy. Dottie pushed Daphne to take the sergeant’s exam and move forward in her career, but Daphne was hesitant to try to get a promotion after watching the discrimination that Selena (Judy Reyes) and Dottie have had to deal with for years as women of color in the police force. Daphne and Dottie got into an awful fight over this, and they haven’t spoken since.

Dottie was getting a massage at her regular spa during the attempt on her life, so Morgan and Daphne check out the spa and ask around. This takes them to Dottie’s classroom, where Morgan and Daphne catch their first suspect: one of Dottie’s students, Officer Hoff. Hoff broke into Dottie’s classroom to keep her from reporting him for a mistake, but he didn’t hurt her. Dottie wakes up, and she starts consulting with Morgan and Daphne on the case. Morgan looks at Karadec and Oz’s case, and she figures out that their victim, Luke Knight, went to the same spa as Dottie. Dottie checks herself out of the hospital early, and she joins Major Crimes to work on her and Luke’s cases.

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Daphne and Dottie go to the spa to ask around, while Karadec and Oz question people from Luke’s gym. Karadec speaks with Luke’s boss, Phyllis, who tells them that Luke was new, but that he had already landed some major clients. Karadec and Oz suspect Luke’s work rival, Voz, from whom Luke poached a high-profile client. Daphne and Dottie speak to Kirk Hartwood, the owner of the spa, who tells them that Luke has never been a guest at the spa – and that everyone working at the spa has an alibi placing them there during Luke’s death. Dottie collapses and has to go back to the hospital, where she and Daphne finally talk things through. They’re still at a standstill, though, because Dottie has a lot of hope for Daphne’s future, and Daphne thinks that there’s no point in taking the exam after Selena was unfairly passed over for her promotion.

Later, Morgan realizes that both Dottie and Luke’s cases are connected through a Strangers on a Train-type murder. Two people got together and agreed to kill the target that the other wanted dead, so it couldn’t be traced back to them. The Major Crimes team suspects that Voz was on one end of the pact, and that he got someone at the spa to kill Luke. As it turns out, Kirk has been using a black market supplier for the IVs to save money, and he has been giving them spa sensors in return. The supplier is Phyllis, who made a murder pact with Voz: Phyllis would kill Luke for stealing Voz’s client, and Luke would kill Dottie for Phyllis. Dottie reveals that she joined a sorority in college, and Phyllis was supposed to be her Big Sister. Phyllis went overboard on the hazing, so Dottie turned her in. Phyllis was charged with a felony, and her whole life fell apart after that. As a Black woman, she never got a second chance, and she blames Dottie for reporting her back then.

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Recently, Phyllis was turned down when trying to remove her felony record, reminding her of everything she lost. Phyllis is already on the run by the time Major Crimes realizes that she put the hit out on Dottie, but the Major Crimes team finds her. Daphne talks to Phyllis one-on-one, and she empathizes with her, saying she knows what it’s like to always have to prove herself. She encourages Phyllis to accept her arrest, and she does. Later, Daphne and Dottie have a touching conversation at the station. Dottie tells Daphne that she pushed her to keep her from letting outside pressure get her down, and Daphne tells her that she understands.

‘High Potential’ Season 2, Episode 14 Parallels Daphne and Ava’s Storylines

At the start of the episode, Ava (Amirah J) tells Morgan that she got into the design class that she applied to. Ava is very excited, until she sees a post online from a classmate that says she only got it because of her race. Morgan supports Ava as best as she can, but she acknowledges that she can’t fully understand what Ava is going through. Later, Ava goes to the station to talk to Daphne. They get derailed by Dottie’s collapse, but at the hospital, Ava tells Daphne what happened. Daphne empathizes with Ava and relates to her, and when Ava asks whether she should stick with the class, Daphne tells her to follow her heart.

Daphne doesn’t feel content with the advice that she gave Ava. Later, after solving Dottie’s case, she talks to Ava again from a new perspective. Daphne had been feeling disheartened since watching Selena get passed over for a promotion that she deserved, which only further convinced her not to even bother taking the sergeant’s exam, even though Dottie wanted her to. After reconciling with Dottie, though, Daphne decides that she wants to lean more into Dottie’s advice. Daphne tells Ava that they can’t control what other people say about them, and that she needs to do what feels right for her, no matter what people think. This encourages Ava, making it seem like she will likely continue with the class. It also bodes well for the possibility of Daphne taking the sergeant’s Exam in the remainder of Season 2.

High Potential airs Tuesdays at 9:00 p.m. ET on ABC.

In a way, Fringe is still enjoying the last laugh. Never a ratings flop for FOX but still criminally underrated during its five seasons, the 2008 drama’s visionary pedigree, innovative substance, eccentric humor, and one-in-a-million cast have secured its cult classic longevity. Showrunners Jeff Pinkner and J. H. Wyman reinforce their intricate mythology about parallel dimensions and doppelgängers with weighty thematic equivalents — identity, family, responsibility, love’s manifold consequences — while their nigh-seamless narrative framework keeps the most earnest sentiments from dissolving into saccharine triteness.

Fringe had already been solidifying its unique procedural-turned-serialized sensibilities by Season 2’s midway point. The second season’s sixteenth episode, “Peter,” marks a defining moment as figuratively seismic as the planet’s tectonic plates shifting under viewers’ rattling feet. For the first time, Fringe flourishes into one of televised sci-fi’s crowning achievements — in no small part because the episode’s driving crux exemplifies the genre’s enduring fusion of imaginative scope and achingly resonant heart.

‘Fringe’s “Peter” Episode Is the Sci-Fi Show’s Finest Hour

“Peter” deviates from Fringe‘s established format by unfolding as a flashback set within the contemporary framing device of Walter Bishop (John Noble) confessing his sins — specifically, the truth about his son Peter’s (Joshua Jackson) origins — to Olivia Dunham (Anna Torv). Even for a show increasingly comfortable with experimentation, the episode all but thrums with the sharpened texture and potent intentionality this freedom affords. Several long-standing mysteries receive rewarding payoffs, and the same newfound context informs future chain reactions.

“Peter” turns this half-culmination, half-prelude into an experience as disarmingly arresting as a blow to the solar plexus. Fringe‘s looming war emerges from the perfectly imperfect reality of human reaction; a grieving father tears asunder reality’s supposedly immutable boundaries. The kind of cosmic-level cost one would attribute to a supervillain’s experimental hubris — risking an entire universe — instead hails from a ruined, heartbroken man incapable of outmaneuvering his son’s fatal illness.

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What’s more, the Walter of 1985 doesn’t hatch some malevolent plan to kidnap “Walternate’s” son as if the two Peters are interchangeable replacements. That motivation is too simplistic for a series concerned with the mosaic of ways trauma, death, and isolation shape our already multidimensional psychologies. Rather, Walter intervenes as a compassionate, desperate, and completely irrational last resort, unable to witness the same irreversible tragedy befalling the only other Peter Bishop in existence.

Make no mistake — he weighs billions of innocent lives against one child. With all the simultaneous authority of a bereaved parent who can’t perceive a way forward and a scientist with a god complex, he chooses the latter’s survival, rejecting his colleagues’ warnings and all the detached tenets of his trade. And once he’s staring at the embodiment of an open wound, he also negates his white-knight promise to return Peter-2 to his loving home. Walter surrenders to temptation after temptation while trying to soothe his unbearable devastation. Interpreting an unconscionable act into something understandable — even sympathetic — is one of fiction’s strongest magic tricks in action.

John Noble’s Brilliant Performance in “Peter” Brings ‘Fringe’s Theoretical Ideas To Aching Life

One can’t wax rhapsodic about “Peter” without casting every known superlative in Noble’s direction. One might even risk hyperbole and call the actor’s entire Fringe run as faultlessly captivating. In this pivotal instance, his staggering performance shoulders the emotional core of what’s essentially a solo piece, a character study, and the axis upon which Fringe‘s future rests, with all the precise layering of pathos, intimacy, and restraint befitting such a Herculean task.

Even in Fringe-land, “Peter” provides a rare opportunity to compare the rhythms of present-day Walter with the past’s pre-quasi-lobotomized incarnation. The former is endearingly kooky to the point of almost harmless yet eternally guilt-ridden, longing for forgiveness while convinced he’s too irredeemable to deserve such mercy; the latter’s haunted by both the repercussions of his selfishness and, in his mind, failing to protect his child. No matter which timeline or dimension, all Walter Bishops contain the same capacity for active good, blithe negligence, disturbing arrogance, fragile vulnerability, and delayed clarity. It’s a suitably tragic irony that Walter inflicts similar heartbreak upon his parallel self, launches an interdimensional war, and ensures Peter’s fate as the multiverse’s sacrificial linchpin.

In the grand scheme of Fringe‘s one hundred episodes, “Peter” remains the series’ breakthrough masterstroke. If that wasn’t enough, this singular installment encapsulates the soaring power of sci-fi at its height by hewing to the genre’s unspoken rule of making the theoretical personal. Science function houses infinite ideas, but even the most ingenious concepts become a dime a dozen when they fail to root themselves in the familiar breadth and overwhelming gravitas of human experience. Fringe‘s dystopian universe-hopping is inseparable from the fact that Walter’s choice — one few people could summon enough strength to resist — emerges from raw familial love.

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Fringe

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Release Date

2008 – 2013-00-00

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Showrunner

Jeff Pinkner

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Jeff Pinkner

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If you’re looking for the best thriller on Netflix right now, you really should stop scrolling past Bodyguard. The six-episode BBC series from 2018 is leaner, meaner, and more emotionally compelling than anything the algorithm is currently pushing at you (The Night Agent, Reacher, take your pick). Richard Madden won a Golden Globe for it, but despite that, a second season didn’t materialize — and, it turns out, that might’ve been the best thing that ever happened to it.

What Is ‘Bodyguard’ About?

Created by Jed Mercurio – a man who has made a career out of turning institutional paranoia into compulsive television with shows like Line of Duty – Bodyguard follows David Budd (Madden), a decorated war veteran turned police protection officer assigned to guard Julia Montague (Keeley Hawes), the UK’s ambitious, polarizing Home Secretary. The catch: he fundamentally disagrees with everything she stands for. Hawes makes Montague formidable, injecting an unknowable quality to her that keeps the audience second-guessing itself, and the slow-burn tension between the two leads gives the show its stakes long before the assassination attempts and political conspiracies kick in. What starts as a procedural quickly escalates into something harder to pin down; a show that’s part psychological thriller, part conspiracy drama, and wholly gripping.

A heart-racing opening train sequence doubles as Bodyguard’s thesis statement. It’s both a warning and a promise: this show is all gas, no brakes. A bomb threat, handled in near real-time, with no swelling score guiding your nerves and no shorthand to reassure you that everything will be fine. Budd scrambles through the cars with the urgency of someone who has witnessed the unthinkable and is terrified of seeing it again. With one crisis thwarted (but plenty more on the way), the show builds on all that dread and adrenaline by thrusting its hero into yet another uncomfortable situation. He is assigned to Montague’s protection detail as a reward for his heroism, and the friction is obvious from the first scene they share. He thinks her policies got soldiers killed; she has no particular interest in his opinion. The professional dynamic is taut and watchable on its own terms, but Mercurio keeps complicating it. By the end of the first episode, you’ve already started quietly revising your read on at least one character, which is exactly what the show wants you to be doing.

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The show is built around a web of overlapping conspiracies. There’s a political power play involving Montague’s sweeping new surveillance legislation, which earns her plenty of dangerous enemies in high places. There are people within her own political orbit who want her humiliated. There are people further out who want her dead. And there’s at least one person in Budd’s immediate circle whose loyalties are not what they appear to be. For first-time viewers: go in knowing as little as possible beyond the basic setup. The shock and awe are more than worth it.

Netflix’s ‘Bodyguard’ Works Better as a One-Season Thriller

There’s enough action across Bodyguard’s six episodes to earn its genre placement, but the real draw of this story is Madden and how he plays what should be a conventional hero with an ambiguity just slight enough to make you hesitate labeling him the “good guy.” He’s a man running on fumes – anxious, post-traumatic, completely out of his depth in this shady government-run labyrinth populated by MI5 agents and crime lords. Budd’s good at his job, but it costs him something every time he’s out in the field, and Madden makes sure to remind us of that with physical tics and exasperated expressions that give the impression this guy is just a few seconds shy of a mental breakdown at all times.

It all ends with a setup, a suicide vest, and a tense standoff that feels doomed to end badly for the characters you’ve come to care about, but the important takeaway here is that it ends. Modern storytelling has largely abandoned the complete ending in favor of the strategic pause. Streaming series like to leave threads dangling, questions unanswered, and all signs pointed toward a follow-up that may or may not ever arrive. Bodyguard‘s finale untangles the conspiracy in a way that’s logical rather than convenient, bringing Budd’s arc to a conclusion that lands emotionally because the show has done the work to earn it. It’s a tidy piece of television, another nod that makes it unique among its peers. It’s also why those unrealized promises of Season 2 feel less frustrating. When Bodyguard hit, a follow-up seemed inevitable. The ratings were there, and Netflix seemed interested, too. Even Mercurio entertained the possibility. But years passed, and nothing happened.

Thrillers are notoriously difficult to stretch out. Their energy depends on unresolved tension, and once the central mystery is solved, the show has to manufacture new stakes from scratch. A lot of times, that process cheapens whatever made the original work. But that doesn’t happen here. Bodyguard tells one story, completely, without overstaying its welcome or softening its edges to leave room for expansion. The result is something increasingly hard: a thriller with a beginning, a middle, and an actual end. It’s the complete binge-watching package, and still better than anything trending at the moment.

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A lot of movies, even the blockbusters, come and go with the year’s hype cycle. But these ones don’t. These 10 movies listed below are the ones you finish and immediately feel that little rush of certainty: they nailed it. The choices make sense. The tone never wobbles. The performances feel lived-in. The final beat leaves you satisfied and slightly wrecked, because the story didn’t cheat to get there.

This ranking essentially lists the films I consider perfect. The films I can throw on at any time and get the same full-body reaction: laughter that turns uneasy, silence that turns loud, romance that actually stings, dread that feels earned, with near-perfect story-building. Every entry here knows exactly what it’s doing from the first scene to the last.

10

‘Parasite’ (2019)

Image via NEON

The first thing I love about Parasite is how fast it makes you care about the Kims as a unit. Ki-woo (Choi Woo-shik) and Ki-jung (Park So-dam), two smart kids trapped in a life that keeps shrinking and they’re hustling. When they slide into the Park family’s world, one job at a time, the movie makes the tension delicious because every little lie has a practical shape: a resume, a phone call, a perfectly timed performance.

Then the story tightens, and you feel your stomach sink because you realize how fragile the fantasy is. The house becomes its own engine, doors, stairs, hidden spaces, and the night everything changes is one of the most purely stressful sequences of the decade. You’re watching people sprint to keep control of a situation that’s already slipping, and the emotional punch comes from how quickly class cruelty becomes physical danger. By the end, you’re thinking about what hope costs when the system is built to deny it.

9

‘Oppenheimer’ (2023)

Image via Universal Pictures

Oppenheimer is unexplainable. You start watching it for the exact moment when they create the nuclear bomb. And yet that moment comes but it’s just not enough because there’s so much that went on other than just tests. You follow J. Robert Oppenheimer (Cillian Murphy) and the movie constantly keeps you inside his intensity, his ambition, his ego, his hunger to be understood, his need to matter. The early sections move like momentum you can’t stop: the recruitment, the Los Alamos build, the way the project becomes a city of secrets where everyone’s personal life gets swallowed by urgency.

And when the Trinity test arrives, the movie earns that dread through sheer buildup and human detail. People waiting, people pretending they aren’t scared, people betting their souls on equations. The aftermath is where it really gets under your skin: the celebration that feels wrong, the applause that feels like pressure, the way Oppenheimer’s face starts carrying a realization he can’t put back in the box. The hearings turn his life into a slow public stripping, and you feel the cruelty of watching a man used by power, then punished for having a conscience that finally caught up.

8

‘Moonlight’ (2016)

Image via A24

Moonlight shows you exactly how the world shapes a person before they ever get a chance to choose freely. Chiron (Alex R. Hibbert) starts as a quiet kid trying to disappear inside his own body, and Juan (Mahershala Ali) becomes a lifeline in the simplest way. Provides food, protection, a little dignity, a place to breathe. Paula (Naomie Harris) is both love and damage at once, and the film never turns her into a one-note villain. It shows what addiction does to a family, moment by moment.

Each chapter feels like a new skin Chiron has to grow. Teen Chiron (Ashton Sanders) carries the ache of wanting connection while being punished for vulnerability, and the beach scene with Kevin (Jharrel Jerome) stays unforgettable because it’s tender, specific, and honest about how rare that kind of safety can be. Adult Chiron (Trevante Rhodes) shows up armored, and that armor feels heavy because you remember the kid underneath it. The final conversation, in particular, lands so cleanly because the movie earned every second of silence.

7

‘Get Out’ (2017)

Image via Universal Pictures

Get Out is perfect because it’s funny, tense, and furious in the exact right proportions, and it never wastes a scene. Chris Washington (Daniel Kaluuya) goes to meet his girlfriend’s family, and you feel the discomfort immediately because the micro-aggressions feel specific, awkward, relentless. Rose Armitage (Allison Williams) plays supportive at first in a way that makes you relax just enough to get caught, and the party sequence turns social small talk into a predator’s feeding ground. Then the story snaps into full nightmare logic, and every reveal feels like it was planted on purpose.

The Sunken Place feels scary because it matches Chris’s helplessness with an image you can’t shake. Rod Williams (Lil Rel Howery) brings comedy that never breaks the tension; it keeps your nerves stretched while giving you oxygen. And when Chris finally fights back, the release is pure adrenaline because you’ve been watching him swallow discomfort for so long.

6

‘Once Upon a Time in Hollywood’ (2019)

Image via Sony Pictures Releasing

Once Upon a Time in Hollywood is a star-studded film. It feels like hanging out in a version of Hollywood that’s warm on the surface and anxious underneath. The film follows Rick Dalton (Leonardo DiCaprio) as an actor watching his relevance slip, and the performance is so raw you can feel the humiliation when he cracks in his trailer and the pride when he nails a scene anyway. The other guy is Cliff Booth (Brad Pitt), who moves through the film like calm danger. He’s capable, loyal, amused by everyone else’s panic while still carrying a hint of mystery the movie lets you sit with.

The whole experience builds affection: the driving, the radio, the sets, the little day-to-day grind of making movies. Then the Manson shadow keeps creeping closer, and the tension becomes personal because the film has made you care about these people as people. Then there’s Sharon Tate (Margot Robbie) as well, who is treated with a gentle reverence by the film. It’s a historical yet satirical comedy-drama film that won Pitt an Oscar.

5

‘Lady Bird’ (2017)

Image via A24

This film follows that exact teenage feeling of wanting to escape your life while also wanting someone to prove your life matters. Lady Bird is perfection. It follows Christine “Lady Bird” McPherson (Saoirse Ronan) who talks big, dreams big, messes up loudly, and the movie never punishes her for being complicated. Marion McPherson (Laurie Metcalf) is one of the most accurate parent portrayals ever filmed too. And the audience gets her harp, loving, exhausted, proud, wounded, often in the same conversation.

What makes it hit is how many scenes feel like real memories. The thrift-store shopping that turns into a fight. The friendship highs that flip into jealousy. The way Lady Bird changes herself to fit a new crowd, then realizes what she traded away. The emotional peak of the film comes through accumulation of tiny moments so by the end of it all, you feel that ache of growing up: gratitude arriving late, love being real even when it’s messy, and the realization that leaving home doesn’t erase the home inside you.

4

‘La La Land’ (2016)

Image via Lionsgate

La La Land gets me every time because it commits fully to romance and ambition and then refuses to lie about what those two can do to each other. And I’ve never ever liked a musical before, by the way. The film follows Mia Dolan (Emma Stone) and Sebastian Wilder (Ryan Gosling). The two of them meet with irritation, then chemistry, then that bright rush of feeling seen. The movie makes their dreams feel concrete, auditions that humiliate you, gigs that pay bills but drain you, the loneliness of chasing a version of yourself you can’t fully explain to anyone else.

The love story builds with real sweetness, and that’s what makes the cracks hurt. Their fights aren’t random; they’re about time, ego, priorities, and the slow resentment that forms when two people keep asking each other to wait. The film literally leaves you smiling and wrecked at the same time, because it honors both love and sacrifice without pretending the cost is small.

3

‘The Lighthouse’ (2019)

Image via A24

The Lighthouse is the kind of movie you recommend with a warning, and then you secretly get excited when someone texts you afterward like, “What the hell did I just watch?” It follows Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson). They are trapped together on a rock with rules that feel petty until they feel life-or-death. There’s work routines, insults, lectures, punishments. All this while Winslow starts as a man trying to endure the job and slowly becomes a man dissolving inside it.

The tension builds through repetition and humiliation. The drinking, the power struggle, the isolation, the weather trapping them in their own anger. Every conversation becomes a contest, and you can feel sanity fraying in concrete ways: lies exposed, guilt leaking out, paranoia hardening into certainty. The movie’s horror comes from watching two men turn each other into mirrors they can’t look away from. The movie makes you feel sick and exhilarated because the descent was so controlled and so relentless.

2

‘Arrival’ (2016)

Image via Paramount Pictures

This is one of the few sci-fi movies that’s literally about the concept of aliens arriving instead of how they destroy you. And that means Arrival makes you emotional through intelligence rather than spectacle. Louise Banks (Amy Adams) gets called in to communicate with aliens, and the movie treats language as an actual tool with actual stakes. Miscommunication means war, patience means survival. Ian Donnelly (Jeremy Renner) gives the story warmth and steadiness, and Colonel Weber (Forest Whitaker) embodies the pressure of military urgency that keeps trying to force a timeline onto something that doesn’t obey timelines.

The heptapod scenes hook you. You’re watching Louise earn trust one choice at a time: showing up, staying calm, refusing to treat the unknown like an enemy by default. Then the story reveals what it’s really doing emotionally, and it’s devastating because it’s so human. Arrival leaves you thinking about love, loss, and choice. The movie makes you live inside Louise’s perspective and accept what she accepts.

1

‘Portrait of a Lady on Fire’ (2019)

Image via Pyramide Films

Portrait of a Lady on Fire is perfect for the first spot because it makes falling in love feel precise. There’s Marianne (Noémie Merlant) who arrives to paint Héloïse (Adèle Haenel) in secret. And the film builds intimacy through observation: glances counted, words weighed, time shared in silence before it becomes shared in truth. The island setting traps them in a small world where every gesture matters, and the quiet becomes charged because neither of them is allowed to be careless with feeling.

Their connection grows with a realism that hurts. Trust forming, humor appearing, desire arriving as something both frightening and inevitable. The painting itself becomes a record of attention, and the attention becomes love. When the story reaches its final emotional notes, it lets you sit in the consequence of what they shared and what the world will demand from them afterward. The last musical sequence is one of the most overwhelming endings of the last decade. The movie leaves you feeling that specific kind of ache you only get from a love story that told the truth all the way through.