Adrian Grenier is sharing the reason why The Devil Wears Prada fans won’t see him in the upcoming sequel — and confirmed it wasn’t his choice!

Speaking to Us Weekly on Friday, March 13, Grenier, 49, said he never got the call to take part.

“I would be bitter if I wasn’t so absolutely thrilled for Anne [Hathaway] and the crew, and excited for the sequel myself. I’m a fan of the movie, and so I look forward to seeing the sequel as well,” he exclusively told Us. “So yeah, I mean, obviously, I was disappointed [to not return], but you know, I can’t be in everything, you know?”

He added, “I mean, Andy’s moving up, and, you know, I get it. Nate’s the devil, according to some people.”

Grenier joked that while he won’t appear on screen, “I hope they invite me to the premiere at least, come on!”

Related: ‘Devil Wears Prada 2’ Casts Patrick Brammall as Andy’s Love Interest

The Devil Wears Prada 2 story line is already looking promising for Anne Hathaway’s Andy Sachs. Patrick Brammall has joined the sequel as the leading man in Andy’s life, Entertainment Weekly reported on Monday, July 21. Brammall, 49, is an Australian actor perhaps best known for his roles in Colin From Accounts, Call Your Mother, […]

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The Devil Wears Prada was released in 2006, with Grenier playing Nate Cooper — the boyfriend of Anne Hathaway’s lead character Andy Sachs.

Based on Lauren Weisberger’s 2003 novel of the same name, The Devil Wears Prada follows Andy as she’s hired by high-powered editor Miranda Priestly (Meryl Streep). Miranda forces Andy and assistant Emily Charlton (Emily Blunt) to be on call 24-7.

Years after the film’s release, fans examined the character of Nate more closely and criticized him for not being supportive of Andy’s career as she worked hard to make her ambitions a reality.

Grenier addressed the backlash in June 2021 during an interview with Entertainment Weekly.

“When that whole thing [about Nate being the ‘real villain’ of the film] first came out, I couldn’t get my head around it. I didn’t understand it. Perhaps it was because I wasn’t mature as a man, just as Nate probably could’ve used a little growing up,” the actor told Entertainment Weekly at the time. “I was just as immature as him at the time, so I couldn’t see his shortcomings, but, after taking time to reflect and much deliberation online, I can realize the truth in that perspective. Nate hadn’t grown up, but Andy had … she needed more out of life, and she was achieving it.”

While Nate does provide some necessary grounding for Andy — who ultimately wants to be a journalist — fans turned against the character quickly for being upset with his girlfriend for working so hard for Miranda.

“He couldn’t support her like she needed because he was a fragile, wounded boy,” Grenier said. “On behalf of all the Nates out there: Come on! Step it up!”

Hathaway, Streep and Blunt are all set to return for the latest iteration, which is due for release in May 2026, while Entertainment Weekly reported in June 2025 that Grenier would not be back.

Australian actor Patrick Brammall was previously spotted filming scenes alongside Hathaway for The Devil Wears Prada 2 and is reportedly playing a love interest for Andy.

The days of crime television being cozy police procedural entertainment where the heroic cops apprehend the criminals and make the world a safer place are long behind us. The emergence of prestige drama in the medium throughout the early part of the 21st century has imbued crime shows with a license to tackle more confronting and urgent subject matter through a lens of unflinching realism and bleak despair.

As such, many crime shows have come to be defined by the intensity of the viewing experience they craft, be it through piercing thematic insights into such issues of police corruption and gangland morality, graphic displays of violence and inhumanity, or complex and challenging examinations of the human condition. Some of these series follow disturbed and damaged cops, while some focus on the innate savagery and amorality of criminals. All of them are defining titles in crime television that elevate the genre with the heavy and harrowing nature of their stories.

10

‘True Detective’ (2014–2024)

Image via HBO

Typically, when people discuss the brilliance of True Detective, they refer solely to the atmospheric excellence, cinematic quality, and enrapturing storytelling of its first season. This is understandable. Season 1 is a trend-setting masterpiece of detective drama that marries a sinister and elaborate case with a powerful sense of human drama relating to the personal lives of its two protagonists. However, concerning the sense of thematic wrath and piercing subject matter, all four seasons of True Detective deserve praise for their conviction.

While Season 1 does strike a powerful heaviness with its investigation revolving around an occult serial killer with ties to a pedophilic ring of powerful people in Louisiana, Season 2 is similarly evocative with its story of wealth, corruption, and power in L.A., Season 3 compels with its more grounded focus on family trauma and the toll police work has on a cop’s family, and even Season 4 has some interesting and weighty ideas of intergenerational trauma, the environmental impact of industrialization, and the subjugation of Indigenous communities in modern-day America. Its quality may vary from season-to-season, but True Detective always wields a visceral thematic might that makes for heavy, hard-hitting viewing.

9

‘Mare of Easttown’ (2021)

Image via HBO

Mare of Easttown hits audiences with a grueling and bleak view of the world on all fronts. It captures a suffocating sense of small-town claustrophobia grounded in economic hardship and community despair. It depicts confronting issues like depression, trauma, drug addiction, domestic abuse, and the inescapable nature of poverty with dull hopelessness. It even presents the world with a weighted gloom, with its visual display comprised of dreary greys and cold blues that amplify the story’s thematic heaviness with a flattening atmospheric moodiness.

The story itself is just as grim, following Marion “Mare” Sheehan (Kate Winslet) as she investigates the brutal murder of a 17-year-old mother while still coming to terms with her own son’s recent suicide. Anchored by Winslet’s arresting performance, Mare of Easttown hits its mark as a harrowing murder mystery steeped in a palpable sense of aching defeat. There is a pressing feeling that the best days of every character are well behind them, conjuring an air of pessimism that makes every thematic note land that much harder. Given that the feeling of desolation only grows more pungent with every revelation in the case and every insight into Mare’s life, the HBO miniseries holds a sullen moodiness that is relentless across its seven-episode run, making for one of the heaviest miniseries of any genre.

8

‘The Sopranos’ (1999–2007)

Image via HBO

The Sopranos excels at a great many things. It is a landmark pioneer of prestige television drama. It is an absorbing character study of one of the most complex and compelling figures to have ever graced the small screen. It is a captivating immersion into the nature of the mafia in the 21st century. It is even a show of inspired comedic brilliance when it wants to be. However, the defining aspect of The Sopranos will always be its ability to deliver debilitating drama that marries the volatility and violence of organized crime with the peculiar humanity of its leading man, Tony Soprano (James Gandolfini).

An enthralling anti-hero, Tony is introduced as an integral member of a New Jersey crime syndicate, one who begins seeing a psychiatrist in secret when he experiences panic attacks due to his complicated work-life balance. The psychological depth the series invests in Tony alone makes it a heavy viewing experience, especially as he grapples with his own depression, his often-strained relationships with his family, and his drifting moral compass that is torn between cultural tradition and societal evolution. The presence and vulnerability of Gandolfini’s performance only heighten this sense of dramatic intensity, as does the ever-present threat of violence, the litany of issues the supporting characters are confronted with in their lives, and the air of realism that hangs over every element of the series. This piercing weight makes The Sopranos the enduring masterpiece of television that it is.

7

‘Oz’ (1997–2003)

Image via HBO

A sentence in a maximum-security prison is a nightmare that nobody wants to face in life. Oz takes the terror of such an environment and realizes it in the most hellish and hostile way imaginable. Set in the Oswald Maximum Security Correctional Facility, it follows the inmates based in “Emerald City,” an experimental new ward designed to prioritize rehabilitation and reform over punishment. However, with gangland tensions running hot and personal feuds always erupting, the threat of violence, abuse, and dehumanizing humiliation never wavers.

With racial conflict, the power struggles of gangland warfare, the savage nature of survival, and the fine line between pure evil and complex immorality being key features of the story, Oz holds a visceral and often deeply disturbing might. The authenticity of its approach bolsters this distressing, stomach-churning intrigue significantly, with the series running less as a plot-fueled drama and more as a harrowing immersion into the chaos of the prison yard. It constantly questions the divide between one doing whatever is necessary to endure and losing all semblance of themselves and their morality in the process, delivering relentless turmoil that is as visually graphic as it is psychologically draining.

6

‘The Corner’ (2000)

Image via HBO

David Simon is a genius of television. The Baltimore crime reporter has an outstanding ability to soak his series with a palpable sense of realism, whether he is exploring police corruption in We Own This City, the devastating aftermath of Hurricane Katrina in Treme, the pitfalls of military bureaucracy and miscommunication in Generation Kill, or the all-encompassing rot of crime and institutional corrosion in The Wire. However, one of his best and most piercing projects is the sadly forgotten HBO miniseries The Corner, which follows a poverty-stricken family in West Baltimore as they try to live their lives in the midst of a rampaging drug war.

Based on Simon’s own nonfiction book, the six-part miniseries holds a devastating authenticity as it tackles the cyclical struggle of addiction and recovery, the way in which systemic issues impact ordinary people, the economic brutality many in America face, and the strain familial love endures amid the traumatizing circumstances of substance abuse. The fact that the series is based on the experiences of real people only makes it that much more heartbreaking, enshrining it as a masterpiece of television drama that is incredibly difficult to watch, given how it depicts the hope and humanity of family clashing with the grim reality of heroin addiction.

5

‘When They See Us’ (2019)

Image via Netflix

Another powerful miniseries that finds tremendous gravitas in its foundation on true events, When They See Us delivers a harrowing story of institutional failure in the legal system as it dramatizes the trial and wrongful conviction of the Central Park Five. When a woman is raped in Central Park in 1989, five Black and Latino youths from Harlem are arrested for the assault and coerced into giving false confessions that see them imprisoned. The acclaimed Netflix original miniseries examines their trial and their 13-year fight to gain exoneration.

Told with an emphasis on the psychological and emotional strain of not only the five incarcerated men but their families as well, When They See Us delivers a story of exceptional balance as it delves into the faults of the judicial system and the turmoil of trying to overturn a conviction. Its sense of injustice and tragedy is overwhelming, with director Ava DuVernay imbuing the story with a deft elegance even as she tackles issues of systemic racism and trauma with unflinching and ferocious ire.

4

‘The Shield’ (2002–2008)

Image via FX

Police corruption is always a heavy and hard-hitting theme to explore, one that comes with complex notions of power, immorality, and institutional rot as well as the damning inefficiency of consequence and accountability. No show has explored it with the insight and detail of The Shield, with the FX series’ seven-season run following the Strike Team, a small unit of LAPD officers operating out of a precinct in a district of L.A. marred by gang violence who, under the command of Vic Mackey (Michael Chiklis), use illegal and unethical methods to uphold the law while profiteering off the crime they fight.

Heavily inspired by the real-life Rampart Division CRASH scandal, the series’ brutality and cutthroat morality make for difficult viewing. However, The Shield isn’t merely a parade of police malpractice, with each of the officers in the Strike Team realized with a twisted though complex moral code and a compelling depth of personal drama, ranging from Julien’s (Michael Jace) agonizing clash of masculinity and closeted homosexuality to Shane’s (Walton Goggins) downward spiral of criminal opportunism, desperation, and self-destructive recklessness. Combining such rich character drama and a confronting thematic focus on police corruption, The Shield shines as a landmark achievement of crime television, but a bleak and brutal one.

3

‘Adolescence’ (2025)

Image via Netflix

A defining title of television in 2025 that made an enormous cultural impact with its timely and urgent story of rampant misogyny in modern youth culture, the dangers of the internet, and the toll a crime takes on a family, Adolescence stands as one of Netflix’s most masterful and mighty original series. It also stands as one of the streaming platform’s heaviest, with its four-part story revolving around the murder of a schoolgirl by her classmate and, by extension, the impressionable nature of extreme internet subcultures on vulnerable youths.

Anchored by an incredible performance from young lead Owen Cooper, a brilliantly aware and thought-provoking screenplay from Stephen Graham and Jack Thorne, and a richly immersive one-take approach to each episode, Adolescence manages to be completely enthralling while simultaneously being viscerally disturbing. It grapples with the horrors of the modern world of online interactivity and the spreading of toxic and dangerous ideas with sublime skill, capturing a chilling nightmare of violence, overloaded impulse, and hatred from a multitude of angles that showcases just how helpless parents are when it comes to sheltering their children from harmful ideologies, or even just having the opportunity to educate their kids on such matters. Compelling, commanding, and confronting, Adolescence is a harrowing call for awareness and action on one of the most topical issues of the modern day.

2

‘Unbelievable’ (2019)

Image via Netflix

Another emotionally draining and venomously frustrating analysis of the inadequacies of the legal system that operates with a basis on true events, Unbelievable is a soul-crushing story of sexual abuse and injustice that should be essential viewing. The miniseries runs with a two-pronged story. It follows Marie Adler (Kaitlyn Dever), a sexual assault survivor who, after being convinced to recant her accusation, faces charges of false reporting, while also tracking detectives Grace Rasmussen (Toni Collette) and Karen Duvall (Merritt Weaver) in their investigation of a serial rapist.

It is a numbing descent into trauma, victim-blaming, and rampant injustice, one that highlights the many obstacles sexual assault survivors face in trying to bring their attackers to justice, while also exploring the way good police work is stifled in the modern world. Unbelievable is wise to offer a sense of cantharis, avoiding being a solely heartbreaking and bleak story with a quiet focus on empathy, understanding, recovery, and the power of humanity at the darkest of times. However, it is still a striking and deeply affecting viewing experience, one that epitomizes the devastating impact television drama is capable of.

1

‘The Wire’ (2002–2008)

Image via HBO

A full-scale epic that examines both the hierarchy and complex morality of the drug trade and the institutional ineffectiveness across a city, The Wire is a defining masterpiece of crime television that still stands as the most substantial and relevant title in the genre. Across its outstanding five-season run, the HBO series explores every facet of drug-related crime, from street-level dealers to leaders calling the shots, while also serving as a deep dive into the culture and systemic failings of law enforcement, public education, city politics, and even the media.

Armed with a piercing realism courtesy of David Simon’s in-depth understanding of Baltimore’s criminal infrastructure and co-creator Ed Burns’s decades-long career as a BPD detective, the series can overwhelm viewers with its enormous scope as well as with its gritty brutality and the coarse values of its multitude of characters. The fact that so little has changed in the world regarding the inadequacy of so many integral societal institutions—and the detrimental effect such inadequacy has on the most vulnerable and in-need people in society—ensures The Wire remains just as hard-hitting today as it was when it was airing 20 years ago.

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The Wire

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Release Date

2002 – 2008-00-00

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Network

HBO

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Directors

Ernest R. Dickerson, Ed Bianchi, Steve Shill, Clark Johnson, Daniel Attias, Agnieszka Holland, Tim Van Patten, Alex Zakrzewski, Anthony Hemingway, Brad Anderson, Clement Virgo, Elodie Keene, Peter Medak, Rob Bailey, Seith Mann, Christine Moore, David Platt, Dominic West, Gloria Muzio, Jim McKay, Leslie Libman, Milcho Manchevski, Robert F. Colesberry, Thomas J. Wright

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Kelly Osbourne is continuing to grieve for her late father Ozzy Osbourne.

Taking to her Instagram Story on Friday, March 13, Kelly, 41, shared a glimpse of her family’s private estate in Buckinghamshire, England where the rock star is buried.

“Spent some time with my daddy this morning!” she wrote alongside a photo of the countryside where the words “Ozzy F***ing Osbourne” were spelled out in capital letters.

Ozzy’s family announced the Black Sabbath star’s death after a battle with Parkinson’s on July 22, 2025 via a statement. He was 76.

Related: Kelly Osbourne Shares Message for Fans After Dad Ozzy’s Death

Kelly Osbourne is grateful for fans’ support in the wake of her dad Ozzy Osbourne’s death. “I’ve sat down to write this a hundred times and still don’t know if the words will ever feel like enough … but from the bottom of my heart, thank you 💜,” Kelly, 40, wrote via her Instagram Stories […]

“It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning,” they said in the statement at the time. “He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.”

Ozzy had been married to Sharon Osbourne, 70, since 1982. As well as Kelly, the couple shared son Jack Osbourne and daughter Aimee Osbourne together.

Kelly broke her silence about the loss of her dad via social media two days after the news of his death.

“I feel unhappy, I am so sad,” Kelly wrote via her Instagram Story on July 24, 2025. “I lost the best friend I ever had.”\

Since then, Kelly has hit back against body-shaming trolls who criticized her for losing weight amid her grief.

“I don’t even know how to say this, so I’m just gonna say it,” Kelly said in a video shared during her mom Sharon’s appearance on a December episode of Piers Morgan Uncensored. “To the people who keep thinking they’re being funny and mean by writing comments like ‘Are you ill?,’ or ‘Get off Ozempic,’ [or] ‘You don’t look right.’”

Related: Ozzy Osbourne Laid to Rest on the Grounds of U.K. Family Estate: Report

Ozzy Osbourne was reportedly laid to rest on the grounds of his family’s estate in England. Osbourne’s casket was buried beside a lake at his Buckinghamshire home on Thursday, July 31, according to The Sun. The outlet reported that a wreath reading “Ozzy f***ing Osbourne” was placed on the bank of the water during a […]

“My dad just died. And I’m doing the best that I can, and the only thing I have to live for right now is my family,” Kelly continued in the clip. “And I choose to share my content with you and share the happy side of my life, not the miserable side of my life.”

She added, “So to all those people, f*** off.”

In February, she doubled down when responding to more body-shaming remarks. Posting via her Instagram Story, she shared a comment that was written about her which labeled her “too thin” and “fragile,” while comparing her to a “dead body.”

“Literally can’t believe how disgusting some human beings truly are! No one deserves this sort of abuse!” she captioned a screenshot of her comments section.

For a Star Wars movie that is still keeping most of its cards very close to the chest, Starfighter has already started to build a pretty serious level of curiosity. A lot of that comes down to the team behind it, of course, but it also has to do with the fact that Ryan Gosling does not exactly sign up for this kind of thing unless he sees something special in it, and based on his latest comments, he clearly does. Alongside Gosling, the cast includes Flynn Gray, Matt Smith, Mia Goth, Aaron Pierre, Simon Bird, Jamael Westman, Daniel Ings, and Amy Adams. While Lucasfilm has not publicly revealed most character names yet, we’re pretty sure we won’t be disappointed with what this star-studded cast is going to bring to the table.

Speaking to Collider’s Steve Weintraub while promoting Project Hail Mary, Gosling was asked why both longtime Star Wars fans and complete newcomers should be excited about Starfighter. Considering he can’t actually talk about the film in great detail yet, it’s pretty clear he’s very excited about this one. Giving fans a vote of confidence ahead of the film’s arrival, he told Collider:

“It’s such a great story on its own, and the characters are amazing. The journey is epic. I think that Shawn Levy, he’s got it. He’s got the tone. He’s got the enthusiasm for this. It’s infectious. Everybody involved is just sucked into his love. He’s so passionate about this that he’s really so in his element. It was a beautiful thing to see. It felt like someone who’d been working their whole life to be making this, and I think we all felt like we were a part of something really special. I’m saying too much!”

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Strap on Your Hockey Masks; It’s Friday the 13th — The Collider Movie Quiz!

Because today is Friday the 13th, let’s march our way through the iconic slasher franchise. Ch-ch-ch-ch. Ha-ha-ha-ha.

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Ryan Gosling Promises ‘Star Wars’ Fans Won’t Be Disappointed By ‘Starfighter’

What makes Gosling’s comments especially interesting is how heavily he leans on Levy. He is not just saying the movie is cool or that the scale is big. He is talking specifically about Levy’s tone, his passion, and the feeling on set that everyone was part of something unusually meaningful. Gosling’s perspective should reassure fans that the new Star Wars movie has a point of view worth your time, not just a release date attached to a big franchise.

When it was pointed out that he hadn’t actually revealed anything, Gosling still seemed hilariously wary of “saying too much.” When pressed again that he still had not actually given away any story details, Gosling doubled down with the line fans will probably latch onto most: “I don’t think you’ll be disappointed.” As for whether Gosling has already seen a rough cut, he shut that down fast, too: “I need to stop talking. [Laughs]”

Star Wars: Starfighter lands in theaters in May 2027. Stay tuned for more from Weintraub’s conversation with Gosling for Project Hail Mary.

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Release Date

May 28, 2027

Writers

Jonathan Tropper, George Lucas

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Leave it to Kaley Cuoco to remind Us that comfy shoes can still be seriously cute. The actress recently stepped out in lavender Crocs that instantly caught our eye — and now we can’t stop thinking about them for spring. Even better, her exact pair is available on Amazon for just $35.

Cuoco wore the Crocs Classic Clogs while out and about in Los Angeles, pairing the comfy shoes with a relaxed off-duty outfit. The soft lavender shade adds a playful pop of color that feels perfect for warmer weather. It’s the kind of easy, slip-on pair you’ll want to wear everywhere once spring arrives.

Get the Crocs Classic Clogs for $38 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Related: PSA: Taylor Swift Wore These $75 Retro Sneakers — On Amazon

When it comes to Taylor Swift’s fashion, we’re used to paying close attention — especially when she wears something new. Whether it’s a street-style outfit or a full on-screen moment, her looks always give Us something to talk about. The latest style detail we couldn’t miss? A pair of $75 retro sneakers she wore in […]

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Beyond the seasonal color, the Classic Clogs are famous for their comfort. The lightweight Croslite foam cushioning helps create a soft, supportive feel, while the ventilated upper keeps things breathable on warmer days. An adjustable heel strap adds versatility, allowing you to wear them as a quick slip-on or flip the strap back for a more secure fit.

These shoes are also designed to handle a little water, which makes them even more practical for spring and summer. The durable, easy-to-clean material means they’re perfect for beach days, poolside hangs, gardening or quick errands around town. Style-wise, the pastel lavender shade looks especially cute with relaxed athleisure sets, denim cutoffs or flowy spring dresses.

The celebrity-approved shoes are a favorite among shoppers, too, earning more than 5,500 five-star ratings.

One reviewer raved about their “insanely comfortable” feel, adding that the pair even “got compliments” from kids, coworkers and strangers. Another shopper — who calls them their go-to “gardening shoes” — praised the “easy to clean” design and lavender shade, saying it’s “so pretty.”

If Cuoco’s outfit proved anything, it’s that comfy shoes don’t have to sacrifice style. The soft lavender shade adds a fun pop of spring color, while the lightweight design delivers the comfort Crocs are famous for. With the pair ringing in at just $35 on Amazon, it’s an easy way to brighten up casual outfits all season long.

Get the Crocs Classic Clogs for $38 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more from Crocs here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

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Related: Jennifer Aniston’s $75 Airport Sneakers Are Still in Stock (For Now)

Jennifer Aniston’s airport style always strikes the perfect balance between relaxed and polished. No matter where she’s headed, a comfortable pair of sneakers is a non-negotiable in her travel wardrobe. And lucky for Us, her exact $75 pair is still available, so we can easily copy her first-class style. Which style does the Friends star swear by? Aniston has […]

Steven Spielberg appeared to shade Timothée Chalamet after the actor caused controversy by disparaging ballet and opera.

Appearing at a Friday, March 13, panel at the 2026 SXSW Conference and Festival, the director, 79, seemingly referenced the Marty Supreme star’s recent viral comments, according to Variety.

“At the end of a really good movie experience, we are all united with a whole bunch of feelings that we walk into the daylight with, or into the nighttime with. And there’s nothing like that. It happens in movies, and in concerts,” said Spielberg as he spoke about the importance of movie theaters. “And it happens in ballet and opera, by the way.”

He added, “We want that to be sustained. We want that to go forever.”

Chalamet caused a stir when a clip from his CNN and Variety February 24 town hall with Matthew McConaughey went viral.

“I admire people, and I’ve done it myself, who go on a talk show and say, ‘Hey, we’ve got to keep movie theaters alive, we’ve gotta keep this genre alive,’ and another part of me feels like if people want to see it, like Barbie, like Oppenheimer, they’re going to go see it and go out of their way to be loud and proud about it,” he told McConaughey, 56. “I don’t want to be working in ballet, or opera, or things where it’s like, ‘Hey, keep this thing alive, even though, like, no one cares about this anymore.’ All respect to all the ballet and opera people out there.”

Acknowledging his comments could be seen as contentious, Chalamet then joked, “I just lost 14 cents in viewership. I just took shots for no reason.”

Chalamet faced backlash for his take on the creative arts, with celebrities such as Justine Bateman and Doja Cat among those who took aim.

“Ballet, Opera, and Theater work has been around much longer than that of Film and TV,” Bateman, 60, wrote via X on March 9. “Every filmmaker should pray they’re [sic] film/series lasts as long as the work from those enduring performing arts.”

Related: Met Opera Fires Back at Timothee Chalamet Over Controversial Remarks

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Timothée Chalamet beefing with the Metropolitan Opera, LA Opera and Royal Ballet was not on anyone’s 2026 bingo card. Chalamet, 30, raised eyebrows after making an off-handed comment about the performing arts community during an onstage conversation with Variety, which was published last month. “Some people want to be entertained quickly. I’m really right in […]

For her part, Doja Cat slammed Chalamet for his opinion that “no one cares” about ballet and opera.

“Opera is 400 years old. Ballet is 500 years old,” Doja, 30, said via a TikTok video on March 8, calling Chalamet out by name.

“Somebody named Timothée Chalamet — big guy, by the way — had the nerve to say on camera that nobody cares about it,” the “Paint the Town Red” rapper said. “I’m sure you can walk into an opera theater right now, seats will be filled out, and nobody’s saying a word as the performance is going because everybody has that much respect for it.”

The 98th Academy Awards are just around the corner, and it looks like almost everyone has their own predictions for who will win the coveted awards this year. In the Best Actor category, we have a great depth of talent on display, with nominations going to Leonardo DiCaprio for his performance as Bob in One Battle After Another; Timothée Chalamet for his work in Marty Supreme; Ethan Hawke for his performance as Broadway lyricist Lorenz Hart in the Richard Linklater film Blue Moon; Michael B. Jordan for his dual role in Sinners; and Wagner Moura for his performance in the Brazilian film The Secret Agent.

Each of the nominees for the Best Actor Oscar this year is a talented and celebrated icon, and no matter who wins, all of them have delivered tremendous performances in the films for which they have been nominated. However, are they also their best films so far? Not necessarily. All these actors have had stellar careers, involving numerous acclaimed masterpieces, some of which rival and even surpass their latest work. So, here’s our handpicked selections for the best movie in each 2026 Best Actor Oscar nominee’s filmography, including some prior Oscar snubs and a few of the greatest films of all time.

1

Leonardo DiCaprio for ‘One Battle After Another’

Best Movie: ‘The Departed’ (2006)

Image via Warner Bros. Pictures

As thrilling as One Battle After Another may be, there is one film in DiCaprio’s career that still stands out as the greatest. Directed by Martin Scorsese, in his third collaboration with Leonardo DiCaprio, The Departed is an award-winning crime thriller that reimagines the Hong Kong film Internal Affairs, drawing inspiration from the true events involving the Boston Winter Hill Gang. The movie follows the spy-versus-spy tensions between Colin Sullivan (Matt Damon), a state police officer who is secretly a mole working for mob boss Frank Costello (Jack Nicholson), and Billy Costigan (DiCaprio), a state trooper who is working undercover in Costello’s organization to find the mole. Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin, and Vera Farmiga star in supporting roles.

While Leonardo DiCaprio’s acting credits include a wide range of performances, each unique and praiseworthy for its own reasons, The Departed stands out as his finest, most timeless work. The movie sees DiCaprio deliver a career-defining performance as Billy Costigan, a man on the edge, which is made all the more entertaining by the hard-hitting dialogue. Intense and visceral, his performance anchors the gritty narrative of power, secrecy, and justice. An undeniable masterpiece by Scorsese, The Departed has continued to earn widespread praise for its story, acting, production, and narrative, and it’s the movie that earned the director his first-ever Oscar.

2

Timothée Chalamet for ‘Marty Supreme’

Best Movie: ‘Call Me By Your Name’ (2017)

Image via Sony Pictures Classics

Based on the novel by André Aciman, Call Me by Your Name is the third installment of Luca Guadagnino’s Desire trilogy, directed by Guadagnino and written by James Ivory. Starring Armie Hammer and Timothée Chalamet as the central characters, it follows the emotionally complex romantic journey of 17-year-old Elio Perlman (Chalamet), who falls in love with 24-year-old Oliver (Hammer), a graduate student who comes to work for his father. Michael Stuhlbarg, Amira Casar, Esther Garrel, and Victoire Du Bois appear in supporting roles.

A sweet and tender coming-of-age story with themes of self-discovery and the emotional complexities of adolescent romance, Call Me by Your Name is a critically acclaimed cult hit that established Timothée Chalamet’s reputation as an actor capable of beautifully nuanced performances. Elio’s character accentuates the film’s visual artistry and poetic narrative in Chalamet’s raw portrayal of the delicate agony of love. The performance earned him widespread acclaim, making him one of the youngest nominees for the Academy Award for Best Actor, though he lost it that time to Gary Oldman’s Winston Churchill in Darkest Hour.

3

Ethan Hawke for ‘Blue Moon’

Best Movies: ‘The Before Trilogy’ (1995–2013)

Image via Columbia Pictures

Directed by Richard Linklater, The Before Trilogy is a collection of three films starring Ethan Hawke and Julie Delpy as the central characters, chronicling their romantic relationship over 18 years. Beginning with a whirlwind, dreamy romance in Vienna, the couple embarks on a long exploration of love and intimacy as their relationship begins, deepens, then strains with the harsh realities of aging and marriage. Spanning the 18-year timeline of the story, each Before film was released at nine-year intervals, beginning with Before Sunrise (1995), followed by Before Sunset (2004), and Before Midnight (2013). Hawke and Delpy also co-wrote the last two films.

One of Linklater’s most important projects, The Before Trilogy is an ambitious exploration of postmodern romance through contrasting themes and varying perspectives on life, love, the concept of time, death, and self-discovery. Extraordinarily intimate, its narrative pushes the boundaries of cinematic romance, evoked ever so movingly by Hawke through his simmering on-screen chemistry with Julie Delpy. Due to the actual passage of time between films, we really get to see the actors grow with the characters, bringing the utmost authenticity to their performances. Hawke’s work on the trilogy has garnered him several accolades.

4

Michael B. Jordan for ‘Sinners’

Best Movie: ‘Fruitvale Station’ (2013)

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Sinners has earned Oscar nominations for both its star and its writer-director, but this film, their first collaboration, remains the most poignant and powerful in their filmographies. Written and directed by Ryan Coogler in his feature directorial debut, Fruitvale Station chronicles the last day in the life of Oscar Grant, a 22-year-old Black man killed by a Bay Area Rapid Transit (BART) police officer in Oakland, California, in 2009. Starring Michael B. Jordan in the lead role, the film explores the events leading up to Grant’s death, which started as a day of revelation for the young man but ultimately ended in his tragic death. Kevin Durand and Michael Murray play the BART officers involved in the case, with Melonie Diaz, Ahna O’Reilly, and Octavia Spencer in supporting roles.

Fruitvale Station is simultaneously an understated but impactful depiction of real events and a celebration of the intricate textures of human life. Michael B. Jordan is utterly compelling with his passionate and powerful performance as the victim of this tragedy, embodying a character who is both gentle and tough. Alongside Coogler’s storytelling and direction, Jordan’s performance in Fruitvale Station has been widely acclaimed, earning him several accolades.

5

Wagner Moura for ‘The Secret Agent’

Best Movie: ‘The Secret Agent’ (2025)

Image via Neon

Wagner Moura’s best performance so far is arguably the movie for which he is nominated this year, the Brazilian historical political thriller The Secret Agent. Written and directed by Kleber Mendonça Filho, the film follows Armando (Moura), a former professor caught in the political turmoil of the Brazilian military dictatorship, who attempts to flee his past by moving from São Paulo to Recife, but finds himself in the middle of even more chaos. The film also stars Carlos Francisco, Tânia Maria, Robério Diógenes, Gabriel Leone, Maria Fernanda Cândido, Alice Carvalho, and Udo Kier in his final film role.

Visually arresting and thematically rich, The Secret Agent is a heady combination of grindhouse cinema, period thriller, and a dark social commentary, elevated by Wagner Moura’s central performance. Moura is phenomenal as the layered and vulnerable protagonist, who remains understated and restrained amidst his electrifying socio-political environment. Complemented by the vivid period aesthetics, The Secret Agent is not only one of the highest-rated films of 2025 but also an iconic landmark in Moura’s three-decade-long film career.

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The Secret Agent

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Release Date

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November 26, 2025

Runtime

158 minutes

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Director

Kleber Mendonça Filho

Writers

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Kleber Mendonça Filho

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This interview contains spoilers for the Scarpetta Season 1 finale.

When he’s not making headlines for buying bearded dragons for his family, Bobby Cannavale is giving some excellent performances. From winning two Emmys (for Will & Grace and Boardwalk Empire) to earning two Tony nominations, he’s taken on a wide range of roles in an equally diverse range of genres and mediums. Simon Baker’s resume is equally impressive. Though best known for playing a former psychic who helps solve crimes in The Mentalist (a role that earned him Emmy and Golden Globe nominations), he’s also appeared in projects like The Devil Wears Prada and the upcoming Taika Waititi film Klara and the Sun.

Scarpetta sees the two of them take on polar-opposite, fascinatingly complementary characters. Cannavale stars as Pete, a blunt, rough-around-the-edges former detective who is in a relationship with the eccentric Dorothy (Jamie Lee Curtis) despite always having a thing for her sister, the brilliant pathologist Kay (Nicole Kidman). Kay’s husband, Benton (Baker), is a reserved, mysterious FBI profiler who’s nearly impossible to read. The series sees the former co-workers living under the same roof, which, predictably, leads to some tension and complications.

Collider got the chance to speak to Cannavale and Baker about their game-changing scenes in the Season 1 finale. Cannavale also discusses reteaming with Kidman after working with her in Nine Perfect Strangers, and the duo pitches a hilarious idea for Season 2.

Bobby Cannavale and Simon Baker Reveal How They Prepared for ‘Scarpetta’

“It’s just so rich, the possibility of where you can go with that.”

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COLLIDER: Bobby, you and Nicole did Nine Perfect Strangers together, which also had a wellness cult somewhat in the vein of Yama Matt’s. I’m curious if 1) you noticed that parallel at all and 2) how the experience of working with Nicole differed this time around.

BOBBY CANNAVALE: That is so funny. No, we never talked about the parallels between that. So funny. I think, you know, you do these things, and you’re so immersed in it when you’re doing it, and then it’s just out of mind — at least that’s how it is for me. I’ve done that with everything. I’ll do a play for six months, and then the moment it’s over, I don’t remember any of the words anymore, so I didn’t quite track that. But that was a great launching pad for our working relationship because, when I got asked to do it again, I didn’t hesitate. She’s one of our great actors, and I jumped at the chance to get to work with Nicole again.

I would love to see many more collaborations between the two of you. Simon, your character is so fascinating — I feel like I can’t quite pin him down. It’s implied that he has these sociopathic tendencies, but he’s very different from what you assume a sociopath might be. I’m curious what your process for cracking this character and getting into his head was.

SIMON BAKER: How do I answer that without giving it all away?

CANNAVALE: The thing that you loved so much is what he worked hard on.

BAKER: Is not knowing, yeah. So I’m not gonna tell you. When I was offered the job, I was sent the first two scripts, and there wasn’t a lot going on on the page for Benton, relative to the other characters. The other characters are kind of, pretty much writ large, on the page, right? And they jumped off the page at me. But Benton was kind of, “What’s going on with this guy?” It wasn’t until I got to the second episode that I was like, “Oh, okay — there’s something here.” I got on the phone with Liz Sarnoff, who’s our showrunner and creator, and had a really good chat with her about it. She was awesome with, “Look, this is what I’m thinking, and I’m really curious about what you’re thinking, and we can explore this. We’ve basically kind of got an open book with this — of where we can go.” I happened to be reading a couple of books at the time that were memoirs, and they were giving me some inspiration, and I talked to Liz about them, and we sort of built from there. But yeah, it’s somewhere in there, and I don’t really want to show my work too much.

CANNAVALE: It’s pretty amazing, though. I think the script is so good, and Patricia’s source material — those books are so amazing. It’s just a little detail, like the book that your mother gives you. It’s just so rich, the possibility of where you can go with that. A kid getting that book who ends up being an FBI profiler? That’s like a lot of information, and you don’t need much more than that. You just need a great actor to fill that in, and I think that’s what you’re reacting to.

Bobby Cannavale and Simon Baker Explain the ‘Scarpetta’ Season 1 Ending

“They’re both trying to find a truth, and they’re not really able to.”

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The finale obviously sees Kay and Dorothy both trying to pull Pete in their direction, and he ultimately does choose Dorothy. Why do you think he made that decision, and what do you think is going through his head in that final shot of him on the bed?

CANNAVALE: I think it’s complicated. I think he does love Dot, and I think he loves Kay, and it’s complicated. I think he doesn’t know where he’s going from there and is conflicted by what he should do. I think he’s close to Kay and Benton as a couple, and I think he knows that that is collapsing as well — that’s in trouble. I think he’s stuck in a limbo there — an emotional limbo — so I don’t know where he’s going. That’ll be up to Liz and us to talk about, and figure out, and hopefully tease out and extend the tension of that for as long as we can.

Another really complex scene in the finale is between Kay and Benton, where we have Kay lashing out and sort of trying to bait him, and he ends up asking for a divorce. Simon, can you break down what you think both Kay and Benton’s motivations are, or what they’re both trying to sort of accomplish in that moment?

BAKER: If you really want to make it simple, I feel like, in hindsight, that scene is really just about two different people trying to come to the truth — of what their truth is — but they have different ways of coming to the truth. I think, from Benton’s standpoint, it’s somewhat of a confessional scene. He’s expressing something that’s deep inside him that he doesn’t necessarily like about himself. Kay is demanding something else from him in that moment. They’re both trying to find a truth, and they’re not really able to, and I think Benton’s way of controlling being out of control is just calling it.

Bobby Cannavale and Simon Baker Reveal Their Hopes for ‘Scarpetta’ Season 2

“I think a present-day Pete/Benton road trip would be good.”

I love to watch you guys play off of each other. I think there’s so much interesting tension there. I know you’re starting to film Season 2 very soon, which is very exciting. Is there an element of your character that you feel like you haven’t gotten to explore in Season 1 that you would really like to dive into in this next installment?

BAKER: That’s part of what’s fun about the serialized show is that there is always stuff, and there might be something that comes down the pike in the script where you go, “That doesn’t seem right,” but you’ve gotta kind of noodle and figure out a way that you can make that work and make that your own, and I think that’s part of what’s really challenging in these sort of shows. I think there’s plenty of room with Benton.

CANNAVALE: I think a present-day Pete/Benton road trip would be good.

BAKER: I would like to do more stuff with Bobby.

CANNAVALE: I feel like our young versions have more to do [with each other] than we have.

BAKER: They hang out a little bit more. It’s so interesting because they’re so different.

CANNAVALE: It sucks, because we hang out in real life. Maybe that’s why.

BAKER: Because they know the show would go off the rails. Veer off.

CANNAVALE: We’d be like Bill and Ted. We could be a spin-off like Wayne’s World.

BAKER: You just talk the whole time, and Benton sits there going [growls].

CANNAVALE: Brooding.

I love this. I think, yeah, we need a spin-off comedy of the two of them. Let’s just completely change the genres and tones with it.

BAKER: [Laughs] Roommates.

All episodes of Scarpetta are now streaming on Prime Video.

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Release Date

March 11, 2026

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Network

Prime Video

Showrunner

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Elizabeth Sarnoff

Directors

David Gordon Green, Charlotte Brändström

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