Epic books are nothing new, by any means, and epic movies are only slightly newer because cinema, as a medium, is more recent than literature, as a medium/art form. TV shows that satisfy as epics are newer still, with the rise of more cinematic and higher-budgeted television around the start of the 21st century being a big factor in shows getting, you know, bigger.

There were also some TV shows made earlier that feel epic in other ways, even if the production values feel a little slimmer compared to the spectacle more modern shows offer. Also, epic is not being used as a stand-in for the word “good” or “great.” There are amazing shows that aren’t mentioned below, but those here, in one way or another, feel like epics in the conventional sense. They satisfy the traditional definition of the word “epic,” as in the epic genre.

10

‘Boardwalk Empire’ (2010–2014)

Image via HBO

Boardwalk Empire is a show that takes place during the Prohibition era, and has a focus on organized crime in Atlantic City during said era, but it branches out and touches upon some other things, too. It’s a massive show in terms of its production value, which is sort of what HBO has become known for, so yes, there will be other HBO shows featured below. It’s all a bit inevitable, with the topic at hand.

There’s also a huge number of characters in Boardwalk Empire, and it’s the historical setting and the immensity of that ensemble cast that makes it feel like more of an epic than something like The Sopranos, which is also a crime-related show with a fair few characters. The Sopranos is the better show, for the record, but Boardwalk Empire just ticks more boxes if you’re looking for shows that feel like actual epics in the traditional sense.

9

‘Deadwood’ (2004–2006)

Image via HBO

While Deadwood is contained to the one fairly small town (the titular one) for the most part, that town is shown growing and becoming more populated over the seasons, and numerous characters are balanced at once. There’s already a huge ensemble cast in the first season, and though a few people get killed off, characters are introduced at a faster rate than they’re written out.

In season 3, there might well be too many characters and narrative threads to keep track of. It got canceled before season 4 had a chance of bringing things together or concluding it all, but there was thankfully a 2019 movie that felt like a good send-off. Anyway, when Deadwood was at its best, it was great, and the recreation of a time and place – and having so many people living during that time in that place – proved more than enough to make it feel sufficiently epic.

8

‘I, Claudius’ (1976)

Image via BBC

It’s the oldest show here, which means there are some production-related limitations that need to be overlooked, but also, they’re not as hard to overlook when the quality of the writing and the acting is so strong. I, Claudius delivers on those fronts and then some, and then it feels like an epic because of how much time it covers, with the titular character recounting his entire life, from when he was a small child until the very end.

That life was tumultuous, to say the least, since it was during the early Roman Empire, and Claudius does end up Emperor, but not before some other reigns are shown. It does what House of the Dragon did in its first season, being willing to jump forward any number of years between episodes, but it did that much better than House of the Dragon. If done today, with more of a budget, I, Claudius might well have more spectacle, but for its time – and for what it does in terms of how it’s written – it’s nonetheless admirably epic.

7

‘Rome’ (2005–2007)

Image via HBO

Returning to HBO, the first season of Rome came out a year on from the first season of Deadwood, and can quite easily be viewed as an escalation in terms of production and ambition. Setting something in the 1870s and having it feel authentic is one thing, but Rome goes all the way back to the 1st century BC, so it does kind of fulfill that question of “What might I, Claudius have looked like with HBO money?”

It’s not a perfect comparison, because Rome is about the end of the Roman Republic, and the transition to the Roman Empire, while I, Claudius is all about the first few emperors of that latter period. If you want some chronology and to watch both shows, it makes sense to watch Rome first, even if it was made some decades later, because there are a few things that line up and probably feel fitting (though not quite as many as there might’ve been had Rome not suffered the same fate as Deadwood and been canceled earlier than the creators had wanted).

Image via Bones

It is an animated show, unlike the others here, but Fullmetal Alchemist: Brotherhood does feel just as ambitious and grand in scope as the live-action shows it’s being included among. It’s a fantasy series that also tackles various other genres, with the basic premise involving a pair of brothers searching for the Philosopher’s Stone to try to mend the damage done to their bodies after a spell intended to bring their mother back to life goes wrong.

They meet various heroic and villainous characters along the way, which does increase the scope of the show considerably, all the while finding the Philosopher’s Stone remains a consistent endgame. Fullmetal Alchemist: Brotherhood is almost 70 episodes long, and a lot happens in those 70 episodes, and it’s worth highlighting as one of the best shows of the century so far, animated or otherwise.

5

‘Lonesome Dove’ (1989)

Image via CBS

Perhaps the ultimate Western book of all time got adapted remarkably well into what might well be the ultimate Western miniseries: Lonesome Dove. It’s funny having “mini” play a role in describing a show like this at all, but it is effectively four feature-length episodes that all add up to about six hours, with those episodes/hours being about two Texas Rangers and some other people taking part in a cattle drive to Montana.

The book is part of a series, but Lonesome Dove – whether you’re talking about that original book or this particular miniseries adaptation – does successfully stand alone, and a ton is offered in terms of scope and ambition. Also, Lonesome Dove is one of the most emotional Western stories of all time, and the miniseries version (should you have six hours to spare) is recommendable even to viewers who might not ordinarily like Westerns all that much.

4

‘Andor’ (2022–2025)

Image via Disney+

The way a prequel show centered around one decent but not particularly loved character from a prequel movie became one of the best TV shows in recent memory… who knows? It was strange and surprising in a good way. But that show was Andor, and it was a prequel to Rogue One: A Star Wars Story, which was a 2016 film that itself was a prequel to the first Star Wars movie, ending right where that 1977 film began.

Andor does quite a lot for its titular character, and makes him more interesting for sure, but it’s how the show builds into a whole sci-fi political drama with a scope that manages to exceed the movies that really impresses. It also feels like there are more reasons to care about what’s going on here than in most other Star Wars-related media, and yes, this is all adding to the ridiculous hype around Andor that already exists, but it really does deserve all that hype and acclaim.

3

‘Lost’ (2004–2010)

Image via ABC

It does have to be acknowledged that Lost doesn’t really start out as an epic, even if it does start pretty ambitious… not nearly as ambitious as it later gets, though. There are people stranded on an island after a plane crash, and then they find out all the ways in which that island is incredibly strange, which leads to a good deal of adventuring, some of it through time (flashbacks early on set a precedent for this) and some of it not really just related to the island itself. Kind of.

Elaborating further would sound a bit chaotic, if you’ve only got so many words to work with, and then it would also involve giving away too much. The main thing is that at some point, Lost becomes an unusual kind of epic, and it remains about as big, wild, and ambitious as a network TV drama has ever gotten.

2

‘Game of Thrones’ (2011–2019)

Game of Thrones had an ending. That ending is an elephant and this article is the room. It’s all been addressed. Game of Thrones was also just about the most epic anything of the 2010s, and it did define that decade, to some extent, by being aired throughout it. All the previously mentioned large-scale shows on HBO were something, and felt grander than things before (and most things that weren’t HBO), but Game of Thrones was all next-level.

The main conflict here concerns which house will rule over Westeros, while there’s also an approaching undead army that threatens to wipe out all of civilization, and will likely do so faster if everyone’s still at war. There’s so much going on, an almost overwhelming number of characters to keep track of, and undeniable spectacle throughout, including in the first season, but it just gets bigger and bigger from there (especially as far as battle sequences were concerned).

1

‘The Wire’ (2002–2008)

Image via HBO Max

There isn’t as much variety in setting in The Wire as Game of Thrones, with the former being set almost entirely within one city, and the latter having a whole fictional/fantasy continent (and beyond) to depict. Baltimore is that city in The Wire, though it is explored and covered in-depth, to the point where The Wire ends up feeling more epic, in many ways, than similarly ambitious shows that might have a larger setting.

Also, you get the sense of things becoming bigger as the show goes along. The city doesn’t literally grow, but each new season has a new focus on a different area or aspect of Baltimore, and once introduced, those areas (and the characters relevant to them) will remain important to the show, even with new seasons technically spending more time on new/different things. By the end, it’s pretty staggering to think how much was covered, and how seamlessly and efficiently The Wire covered it all.

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The Wire

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2002 – 2008-00-00

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HBO

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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Mariska Hargitay delivered an emotional acceptance speech while receiving one of two Creative Arts Emmy Awards for her directorial debut My Mom Jayne, referencing the late Gloria Steinem.

“I’m utterly overwhelmed, as you can imagine. I just wanted to share with you that it took me a while … to realize that this was my story to tell. I didn’t think that I could direct it and so I just want to add something to Gloria’s pointer and that is about telling your own story,” Hargitay, 62, said on Sunday, September 6, inside Los Angeles’ Peacock Theatre.

Steinem, a feminist icon and political activist, died at age 92 in her New York City home on Wednesday, September 2. Her final interview for the Famous Last Words documentary series, filmed in February 2025 and released after her death, urged people to “please tell your own story,” as it’s “the most important thing we can do for each other.”

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Hargitay, who created her 2025 documentary about her late mother, Jayne Mansfield, reiterated Steinem’s stance on Sunday. “I just want that invitation to go out, especially to women. I’m so excited to explore and discover and to innovate new ways of hearing stories from half of the world’s population because we don’t hear from you nearly enough,” she said on stage. “I can’t wait to get to know you. Thank you, this is meaningful.”

The Law & Order: Special Victims Unit star lost her mom, a fellow actress and 1960s sex symbol, in a 1967 car crash when Hargitay was 3 years old. Hargitay’s film features personal home videos and interviews with her mom’s five children. (Mansfield welcomed Jayne Marie in 1950 with Paul Mansfield, Miklós in 1958 and Zoltán in 1960 with Mickey Hargitay, Tony in 1965 with Matt Cimber and Mariska in 1964. Mariska was raised by Mickey before learning the identity of her biological father, Nelson Sardelli, who had a brief fling with Jayne during a break in her relationship with Mickey.)

Hargitay said during her June 25 appearance on the “Call Her Daddy” podcast that filming the documentary shone a light on the similarities she shared with her late mom. “During the making of this film and on this journey, I’ve had so many moments where I got to see our similarity, or what I came from, and what I admire and revere and respect are the things about her that I’m in awe of and the things about her that are so similar to how I am,” Mariska told host Alex Cooper. “So, in that way, it has been this gift. It’s so magnificent.”

With the new season of “Dancing with the Stars” approaching, some contestants are already facing scrutiny over their previous dance experience. Fans have questioned whether celebrities with dance backgrounds have an unfair advantage over their fellow competitors.

Among those drawing attention is Julia Stiles, who famously starred as a ballerina-turned-hip-hop-dancer Sara Johnson in the film “Save the Last Dance.” Now, the actress is revealing how much dance experience she really has.

Several competitors in the upcoming season of “Dancing with the Stars” have raised eyebrows, with their dance backgrounds allegedly giving them an unfair advantage in the ballroom. Some of them include Ciara Miller, Harry Shum Jr., and Jenna Dewan, to name a few.

Julia Stiles, who trained in dancing while preparing for her role in “Save the Last Dance,” has also caught fans’ attention. On September 6, the actress and her “DWTS” pro partner, Ezra Sosa, joined the TikTok Yep/Nope challenge to clear up some rumors. “PSA just to clarify #dwts” Stiles captioned the post.

Upon answering a few questions, people were surprised to learn a few facts about her dance background, or lack thereof.

The Actress Used A Body Double In ‘Save The Last Dance’

Fantasy has remained one of cinema’s most popular and prolific genres for over a century for a reason: There are very few movie genres better fit for the medium of cinema than these stories of magic, mythology, and grand imaginary worlds. As such, it’s no coincidence that several of the best fantasy movies in film history can also be counted among the best movies of all time, period.

After all, we’re talking about foundational Hollywood classics like It’s a Wonderful Life, cornerstones of international arthouse cinema like Wings of Desire, and modern masterpieces like Pan’s Labyrinth. Film history’s greatest fantasy movies are proof of what has kept this genre as one of the most timeless to have ever graced the big screen.

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‘The Fall’ (2006)

Image via Roadside Attractions

There are only a handful of R-rated fantasy movies that truly changed the genre forever. By this point, in spite of the fact that it’s still a relatively niche cult classic, it’s nevertheless quite reasonable to say that Tarsem Singh‘s The Fall is one such film. Due to an atrocious release strategy that largely stemmed from a bitter feud with Harvey Weinstein, The Fall was a massive flop upon release; but as the years have passed, cinephiles have woken up to its visionary genius.

The Fall was shot across more than two dozen countries over the course of four years, and that level of passion and dedication comes through in the form of some of the most stunning visuals, riveting storytelling, and deep character development that fantasy has seen this century. It’s an absolutely jaw-dropping artistic achievement unlike anything else any fantasy film fan has ever seen.

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‘The Green Mile’ (1999)

Image via Universal Pictures

There is no artist in Hollywood better at adapting Stephen King stories than Frank Darabont, whose The Green Mile is one of the saddest Stephen King movies of all time. But as downright depressing as it may be, this three-hour-long magical realism masterpiece is one of the greatest prison dramas of the entire 20th century, and certainly in film history.

The Green Mile deals with the usual thematic elements that you’d expect in a prison drama, from critiquing the flaws of the American justice system to examining the layers of racial prejudice, but the fantastical elements it sprinkles in add a fascinating dimension to the story. It’s low fantasy at its most powerfully subtle, and one of the bigger tearjerkers in Hollywood film history.

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‘Wings of Desire’ (1987)

Image via Road Movies

Fantasy movies without any flaws are so rare that when one comes across a film as practically perfect as Wim Wenders‘ Wings of Desire, one has to cherish them like they’ve run into a true treasure trove. This romantic fantasy drama earned Wenders a Best Director award at the Cannes Film Festival, and it was a perfectly-deserved one, because this really is one of the most beautifully-constructed arthouse dramas the fantasy genre has ever delivered.

It’s a slow-moving movie, one that dives deep into the gorgeous intricacies of the mundanity of life and celebrates their simple wonders. Anchored by Bruno Ganz‘s subtly potent lead performance, this poetic meditation on the beauty of existence and mortality is every bit as thought-provoking and life-affirming as any fan of slow-burning fantasy could possibly expect.

7

‘Monty Python and the Holy Grail’ (1975)

Image via EMI Films

The legendarily hilarious British comedy troupe Monty Python were looking for a new creative challenge after Monty Python’s Flying Circus wrapped up. The clear answer was a feature film, and that ambitious mission resulted in Monty Python and the Holy Grail, now widely remembered as one of the greatest and funniest comedy movies the big screen has ever seen.

The film takes full advantage of its low budget and finds endless ways of leveraging it as part of its timeless charm, charm that makes it one of the most fun fantasy movies of all time. Serious and epic fantasy has delivered several masterpieces over the course of film history, but the genre has also seen the release of many of the funniest and most creative comedies ever made, a realm where Monty Python and the Holy Grail rules supreme.

6

‘Macario’ (1960)

Image via Azteca Films Inc.

Every year, it’s tradition in Mexico to watch Roberto Gavaldón‘s Macario as the Day of the Dead approaches. Outside of Mexico, this is one of those perfect dark fantasy movies nobody remembers anymore, but that should absolutely not be the case. It may be designed around Mexican culture and folklore, but Macario is a fantasy masterpiece as universally engrossing as they come.

Creatively structured, perfectly paced, visually gorgeous, and full of deeply emotional and thought-provoking moments, this gem is a film all about death, wealth disparities, and culture. It’s as thematically profound as it is phenomenally performed, and 66 years later, it’s just as fascinating and wonderfully moving as it has always been.

5

‘Spirited Away’ (2001)

Hayao Miyazaki is both the master of anime filmmaking and one of the greatest cinematic auteurs in the history of Japanese cinema, which makes it unsurprising that he was responsible for the second-ever film (and first-ever international production) to win the Best Animated Feature Academy Award: Spirited Away, one of the most rewatchable fantasy movies ever made.

There are those who would go so far as to call this the greatest animated movie in history—certainly the greatest animated fantasy movie in history—, and it would be difficult to disagree. Mature, complex, and beautifully creative, it’s a family film so artful and universally appealing that anyone and everyone, no matter their age, should consider it a must-see.

4

‘Pan’s Labyrinth’ (2006)

Mexican filmmaker Guillermo del Toro has been one of dark fantasy’s undeniable masters in Hollywood for many years, but what most people would consider his magnum opus is actually a Mexican-Spanish co-production. It’s Pan’s Labyrinth, of course, one of the best fantasy movies of the 21st century and of the entirety of film history.

For anyone who loves fantasy, what’s not to love about Pan’s Labyrinth? Del Toro’s direction is amazingly layered and tonally complex; the visuals are some of the most jaw-dropping that the genre has ever seen; and the narrative is a dark fairy tale that’s unlike anything else fantasy cinema has produced over the course of the last two decades.

3

‘Fanny and Alexander’ (1982)

Image via Sandrew Film & Teater

There will never be a filmmaker quite like Ingmar Bergman, master of Swedish cinema and one of the greatest European auteurs in history. The question of where the uninitiated can start when they want to dive into Bergman’s filmography is one bound to elicit many answers, and one of the most accessible (despite its daunting runtime) is the wonderful Fanny and Alexander.

This dramatic family saga is a whopping three hours long (over five hours in its extended miniseries version), but every second of that runtime is imbued with enrapturing magical realism, Bergman’s unmatched direction, and one of the best depictions of childhood in movie history. It’s certainly not fast-paced or action-packed fantasy, but it’s a masterpiece which proves that slow-burning fantasy can be every bit as powerful and every bit as riveting.

2

‘It’s a Wonderful Life’ (1946)

Image via Paramount Pictures

Frank Capra was one of Golden-Age Hollywood’s biggest visionaries, a director who was never afraid to push the boundaries of the Hays Code and show the unparalleled wonders that the Seventh Art was capable of. His first feature film after serving in World War II ended up becoming one of his very best: It’s a Wonderful Life, one of those 20th-century fantasy movies that are downright perfect.

It was probably Capra’s experiences during the War that helped him balance the pure joy of It’s a Wonderful Life‘s life-affirming messages with the poignant bittersweetness of many of its most emotionally punchy moments. An anti-suicide character drama is a concept so ambitious that you’d probably not expect it to come from Hollywood’s Golden Age, but that wonderful optimism and lust for life is precisely what has kept this Christmas classic timeless for so long.

1

‘The Lord of the Rings: The Return of the King’ (2003)

Image via New Line Cinema

There is no fantasy movie in the entirety of film history better, more impressive, or more unforgettable than Peter Jackson‘s The Lord of the Rings: The Return of the King. The Lord of the Rings film trilogy as a whole was a titanic artistic achievement, transforming the most important fantasy book of the 20th century into a series of movies worthy of its legacy, but the trilogy’s conclusion is on a whole other level.

Return of the King is tied with Ben-Hur and Titanic as the winner of the most Oscars in history, with a whopping 11, which is but one of the myriad reasons why it’s one of the best movie sequels of all time. Its action sequences are grand and exciting, its tone is both epic and emotionally character-driven, and its production values have aged like fine wine. All in all, film history has never seen a fantasy movie quite like Return of the King, and it quite possibly never will again.

Candace Cameron Bure‘s pregnant daughter Natasha Perry has slammed critics claiming she’s had her baby and won’t share the news in a grab for more “attention” and “money.”

“It’s September 6, I’m filming this in real time … I’m still pregnant, I still have a baby here, OK?” she told fans in a Sunday, September 6, TikTok video, before lifting her shirt up to reveal her bump.

Natasha, 28, who is expecting her first child — and Candace’s first grandchild — with her husband, Bradley Steven Perry, filmed the clip in response to a comment that claimed she had delayed a birth announcement for strategic reasons. “Ultimately these people just use us for engagement and likes and comments because the more attention, the more money. They don’t actually want us involved or want to keep anyone in the loop,” the comment, pasted in Natasha’s TikTok, read.

Natasha, who is one of three children shared by the Full House alum, 50, and her husband, Valeri Bure, told fans, “I see [this type of comment] all the time on my content. The internet can be a really fun, beautiful place. I love my community that I have on here. It can also be such a creepy, parasocial space where people feel entitled to information about your life. That being said, not sharing content in real time has never come from a monetization aspect.”

She added that delayed content posts are “not about money, it’s not about strategy: it’s simply about having boundaries online, protecting my family and ultimately the biggest reason is, allowing myself to soak up the moments that are happening for me in my real life before I share them with the internet.”

Natasha, who announced her pregnancy via a joint Instagram post with her husband in May, continued, “I’m not sitting at home thinking about how it’s going to financially benefit me to post a certain video at a certain time. I’m just not. If I feel comfortable to share in the moment then great, I will, but if I want to savor a moment that’s happening for my family, I don’t owe you anything. Nobody owes you anything.”

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She concluded, “I’m always going to do it when it makes me feel comfortable. Sometimes that’s the same day, sometimes that’s a month later. I don’t know what I’m going to feel and when I’m going to feel that way.”

This isn’t the first time that Natasha has hit back at online criticism. In June, she clapped back at social media users who didn’t approve of her showing off her growing bump publicly. “Raise your hand if you will never understand people being offended by a pregnant belly being out?” she quipped in a June 12 TikTok video, subsequently raising her own hand. “Let me just be the first to say: I do not care. I literally don’t care.”

She continued at the time, “I didn’t know this was a thing until I have received countless DMs from grown women telling me I need to put my belly away, buy a bigger shirt or sending me the lengthiest stories about how when they were pregnant, in their time, they didn’t do that. I love my pregnant belly, [and] I have never in my life been so proud of my body, so proud that I’m growing a little baby in there.”

The Real Housewives of Beverly Hills alum Brandi Glanville has shared insight into her ongoing health battle.

“I know I’m so skinny right now. I can’t eat because the things I do … decreases my food. I feel like death. I look like death,” Glanville, 53, told fans in a Sunday, September 6, Instagram video that captured her slender frame in a kitchen as she prepared daily IV infusions.

She continued, “I just finished this IV, it’s Imipenum. It’s on a pump. I had to learn to do all these with the nurse. Now she comes four hours a day in the evenings to do my other IV but I have to do this IV before she comes for the 4-hour IV, and then I start this at 4 o’clock, the Imipenum, and I have that overnight. 18 hours a day. It’s a lot of setup.” (Imipenum is an antibiotic used in conjunction with Cilastatin to treat infections caused by bacteria, according to the Cleveland Clinic.)

Dressed in exercise gear with a bandage wrapped around one of her biceps, the reality star also provided a window into her lifestyle via the clip’s caption. “For the first time, I’m showing you what my life has really looked like behind closed doors. The treatments. The IVs. The exhaustion. The days nobody saw,” Glanville wrote of “part 1” of her story. “I haven’t been ready to talk about all of it publicly, and there’s still a lot I’m not ready to share yet. This is only one minute of a much bigger story.”

The health update comes after Glanville revealed in June that a benign tumor in one of her facial lymph nodes provided a hurdle amid the return of her facial parasite. (Glanville suffered from facial disfigurement due to the parasite in the past, revealing in 2024 that she’d spent more than $113,000 on treatments.)

She said on a June episode of her “Unfiltered” podcast that the non-cancerous tumor “could be why the fluid is going around my face,” adding during the episode that she “can wear makeup for, like, 15 minutes, and [then] I have to take it off.”

The reality star, who rose to fame on the Bravo series from 2011 to 2015, spoke to Us in November 2025, revealing that her health issues sparked a “slow process.” Noting that she’d moved house in search of a “fresh start,” Glanville said at the time, “I’m finally getting back to my normal routine and feeling like myself again. The new space has really helped me reset and focus on creating a calmer, more positive environment for myself.”

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She continued, “I’m enjoying keeping things simple, spending more time at home, and really taking care of myself … I’m actively filming my YouTube series and working on a variety of new projects, so my focus is really on everything I’m creating today. It’s been exciting to grow and explore new platforms.”

While Glanville is only beginning to open up about her IV needs, she did recently reveal all regarding the vaginal rejuvenation surgery she underwent in 2009 after her ex-husband Eddie Cibrian allegedly commented on her body’s changes after childbirth.

“The only way I could stop f***ing my ex-husband was to be a virgin again,” she told her podcast cohost James Maas about the surgery. “You know, I spit out two kids and [Cibrian] made a comment like, ‘It’s not what it used to be.’”

Director Guy Ritchie is never far from our screens, and he’s back with a second season of two of his biggest shows this month. First is The Gentlemen, the Theo James-led crime comedy that took Netflix by storm. Second is the return of MobLand on Paramount+, which was a huge hit in its first season. It hasn’t all been smooth sailing ahead of MobLand Season 2, with star Tom Hardy reported to have been fired from the show amid off-screen conflicts.

Thankfully, these issues were resolved, as it was confirmed that Hardy would return as Harry Da Souza in the now-confirmed third season of MobLand. Season 2 of the hit crime series will officially begin streaming on September 18, with 10 episodes in the new season airing weekly on Paramount+. Hardy is joined by a stacked returning cast for Season 2, which includes Pierce Brosnan (Mamma Mia!), Helen Mirren (Gosford Park), and Paddy Considine (Doctor Sleep). With just a couple of weeks until Harry Da Souza returns, fans have been flocking to streaming to catch another of Hardy’s big franchises.

At the time of writing, Venom: The Last Dance is one of the ten most-watched movies on Disney+ in the U.S. The final entry in Hardy’s sci-fi trilogy is arguably the most disappointing, with The Last Dance earning mixed reviews from critics. That being said, with a 79% average approval rating on review aggregator Rotten Tomatoes from audiences, it’s clear that The Last Dance ticked all the boxes for fans. The film featured a starry ensemble, including Chiwetel Ejiofor (12 Years a Slave) as Rex Strickland, Juno Temple (Ted Lasso) as Dr. Teddy Paine, Rhys Ifans (The Amazing Spider-Man) as Martin Moon, and Stephen Graham (Adolescence) as Patrick Mulligan.

How Much Did ‘Venom: The Last Dance’ Make at the Box Office?

When all is said and done, Venom: The Last Dance can be remembered as a box office success. Against a reported budget of $110 million, the movie earned just shy of $500 million worldwide, split between a domestic haul of $140 million and a further $335 million from overseas markets. However, The Last Dance was the worst performing of the three Venom movies, and hinted at a declining interest in Hardy’s portrayal of Eddie Brock.

Venom: The Last Dance is a streaming hit. Stay tuned to Collider for more updates.

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Release Date

October 25, 2024

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110 Minutes

Director

Kelly Marcel

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Kristin Cavallari has spent years transforming herself from a reality TV star into a successful entrepreneur, podcast host, and mother of three. 

Yet despite building a thriving business empire and a stable life in Nashville, those closest to her reportedly believe one area remains unpredictable: her love life. 

While Cavallari’s candid dating stories continue attracting headlines and listeners, friends are said to be increasingly concerned that the wrong relationship could jeopardize everything she has worked so hard to create.

4

Behind the headlines and podcast confessions, insiders say Kristin Cavallari faces a challenge many people might not expect. According to sources, her success can be intimidating to potential partners, particularly men in her age group who are already established in their own careers.

“The truth is, guys her age with their own money don’t necessarily want a woman who has it all,” one source told the Daily Mail, adding, “Men still want to be in control, and Kristin is someone who dominates.”

The concern comes as Cavallari continues to expand her professional portfolio. Since her divorce from former NFL quarterback Jay Cutler was finalized in 2022, she has remained financially independent through appearances, brand partnerships, business ventures, and her growing media presence. 

Insiders insist she is far from struggling financially and has built a comfortable life outside of any romantic relationship.

Despite that success, sources say the 39-year-old still enjoys dating people who understand the unique realities of fame. 

“She loves dating guys in the spotlight because they have money, they understand her life more and it makes her more interesting to be attached to an athlete, celebrity [or] reality star,” the source explained. 

Cavallari’s Friends Fear She Keeps Meeting The Wrong Men

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According to those close to Kristin Cavallari, the biggest concern isn’t whether she dates again; it’s who she dates next. 

Friends reportedly worry that some men are attracted to her profile rather than the possibility of a genuine relationship.

“It’s been tough for her,” a source revealed. “The guys she dates are total douchebags and she normally doesn’t find out about it until after a few dates – or weeks – of dating them.”

The insider added that the television personality has become increasingly cautious after several disappointing experiences. “Men have dated her for fame, so she knows better now,” the source explained.

That concern is one reason her inner circle has become protective. According to the insider, “Friends worry about her dating life because she’s successful and they want to make sure anyone she brings into her life isn’t going to ruin her reputation or use her in any way.”

Those closest to her are reportedly hoping she eventually finds someone who fits seamlessly into the life she has already built rather than someone who disrupts it.

Kristin Cavallari’s Dating Stories Continue Driving Headlines

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Ironically, the same dating life that worries friends has become one of Cavallari’s most successful talking points. Through her “Let’s Be Honest” podcast, she has openly discussed former relationships, celebrity encounters, and dating rumors, creating a formula that consistently generates attention.

Recent examples include shutting down speculation that she hooked up with “Southern Charm” star Austen Kroll during a Mallorca vacation, insisting there was “zero hooking up.” 

She has also made headlines discussing a brief but “deep” romance with retired NHL player Nate Thompson, revisiting past feelings for Travis Kelce, and sharing stories about other dating experiences.

Not everyone is impressed by the strategy. “She’s pretty much all talk,” one insider claimed, further noting, “The way to get attention to whatever she’s doing is to bring up old stories about other people.” 

Another source argued, “It feels like she has her podcast just to get attention on things people don’t actually care about, like who she’s sleeping with.”

Yet the numbers suggest listeners disagree. Since launching in 2023, “Let’s Be Honest” has grown into one of Dear Media’s biggest successes, surpassing 140 episodes, expanding into a multi-city tour, and securing a multi-year seven-figure deal in 2025. 

More From The Blast

Cavallari Gives Rare Look Inside Her 130-Acre Nashville Estate

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While much of the conversation around Kristin Cavallari tends to focus on her dating life, those closest to her have repeatedly pointed out that her day-to-day reality is far different from the headlines. 

That quieter side of her life recently came into focus when Cavallari offered fans a rare look inside the sprawling Tennessee estate she has spent years transforming into a family sanctuary.

During the tour, she showcased several of the home’s most impressive features, including a dedicated podcast studio where she records “Let’s Be Honest,” a full gym, an indoor basketball court, expansive outdoor entertaining areas, and a resort-style pool.

Cavallari also emphasized that the property was designed with her three children, Camden, Jaxon, and Saylor, in mind. The home includes family-focused spaces intended to give them room to grow while maintaining privacy from public attention. 

She explained that creating a peaceful environment was one of her primary goals during the extensive renovation process.

Kristin Cavallari Explains Why Her Kids Fly Coach While She Sits First Class

That emphasis on keeping her children grounded extends beyond the walls of her Nashville estate. 

During a July appearance on the “Aspire with Emma Grede” podcast, which generated significant online discussion, Cavallari explained why she chose not to give her children every luxury available to them, even when she could easily afford them.

“Something as small as they fly coach, I’m flying first class. That was important to me when they became old enough that they could,” she shared. “It’s not [difficult to do] when they’re older. I’m like, ‘Bye guys, have fun back there.’”

According to Cavallari, the arrangement was intentional and reflected lessons she wanted Camden, Jaxon, and Saylor to learn as they grew older.

She explained that she did not want her children to assume that privileges automatically came with their family’s financial success. 

Instead, she hoped they would develop an appreciation for hard work, responsibility, and earning rewards rather than expecting them. Cavallari indicated that she believes giving children everything immediately could create unrealistic expectations about adulthood.

The Transformers franchise has been around for over four decades now, and since then, the Autobots, Decepticons, and other alien machines have waged war across countless stages. Originally beginning as a toy line by Hasbro and Takara Tomy, it’s since become one of the most profitable multimedia juggernauts out there, with 11 movies and an avalanche of animated series spread across different eras that don’t just revolve around Optimus Prime and Megatron. Hollywood also brought them onto the big screen like never before with the visual spectacles that were Michael Bay‘s ill-received but high-grossing live-action CGI films and their follow-ups, Bumblebee and Transformers: Rise of the Beasts. Yet, after 40 years, The Transformers: The Movie has come to be recognized as a cinematic high point of the franchise, with an epic story and surprising darkness and tragedy for a family film.

In celebration of the 1986 animated adventure’s milestone anniversary this year, Hasbro has been going all out with a year-long “Apology Tour” in recognition of all the childhoods traumatized by the death of Optimus Prime and other fan favorites in the film. The festivities have ranged from concerts to new toys, merchandise, and more, but the main event is the return of The Transformers: The Movie to theaters in glorious 4K. Viewers will get to relive the scarring moments, the sweeping battle against the planet-devouring Unicron, and the memorable soundtrack on the big screen from September 17 through 21 courtesy of Fathom Entertainment. However, one piece of the celebration will arrive a bit later than expected.

Insight Editions and Titan Books have delayed the massive anniversary art book, The Transformers: The Movie: The Ultimate Visual History, from its original October 27 release date and will now be publishing it on November 24, a few days shy of Thanksgiving. The later date isn’t for nothing, though. It has grown in size, from 256 pages of illustrations and insight into the animated classic to 282. While there’s no indication of what those new contents will be, the recent death of the longtime voice of Optimus Prime, Peter Cullen, may have spurred the need for an expanded volume. Much of the book by author Chris Prince will be told through interviews with members of the creative team, taking readers on a journey through all parts of the creation, from the eye-popping visuals to the character and environment designs, the casting of legendary actors from Orson Welles to Leonard Nimoy, and the rocking soundtrack defined by Stan Bush and Kick Axe. Beyond the many designs illustrating this collector’s item, there will also be a section dedicated to the lasting impact of the movie on the wider Transformers franchise.

‘The Transformers: The Movie’ Will Be Paired With Peter Cullen’s Final Performance

After seeing The Transformers: The Movie in theaters again, The Ultimate Visual History looks to be a perfect celebration of its legacy on every level. Hasbro’s “Apology Tour” includes one other surprise, however. After the credits roll on the anniversary screenings, viewers will be treated to an entirely new Transformers short, Optimus Prime: Awakening, that will serve as one final adventure for the Autobots leader and a bookend to Cullen’s time as the voice of an animated hero. This is confirmed to be Cullen’s last original performance as Prime after over 40 years of using his booming, yet warm voice to exemplify the bot’s courage, wisdom, compassion, and strength.

The Transformers: The Movie: The Ultimate Visual History is available to pre-order now at Insight Editions and major retailers ahead of its release on November 24. Check out a few pages from the book in the gallery above.

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Release Date

August 8, 1986

Runtime

84 minutes

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Director

Nelson Shin

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Writers

Ron Friedman

Producers

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Joe Bacal, Lee Gunther, Margaret Loesch, Tom Griffin

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  Norman Alden

  Hot Rod / Rodimus Prime (voice)

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  Jack Angel

  Optimus Prime / Ironhide (voice)

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  Michael Bell

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  Soundwave / Megatron / Rumble / Frenzy / Wheelie (voice)

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  Gregg Berger

  Galvatron (voice)

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