This genre gets sold with spaceships, robots, strange planets, and cool technology whether the story carries substance or not. Then some films use those same ingredients to talk about bodily violation, war, exploitation, grief, sexual control, and the fear that human beings may be the ugliest thing in the room. But that’s cliche too at this point. So when a sci-fi film needs to stand out, it needs to do more. The movies on this list do more in a different way.

These are not family-night picks with a few scary scenes. They are adult films built around disturbing ideas, difficult images, and questions that stay uncomfortable long after the credits. A younger viewer might be impressed by the effects. An adult is more likely to recognise the anger, loneliness, political cruelty, or existential dread hiding underneath them. If that interests you, scroll down slowly.

‘Upgrade’ (2018)

Image via OTL Releasing

Upgrade begins as a revenge thriller set in a near future where technology has entered nearly every part of daily life. Grey Trace (Logan Marshall-Green) distrusts that world until a violent attack kills his wife and leaves him paralysed. An experimental computer chip called STEM restores movement to his body, and Grey soon discovers that the system can do far more than help him walk. It can fight, analyse threats, and act with a speed his human brain cannot match.

The action is brutal, but the adult edge comes from the loss of control. Grey may look stronger after the implant, yet every victory makes the relationship between body and machine more unsettling. The story is lean, nasty, and increasingly suspicious of every technological promise. Watch it for the bone-snapping fights, then stay for the much darker question about who is actually using whom.

‘Event Horizon’ (1997)

Image via Paramount Pictures

A rescue crew travels to Neptune after the Event Horizon suddenly reappears seven years after vanishing during an experimental voyage. The ship was designed to create an artificial black hole and travel across impossible distances. Something went wrong during the first test, and the empty corridors now contain evidence that the crew reached a place nobody was meant to find. That’s Event Horizon for you. This movie is messy in places, but its best ideas are genuinely frightening. Put it on late at night, turn the lights off, and let that ship ruin deep space for you.

It starts with hard science-fiction language and turns into full cosmic horror. The production design mixes industrial machinery with religious architecture. The ship resembles a cathedral built for pain. Captain Miller (Laurence Fishburne) has that steady authority that any and every Fishburne character does. Dr. Weir (late Sam Neill) becomes increasingly tied to whatever came back with the vessel. Gore, hallucinations, self-mutilation, and flashes of hellish imagery explain the R rating very quickly. If you get the idea I’ve tried painting so far, you’ll love it.

‘Possessor’ (2020)

Image via NEON

Corporate assassins in Possessor carry out murders by taking control of other people’s bodies. Tasya Vos (Andrea Riseborough) enters a host’s mind through implanted technology, completes the assignment, and then forces the host to die so she can return to herself. Her latest job places her inside Colin Tate (Christopher Abbott), whose relationship with a wealthy family gives the company access to its next target. The process then starts breaking down when Colin resists her control.

Brandon Cronenberg (the director) takes the body-horror interests associated with his family name and pushes them into questions about identity, labour, and emotional detachment. Tasya’s character spends so much time becoming other people that her own home life seems distant and rehearsed. Tate brings an entirely different energy once he begins fighting for ownership of his mind. The violence is intimate, graphic, and deliberately hard to watch. Possessor is the pick for viewers who want science fiction that leaves them fascinated, slightly sick, and eager to argue about whose personality survived.

‘The Fly’ (1986)

Image via 20th Century Studios

The Fly is romantic, sad, funny, revolting, and far more human than most respectable dramas. Watch it when you want a horror film with a real heart beating under all the slime. A brilliant scientist believes he has solved teleportation. Seth Brundle (Jeff Goldblum) can move objects between two pods, but living tissue remains the final challenge. After successfully transporting himself, he starts feeling stronger, faster, and more confident. He later learns that a fly entered the pod with him and that the computer fused them at a genetic level.

Not to mention that this is a remake of a 1958 film. And David Cronenberg’s remake is famous for body horror, though reducing it to melting flesh and practical effects misses half the experience. Seth’s transformation also resembles terminal illness, addiction, and the terror of watching someone you love become unrecognisable. Jeff Goldblum and Veronica Quaife (Geena Davis) create a relationship warm enough to make every physical change hurt. All that counts. The effects remain astonishingly disgusting, but the emotional damage hits harder than the makeup.

‘District 9’ (2009)

Image via TriStar Pictures

An alien spacecraft stalls above Johannesburg, and its starving passengers are eventually confined to a government-controlled settlement called District 9. Years later, officials decide to relocate them to another camp. Wikus van de Merwe (Sharlto Copley), a nervous employee of the private military company handling the operation, leads the eviction effort until exposure to alien technology changes his body and destroys his place in human society. That premise allows District 9 to thrill a crowd and still leave everyone arguing about complicity on the drive home.

The documentary-style opening makes the discrimination feel disturbingly normal too. Aliens are insulted, exploited, experimented on, and discussed as a public nuisance by people who profit from keeping them powerless. South Africa’s history of forced removals and apartheid gives the premise an unmistakable political charge. Wikus begins as part of the system and only develops empathy once the same system targets him. The film eventually erupts into heavy weapons, mech combat, and gruesome violence, but the anger underneath never disappears.

‘Ex Machina’ (2014)

Image via A24

In Ex Machina, a young programmer wins a private visit to the isolated home of Nathan Bateman (Oscar Isaac), the billionaire behind the world’s dominant search engine. Caleb Smith (Domhnall Gleeson), the intern, soon learns the real purpose of the trip. Nathan has created an artificial intelligence named Ava (Alicia Vikander) and wants Caleb to decide whether her consciousness is genuine. Their conversations take place through glass while cameras observe every reaction.

The setup looks clean and controlled, but the house is full of power imbalances. Nathan owns the building, the information, and the bodies inside it. Caleb wants to believe his empathy makes him different, though attraction quickly interferes with judgment. Alicia Vikander’s Ava remains compelling without being reduced to innocence or threat, and Oscar Isaac turns Nathan’s confidence into something increasingly ugly. The film includes nudity, coercion, violence, and enough psychological manipulation to make every conversation suspect. So while it’s not for everybody, Ex Machina is perfect for anyone who likes leaving a movie with three theories and no trust left in the person sitting beside them. That’s a joke. Or not.

‘Annihilation’ (2018)

Image via Paramount Pictures

A strange zone called the Shimmer is expanding across the American coastline. Few people return after entering it, and those who do come back are changed. It is gorgeous, frightening, and strange enough to make a second viewing feel almost necessary. Lena (Natalie Portman), a biologist and former soldier, joins an all-female expedition hoping to understand what happened to her husband during an earlier mission. Inside the Shimmer, plants, animals, landscapes, and human bodies begin combining in ways that break every familiar biological rule. It’s almost like Alex Garland adapted Jeff VanderMeer’s novel into something less interested in invasion than transformation.

The women enter with different private wounds, and the environment seems to reflect their fear, grief, illness, and self-destructive impulses back at them. The infamous bear is terrifying, yet some of the quieter images are even harder to process. Flowers grow in human shapes. Memories lose their stability. DNA behaves like language being rewritten. That’s Annihilation.

‘Under the Skin’ (2013)

Image via A24

Under the Skin is slow, cold, and hypnotic. Give it your full attention and it becomes the kind of film that quietly follows you home. An unnamed woman (Scarlett Johansson) drives around Scotland, approaching lonely men and inviting them into a house where they disappear beneath a black liquid surface. She looks human, speaks calmly, and studies attraction with the distance of someone performing a task she barely understands. Gradually, contact with ordinary people begins changing how she sees them and herself.

Scarlett Johansson filmed several encounters with unsuspecting members of the public, which gives the early conversations an awkward reality, authenticity, that no normal casting process could create. Jonathan Glazer strips away familiar science-fiction explanations and lets behaviour, sound, and imagery carry the experience. Nudity appears but without comfort, sex becomes predatory, and the human body looks vulnerable from every angle.

‘Children of Men’ (2006)

Image via Universal Pictures

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Humanity has been infertile for nearly two decades, and the youngest person alive has just died. Britain survives through authoritarian control while refugees are hunted, caged, and deported. Theo Faron (Clive Owen) has stopped believing in political causes until his former partner asks him to help transport Kee (Clare-Hope Ashitey), a young refugee carrying the first known pregnancy in eighteen years.

The premise is huge, yet the movie stays close to streets, buses, safe houses, checkpoints, and frightened people trying to keep one woman alive. Alfonso Cuarón’s long takes place the viewer inside violence. Theo begins emotionally numb, while Kee’s pregnancy forces him to imagine a future again. War, state cruelty, terrorism, grief, and childbirth all collide without easy speeches about hope. Children of Men is exhausting in the best way. It leaves you desperate for the characters to reach safety and furious at how recognisable their world has become.

‘The Thing’ (1982)

Image via Universal Pictures

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The Thing gives you monsters, gore, mystery, and this highly debated closing moment without spelling out the answer. Watch it with friends and enjoy distrusting every single one of them afterward. A research team in Antarctica discovers an alien organism capable of absorbing and perfectly imitating other living creatures. Nobody knows when the infection began or who has already been replaced. The isolated station becomes a pressure cooker where trust disappears faster than the temperature drops.

John Carpenter’s film arrived to harsh reviews in 1982 and later earned its place among the greatest science-fiction horror movies ever made. Rob Bottin’s practical effects still look grotesque, imaginative, and physically wrong in ways digital work rarely matches. MacReady (Kurt Russell) has no magic solution, only observation, improvisation, and a flamethrower. The blood test, the scale of it is great but the paranoia surrounding it is even better. Every conversation could be happening with something pretending to be human. It’s a great film, and so not for kids.

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The Thing

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Release Date

June 25, 1982

Runtime

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109 minutes

Director

John Carpenter

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Writers

Bill Lancaster, John W. Campbell Jr.

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It’s now less than two weeks until Prime Video‘s best ass-kicking action series, Reacher, makes its long-awaited return, with Alan Ritchson‘s titular skull-cracker facing his toughest task yet following a brutal third season. In the past week, courtesy of San Diego Comic-Con 2026 taking place and a panel for the show being in attendance, the hype for Season 4 has shifted into a new gear, with the release of a pulse-racing trailer showcasing what dangers lie ahead for everyone’s favorite former U.S. Army military police major.

Now the most famous adaptation of Lee Child’s acclaimed novel series, Prime Video’s Reacher has earned a near-perfect reception for its first three installments. The upcoming fourth will adapt Gone Tomorrow, the 13th novel in Child’s long-running series, with fans in for non-stop action as the season includes 30 fight sequences spread across its eight episodes, according to Ritchson, which is a new record for the series. But years before Ritchson turned the character into his own, one of Hollywood’s biggest stars gave the role a try, not once but twice.

Back in 2012, Tom Cruise joined forces with long-time collaborator Christopher McQuarrie, in their first partnership as star and director, on a big-budget Jack Reacher adaptation. The first installment might’ve had its detractors, but it proved popular enough that a sequel was greenlit, with Jack Reacher: Never Go Back released almost ten years ago, in October 2016. This sequel was the recipient of much more backlash than the original, with both critics and audiences responding poorly, with fans of the original novels taking umbrage in particular. However, with Reacher Season 4 just a few days away, perhaps this sequel is a great way to get in the mood? Starting August 1, you’ll be able to stream Jack Reacher: Never Go Back on Paramount+.

Will There Be a ‘Reacher’ Season 5?

Image via Paramount Pictures

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Cruise’s interpretation of the character might not have made it beyond two installments, but Ritchson’s Reacher looks destined to stay on our screens for many years yet. Reacher has thankfully already been picked up for Season 5, with production already underway. Ritchson recently gave fans a sneak peek of Season 5 on his social media, and, if all goes well, we could be seeing the fifth installment of this hit series as soon as next year.

As of August 1, you can stream Jack Reacher: Never Go Back on Paramount+. Stay tuned to Collider for more streaming stories.

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Release Date

October 21, 2016

Runtime

118minutes

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Director

Edward Zwick

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NeNe Leakes may be finally making her long-awaited return to Bravo’s “Real Housewives of Atlanta.” According to a new report, the network has already sent out contracts for season 18, and the “RHOA” OG was among the ladies to receive one.

A new report also claims that Shamea Morton, who has appeared on “RHOA” as a full-time cast member for the last two seasons, received her packing papers and was reportedly asked to leave the show after her explosive feud with Porsha Williams.

A source close to the production of “RHOA” has reportedly confirmed to Reality Blurb that Bravo has been in talks with NeNe Leakes about returning to the show for the upcoming 18th season.

The insider claimed that contracts have gone out, and to make space for Leakes, the network has allegedly asked Morton to step aside.

“Contracts went out two days ago,” the source said, adding that Bravo is “very interested” in finally giving Leakes the chance to return.

Filming is reportedly scheduled to begin in three weeks, directly after the season 17 reunion finishes airing at the end of August.

NeNe Leakes Appeared To Hint At A Possible Return To ‘RHOA’ On Her Instagram Stories

Alexis Bellino returned to Bravo’s “The Real Housewives of Orange County” in 2024 as a friend of the show, several years after her initial exit, but only remained on the series for a season. Now, almost a year after her wedding to John Janssen, the Bravo alum is revealing that she underwent a facelift. This comes after she recently opened up about the backlash she received following her “RHOC” return.

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Bellino opened up to PEOPLE in August 2026, revealing that she underwent a mid-face lift as an early birthday present. Regarding her reasoning for the procedure, the ‘RHOC’ alum stated, “Why I went down this path is [because] a couple of my friends that are a decade older than me both had it done at 49, and they look amazing at 60. I kind of feel like, learn from people that are older and wiser than me.”

During the interview, Bellino revealed that her three kids and husband were “against” the idea of her going under the knife. Regarding the children, she recalled, “They said, ‘Mom, please come on. Jesus Jugs, we’ve had enough of you and your stuff.’ And so I just said, ‘Guys, you’ll get it when you’re 50.”

For context, “Jesus Jugs” is a nickname Bellino gained during her original run on “The Real Housewives of Orange County” when cast member Tamra Judge made mention of her breast implants. In speaking about her husband being against the procedure, she says he changed his mind after attending a consultation with her.

The ‘RHOC’ Alum Also Discussed Her Healing Process

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Later in the interview, Bellino revealed that the recovery process following her facelift was much different than her previous experiences with plastic surgery, which includes getting breast implants when she was in college. Notably, she says the procedure itself lasted for seven hours. She called it a “whole different animal.” 

According to her, “It wasn’t as hard as I thought it would be, but it was not easy.” She also shared that the left side of her face “took a little bit longer to catch up to the healing.” Still, she has faith that the results will soon “fully” settle.

Bellino also stated that she plans to document the process on social media, noting how much she’s changed as she’s gotten more mature. She stated, “I think a decade or two ago I would’ve been affected by comments, and now I just don’t care.”

The “RHOC” alum added, “You’re just like, ‘Okay, take it, or leave it. This is who I am.’ You know who you love; your circle is very small. I want women to feel empowered.” She then spoke about how her life has changed following the facelift.

The 49-year-old explained, “I don’t wear makeup now when I go out. I don’t worry about my laugh lines. If I feel better, then why not? That’s what the doctors are here for.” Regarding future procedures, Bellino plans to have her breast implants removed.

Bellino took to Instagram on August 2 to share more thoughts on her recent facelift, noting the busy year she’s had, including her wedding to Janssen. She shared, “9 months, 2 weddings, 1 facelift….yep, it’s been a happy, busy stinking year. The photo on the left was my wedding to my love @johnwjanssen in October. The photo on the right is my son’s wedding this July.”

She continued, “Only nine months later. No, I didn’t need a facelift; I know that’s what I will hear. But all I can say is thank you @drjlayke and @plastixdocs and @glossyskinlounge for giving me a full smile back!!!!” After that, she discussed the comments she received from her kids and Janssen ahead of the procedure, recalling them saying, “mom/wife you don’t need it, please don’t do it, what can we do to talk you out of it……”

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Bellino added, “But look at the results!!!! And now my husband and kids are all so happy with the results!!!!!! And truth is, it’s MY decision, not theirs.”

The Bravo Alum Had Complications With Her Breast Implants In 2025

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As mentioned, Bellino had her first plastic surgery procedure while in college. However, in 2025, the “Real Housewives of Orange County” star was forced to have a corrective procedure after experiencing leakage related to her breast implants.

She opened up to PEOPLE in May 2025, stating, “I was the first girl at the University of Missouri to ever get implants. It was the biggest deal ever. Everyone was in shock that I did that. And since then I’ve had three more.”

She then discussed her journey over the years, saying, “I had that corrected in 2022. Unfortunately, about six months after that surgery, the contracture started to come back again. Most of the time, when you have it, it does keep recurring.

Unfortunately, after a while, she began to experience a “shooting pain” that she eventually couldn’t avoid. She explained, “My left breast started to raise and swell to the point where not only is it uncomfortable and hard, but now it’s actually noticeable in photos.”

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She went on to have a corrective procedure in April 2025, but her doctor discovered that one of her breasts had ruptured. The implants were then removed, and she now has smaller ones.”

Alexis Recently Opened Up About Her ‘RHOC’ Return

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As mentioned, Bellino returned to “The Real Housewives of Orange County” in 2024 as a friend of the show. However, her return proved controversial, with fans of the series targeting her. During a recent episode of the “Reality With the King” podcast, she opened up about the aftermath, revealing that she sought therapy.

According to her, “I mean, I was in therapy, I was getting death threats, I was crying every night on John’s shoulder like, ‘What did I do? Why did I go back?’” She added, “I went off social media for like four months. I didn’t post anything. My kids were like worried, and they’re like, ‘Mom, we hate what’s happening to you.’”

There’s a whole complex history to Fleetwood Mac, to the point where it’s hard to know how to even classify the band in terms of where they’re from. They were initially an English band, with the five founding members – Peter Green, Jeremy Spencer, Danny Kirwan, John McVie, and Mick Fleetwood – all hailing from that part of the world. There was some success during the band’s early years, but even after just a few albums, things were shifting rapidly. By 1973, only McVie and Fleetwood (the bass guitarist and drummer, respectively) remained as members of the band, though Christine McVie (at the time married to John) joined as a vocalist and keyboardist, and then by the mid-1970s, the band had added a pair of American musicians: Lindsey Buckingham, who became the lead guitarist and vocalist, and Stevie Nicks, who was another vocalist for the band.

The lineup of the two McVies, Fleetwood, Buckingham, and Nicks is the classic one, and it did remain stable for quite some time, at least by Fleetwood Mac’s standards. There was instability, quite infamously, within the band in other regards, as John and Christine McVie separated in 1976, and Buckingham and Nicks – who weren’t married, but had been partners for several years – also separated that same year. The professional stability, so to speak, lasted until near the end of the 1980s, and then there were some reformations and people coming and going, which is further complicated, but also not super relevant if you just want to talk about the best of the best Fleetwood Mac albums. The band’s four outright masterful albums all came out between 1975 and 1987, and they’re perfect pop/rock releases that have helped cement Fleetwood Mac (or maybe that particularly classic lineup of Fleetwood Mac) as one of the undeniably best bands of their era.

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‘Fleetwood Mac’ (1975)

All that history in the intro was a bit arduous to get through, even with it being simplified, but it goes some way toward explaining why Fleetwood Mac (1975) was a self-titled album, and deserved to be one, too, even if it was technically the tenth Fleetwood Mac album overall. It was also the second self-titled album, after the band’s 1968 debut, which is sometimes called Peter Green’s Fleetwood Mac to differentiate it from 1975’s Fleetwood Mac. The latter’s self-titled because this is a formal introduction to the new Fleetwood Mac; the lineup that would become legendary, and one that clicks in such a way that it’s quite surprising to think about how new Buckingham and Nicks were to the band, at this point. The former has lead vocals on four out of 11 songs, and a fifth where he shares lead vocals with Christine McVie, who then also has solo lead vocals on four songs. This leaves Nicks with “only” two, but those two songs are definite highlights, since they’re “Rhiannon” and “Landslide.”

Fleetwood Mac does feel like a bit of a warm-up for the even more legendary Fleetwood Mac album that was only a couple of years away, even down to the fact that the album covers for both are kind of similar (the same photographer, Herbert W. Worthington, was behind both). It is still a great album, though, and if it had marked Fleetwood Mac’s peak, as a band, then that’d remain a pretty great creative peak. Things just got even better artistically over the next decade or so, and the band’s 1977 album is a definite refinement of everything that already worked well (the gentle/soft rock sound, the catchy melodies paired with bittersweet lyrics, the variety of three talented/distinct-sounding vocalists being cycled between, etc.) on this self-titled album.

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‘Tango in the Night’ (1987)

It is an incredibly 1980s album, and that can be a bit of a shock if you listen to Tango in the Night after being more acquainted with Fleetwood Mac’s efforts from the back half of the 1980s. The pop sound and that reliably immediate songwriting are retained, but then come the synthesizers, and therein lies the 80s-ness. And it wasn’t the band’s first 1980s album, but it was the first that had that real synth-heavy/1980s sound, since 1982’s Mirage stuck to the pop/soft rock. Mirage is good, but not a classic. It has “Gypsy,” which is a beloved Fleetwood Mac song, and then a bunch of other pretty good songs, but not enough to make the whole album go from “pretty good” to “pretty great.” Tango in the Night fares a lot better as far as highlights are concerned. Also, it might well be the Christine McVie show, since she has lead vocals on a fair few of those highlights, and then was credited with doing the keyboards and synthesizers (again, the album’s heavy on the latter, though Buckingham was also credited with doing keyboard and synthesizer work on the album).

Sticking with McVie, though, she did the lead vocals on “Everywhere” and “Little Lies,” which are the two biggest songs on the album, and also on “Isn’t It Midnight,” which is probably the most underrated song on Tango in the Night, or at least the best comparative deep cut. Stevie Nicks shines on “Seven Wonders,” which is probably the third-best song here, and then when it comes to everything else, it’s all good. A handful of amazing songs, and then a slightly bigger handful of very good songs. But it’s enough to keep Tango in the Night easy to listen to, from front to back, and the consistency is such that no songs leap out as being weak or like they should’ve been cut. If the production with its distinctly 1980s sound turns you off, then that’s a shame… but also a little understandable, because the 80s is strong with this one.

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‘Tusk’ (1979)

Tusk is a wild album, and the sort that is honestly kind of surprising to see within Fleetwood Mac’s discography, in a good way. Hell, maybe even in a great way. It’s a go-for-broke sort of album that doesn’t feel restrained, with it being 20 songs long and almost 75 minutes all up. Yes, a double album, without a doubt, and one of the better double albums of that pre-CD era when a double album meant something. It might not quite be London Calling, Blonde on Blonde, or Electric Ladyland, but Tusk also isn’t far off. It keeps things consistent, and there aren’t any outright bad songs here. The more forgettable tracks are only a couple of minutes long, and they’re only forgettable if you want to compare them to the highlights from Tusk… namely, “Sara.” And “Sara” is not a short song, by any means, at 6:26, but it doesn’t feel much longer than three or four minutes.

“Sara” might well be the best Fleetwood Mac song. A hot/bold take? Maybe. There are lots of great Fleetwood Mac songs. It has some serious competition. But it’s one hell of an emotional slower song, perhaps standing out to a particularly great extent on Tusk because this album’s a little more upbeat and energetic than most other classic Fleetwood Mac albums. It’s an anxious sort of energy, with Tusk indeed feeling like it was written and recorded during a tumultuous time in the band’s history. As they did with their best album, two years before Tusk, all that angst was channeled into something great, albeit in a more (intentionally) unstable-sounding way on Tusk. It’s the kind of album a band can only make once they’ve established themselves and proved immensely successful, being like the music equivalent of a blank-check movie. Here, Fleetwood Mac did indeed seize the opportunity and then some.

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‘Rumours’ (1977)

Already alluded to as a refinement of 1975’s Fleetwood Mac, and the sort of album successful enough to ensure the band could cut loose in 1979, with Tusk, here’s Rumours. It is inevitable that this gets highlighted as Fleetwood Mac’s best album. It might be boring to say that, but it is just true. Another reason to go through Fleetwood Mac’s history, and the romantic relationships between certain members, is because Rumours came out in 1977, and that was one year on from two break-ups within the band. Further emotional and romantic turmoil ensued beyond that, but those two break-ups combine to make for the main catalyst of Rumours being the album that it is. It’s one of the ultimate break-up albums, and maybe even the ultimate one if you’re looking for break-up albums that aren’t exclusively made up of ballads.

There are ballads here, sure, but then highlights like “Go Your Own Way” and “The Chain” deal with intense emotional turmoil while also sounding energetic. Those two tracks, and some others that at least sound upbeat, are spread out well throughout Rumours, consistently contrasting well with the slower songs. This is easily one of the best pop albums of all time, and there is enough by way of a rock sound to also make it definitive as far as all-time great classic rock albums are concerned, too. Rumours is just that good (as good as everyone says it is), and so what more is there to say? It’s Rumours.

Yahya Abdul-Mateen II is looking on the bright side after news broke that Marvel Studios will no longer move forward with a second season of “Wonder Man.”

Reacting to the surprising update, the actor admitted that setbacks are simply part of the business before thanking fans who embraced the series and ending his message with a confident promise: “See you at the Emmys.”

Yahya Abdul-Mateen II has broken his silence after Marvel Studios decided not to move forward with a second season of “Wonder Man” on Disney+.

In a recent Instagram post, the Emmy-winning actor reflected on the uncertainty that comes with working in Hollywood but made it clear he wasn’t dwelling on the disappointment.

“Word just dropped that Wonder Man won’t be coming back for Season 2. (And if you don’t knowww, now ya knoww!),” he wrote. “That’s life, right? Everything will shake out.”

Abdul-Mateen Thanks Fans For Embracing ‘Wonder Man’

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The actor went on to thank viewers who supported the series, saying the show’s impact mattered far more than its short run.

Reflecting on the response from audiences, Abdul-Mateen wrote, “The show worked,” adding that seeing YouTube reaction videos, reading fan messages, and meeting viewers in person reminded him why the project meant so much.

“I could see it on the faces of the YouTube Reactors (because I watched along with y’all this time. Shoutout to y’all) … and I feel it in the genuine love shared when I bump into some of you all during the day. So, thinking of you all today.”

He concluded, “I’m glad we got to be a part of something cool. Thank you for watching… And uhh… See you at the Emmys.”

Fans Mourn Marvel’s Surprise Decision

Fans quickly flooded the comments section with messages of disappointment, saying they weren’t ready to say goodbye to the series.

“I’m crushed, show was sooo good!” one Instagram user wrote, while another added, “This is some BS man. I hope this isn’t the last we see of Wonder Man!”

A third fan commented, “You were sooo good on this. Killing me, I can’t see the continuation. Your work is just amazing.” Another wrote, “Nah, this is unreal, man. I didn’t know what to expect from this show, and it turned out to be one of Marvel TV’s top shows.”

‘Wonder Man’ Seemed Destined To Continue

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The cancellation came as a surprise because “Wonder Man” performed well with critics, earning a 91% approval rating on Rotten Tomatoes.

Disney had also announced in March that the series would return for a second season, roughly two months after its debut. However, Variety later reported that a writers’ room was never opened and the creative team was ultimately released to pursue other projects.

The series starred Abdul-Mateen as Simon Williams, a stuntman and actor who develops superpowers while trying to keep his new identity hidden. Ben Kingsley reprised his role as Trevor Slattery, with X Mayo, Demetrius Grosse, Zlatko Burić, Arian Moayed, and Olivia Thirlby rounding out the cast. The series was created by Destin Daniel Cretton and Andrew Guest.

Reviewing the show, Alison Herman praised its leads, writing, “Abdul-Mateen and Kingsley make their characters equally ridiculous and romantic.”

Although Marvel has not explained the cancellation, reports indicate the cast could still return in future Marvel projects.

Yahya Abdul-Mateen Still Has Emmy Glory In Sight

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Despite the cancellation, Abdul-Mateen still has plenty to celebrate after earning a Primetime Emmy nomination for Outstanding Lead Actor in a Comedy Series for “Wonder Man.”

He previously won an Emmy for HBO’s “Watchmen,” making him the first live-action actor to receive Emmy nominations for performances in both Marvel and DC projects.

Following the nomination on July 9, Abdul-Mateen shared that he “woke up feeling so blessed” before crediting the cast and crew for helping make the recognition possible.

“It’s only right that this nomination also stands as an acknowledgement of the passion of everyone who helped put this show together,” he wrote. “To Marvel, Destin Cretton, Andrew Guest, Brian Gray, our cast and crew, the city of Los Angeles, the voters who saw my performance worthy of an Emmy nomination, and especially every single person who tuned in and dreamed, laughed, and cried alongside us… CHEERS and THANK YOU!!”

Hailey Bieber is living her best life while vacationing under the European sun.

The Rhode founder, 29, shared two swimwear snaps in an Instagram carousel on Sunday, August 2, capturing the itty-bitty pink strong bikini she’d opted for while out on a luxury boat amid shimmering water.

“Different blues and lots of Nutella,” she captioned the post, which showed her seated on the ground of the boat while snapping herself in a mirror. Other photos in the carousel showed a turquoise ocean lapping against a gray rocky cave, an azure boat bobbing atop waves, more water shots and a creamy dessert topped with a thick layer of gooey Nutella.

One day prior, Hailey, who is currently vacationing with her husband, Justin Bieber, in Europe, was spotted visiting a bottle shop on Italy’s Panarea Island with Justin, 32, before the pair jumped aboard a golf cart to continue their exploration. Social media footage of the couple showed them swarmed by fans prior to escaping the crowd.

Related: Hailey Bieber Gets Cheeky in a Thong Bikini and Justin Bieber Approves

Hailey Bieber is a baddie. Bieber, 28, took to Instagram on Thursday, November 6, to show off her bikini body while celebrating Kendall Jenner’s 30th birthday during a tropical getaway. While relaxing, the Rhode founder showed off a green bikini featuring a thong back with string straps that tied in bows at her hips. Bieber […]

Justin also shared glimpses of the couple’s vacation via his own Instagram account. In a Sunday carousel, he was seen enjoying dinner alongside Hailey as the pair indulged in a bottle of red wine. Additional snaps in Justin’s post showed him puffing on a cigar while enjoying time on a boat, holding Hailey’s hand during another sunlit meal and riding in a golf cart with her.

Hailey recently showed off her enviable figure via Instagram. In her June 23 mirror selfie, Hailey flexed her abs while wearing a sports bra and spandex, completing her look with a navy zip-up hoodie that she wore undone. The post followed Hailey’s Instagram unveiling as an ambassador for Kim Kardashian’s Skims label, with Hailey serving as the face of its lingerie campaign.

Campaign imagery showed Hailey rocking a black Skims bralette and matching thong underwear, a beige bra and boyshort underwear, a white bralette and high-cut thong, and a caramel-hued bra and thong set.

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Related: Hailey Bieber Flaunts Her Figure in an Itty-Bitty Black Bikini

Hailey Bieber is ready for summer. Bieber, 28, took to Instagram on Sunday, June 8, to show off her figure in a black bikini while posing on a beach. In the snap, she rocked a triangle halter top, which she teamed with cropped long sleeves. The model added a touch of the cowgirl-core aesthetic with […]

Kim, 45, showed her public approval for Hailey’s part in her brand campaign, taking to Hailey’s post’s comments section to share praise. “Sooooo beautiful and hot and sexy and cutesie ❤️‍🔥😍❤️,” she wrote, while Kim’s younger sister, Kylie Jenner, also commented with a bitten lip emoji. Kendall Jenner joined in on the fun, writing “really hot ndb” in the comments section, too.

Hailey opened up about her style inspiration, and the enviable couples’ ensembles she shares with Justin, during an interview with Interview magazine in April. “We both just really like expressing ourselves through our style and supporting each other’s individualism,” she said of their sometimes-coordinating, sometimes-clashing wardrobes at the time.

“When we go on a carpet together or something, nobody wants to clash or look crazy, and it’s not very often that we do that,” she added. “Obviously, we’ll talk about what the other person’s wearing, but on a day-to-day basis, I’m like, ‘I don’t give a s*** what you want to wear. Are you comfortable? Do you feel good?’ That’s all that matters to me.”

Winning a Grammy is one of music’s highest honors, but the Recording Academy is also famous for its history of controversial snubs. And classic rock hits are no exception. Unlike when The Beatles took home the coveted award at the 9th Annual Grammy Awards in 1967 for their hit song “Michelle” that was featured on their 1965 album Rubber Soul. However, over the years, so many legendary songs have lost Record of the Year to songs that have long since faded from the conversation while the “snubs” went on to give us some of the biggest and influential hit records of all time. Looking back, it’s hard to see how the Grammys made their choices.

From Beatles classic hits to arena-filled Queen anthems, these songs topped the Billboard Hot 100 and defined entire generations. They may have been overlooked on music’s biggest night, but their legacy has only grown bolder with time. Here are the 10 biggest classic rock hits that never won Record of the Year.

10

“The Boys Are Back in Town” by Thin Lizzy

Not many classic rock songs have the same melodic vibe as Thin Lizzy‘s “The Boys Are Back in Town.” The song was built around Brian Robertson and Scott Gorham’s unforgettable guitar skills, but the song was equally cinematic in its storytelling. The song does a perfect job of painting vivid pictures of old friends, past hometown bars and those magical nights you’ll always remember. Phil Lynott’s cool vocals give the song a personality unlike any other that makes it anything but a simple song.

The song peaked on the Billboard Hot 100 charts at No. 12 when the song was released in 1976. It was the lead single from Jailbreak. This became the Irish rock band’s signature hit song that introduced them to audiences around the world. But, despite its cultural impact, the song lost at the 1977 Grammy Awards to George Benson’s “This Masquerade.” However, almost 50 years later, “The Boys Are Back in Town” still blasts through stadium speakers, movie soundtracks and classic rock radio playlists with the same electrifying energy.

9

“Carry On Wayward Son” by Kansas

Progressive rock music has produced many songs but very few have crossed into the mainstream, like Kansas‘ “Carry On Wayward Son.” From the track’s instantly recognizable intro to its blaring guitar solos, the song packs an incredible amount of complexity into a song that makes it feel like it was meant to be a sing-along. Kerry Livgren’s lyrics about searching for meaning give the record an emotional weight that separates it from so many other classic rock songs from that era.

The song peaked on the Billboard Hot 100 at No. 11 in 1977. The song became Kansas’ breakout hit from Leftoverture, which helped establish the band as one of the most pivotal acts of 1970s rock. The song would go on to earn a nomination for the 1978 Grammy Awards but lost to Debby Boone‘s “You Light Up My Life.” Decades later, “Carry On Wayward Son” is still one of the most beloved songs in classic rock. For a band that never reached No.1 on the Billboard Hot 100, this song became a timeless classic that’s never gone out of style.

8

“Go Your Own Way” by Fleetwood Mac

The collapse of the relationship between Lindsey Buckingham and Stevie Nicks was not going to wallow in heartbreak when it was left up to Buckingham. Fleetwood Mac’s “Go Your Own Way” turned heartbreak into a bold rock anthem that was fueled by raw emotion and one of the most unforgettable choruses of the 1970s. Mick Fleetwood’s drumming pushes the song into this ultimate sense of controlled chaos that took personal turmoil and turned it into a grand performance.

“Go Your Own Way” peaked at No. 10 on the Billboard Hot 100 in 1977. It was released as the lead single from their iconic album Rumours, which helped turn the album into one of the biggest commercial successes in rock history. Just like Kansas’ “Carry on Wayward Son”, Fleetwood Mac lost to Debby Boone’s “You Light Up My Life” that year. However, you can’t listen to classic rock radio and not hear Fleetwood Mac’s iconic song. The song continues to live on in streaming playlists and live performances almost 50 years later after its release.

7

“Sweet Home Alabama” by Lynyrd Skynyrd

Some songs become hits and others become part of a place’s identity. “Sweet Home Alabama” by Lynyrd Skynyrd is clearly cemented in both. The hit song began as a response to Neil Young’s criticism of the American South, but it evolved into one of the most recognizable rock songs ever recorded. The opening guitar riff makes the song feel instantly familiar and there is a sense of warmth that washes over when the beginning chords, infused with blues, begin. The song feels infectious and that has made it impossible to ignore all of these years later.

The hit song peaked on the Billboard Hot 100 at No. 8 in 1974. The song gave Lynyrd Skynyrd their biggest hit, and it helped establish Southern rock as a force to reckon with. In 1975, the song earned the Record of the Year nomination but ultimately lost to Olivia Newton-John’s “I Honestly Love You.” While the Recording Academy chose a softer ballad as the winner, history has largely sided with Lynyrd Skynyrd. “Sweet Home Alabama” has become a cultural phenomenon of a song that even if you don’t listen to the genre as a preference, you definitely know this song.

6

“More Than a Feeling” by Boston

Boston’s “More Than a Feeling” is one of the most instantly captivating songs to ever be recorded. Tom Scholz spent years crafting the layered guitars, harmonies and spotless production that created a song that didn’t sound like anything else on rock radio in the mid 1970s. But at the core of the song, is the wistful reflection on memory and lost love the song provides. It’s as if the song transports you back into time.

In 1976, Boston’s “More Than a Feeling” peaked on the Billboard Hot 100 at No. 5. As the lead single from Boston’s self-titled album, “More Than a feeling” pushed the band into stardom and became one of the defining songs of the classic rock era. In 1977, the song received a nomination but lost to George Benson’s “This Masquerade.” Despite losing, Boston’s hit song has cast a longer shadow between the two. The influence of this song can be heard in generations of artists who followed. And nearly 50 years later, the song still stands as a how some songs have just become timeless.

5

“Bohemian Rhapsody” by Queen

It’s impossible to think of rock music without thinking of Queen’s legendary hit “Bohemian Rhapsody.” A six-minute epic song that doesn’t have a traditional chorus, with an opera-style middle section with one of Freddie Mercury’s greatest vocal performances of all time. The song broke almost every rule when it comes to the traditional layout of a song. On paper, there is no way this song should have worked. However, Queen decided to make one of the boldest statements in music, proving that audiences would like this type of record when backed by perfect songwriting and production.

“Bohemian Rhapsody” peaked on the Billboard Hot 100 at No.9 and spent a total of 19 weeks on the charts. What makes the Grammy’s treatment of this song so surprising isn’t that it lost Record of the Year. Because it never got the chance. Despite this iconic song becoming an international sensation and single-handedly redefining what a rock single could accomplish, the song wasn’t nominated for the award at all. It feels criminal and, looking back, the omission of the song makes it as shocking as the other losses on this list. “Bohemian Rhapsody” has since become one of the most celebrated songs ever. However, in 2004, the song was inducted into the Grammy Hall of Fame and has continuously topped “the greatest songs of all time lists.”

4

“Sweet Child O’ Mine” by Guns N’ Roses

If you ever find yourself thinking of iconic guitar riffs, Guns N’ Roses “Sweet Child O’ Mine” has to be at the top of that list. Not every rock song announces itself with a roaring power chord and ultimately gifts us one of the most famous guitar riffs ever written. The song unfolds into a love song that is unlike anything Guns N’ Roses had released before. The song was inspired by Axl Rose’s relationship with Erin Everly and displayed the band’s gritty attitude to love without sacrificing an ounce of their edge.

Luckily, the gamble paid off in a major way. “Sweet Child O’ Mine” peaked at No.1 on the Billboard Hot 100 in 1988. The song would go on to become the band’s only No.1 hit, but this introduced them to an even bigger audience and officially cemented the band as one of rock’s biggest acts. However, despite the massive success and lasting influence, the song lost the 1989 Grammy Award to Bobby McFerrin’s “Don’t Worry Be Happy.” Although McFerrin’s song is truly beloved as a moment in pop culture, “Sweet Child O’ Mine” has stretched far beyond that. Nearly four decades later, it’s still the song that defined Guns N’ Roses and one of the most recognizable tracks out there.

3

“American Pie” by Don McLean

From the beginning, this song had a lot of things working against it. Don McLean’s “American Pie” is more than eight minutes long, radio stations rarely embraced playing songs of that length, and its poetic and packed lyrics left audiences trying to interpret their meaning. However, this is exactly what made Don McLean’s song a masterpiece. Instead of just stating things plainly, McLean wanted to take listeners on a musical mystery ride when talking about nostalgia and cultural change with the loss of innocence. The track’s lyrics are still being dissected almost 50 years later, which proves how timeless the storytelling remains.

The risk paid off for this iconic song, released in 1971. “American Pie” climbed all the way to No.1 on the Billboard Hot 100 and stayed there for four weeks. It was nominated for the 1973 Grammy Award for Record of the Year but lost to Roberta Flack’s “The First Time Ever I Saw Your Face.” Flack’s classic earned its acclaim, but McLean’s song grew into one of those rare songs that feels less like a hit single and more like a shared piece of American culture. The song has been sung by generations that have disagreed on the actual meaning of the song, but that is part of what makes this song a masterpiece. This is many decades later and the song still holds such power and fascination, making the Grammy snub one of the most memorable.

2

“Hotel California” by Eagles

Ever had a song that left you with questions, and it kept pulling you back to find them? That’s the true magic of “Hotel California.” Since its release, fans have spent decades debating the song’s true meaning, which has varied between interpretations about fame, the music industry, the American dream and excess. Don Henley and Glenn Frey left much of the symbolism behind the lyrics open-ended, which allowed for listeners to find something different with those haunting lyrics. Bring in Don Felder’s unforgettable guitar work, and you have a song that becomes more fascinating after each listen.

“Hotel California” was released on the Eagles‘ legendary album of the same name in 1976. The song peaked at No. 1 on the Billboard Hot 100 for one week, while the album spent eight non-consecutive weeks at number one on the Billboard 200. The song earned a nomination for the 1978 Grammy Award but ultimately lost to Debby Boone’s “You Light Up My Life”, suffering the same fate as Fleetwood Mac and Kansas on this list. Despite only one song being able to take home the coveted award, no one can deny the impact “Hotel California” has had, especially with its closing solo, which is often called the greatest recording ever. “Hotel California” has only become more legendary with time.

1

“Hey Jude” by The Beatles

Some songs are instant hits that you know will become a classic. While others slowly earn that title over time, “Hey Jude” by The Beatles somehow managed to do both. The song was written by Paul McCartney for John Lennon’s son Julian, during his parents’ divorce and what started as a deeply personal message evolved into one of the most uplifting songs in rock history. The gentle encouragement, the skyrocketing melody and the unforgettable “na-na-na” finale took this simple ballad to new heights. This song is a great example of how joy brings people together by having them sing along, whether it’s in a stadium, around a campfire or through their own headphones.

“Hey Jude” became The Beatles’ biggest hit single when released in 1968. The song peaked at No.1 on the Billboard Hot 100 and broke records by spending 9 weeks at No. 1. The song would go on to sell 8 million copies worldwide and become The Beatles’ longest-running chart-topper in the United States. But despite this massive success, the song lost the 1969 Grammy Award for Record of the Year to Simon & Garfunkel’s “Mrs. Robinson.” This “snub” is often considered one of the biggest in Grammy history. The song remains one of the Beatles’ defining achievements, regularly appearing on lists of the greatest songs ever written. If there is a single song that proves Grammy victories don’t determine greatness, it’s “Hey Jude.”