Spider-Man as a character is interesting enough, and we want to see him interact with villains and defeat them. The baddies are far less compelling without, you know, a hero to fight and that’s the battle that plagued Sony as they tried to build an interconnected superhero franchise without a… superhero. While the Venom trilogy became a major commercial success, Morbius and Madame Web were savaged by critics, leaving one more standing and waiting for its fate.

Kraven the Hunter is the origin story of how and why one of Marvel’s most iconic villains came to be. Aaron Taylor-Johnson plays Kraven, a man whose complex relationship with his ruthless father, Nikolai Kravinoff (Russell Crowe), starts him down a path of vengeance with brutal consequences, motivating him to become not only the greatest hunter in the world, but also one of its most feared. Now, Kraven the Hunter is preparing for another opportunity to find an audience on streaming. It’s officially coming to Disney+, bringing Taylor-Johnson’s standalone adventure under the same streaming roof as much of the Marvel Cinematic Universe and an expanding collection of Sony’s Spider-Man movies.

The cast is led by Taylor-Johnson (Bullet Train) as Sergei Kravinoff/Kraven, alongside Crowe, Ariana DeBose (West Side Story) as Calypso Ezili, Fred Hechinger (Gladiator II) as Dmitri Smerdyakov, Alessandro Nivola (The Brutalist) as Aleksei Sytsevich/Rhino, Christopher Abbott (Poor Things) as the Foreigner, Levi Miller (Pan) as young Sergei, and Billy Barratt (Invasion) as young Dmitri.

‘Kraven the Hunter’ Was Mauled by Critics

Kraven the Hunter struggled badly with critics when it arrived in December 2024. The movie currently holds just 15% on Rotten Tomatoes from more than 160 reviews, making it one of the worst-reviewed entries in Sony’s Spider-Man Universe. Audiences were considerably kinder, however, with the movie holding a 72% Popcornmeter score. That was typically the case with Sony’s movies, as audiences tended to be more forgiving, viewing them as mindless entertainment while critics saw a cash grab.

Its box office performance was equally disappointing. Despite carrying an expensive production budget, Kraven the Hunter failed to turn Taylor-Johnson’s character into Sony’s next major Marvel antihero, effectively closing the book on the studio’s run of Spider-Man spin-offs without Spider-Man.

Kraven the Hunter will soon stream on Disney+ and is also available to watch now on Netflix.

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Release Date

December 13, 2024

Runtime

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127 Minutes

Director

J.C. Chandor

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Writers

Art Marcum, Richard Wenk, Matt Holloway

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Franchise(s)

Marvel Comics, Marvel Cinematic Universe

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There’s no one in the industry who can create a crime-filled open-world sandbox quite like Rockstar Games, and it seems no one in the West is willing to even try anymore. Rockstar earned their monopoly honestly through obsessive attention to detail and by raising the technical bar with each release. Grand Theft Auto VI will surely raise that bar again when it launches November 19. But the genre they defined used to be a competitive one.

From the early 2000s to the mid 2010s, studios constantly attempted to go toe-to-toe with the champ, and they fared far better than the “clone” label suggests. Many outclassed Rockstar in specific areas, whether it be robust combat mechanics, unique mission design or an engaging narrative. These games proved there’s room for more voices in the space and room for improvement in Rockstar’s formula. Here are seven titles that outplayed Rockstar in some way or another, and a reminder of what this industry gave up when it stopped competing.

7. Retro City Rampage (2012)

Image Via Nintendo

Brian Provinciano created Retro City Rampage as a mostly solo developer. It was originally a demake of Grand Theft Auto III, but eventually morphed into something far stranger. It’s the only game on the list that shot for the classic top-down style, so the natural comparison is Grand Theft Auto: Chinatown Wars, an excellent return to where Rockstar made their name. Although they share the same perspective, they have completely different approaches to the genre.

Chinatown Wars was more about condensing the 3D GTA formula into a handheld. Provinciano’s game leaned into the comedic and satirical aspects of GTA while delivering new mechanics with each new mission. Almost no two missions in Retro City Rampage share the same blueprint, going from a stealth section with Metal Gear energy, to a grappling hook sequence inspired by Bionic Commando, to a Frogger-style traffic-dodging situation. Each only appears once before you’re on to the next unique mechanic, something you can’t say for GTA‘s standard mission structure of “drive here, shoot this, repeat.”

The weapon selection goes just as hard with 24 absurd, situational options that promote diversity over settling on a favorite. Throw in a skateboard and grappling hook for traversal, along with an arcade-style scoring system akin to Rampage Mode, and Retro City Rampage becomes a rare game in the space that offers a varied and diverse experience from beginning to end.

6. Scarface: The World Is Yours (2006)

Radical Entertainment took one of the most interesting approaches to a movie tie-in video game, creating a “what if” scenario where Tony Montana survived the mansion shootout and continued growing his empire. That setup alone made Scarface: The World Is Yours worth a playthrough for any fan of the movie, but it wasn’t only the premise that made it great.

The empire management system is where the game truly shined over Grand Theft Auto: San Andreas, which released in 2004. Players were able to launder money at a bank, move contraband through real supply chains, and buy fronts while staving off heat from police and rivals. San Andreas had a light asset-purchasing mechanic to generate passive income, but Radical took it to another level with its economic simulation.

Even the combat had some tricks up its sleeve with the introduction of the Balls meter, a resource built up by taunting your enemies that unleashed the brutal first-person Blind Rage mode. This devastating mechanic slowed the world down, granted the player infinite ammo, and regenerated health with each kill. Not only was it insanely fun to use, but it also made the gunplay stand head and shoulders above Rockstar’s latest offering. Nearly 20 years later, Scarface: The World Is Yours remains one of the most ambitious licensed games the open-world genre has ever produced.

5. True Crime: Streets of LA (2003)

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Luxoflux and Activision were the first to take the fight directly to Rockstar. True Crime: Streets of LA made a name for itself by recreating roughly 240 square miles of actual Los Angeles, allowing players with knowledge of the city to navigate by memory. Grand Theft Auto: Vice City‘s fictional depiction of Florida did not offer the same accuracy, and it would be years before Rockstar even attempted a similar feat.

The differences run deeper than just the map, however. As LAPD detective Nick Kang, players were equipped with a full suite of melee fighting abilities that could be expanded further with unlockable moves. It made Vice City‘s hand-to-hand combat look like an afterthought. A “good cop, bad cop” morality system monitored your behavior, bringing a branching narrative structure with multiple endings to the GTA formula over 20 years before Rockstar allegedly implemented the honor system into GTA VI.

To top it off, failing a mission did not force a game over and a restart. True Crime‘s narrative adapted to the failure and continued down a different path, an impressive system that is still not standard in modern gaming. True Crime: Streets of LA took on GTA with pure ambition, but the true crime is that this franchise didn’t become the juggernaut it had the potential to be.

4. Watch Dogs 2 (2016)

Image via Xbox

Watch_Dogs was originally heralded as the next-gen blockbuster that would become the “GTA Killer.” Unfortunately, the game fell well short of expectations with huge graphical downgrades from the initial gameplay trailers, stunted hacking mechanics with little agency, and an overall run-of-the-mill story and protagonist. Ubisoft Montreal course-corrected hard with Watch Dogs 2, going for a sunny San Francisco and a likable group of characters that felt like an antidote to Grand Theft Auto V‘s cynical take.

Playing as Marcus Holloway, you are given DedSec’s signature arsenal of hacking tools complete with more player agency and options. The RC jumper and quadcopter allowed players to scout, infiltrate, and sometimes even complete entire missions without Marcus setting foot in the building. With one character, Watch Dogs 2 offered more options when tackling missions than in GTA V with three characters.

Best of all, nonlethal playthroughs are fully viable in Watch Dogs 2. Stun guns and takedowns allow players to complete every mission in the game without killing a single person, an option completely foreign to GTA. Watch Dogs 2 proved the crime sandbox Rockstar defined didn’t need to be dark and cynical, and there was room for more open-ended mission design.

3. Mafia II (2010)

Image via 2K Store

2K Czech went the opposite direction from Grand Theft Auto and every other studio that chased it. Mafia II showcased Empire Bay across the 1940s and 1950s as a period piece first, letting players watch Vito Scaletta age into the life over years rather than a few months.

Vito was a well-developed character like no other in the genre. Grand Theft Auto IV‘s Niko Bellic caused whiplash as, depending on the mission, he would feel like a different character with different motives. Every mission in Mafia II had an intent and impact on Vito’s character, as well as his friendship with Joe Barbaro. The years of small moments carry the game and slowly lead to an explosive ending that hits much harder than Niko Bellic’s split decision at the end of GTA IV.

The bigger achievement is the design of Mafia II. 2K Czech traded the open-world filler for a tightly authored crime drama, proving the sandbox doesn’t have to offer everything to justify itself. Mafia II was the rare competitor that gained success by focusing its scope and elevating its strong points to the highest degree.

2. Sleeping Dogs (2012)

Sleeping Dogs has the best action to ever grace the open-world crime genre, and it’s honestly not even close. United Front Games built a dynamic martial arts system for Wei Shen equipped with grabs, counters, and environmental takedowns that found vicious ways to finish enemies with meat hooks and table saws. No matter which Grand Theft Auto you compare it to, its combat comes up short of Sleeping Dogs by a few miles.

Traversal received just as much care, with dynamic chase sequences that had the player dodging crowds and jumping over obstacles to apprehend a suspect. You could also hijack speeding cars by leaping from one to another mid-chase. These gameplay sequences felt cinematic without taking away player agency, which is very difficult to pull off.

Sleeping Dogs also stood out by moving the setting out of America to Hong Kong. Setting this undercover cop story in China added a fresh layer to the genre. Wei Shen earned separate Cop and Triad experience, and players would juggle which side they wanted to lean toward. The narrative did not disappoint either, with moments that still stick even 14 years later. If you’re looking for the best moment-to-moment gameplay in the genre, then Sleeping Dogs easily takes the crown.

1. Saints Row 2 (2008)

Image via Xbox

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Volition dropped Saints Row 2 the same year Rockstar released Grand Theft Auto IV, and it genuinely felt closer to a follow-up to San Andreas than GTA IV ever did. Rockstar introduced many robust mechanics in San Andreas that made the game feel giant and expansive, but GTA IV completely stripped everything that made its predecessor special in order to chase realism. This worked for some players, but it went too far in the wrong direction for a lot of fans. Saints Row 2 ended up being the safe haven that felt most like home.

Everything fans loved about Los Santos was still there but bigger and better: gang territory to take over, businesses to buy, tons of activities and mini-games, and a completely customizable protagonist. While GTA IV‘s sandbox felt paved over with cement, Saints Row 2‘s was still a robust playground with tons of fun to be had outside of missions. Volition’s take on the formula was goofier at times, but it still knew when to have heartfelt or serious moments.

Volition’s sequel struck the perfect balance, and here’s the hot take: Saints Row 2 was a better GTA than Grand Theft Auto IV. The game offered a more complete experience including drop-in/drop-out online co-op across the entire campaign, a robust character creator, vehicle, crew and crib customization, a bigger map, smooth vehicle handling, and a deeper melee fighting system with finishing moves. Although Volition and Saints Row‘s story didn’t end well, history should highlight that there was a time when developers could go toe-to-toe with GTA and decisively come out on top.

The Genre Rockstar Won by Forfeit

Image via Rockstar Games

Grand Theft Auto VI will arrive on November 19 with no direct competitors in sight, and that should be frustrating. In an industry full of Soulslikes, why did the ball drop with GTA-likes, even though it’s proven that there are areas where developers can improve over Rockstar? No game has been able to dethrone Grand Theft Auto, but none needed to. They pushed the open-world crime genre in ways Rockstar was unwilling to, and the space was healthier for it.

Buffy the Vampire Slayer has had a tumultuous year so far. After rallying the original cast and securing Chloe Zhao as the director, the revival series seemed to be moving forwards in production. But earlier this year, it was announced that the revival was canceled and Buffy would not be returning. Fans have slowly come to terms with the lack of a reunion, but the Emmys might give audiences a little more Buffy content. Two stars are set to present at the September 14th awards show, encouraging excitement online among Buffy fans.

With the return of two iconic Buffy actors, it brings up the lingering significance of Buffy the Vampire Slayer. The show is nearing its 30th anniversary and has been off the air since 2003. Despite that, love for the show continues to go on. With such a strong fanbase, it’s curious to examine why the show has remained so beloved all these years later and how it went on the shape popular media since its creation.

The Emmys are Bringing Back Buffy and Angel

Image Via The WB

Sarah Michelle Gellar and David Boreanaz have been announced to present at the 2026 Emmys. Their reunion at the event has sparked conversation within the Buffy fanbase. After the cancelation of the Buffy revival series, fans have noticed an increase in Buffy the Vampire Slayer merchandise. From new merch in stores to Monster High collector dolls, audiences find themselves overcome with Buffy content — all except for the revival show.

During the runtime of both Buffy the Vampire Slayer and Angel, the two star-crossed lovers had reunited multiple times on both shows. Crossovers between the two shows were common, as different characters would make guest appearances. For Buffy and Angel, their reunions were always emotionally charged with their past romance. There had been hope that the two would meet once more in the revival, but the Emmys might be the only chance to see Buffy and Angel again.

Why Buffy the Vampire Slayer Continues to be Loved

Buffy has been off the air since 2003 with the release of its final season. After seven years of runtime, the iconic show finally concluded the story of Buffy Summers and her fight against evil. Aside from the spin-off show Angel, which ended its run in 2004, Buffy hasn’t produced much from this universe in the years since. There have been comic book runs, novelizations, and an unaired animated series, but Buffy Summers hasn’t returned to television since. So why do audiences still love this show so much?

Part of it is nostalgia. Buffy the Vampire Slayer embodies the late 90s and the connection some audiences have to that point in their lives. The show was a massive success when it was airing, garnering a strong and steady fanbase who still adore the show to this day. New viewers are able to tune in to the show on streaming services, and it seems as though Buffy isn’t fading into obscurity any time soon. But nostalgia isn’t the only reason why fans still adore Buffy.

The show itself is a testament to its ongoing support. Buffy Summers is a witty yet troubled character who experiences far more suffering than she should. The monsters and demons she fights not only make for cool fight scenes and exciting action, but it speaks to how dedicated she is to her role as the Slayer. Alongside her quirky friends, Buffy demonstrates a remarkable strength that is inspiring to watch. The writing is funny, the characters are goofy, and the end-of-the-world stakes continue to get more dire with each season. Buffy the Vampire Slayer balances the challenges of teen girl life and fight against paranormal forces in a way that shaped supernatural media. The heart and humor of the show has stood the test of time and continues to speak to audiences to this day.

With Gellar and Boreanaz reuniting at the Emmys, it brings up thoughts on the revival. With how successful and beloved Buffy the Vampire Slayer still is, there is an audience who would want more from the universe. While a revival looks unlikely, it’s good to know that people still love the original show thirty years later.

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Release Date

1997 – 2003-00-00

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Network

The WB

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Showrunner

Joss Whedon

Directors

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Joss Whedon

Writers

Joss Whedon

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Dakota Johnson and Machine Gun Kelly recently sparked dating rumors and fans are already weighing in on the possible romance!

The speculation comes after the pair were reportedly spotted spending time together on Friday night in New York City. While neither Johnson nor MGK, both 36, has confirmed that they are dating, the possibility of a romance has quickly caught the attention of fans online.

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As reported by Deux Moi, Johnson and MGK spent a private meetup at Taylor Swift’s Tribeca apartment while the singer was out of town. The “Fifty Shades of Grey” actress reportedly arrived first in a black SUV, while the musician arrived half an hour later, and was escorted inside by Johnson’s security.

According to the outlet, Johnson and MGK spent several hours alone inside Swift’s residence before leaving together and heading to the actress’ hotel, where the pair remained for the night. As seen in pictures obtained by the publication, MGK was spotted helping Johnson out of the car before quickly making their way inside.

Fans React To Dakota Johnson And MGK Dating Rumors

The possibility of a Johnson and MGK romance quickly became a topic of discussion among fans on X, with some users seemingly surprised by the latest dating speculation.

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One commenter appeared to take a more critical view of the rumors, writing, “She gets around,” while another wrote, “Who hasn’t she slept with.”

Some users also weighed in on the latest speculation, mentioning Johnson’s previous relationships.

One declared, “She’s really into musicians phew!” while another remarked, “Dakota really said my type is a walking red flag and I’m tired of pretending we don’t see it.”

A different person noted, “Dakota always looks so effortlessly chic, but seeing her name next to MGK’s makes the whole thing feel tacky/cheap!”

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Megan Fox And MGK Relationship Status

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Earlier this year, The Blast reported that MGK and Megan Fox, 40, are officially over after trying to reconcile. The former on-and-off couple are solely focused on co-parenting their daughter, Saga Blade, whom they welcomed in March 2025.

According to sources, Fox discovered MGK, born Colson Baker, had been in contact with other women, which led to their breakup.

“[They] haven’t been together in a real way for a long time now, and whatever they had romantically is done,” an insider told PEOPLE. “Their relationship at this point is just about co-parenting. Megan is focused on her kids and the baby and just getting settled into this new chapter. That’s genuinely her priority.”

Dakota Johnson Previously Dated Role Model

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Johnson was previously involved with Role Model, 29, whose real name is Tucker Pillsbury. The actress was first spotted in December 2025 dining with the singer, and on another date in Los Angeles a month after, per PEOPLE.

“It’s definitely more than a fling, or just a flirt,” a source told the outlet in April, adding that the pair had been dating “since late last year.”

The insider also shared that Johnson “does really like” the musician “but is also taking things slow after her previous long-term relationship.”

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She previously dated Coldplay frontman Chris Martin, 49, from October 2017 until June 2025. The two were also engaged.

Dakota Johnson And MGK Have Yet To Confirm Romance

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For now, there’s no confirmation that Johnson and MGK are actually dating. Their reported New York City outing has naturally fueled romance speculation, but neither star has spoken publicly about the rumors. Until one of them addresses the situation, it’s unclear whether the two are simply friends or if there’s something more going on.

Every year around Emmys season, TV fans hear about shows and actors who were snubbed as equally deserving nominees celebrate. In fact, some of the most iconic series of all time never won a single Emmy in their heyday.

While Alexis Bledel won Outstanding Guest Actress in a Drama Series for The Handmaid’s Tale in 2017, neither her work on Gilmore Girls nor costar Lauren Graham’s performance were honored by the awards show. The dramedy itself never received a nod either, but makeup artist Marie DelPrete earned an award for Outstanding Makeup for a Series in 2004. “I’m definitely happy about that, that I brought them the Emmy,” she told Vice in November 2016. “I don’t necessarily know if they’re happy it’s the only Emmy they have!”

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The Wire — a critically-acclaimed HBO drama often referred to as the best television show in history — was similarly overlooked by the Emmys. Writer Ed Burns spoke out about the Television Academy’s seeming lack of regard for the predominantly Black cast in 2007.

“These guys clearly cut the mustard. They can act with anyone,” he told the Associated Press. “I don’t know why it has to be this ‘You can play a drug addict; you can play the good sidekick.’ These are the roles that these actors end up doing and it’s a shame.”

Scroll down to revisit popular TV shows that never won an Emmy:

There are hundreds, if not thousands, of films depicting the gut-wrenching peril and horror of war. But there’s only one that can claim its rightful throne as the film that saved 20th Century Fox from complete financial ruin. The 1962 epic starring John Wayne, The Longest Day, captures the cinema icon as Lieutenant Colonel Benjamin Vandervoort, a real-life paratrooper in the 82nd Airborne Division during the D-Day invasion. Despite the heavy criticism from audiences regarding the historical accuracy of the film, half a century and some change later, one quote still rings particularly loud in the ears of fans and critics alike.

Interestingly, the film did not have one sole director. In fact, it had three: Ken Annakin, Andrew Marton, and Bernhard Wicki. Additionally, two more uncredited directors jumped on the project for extended scenes: Daryl F. Zanuck and Gerd Oswald. In many cases, this would result in a “too many cooks in the kitchen”, chopped-up, amalgamation of ideas thrown on a silver screen. But against all odds, the group created one of the more influential movies of the time, including a specific moment in particular.

The Context and The Unforgettable Moment in ‘The Longest Day’

Image via 20th Century Studios

Firstly, the immense thought and care put into the premise of this film is certainly worth noting. This story is the result of Cornelius Ryan‘s nonfiction recounting of the D-Day invasion of Normandy, France. Through conducting extensive interviews with more than three hundred soldiers and officers who were present on that fateful day, as well as closely studied reports, personal diaries, and public records, Ryan built this story brick by brick. Interestingly, the film captures the perspectives of both the British and French forces, expressing emotional and physical commonalities that cross enemy lines. This choice highlights the inhumane absurdity of war,

So where does the quote come in? A flight officer, David Campbell, played by Richard Burton, says the infamous line in the brutal aftermath of D-Day. He was shot down, nearly fatally injured. His leg was held together with safety pins, an inarguable death sentence on the battlefield. He stands over the body of a German soldier, one he killed. At this moment, two innocent men forced into the horrific brutal nonsense of war both fall victim to the consequences in different ways. One dead, the other a killer, each irrevocably changed.

Later, Dutch Schultz, played by Richard Beymer, an American paratrooper left to his own devices, wandering far off from his unit, arrives on the scene. He hasn’t fired a single weapon, a feat almost nobody else can say they achieved. They talk, Schultz noting that night is falling, and he keeps hearing gunfire, yet he always somehow shows up after the fighting is over. Thus leading Campbell, overcome with the sudden awareness of the tragic horror of war, to say the iconic line: “He’s dead. I’m crippled. You’re lost. Do you suppose it’s always like that? I mean war.” This quote highlights the humbling reality that, in war, there are truly no winners. Nobody leaves unscathed, and more often than not, no battle is worth forcing innocent men to murder each other. There are plenty of war movies out there, but hardly any that tackle the reality of war in such a poignant and accurate way.

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Release Date

October 4, 1962

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Runtime

178 minutes

Director

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Andrew Marton, Bernhard Wicki, Ken Annakin

Writers

Cornelius Ryan, David Pursall, Jack Seddon, James Jones, Romain Gary

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Producers

Darryl F. Zanuck

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• 

  Henry Fonda

  Brig. Gen. Theodore Roosevelt Jr.

• 

  Lt. Col. Benjamin Vandervoort

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Late last year, viewers were stunned and enthralled when HBO delivered its steamiest series of the past year. A gripping, NSFW hockey-based drama, Heated Rivalry followed the secret long-term relationship between rivals Shane and Ilya (Hudson Williams and Connor Storrie) as it twisted and turned in romantic chaos. A six-episode adaptation of Rachel Reid‘s Game Changers, the seriesearned an average of 10.6 million viewers per episode on HBO Max, which doubled following the December 26 finale, and eventually earned the green light for a second season.

With HBO Max boasting Heated Rivalry, Prime Video would soon debut their own alternative, Off Campus. Based on a series of books by Elle Kennedy and adapted for the screen by Louisa Levy, this eight-episode series follows the steamy, blossoming relationship between Ella Bright‘s Hannah and Belmont Cameli‘s Garrett, a music major and hockey captain who find unlikely love in the fictional Briar University.

Just like Heated Rivalry, Off Campus was a big hit with critics and audiences, with Collider’s Therese Lacson describing the show in her review as “the perfect blend of sizzling romance and soapy drama.” The series defied expectations by becoming a huge streaming hit, earning 36 million global viewers in its first 12 days of release, which ranked as Prime Video’s third most-watched series launch of all time, behind The Lord of the Rings: The Rings of Power and Fallout. It’s been over three months since the finale aired, and the show is still proving popular. At the time of writing, Off Campus has surpassed the 100-day mark on the Prime Video top ten in the U.S.

Will There Be an ‘Off Campus’ Season 2?

Just like Heated Rivalry, Off Campus is getting a second season, one that was confirmed before the first had even aired. However, the central cast will feature a big shake-up for Season 2, with Allie Hayes (Mika Abdalla) and Dean Di Laurentis (Stephen Kalyn) headlining, and Bright and Cameli returning in reduced roles. Production is reportedly underway for Off Campus Season 2, with a release date still unknown.

Off Campus has surpassed the 100-day mark in the Prime Video top ten. Make sure to stay tuned to Collider for all the latest streaming stories.

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Release Date

May 13, 2026

Network

Prime Video

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Directors

Dawn Wilkinson, Erica Dunton, Silver Tree, Sam Bailey

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Writers

Emmy St. Pierre

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Over the last 30 years, crime television has delivered some of the best and most compelling stories the small screen has ever seen. It doesn’t matter whether the genre is tackling corruption and the abuse of authority within the police force, the frantic desperation of organized crime, or the horrific intricacies of a murder investigation; its appetite for absorbing drama has always been evident.

This has resulted in a litany of exceptional series, but those same qualities of impactful and precise storytelling, thematic depth, and emphasizing character nuance have also been pivotal in delivering some of the greatest series finales the medium has seen across all genres. From somber and restrained endings that meditate on the cost of ambition to jaw-dropping climaxes that leave everyone in a state of shock, these crime television conclusions are truly perfect in every way.

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‘Boardwalk Empire’ (2010–2014)

Image via HBO

A stylish descent into Depression-era crime, Boardwalk Empire follows Atlantic City treasurer Enoch “Nucky” Thompson (Steve Buscemi) as he juggles his political ambitions with his criminal operations. The longer the series goes on, the more it revels in the faults in Thompson’s character, be it his insatiable greed, callous disregard for human life, and his fiercely immoral scheming and manipulations to further his own goals.

Boardwalk Empire’s Season 5 finale, “Eldorado,” sees these flaws backfire on Thompson in extraordinary fashion. While some viewed it as being predictable, Thompson’s violent demise is directly tied to his original sin decades earlier and the continuous impact he has had on the Darmody family. Complimented by its ties to actual history, its sense of karma, and the lingering poetic beauty of the final shot, Boardwalk Empire delivers a succinct and rewarding finale that emphasizes the age-old idea that crime doesn’t pay.

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‘Ozark’ (2017–2022)

Image via Netflix

Marking one of Netflix’s more defining triumphs in the realm of television production, Ozark embroils viewers in a pulsating story of crime tension as it follows the Byrde family, who must relocate to the Missouri Ozarks to oversee a money laundering operation when they find themselves in the debt of a Mexican drug cartel. The visceral high-stakes drama and relentless suspense define the propulsive allure of the series’ four-season run, with the Byrdes’ desperate fight for survival always underlined by a hope of one day breaking free from the cartel’s control and returning to their ordinary suburban lives.

Titled “A Hard Way to Go,” Ozark’s finale grounds viewers in the consequences of the Byrdes’ actions, showing beyond any doubt that they are ensnared in their lives of crime, while the haunting final moments display that even their kids have been poisoned by their lifestyles of cold pragmatism and cunning opportunism. Also featuring surprise deaths, bleak twists, and a muted acceptance of corruption and evil standing victorious, Ozark’s resolution is one of blunt thematic resonance and damning drama.

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‘The Penguin’ (2024)

Image via HBO

A notably impressionable miniseries release from HBO, The Penguin excels at combining the surreal, stylized allure of superhero drama with gritty neo-noir brutality as it follows Oswald Cobb’s (Colin Farrell) rise up the criminal underworld following the events of The Batman. Torn between a disconcerting relationship with his mother and his determination to rule Gotham’s underbelly, the miniseries presents Cobb as a complex force of ambition, but the finale is emphatic in its endeavor to ensure he isn’t viewed as a sympathetic anti-hero.

Instead, “A Great or Little Thing” explores Cobb’s evil brutality in unflinching detail, be it through him strangling Victor (Rhenzy Feliz) to eliminate a vulnerability or conspiring to have Sofia Falcone (Cristin Milioti) returned to Arkham Asylum, a fate she considers to be worse than death. Just as superhero spectacle is somewhat defined by CGI slugfests and comical quirks, crime television has come to be known for anti-hero angst and gentle moral ambiguity. The Penguin blows both of those ideas out of the water with a raw and uncompromising vision of Cobb’s savagery that makes for one of the most piercing finales crime television has ever seen.

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‘Barry’ (2018–2023)

Image via HBO

It is astonishing what Barry achieves with its final episode. Following Bill Hader’s titular hitman as he discovers a passion for stage acting but struggles to separate his newfound hobby from his violent past. Much of the series wrestles with ideas of intent and outcome, deliberating on the standing of Barry’s character even as he murders people with cold dissonance. There is a feeling the finale could be a triumphant redemption or a heroic farewell, but true to the series’ nature, it does something a little different.

From unceremonious demises to acceptances of quiet isolation, the appropriately titled “wow” manages to give each character a resolution they deserve while satirizing Hollywood sensationalism and calling out audiences who want easy and comfortable conclusions to complex stories. It lampoons the moralism of blockbuster storytelling and eviscerates expectations of dramatic catharsis, making for one of the boldest and most acidic finales television has ever seen.

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‘The Shield’ (2002–2008)

Image via FX

Amid the plethora of great crime shows that were dominating the airways throughout the 2000s, FX’s The Shield has come to be something of an underrated gem. The shame in this is that it is one of the boldest and most important crime series the medium has ever seen, with its seven-season run revolving around the conniving practices and shocking morality of the Strike Team, a corrupt and unlawful police unit operating in a crime-riddled district of L.A. who revel in using illegal methods to uphold the law while finding ways to profit off street crime.

While it starts off strong, The Shield only gets better as it proceeds, with Season 7’s final episode, “Family Meeting,” marking an unforgettable highlight of the series. In layman’s terms, the chickens come home to roost. The members of the Strike Team are confronted with the consequences of their heinous actions, and in their punishment, their supposedly ironclad virtues of loyalty and brotherhood wither away into silent isolation. Poetic, powerful, and perfect, The Shield’s conclusion is a masterclass in crushing finality and consequence.

5

‘Sharp Objects’ (2018)

Image via HBO

Based on Gillian Flynn’s novel of the same name, Sharp Objects soars with its Southern Gothic atmospheric intensity and simmering slow-burn suspense as it follows crime reporter Camille Preaker (Amy Adams) as she returns to her hometown to investigate the murders of two girls. As is typical with crime mystery miniseries, Sharp Objects delivers an abundance of twists as Preaker’s investigation is compounded by her own traumatic past with her family, but it saves its best and most devastating episode for last.

To be completely truthful, it saves its most harrowing scene for its final moments before the credits roll, delivering a brutal revelation that reconfigures the entirety of the series and shatters Camille’s most sacred relationship. It is an ending that lingers long in the mind, a masterclass in shocking plotting and disturbing detail that complements the miniseries’ ruthless mood of dread and tension perfectly.

4

‘The Wire’ (2002–2008)

Image via HBO

Opening as a tightly-focused exploration of street-level drug dealing and a small police unit investigating the Barksdale crime organization, The Wire expands exponentially to examine the inner workings of the Baltimore police department, the volatility of City Hall, the chain-of-command of the drug trade, and the abysmal failure of social institutions. Over the course of five seasons, the series evolves through a litany of character deaths and the gradual overhaul in personnel within systems, and yet the finale holds the idea that nothing has changed from Season 1.

It is a bold message, but one that illustrates the cyclical nature of crime, violence, and institutional failures. It homes in on this with the bleak and hopeless emphasis on the trajectories of the younger characters, with some becoming callous enforcers in the drug trade while others succumb to addiction. McNulty’s (Dominic West) resigned reflection as he looks over the city is the cherry on top, the perfect highlight that compounds the message of damning repetition that makes the series so timeless and powerful.

3

‘Better Call Saul’ (2015–2022)

Image via AMC

For so much of its run, Better Call Saul was known as the prequel series to Breaking Bad, following Saul Goodman (Bob Odenkirk) in his tumultuous journey from a street-savvy defense attorney to the legal advisor of one of Mexico’s biggest drug cartels. Its final stretch of episodes, however, leaps forward to after the events of Breaking Bad, focusing on Jimmy McGill’s reclusive life in hiding in Nebraska after his involvement with “Heisenberg.”

In the appropriately named “Saul Gone,” McGill is finally apprehended by the authorities and stands trial for his crimes, circumstances that force him to make a monumental decision between avoiding the consequences of his wrongdoing and facing his punishment in a manner that allows him to reclaim his identity and win back the respect of Kim Wexler (Rhea Seehorn). Handled with delicate care, sentimental flourishes, and a sense of welcomed justice, Better Call Saul ends with an acknowledgment of the power of regret, an uplifting emphasis on Jimmy and Kim’s relationship, and a 180°-turn on the tone and themes of Breaking Bad‘s conclusion.

2

‘The Sopranos’ (1999–2007)

Image via HBO

Famous for its pioneering impact on television storytelling and its relentless brilliance, The Sopranos had its place in small-screen history enshrined long before its finale came around. However, its swan song has become, in itself, one of the most fiercely debated moments in television history. After following New Jersey mob boss Tony Soprano (James Gandolfini) for six seasons, and with the final season gradually ratcheting up the tension, the finale boldly aspires to ambiguity rather than clarity.

Every aspect of the final scene has been dissected ad nauseam, and while there is a general consensus about what the abrupt cut-to-black ending signifies, there is still room for those with differing perspectives to mount their case. Looking at the storytelling of the episode as a whole, “Made in America” excels at tying up lingering loose ends, delivering rewarding character farewells, and staying true to the series’ overall style of gritty realism and engrossing drama. Creator David Chase’s defiance of traditional Hollywood closure was met with some criticism at first, but in time it has only added to the legacy of The Sopranos, making it the flagship of modern television greatness and an ageless beacon of creative dare in the medium.

1

‘Breaking Bad’ (2008–2013)

Image via AMC

Viewed by many as being the greatest television series of all time, it is perhaps no great surprise that Breaking Bad holds what is possibly the greatest finale of all time as well. Throughout five seasons, the hit AMC show follows Walter White (Bryan Cranston) as he goes from being an ordinary and meek suburban family man and science teacher to a ruthless and completely amoral drug lord in charge of the most in-demand form of methamphetamine.

By the time “Felina” begins, Walter’s empire has crashed around him as he has been forced into hiding, and the family he once hoped to leave with millions of dollars has been consigned to squalor. From quiet emotional beats like Walter’s conversation with Skylar (Anna Gunn) to more explosive moments like the attack on the drug compound holding Jesse (Aaron Paul) as a prisoner, and, of course, to the note-perfect final scene complemented by Badfinger’s “Baby Blue,” the Breaking Bad finale is as masterful a finale as has ever been written, produced, and presented.

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Breaking Bad

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Release Date

2008 – 2013-00-00

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Network

AMC

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Showrunner

Vince Gilligan

Directors

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Vince Gilligan, Michelle Maclaren

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