THE THING ABOUT PAM Starring: Renée Zellweger, Josh Duhamel, Judy Greer, Gideon Adlon, Sean Bridgers, Suanne Spoke, Mac Brandt, Katy Mixon, and Glenn Fleshler QUENTIN Between Renée Zellweger’s cartoonish performance as a murderous “Karen” (not to mention the distracting prosthetics) and a mishmash tone that seesaws between overly quirky and pseudo-serious, I wouldn’t call The Thing About Pam prestige television despite starring a two-time Oscar winner; However, it is oddly addicting in a guilty pleasure sort of way. It’s like Fargo (the series) mixed with the trashy tone of Tiger King . Given how ridiculous the true story is, the over-the-top flourishes weirdly work, but it takes an episode to fully buy what the series is selling. But once you do, it’s a wild ride.

MINX: SEASON ONE Starring: Ophelia Lovibond, Jake Johnson, Idara Victor, Jessica Lowe, Oscar Montoya, Lennon Parham, and Michael Angarano Creator: Ellen Rapoport QUENTIN Behind the groovy 70s sheen, bubbly personalities, and Jake Johnson’s affable magnetism, Minx delivers a sharp and funny (but not insistent) commentary on feminism, racism, and sexuality. For a show in its first season, it has a tremendous amount of confidence, which is aided by the cast’s stellar chemistry. Fair warning, Joyce (Ophelia Lovibond) is a tad unlikeable in the early episodes because of her buttoned-up, entitled naivete, but know that is just where her engaging character arc starts. Given that Minx was dropped on HBO Max somewhat unceremoniously (plus the sheer amount of dicks present), some might decide to skip it. Don’t do it.

SOLOS Starring: Morgan Freeman, Anne Hathaway, Anthony Mackie, Helen Mirren, Uzo Aduba, Constance Wu, Nicole Beharie, and Dan Stevens Creator: David Weil QUENTIN Another day, another Black Mirror -influenced anthology show. This one, however, boasts an absolute bonkers cast and is less conceptual than Charlie Brooker’s show. It's still tech-centric, taking place in a recognizable-yet-distant future, but Solos is more of an acting showcase. As the name implies, each episode is essentially a one-person stage show, giving the actors room to simply act and deliver monologues. The quality varies, with Tom and Leah being the standout entries by far, but with runtimes between 20-30 minutes, even the weaker ones never overstay their welcome. A fun little twist in the finale is kinda neat too.

Previous Next May 15, 2026 WRITTEN BY: PAIGE With so much content at our disposal these days, choosing what to watch can feel overwhelming. There are countless shows to pick from, with some requiring you to binge multiple seasons just to catch up. When time is of the essence, sometimes less is more. That’s where limited series come into play. Below is a list of my favorite limited series, broken down by genre. For my money, each one delivers an incredible and complete story with a relatively minor time commitment. And don’t worry, I won’t be spoiling these miniseries for you. I want this article to intrigue you, giving you more reasons to watch. So, let’s begin! HORROR: THE HAUNTING OF HILL HOUSE (2018, NETFLIX) Not only is The Haunting of Hill House Mike Flanagan’s first outing as a showrunner, but it’s arguably his best show to date. Loosely adapted from Shirley Jackson’s 1959 novel, this modern-gothic, ten-episode series does a phenomenal job of blending supernatural horror with family drama. It’s atmospheric horror at its finest. From its jump scares to its ominous somber moments, this ghost story will have you watching through your fingers. That said, not only is it a haunting show, it’s also deeply heartfelt. With such a large ensemble, each character is given their moment to shine, allowing the emotional weight of the story to land just as powerful as the scares. The Haunting of Hill House certainly solidified Flanagan as one of the great modern horror directors working today. SCIENCE-FICTION: MANIAC (2018, NETFLIX) I’ll admit that this show may not be for everyone, but if you're down for a thought-provoking sci-fi story that does something different, then it’s something you should definitely watch. Maniac isn’t your typical science-fiction show, as it’s far more character driven in its premise, diving into relatable themes of mental health and human connection. Cary Joji Fukunaga’s direction over the 10-episode season is bold, and he takes a bizarre yet fascinating approach to the material that fully embraces the show’s weirdness. Story-wise, Maniac follows two strangers, played by Emma Stone and Jonah Hill, who participate in a mind-bending drug trial to fix their personal problems. With dazzling visuals, a rad synth-heavy score, and captivating performances, this hidden gem will give you all the feels. It’s trippy, stylish, and authentic. In my eyes, it’s one of Netflix’s most ambitious series to date. BASED ON A TRUE STORY: CHERNOBYL (2019, HBO MAX) Chernobyl is one of those shows that will rock you to your core with the realization of how devastating this real-life event was. It’s a gritty and raw portrayal of the 1986 nuclear disaster, which creates a riveting and unsettling watch. As someone who didn’t know the fine details of these haunting events, I walked away having learned so much after these five episodes. There’s a reason this show received 19 Emmy nominations in 2019. It's one of those shows that has you feeling like you are on the ground witnessing the horrific event unfold firsthand. From its fierce writing and direction to its gripping performances, this story truly cements itself as one of the best limited series to ever grace our television screens. MYSTERY: DEFENDING JACOB (2020, APPLE TV+) Defending Jacob is the show that put Apple TV+ on the map for me, proving that the streaming platform was serious about making great content. Across its eight episodes, Chris Evans showcases his acting range in a far darker and more serious role than we are used to seeing from him. He plays a district attorney with a happy family whose world gets turned upside down when his son is accused of murdering a classmate. What makes the series so effective is how it allows the viewers to form their own theories of what might have happened. It’s more than just a simple whodunit, as this courtroom drama explores morals and how far one might go to protect their child. It will have you on the edge of your seat, questioning what happened and what you would do if you were in the same situation. I highly recommend it, and I am curious to find out where people land on this ambiguous show. ROMANCE: NORMAL PEOPLE (2020, HULU) Based on the Sally Rooney book of the same name, this beautiful series follows the relationship between Marianne Sheridan (Daisy Edgar-Jones) and Connell Waldron (Paul Mescal). Portraying these two tortured, lonely souls demands a lot from Edgar-Jones and Mescal, but my god, they are so phenomenal. They deliver such vulnerable and intimate performances, not to mention their chemistry is through the roof. As for the series, it’s a rollercoaster of emotions; a tender, raw, and powerful story that explores relationships and mental health. The writing and directing also are exceptional, and nothing is ever heightened for dramatic sake. While the pacing may be slow for some, it gives its audience room to breathe. This 12-episode series is a show I recommend to everyone, and I promise you’ll become fully invested in these characters’ lives. Just be sure to have some tissues nearby because you’ll definitely shed a few tears. PRESTIGE DRAMA: ADOLESCENCE (2025, NETFLIX) You may be eager to claim recency bias here, but Adolescence took 2025 by storm. If you haven’t watched it yet, then I don’t know what you are doing with your life because you’re missing out on masterclass storytelling. It’s a must watch, even though it’s not an easy watch. Each episode of the four-episode series is breathtakingly shot in a single take, featuring long and close-up shots that fully immerse you in the scenes. You’ll genuinely feel trapped in the same moments as the characters, and you’ll truly feel the unsettling tension in every scene thanks to its raw and authentic performances. This family drama feels painfully real as it doesn’t sugarcoat anything despite tackling such prominent themes of cyberbullying and the pressures of modern masculinity on young boys. This show rightfully earned every ounce of awards recognition it received. BONUS: FOR THE LOVE OF MUSIC: DAISY JONES & THE SIX (2023, PRIME VIDEO) Daisy Jones & The Six is a fantastic adaptation of the New York Times best-selling book by Taylor Jenkins Reid. Told in a documentary style, this ten-episode series follows the rise and fall of a fictional 70s rock band named, you guessed it, Daisy Jones & The Six. What I love most about the series, aside from the phenomenal original music (which I highly recommend listening to), is that the show isn’t just about being a band. At its core, it explores ambition, addiction, love, fame, and what it can take from those who chase it. Along the way, every character sacrifices something, whether it’s a relationship, stability, or even themselves. It’s a compelling and raw depiction of the 1970s rock era, and if you’re a fan of Fleetwood Mac, the music and vibe will be your cup of tea. As you may have noticed, this list is full of book adaptations, which goes to show that books make for great limited series.

CLASS OF '09 Starring: Brian Tyree Henry, Kate Mara, Sepideh Moafi, Brian J. Smith, Jon Jon Briones, Brooke Smith, Jake McDorman, and Rosalind Eleazar Creator: Tom Rob Smith QUENTIN Despite Brian Tyree Henry’s best efforts, not even he can elevate Class of ‘09 to something worth watching. The biggest issue is that the central gimmick – following the main characters over three timelines, identified as “Past,” “Present,” and “Future” – is more confusing than compelling. There are random subplots, both explicit and implicit, that are underexplored, and outside of Tayo (Henry) and maybe Poet (Kate Mara), the characters are poorly developed. Once you realize it’s trying to explore the dangers of artificial intelligence, which it does shabbily, it starts to feel like a Minority Report rip-off. Ultimately, this is merely stunt storytelling with faulty execution. PAIGE While the ideas and concepts presented in Class of ‘09 are intriguing, the way they are implemented is a hot mess. With a more grounded approach, this show probably would have flowed a lot smoother. As it is, it’s too all over the place with the timeline jumps to convey a compelling story for these characters. While the actors give the best performances they can, the writing leaves them high and dry. The show tries to be Minority Report , examining what happens when our trust in technology goes too far, but it ends up being a very sloppily executed story that carries no momentum throughout.

STRANGER THINGS: THE COMPLETE FINAL SEASON Starring: Millie Bobby Brown, David Harbour, Finn Wolfhard, Winona Ryder, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Joe Keery, Maya Hawke, Jamie Campbell Bower, and Sadie Sink Creators: The Duffer Brothers AMARÚ VOLUME ONE Even after years between episodes, once you return to Hawkins for each season of Stranger Things , series creators The Duffer Brothers quickly remind you why we have loved this show for so long. Their writing and directing aren’t off-the-wall unique or top of the line, but it’s everything we want from our favorite franchises: an absolute blast. Combined with a cast that, while hilariously older, injects charm and care into the perfect handle the Duffers have on their creation, Volume One of the final season ups the action, scares, scope, and stakes to bring us all back into the inevitable fold. It’s just so good. VOLUME TWO & FINALE Aside from an anticlimactic government side plot, I am glad that Season Five’s series finale landed much more solidly than Volume Two did, with the finale mostly prioritizing showing over telling after the (kind of) necessarily overlong and super-expository previous three episodes. With five seasons and nine years of epic storytelling to wrap up, the massive explanations were sluggishly knocked out before returning to the finale’s better pacing, more emotional character wrap-ups, and a fittingly hopeful epilogue that felt right for the long journey we’ve traversed. It had bumps that might irk some more than others, but I was satisfied with my last look at Hawkins. PAIGE VOLUME ONE After the long awaited return of Stranger Things , the first four episodes throw you right back into Hawkins without missing a beat. The fast-paced narrative can feel a bit convoluted, offering a heavy dose of setup and lots to take in, but that doesn’t take away from the fact that this show is a true phenomenon because of its characters and scope. Volume One may be a lot to digest, but it leads to such an eventful and impactful moment to make it all worth it. With only four episodes left, I’m on the edge of my seat to see where The Upside Down will take us. VOLUME TWO & FINALE Stranger Things Volume Two slows things down to raise the stakes in the upside down. On the other hand, the finale plays it a bit safe whilst wrapping everything up in a sentimental bow. While the final battle felt brief, the epilogue delivered all the feels and a heartfelt send-off. After watching these characters grow and endure so much over five seasons, it’s clear the show is much more than its action or sci-fi spectacle. It refocuses itself to what mattered most, which is to the characters we learned to love. It may have felt underwhelming in some parts, but in the end I found it bittersweet to reach the end of these characters' journeys in the rightside up. QUENTIN VOLUME ONE Given its momentum-killing, decade-long path to Season Five, Stranger Things viewers probably fit one of two categories: blindly committed, eager to champion the series while ignoring its flaws; Or begrudgingly committed, determined to see how it ends while tolerating its flaws. I go back and forth, and Volume One epitomizes my wishy-washiness. On the blind hand, the action, gore, and stakes are elevated to series highs. On the begrudging hand, most everything is confusingly convoluted story setup, the release schedule is annoying, several actors’ performances have badly regressed, and the younger cast’s ages are laughably distracting. However, with six hours of story still to come, we’ll see… VOLUME TWO & FINALE …well, we’ve seen. The verdict? Very meh. Granted, this final run of Stranger Things episodes doesn’t reach Game of Thrones -levels of tragically bad, but between the overabundance of forced character moments (many of which feel unearned due to the long breaks between seasons), plot holes, logical fallacies, and the unnecessary military subplot that is ultimately abandoned, there are more things to dislike than like. That’s all without mentioning some terrible performances (Noah Schnapp and Millie Bobby Brown being the worst among them), the 50-minute epilogue in the two-hour finale, the absolute waste of Linda Hamilton, and complete lack of “oh shit!” moments. So, yeah…very meh. ROBERT VOLUME ONE When a hype train loses steam, it generally is hard to recapture it; however, Stranger Things managed to reclaim the center of the zeitgeist with Season Four. Going into Season Five, given another significant chunk of time between airings, it opened itself up to criticism despite the goodwill it regenerated. Yes, the kids are grown-ass people, but in long-form storytelling, kids mature and wear their hardships, which the Hawkins contingent does. While the series-creating Duffers lost me with how the whole gang morphed into super spies, they roped me back in with fabulous production design and thrilling horror action. No frowns for Upside Downs. VOLUME TWO & FINALE Volume One ended on such a high that excitement for Volume Two was palpable. Unfortunately, with a lot of break-pumping happening to work on galvanizing relationships, while it mostly worked it also grinded happenings to a standstill. By the finale, a plan was set and a boss battle for the ages was foreshadowed, but disappointment ensued as converging storylines did not meet as anticipated. The visuals remained top-notch, but the action lacked overall satisfaction narratively. Luckily, the epilogue (which was half of the finale) put our beloved characters in the emotional spots we needed as an audience. Overall, minus one Intelligence and plus one Charisma. Check out our reviews for Season Four HERE .

GANGS OF LONDON: SEASON ONE Starring: Joe Cole, Michelle Fairley, Brian Vernel, Lucian Msamati, Paapa Essiedu, Sope Dirisu, Jing Lusi, Narges Rashidi, Orli Shuka, Ray Panthaki, and Pippa Bennett-Warner Creators: Gareth Evans and Matt Flannery QUENTIN Gangs of London is a good show, but it may frustrate some viewers. The titular gangs are many and the storytelling is incredibly dense, so it requires your full attention to keep up with the narrative. Thankfully, that isn't really an issue because it's mostly riveting stuff, with nearly every episode having an extremely well-done and violent action sequence. If you've seen The Raid , you know what creator/writer/director Gareth Evans brings to the table in terms of sheer brutality. Overall, with its warring mob family plotlines, Gangs of London is like a modern-day Peaky Blinders meets Game of Thrones .

LIKE A DRAGON - YAKUZA: SEASON ONE Starring: Ryoma Takeuchi, Kento Kaku, Munetaka Aoki, Yumi Kawai, and Kōichi Satō Creators: Sean Crouch and Yugo Nakamura QUENTIN Since I’ve never played the Sega video games, it’s hard to know if I’ll be more or less forgiving than die-hard fans. As a series on its own merit, though, Like a Dragon isn’t without some promise, mostly in watching the various lifepaths of four youths in the Yakuza’s orbit. However, that intriguing setup is undone by a confusing and momentum-killing, flashback-ridden narrative. It’s constantly jumping between 1995 and 2005, which often left me scratching my head as to which young character correlated to which old character. Plus, and maybe it’s the poor dubbing, but there is a certain campiness that undermines the inherent seriousness.

YELLOWJACKETS: SEASON TWO Starring: Melanie Lynskey, Tawny Cypress, Sophie Nélisse, Jasmin Savoy Brown, Sophie Thatcher, Samantha Hanratty, Steven Krueger, Warren Kole, Christina Ricci, Juliette Lewis, Courtney Eaton, Liv Hewson, Kevin Alves, Simone Kessell, Lauren Ambrose, and Elijah Wood Creators: Ashley Lyle and Bart Nickerson PAIGE Season Two of Yellowjackets has lost some steam after such a spectacular first season, mostly by lacking the mystery that Season One told so well. At this point, I’m left much more invested in the teens’ storyline since that is where the power of the show is truly held. That said, even though this season ends with a thud, absent a real cliffhanger for our adult Yellowjackets, it doesn’t take away from the fact that Yellowjackets continues to be an intriguing show that flip-flops between past to present storylines. There is also no denying that the stacked, female-led cast all continue to deliver magnificent performances. ADRIANO Yellowjackets’ second season proves that, sometimes, more isn’t always better. The first season's high-octane insanity served the more contained narrative well, whereas here, it feels just a tad off-the-walls. The series is simply juggling too much. The younger Yellowjackets’ plotline remains the juice of the show, but the adult Yellowjackets’ story has lost me. That said, it’s mysterious when it wants to be, thrilling when it needs to be, and all-in-all, entertaining throughout; that ensemble can’t get any better either, so it’s still a worthwhile season of television, nonetheless.

NATIONAL TREASURE: EDGE OF HISTORY: SEASON ONE Starring: Lisette Olivera, Zuri Reed, Antonio Cipriano, Jordan Rodrigues, Jake Austin Walker, Catherine Zeta-Jones, Breeda Wool, Lyndon Smith, Armando Riesco, Jacob Vargas, and Harvey Keitel Creators: Cormac & Marianne Wibberley AMARÚ For a franchise focused on intelligently solving intricate riddles, National Treasure: Edge of History spoon-feeds plot points to the audience. Most major story beats are highly telegraphed, and there’s little-to-no subtlety to the non-puzzle related dialogue. Luckily, I cared for those who were reading those lines. Catherine Zeta-Jones knows how to Evil without mustache-twirling, and the batch of young protagonists going against her have the wonder, charm, and confidence to endear themselves as our new treasure hunters. This season’s latter half began to trust the audience’s intellect and actors’ potential a bit more, and hopefully, that carries over into a second season. QUENTIN If not for the rumors that Nic Cage might show up in the finale (or Season Two), I would have quit National Treasure: Edge of History long ago. Following Willow , this is Disney+’s second sequel series to a beloved film in recent months, and it’s only marginally better than the terrible Willow . It’s mostly long-winded exposition dumps from a strategically diverse cast of horny Gen-Zers (none of which are great actors, btw), who usually solve the riddles through dumb luck or ridiculous, Adam West-era Batman -level deduction. Then, somehow, the finale makes it all worse by looking like it takes place on a cheap Disney World set.

Previous Next John Wick is the latest franchise to spin-off with the upcoming Ballerina. So, that got us thinking about what some of our favourite spin-offs are across both film and television. You know what that means... yes, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Spin-offs. Considering we've already done a prequel list, we've omitted those titles from inclusion here. Each writer ranks their top 15 releases in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE LEGO BATMAN MOVIE The Lego Batman Movie stands out as an animated spin-off that, in my view, may be truer to the character it focuses on than the live-action films. It broke through the pervading superhero fatigue as a shining example of a comic book movie that balances serious and silly. It’s hilarious and full of hysterical gags, but respects the source material, satirising the Batman universe and his character in a way that highlights his loneliness in a surprisingly emotional way while also lovingly making fun of his signature angst. The Lego animation enables impressively vibrant and imaginative visuals, and the way the characters move, like real mini-figures brought to life, adds to the comedy and charm. It also benefits from the genius casting of Will Arnett as the titular character, whose moody, solitary Batman ultimately is what makes this spin-off so enjoyable for adults and children alike. - Katie 4. PEACEMAKER When it comes to the Bitesize Top Five, I usually refrain from ranking recent movies and series because I want to give things time to breathe before I anoint them with superlative praise. However, in the case of Peacemaker , I can’t deny that it’s a near-perfect spinoff even if it dropped in 2022. It’s a terrific blend of tremendous action, raunchy hilarity, and layered pathos. More importantly, it expands DC’s cinematic universe — something Warner Bros. has long struggled with — in ways that no one expected from a series this irreverent, all while demonstrating the best way to use John Cena’s physique, perfect comedic timing, and willingness to do just about anything. In fact, it was so good that it resulted in Warner Bros. giving James Gunn the keys to the kingdom. And that theme song? It’s still my ringtone. - Quentin 3. THE PENGUIN Having The Penguin on this list after only a year might have you saying, “woah woah woah, take it easy sweetheart.” But honestly, it doesn’t take long to recognize the show’s greatness, especially after Colin Farrell’s disappearing act as the show's titular character in The Batman left you wanting to see and hear his Oswald Cobb accent as much as humanly possible. The Penguin is the rare IP television show that doesn’t lean on its recognition to succeed, instead using it to lift tremendous performances and brilliant writing. If Cristin Milioti wasn’t named Sofia Falcone, she still would capture your full attention alongside Farrell’s Penguin, and the fact that non-comic-book lovers could watch this show with as much enthusiasm as The Sopranos or Breaking Bad shows just how well this spin-off landed. - Amarú 2. THE SIMPSONS No matter what generation you’re in, whether you first caught it during its golden years or during its supposed decline in quality, you very likely grew up with The Simpsons . Considering that it’s currently 36 seasons deep into its run with at least four more to come, it’s safe to say that’ll continue to be the case for new generations too. One could say that it’s easily the most successful spin-off ever, having originated as a series of recurring shorts on Fox’s The Tracey Ullman Show . Designed to be shown before and after commercial breaks, the reaction to Matt Groening’s crudely animated cartoons proved so positive amongst viewers that producer James L. Brooks decided to adapt it into its own series for the network. A few pitches later, and the rest is history as its satire on all aspects of American life created a brand like no other, which includes a feature-length movie (my first full exposure to the world of Springfield, incidentally), a few theatrical shorts (including the Oscar-nominated The Longest Daycare ), several tie-in video games, and much more. The day The Simpsons and its impact on culture ends is the day the world ends, and even with how things are going these days, I’m not counting on the latter happening any time soon. - Bode 1. CREED In a sea of legacy sequels and spinoffs, I'll always stand by the idea that Creed is the gold standard. Like many, I presume, when I first heard about a Rocky spinoff about Apollo Creed's (Carl Weathers) son, my first instinct was, "oh, brother!" In my defence, I had no clue just how unstoppable director Ryan Coogler and actor Michael B. Jordan were. Creed does everything right, plain and simple. It builds off the legacy of the originals while never prying off your nostalgia, crafting its own legacy in the process with new characters and its own sense of primal boxing glory. The highs are high, the emotions hit, it's fierce, and everything is earned. Creed is a masterwork of modern blockbuster cinema, and I can't imagine the bar getting any higher than this. - Adriano HONORABLE MENTIONS BORAT STAR TREK: THE NEXT GENERATION FAST & FURIOUS PRESENTS: HOBBS & SHAW GEN V FRASIER

Previous Next December 4, 2025 WRITTEN BY: ADRIANO In 2023, in the wake of Barbenheimer’s success, renowned filmmaker Francis Ford Coppola predicted “we’re on the verge of a golden age [of cinema].” That quote has stuck with me ever since. To hear one of the greatest filmmakers of all time — one who has had plenty of issues in the industry — proclaim such optimism when there were plenty of reasons to be pessimistic about the state of film was refreshing. It's now nearly 2026, following an October that reported some of the worst box office numbers in decades, which made me go back to that quote. Was that just bright-eyed naivety from a veteran out of touch? Or was he right, just not in the way we expected? WHAT IS A GOLDEN AGE OF CINEMA? “Golden Age of Cinema” is a vague term. One might think it simply means we're getting amazing movies. That's certainly part of it, but we're never going to be short of amazing works. I don't believe anyone considers the 2010s a Golden Age, but that decade gave us The Social Network, The Tree of Life, The Master, Mad Max: Fury Road, Get Out, and Parasite , just to name a few. Frankly, you can find incredible movies everywhere: wide studio releases, small indie releases, and even streaming titles. You’re never going to run out of excellent films to watch, regardless of what your tastes are. So, if it's not all about quality, is it defined by box office? Cynically, maybe a little. Part of what defined the last Golden Age was consistent audience turnout to movie theaters, but even then, it wasn't always so shiny. The Wizard of Oz and Citizen Kane , two massive Golden Age examples, were box-office bombs by the standards of the time. Ultimately, that means the definition is a little wonky. It can't be simply described as a flawless industry where everything that gets made is perfect and makes hundreds of millions of dollars because those two things are neither synonymous nor mutually exclusive. That would be great, of course, but it will never happen; more importantly, it never has happened. THE PREVIOUS GOLDEN AGE To help understand what a Golden Age entails, let's discuss the previous one. I'm not going to get into every single detail, mostly since it's not down to a science; however, by most accounts, the previous Golden Age of Cinema was jump-started by the launch of the studio system. While there is debate as to whether it was the poorly aged but technical revelation of The Birth of a Nation in 1915 or The Jazz Singer in 1927, which popularized the era of the talkies, that began the Golden Age, it's universally understood that it began around that era and, at the latest, ended at the dawn of the 1960s. During that time, output was strong and consistent, mainly because there was a monopoly in Hollywood by five major studios: MGM, Warner Bros., RKO, Paramount, and 20th Century Fox. These studios were working with in-house talent that often included movie stars and filmmakers under contract. Since the film industry was so successful, it made way for groundbreaking technical and narrative discoveries, many of which have become the bare minimum nowadays. For example, there was a time when an establishing shot was considered daring and innovative. Eventually, the fun had to stop due to legal issues and an overall shift in culture with the rise of television. The studio system as we knew it started to disband, which in turn made way for more daring filmmakers in the independent scene to usher in the New Hollywood era. Some filmmakers you might've heard of, including George Lucas, Steven Spielberg, Martin Scorsese, and even our good friend Francis Ford Coppola, all came in to mold the industry into something that looks a little more familiar to what we have today. THE MODERN STUDIO SYSTEM The studio system today is beyond different from what it was almost a century ago. For one, the five leading studios are different now. Warner Bros. and Paramount are still around, but RKO is gone. Disney acquired 20th Century Fox, and Amazon acquired MGM, so those two also are essentially gone. Disney, Sony, and Universal now join Paramount and Warner Bros. as The Big Five. For decades, they've all been focused on tentpoles, for better and for worse, especially as they fight off declining movie theatre attendance in the wake of a pandemic, rising inflation, and the convenience of streaming. For a while, IP blockbusters were easy money, but not so much anymore. Just as an example, Disney has had a tough year. Lilo & Stitch, The Fantastic Four: First Steps, and Freakier Friday are the only Disney films to have made a profit in 2025 (so far). More notable is that Disney’s financial misses include two Marvel films, a Pixar film, a legacy sequel, and a live-action classic remake. It wasn’t that long ago that those types of known entities made easy profits. Those bombs weren’t inexpensive to make, either, which means, even with the best of reviews, they may still have lost tens of millions of dollars at the box office. Granted, I'm well aware that Zootopia 2 and Avatar: Fire & Ash are about to cancel out those losses, but Disney can't rely on singular bailouts forever. Ideally, they should want to keep losses at a minimum. Admittedly, that's an extreme example, but it makes me strongly believe that the studio system is going to change once again, perhaps (hopefully) for the better, because on the flip side, the independent market is thriving. It's not breaking the box office by any means, but thanks to low budgets and companies like A24 and NEON becoming increasingly mainstream, the indie scene has consistently made incredible films for consistent profits, even if the box office numbers aren’t headline generating. For a multitude of reasons, independent studios alone cannot sustain theatres or the film industry. By their very nature, they are small, which has resulted in larger profits relative to investment, but generally less reach despite occasional, if not frequent, awards hype. WHAT WOULD THE NEXT GOLDEN AGE LOOK LIKE? Why all this talk about profit, you may be asking. What does that have to do with a Golden Age? Well, I say that to say, if we do get there (yes, if), it'll look very different than last time. I don't need it to expound upon my subjective feelings on film because, as any Bitesize member will tell you, my taste will never reflect much of the public’s. I've accepted that I Saw the TV Glow will never have more than a niche following despite how amazing it is. Either way, in my opinion, a new Golden Age would include less competition between streaming and cinemas, making the theatrical experience feel more vital. Studio budgets would be much more reasonable on tentpole films to ensure not only fewer financial losses, but that more smaller films could be made. For example, if Disney had reduced Thunderbolts* budget by $100 million, it would have been a financial success; then, Disney could have used that extra money to make 16 movies akin to Best Picture winner Anora ($6 million budget, almost $60 million box office). It's not a simple process, but in time, it could create a pattern of audiences wanting to spend their money at the cinema to watch something interesting and risky instead of only going to see the franchises they recognize. To be clear, I'm not saying get rid of all IP and franchise films, just make it so that they aren't the only thing major studios rely on. At this point, you might be thinking, “that's much easier said than done.” Of course it is, and my vision of the new Golden Age may just be a pipe dream. However, if the studio system is to change, perhaps we're not light years away from some form of my proposed reality. At the end of the day, film is much more than just box office. It’s a test and measure of time. Box office keeps the wheels turning, sure, but time defines a work of art's legacy. It's why we can now look at Citizen Kane and The Wizard of Oz , films that were once considered failures, and identify them as quintessential Golden Age titles. There will always be bad movies, some of which make loads of money, but a shift in the way the studios operate could make those movies an annoying aberration and not the important lifeblood keeping theatres alive. HAVE WE MADE IT TO THE NEW GOLDEN AGE? If it wasn't already clear… no, I do not believe we have made it to a new Golden Age. We certainly have no shortage of Golden Age-worthy titles from both the independent scene, like The Zone of Interest or Past Lives , or the major studios, like One Battle After Another and the Dune series. Of course, there are the two phenomenon-creating films that caused Francis Ford Coppola to make such a claim in the first place, Barbie and Oppenheimer . But is it possible I'm reading too much into a statement that was, perhaps, made offhandedly in the aftermath of a historical cinematic weekend? Maybe so. However, if I may match Coppola's optimism, there are small steps being taken to ensure a better cinematic landscape. For example, Netflix has recently done a better job of giving some of their original films a wider theatrical rollout, so much so that I can still watch Frankenstein in theatres right now even as it’s available in homes across the world. It is far from perfect, but it's a start. Look, here is what I will say in closing… I get depressed seeing A Minecraft Movie making nearly a billion dollars just a few weeks after Mickey 17 was an absolute bomb. That said, considering the overwhelming success story for Sinners and the growing appreciation for IMAX experiences on print film and classic re-releases, I find myself not fully pessimistic about the future of film. If a Golden Age is on the horizon, we probably are years away from it, at best, and who knows what it will actually look like, if we can even recognize it in the moment. My optimism lies in the fact that, at the end of the day, you don't need a labeled Golden Age to watch amazing movies. They are out there. All you need is an open mind and a sense of discovery.