WIRED's Politics Issue Cover Is Coming to a City Near You We're turning our latest cover into posters, billboards, and even a mural in New York, Los Angeles, Austin, San Francisco, and Washington, DC. Here's how to find it. Here at WIRED, we tend to stick to journalism. We talk about our work to anyone who will listen--during podcasts, on social media, over dinner with our politely listening friends--but we tend to confine our bragging to the scoops we get, the stories we write. For our new politics issue, though, we decided to do something different and bring WIRED's work to outside, to you, directly.

Over the past 10 years, thousands of movies have hit the world's multiplexes. It's nearly impossible to watch, let alone review, all of them. Yet, looking back over the past decade, it's easy to recall the ones that left indelible marks. The ones that caused audiences to leave the theater gobsmacked (or heartbroken, or mind-blown). For us at WIRED, this list (in chronological order) represents those movies. Not everything here is a genre film--our specialty--but there are probably more sci-fi, fantasy, and comic-book movies here than on any other best-of roundup.

Before it was even released, Homecoming was notable for many reasons. For one, it was the new project from Mr. Robot mastermind Sam Esmail. For another, it marked Julia Roberts' first turn leading an episodic television show. And finally, the Amazon original series was one of Hollywood's first big bets on adapting podcasts for the screen. Sam Esmail's Homecoming Is Nothing Like Mr. Robot Where Is Hollywood Looking for Its Next Hit?

When Silicon Valley came back this season, viewers may not have known what to expect, but they certainly knew what not to expect. T.J. Miller's much-ballyhooed exit meant that the show would be without its most dependable (if incompetent) trickster. Since the HBO show's inception, Erlich Bachman had been the perfect agent of chaos: shortsighted, greedy, and insecure enough to constantly undercut the Pied Piper gang without being an actual antagonist. Couple his departure that with the show's increasingly how are they gonna get out of this--oh, they just did narrative curlicues, and even fans would have been forgiven for assuming the worst for Season 5. Is that how the newest batch turned out? The season, which wrapped up last night, felt as ripped-from-the-headlines as other years--this time cryptocurrency flameouts, Tesla, and Sophia the robot got the parody treatment--but it also added some new variables to the mix.

Oof, this one is rough. Over the weekend, despite good buzz and glowing reviews from critics, Blade Runner 2049 opened by bringing in a meager $31.5 million domestically at the box office, a figure well below expectations and one that looks particularly bleak when you factor in that the film reportedly cost more than $150 million to make. Were fans just unwilling to go back to Blade Runner's future 35 years after Ridley Scott's original film? Did women not want to see a movie where they had such limited roles? Or did the performance of Denis Villeneuve's Runner reboot just speak to the fact that not that many folks wanted to spend nearly three hours watching a moody--if stunning--sci-fi film when things are already so gloomy outside the multiplex?

Filmmakers have been trying to adapt Stephen King's The Dark Tower series for more than a decade. But with time-jumping metanarratives and compulsive genre-switching, the eight novels proved tough to wrangle into one film-able narrative. Director Nikolaj Arcel's version of King's events finally hits theaters today. Written by no fewer than four writers (not including King), the movie arrives with a lean 95-minute runtime and the kind of Rotten Tomatoes score (21% and barely climbing) that studios fear. But is it possible the critics aren't being fair?