A survey of 2,000 Britons from the National Film and Television School has revealed the 30 films and television shows needed to be considered cultured.
The research found that 26 per cent of respondents believe being well-versed in movies and television indicates taste and intelligence just as much as holding strong literary knowledge.
Historically, a person's private library, particularly one containing a well-thumbed copy of James Joyce's 1922 novel Ulysses or the collected works of William Shakespeare, served as the primary benchmark of intellect. However, watching sci-fi classic The Matrix or quoting crime drama Breaking Bad is now viewed as the modern standard of refinement.
Francis Ford Coppola's mob drama The Godfather, the Wachowskis' action classic The Matrix, and HBO's fantasy series Game of Thrones tied at the top of the definitive list, with 31 per cent of respondents identifying them as essential viewing. Steven Knight's BBC period crime drama Peaky Blinders and Quentin Tarantino's Pulp Fiction followed closely behind, both selected by 29 per cent of people polled.
Vince Gilligan's drama series Breaking Bad earned 26 per cent, while Stanley Kubrick's psychological horror film The Shining reached 25 per cent. Danny Boyle's black comedy Trainspotting, AMC's post-apocalyptic drama The Walking Dead, the BBC's 1995 television adaptation of Jane Austen's Pride and Prejudice starring Colin Firth, and Jed Mercurio's police procedural series Line of Duty each captured 24 per cent.
The study was conducted by the National Film and Television School, a major postgraduate film school based in Beaconsfield, Buckinghamshire, which trains creative talent across film, television, and games.
"These findings highlight just how central film and television have become to modern cultural life," the National Film and Television School said in a statement.
"For many people, shared screen experiences now play the same role that literature has traditionally played, providing common reference points, sparking debate and helping us understand the world around us."
"It's encouraging to see such a strong public appreciation for great film and television, but it's equally important that talented people from all backgrounds feel they can play a role in creating the stories of the future," the institution added.
Social Asset and Digital Engagement
Screen knowledge is also increasingly viewed as a crucial social asset. Almost half of those surveyed, at 44 per cent, agreed that discussing iconic films and television shows is useful when socialising with others.
A further 39 per cent said cinema and television fuel their daily conversations and online debate, while 37 per cent regularly discuss what they are watching with friends and family members.
Digital sharing has also become a routine habit for viewers. Three in 10 respondents, or 30 per cent, share viral film or television moments online or in group chats. Meanwhile, 26 per cent admitted to experiencing a fear of missing out, commonly known as FOMO, when they have not watched the specific title everyone else is discussing.
Definitive List of Essential Screen Works
The full list compiled by the National Film and Television School highlights 30 titles spanning multiple decades and genres, with each entry earning a substantial share of public endorsement:
- The Godfather (1972) - 31 per cent
- The Matrix (1999) - 31 per cent
- Game of Thrones (2011) - 31 per cent
- Peaky Blinders (2013) - 29 per cent
- Pulp Fiction (1994) - 29 per cent
- Breaking Bad (2008) - 26 per cent
- The Shining (1980) - 25 per cent
- Trainspotting (1996) - 24 per cent
- The Walking Dead (2010) - 24 per cent
- Pride and Prejudice (1995) - 24 per cent
- Line of Duty (2012) - 24 per cent
- Fight Club (1999) - 22 per cent
- 12 Years a Slave (2013) - 22 per cent
- Goodfellas (1990) - 22 per cent
- Slumdog Millionaire (2008) - 22 per cent
- Blade Runner (1982) - 21 per cent
- Downton Abbey (2010) - 21 per cent
- Oppenheimer (2023) - 21 per cent
- The Handmaid's Tale (2017) - 20 per cent
- Casablanca (1942) - 20 per cent
- Sherlock (2010) - 20 per cent
- Adolescence (2025) - 19 per cent
- The Sopranos (1999) - 19 per cent
- Chernobyl (2019) - 19 per cent
- The Crown (2016) - 19 per cent
- Taxi Driver (1976) - 18 per cent
- Blue Planet (2017) - 18 per cent
- Dunkirk (2017) - 17 per cent
- Planet Earth (2006) - 17 per cent
- Black Mirror (2011) - 17 per cent
Shift From Classic Literature to Screen Media
The findings indicate that classic novels are frequently taking a back seat to prestige television series and acclaimed films, with 41 per cent of people saying they would choose a film or television adaptation rather than read the original book.
Despite the growing popularity of screen media, public opinion remains divided over which personal accolade matters more. More than a third, at 35 per cent, would prefer to be considered well-read, compared with 31 per cent who would rather be seen as well-watched. A further 20 per cent stated they want to be regarded as both.
Generational differences are strongly influencing media preferences. Almost half of younger people, with 49 per cent of Gen Z respondents, said they would rather watch a film than read. In contrast, 30 per cent of people aged over 60 stated they would prefer to read a book.
To be considered well-read, Britons believe individuals should have read Harper Lee's To Kill a Mockingbird (34 per cent), Jane Austen's Pride and Prejudice (32 per cent), George Orwell's 1984 (31 per cent), and Charles Dickens's Great Expectations (29 per cent).
Daily time investments also reflect these differing habits. Dedicated readers spend an average of 58 minutes reading each day, whereas film and television enthusiasts watch up to three hours of screen content daily.
Habits of the Well-Watched and Industry Aspirations
The study identified specific habits that define a well-watched person. Constantly quoting favourite lines and rewatching films to spot hidden details were both selected by 26 per cent of respondents as signs of screen culture.
Memorising obscure dialogue to reference in everyday conversation and holding subscriptions to multiple streaming platforms were each cited by 22 per cent. Furthermore, 21 per cent of respondents stated that being unable to tolerate people talking inside a cinema is a clear sign of a dedicated film fan.
Beyond viewer habits, the research explored public interest in pursuing creative careers. A quarter of respondents, at 26 per cent, said they would love to work in film or television, though many view such a career path as unrealistic.
Among those interested in working in the screen industries, significant barriers persist. The primary obstacles reported were a lack of industry connections at 43 per cent, difficulty gaining relevant experience at 39 per cent, and limited access to professional networks at 34 per cent.
