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The Abandons © Netflix Kurt Sutter made his name with Sons of Anarchy , a gritty, character-driven series that received both critical and audience love. Eleven years after the end of Sons of Anarchy , he is back with The Abandons , a new Netflix Western-Drama, which is unfortunately nowhere near the quality fans might expect from him. Set in the 1850s and following clashes between outlaw groups in the Old West, the series promises scale, style, and tension, yet delivers something closer to a cheap, soapy network Western dressed up with a bigger cast and bigger sets. The problems start immediately with what might be one of the worst pilots in recent memory. Predictable with a capital P , the opening episode sets the tone for a show that has no real depth, no emotional hook, and no sense of danger. The writing never gives you a reason to root for most of its characters. Aisling Franciosi’s Patricia Van Ness is perhaps the lone exception, but even she gets bogged down by poor writing. The show is full of half-baked subplots and inconsistent character motivations that take you out of the experience. Big names like Michiel Huisman and Nick Robinson are completely wasted, barely given anything meaningful to play. Gillian Anderson as Constance Van Ness and Michael Greyeyes as Jack Cree in The Abandons. © Netflix Gillian Anderson is the only cast member who appears genuinely invested, sinking her teeth into a character that’s easily the show’s most interesting, though that’s an admittedly low bar. Lena Headey, meanwhile, is saddled with a frustrating, unlikeable role that makes it nearly impossible to feel invested in her arc. Even when the acting isn’t outright bad, it rarely rises above bland, and the show’s self-serious tone only highlights the lack of charisma across the board. While the middle batch of episodes is marginally more watchable, The Abandons  never finds its footing. There’s a standout scene between Headey and Anderson in episode three that briefly sparks to life, hinting at the deeper, grittier drama the show could  have been. But it’s an exception in an otherwise forgettable stretch of television. The pacing is an ongoing issue, with the narrative meandering without building tension. And for a Western, the lack of action is baffling. What we get instead are half-hearted relationships that go nowhere and plot developments you can see coming from miles away. Visually, the show is surprisingly unimpressive. Despite Netflix’s budget, the cinematography lacks texture and atmosphere; nothing lingers, nothing immerses. The only real technical strengths are the costumes and the production design, which do a commendable job of capturing the era. But even those elements can’t make up for the flat direction and uninspired storytelling. Clayton Cardenas as Quentin Serra, Elle-Máijá Tailfeathers as Oma Serra, Katelyn Wells as Samara Alderton, Lena Headey as Fiona Nolan, Nick Robinson as Elias Teller, and Diana Silvers as Dahlia Teller in The Abandons. © Netflix At just seven episodes, The Abandons   sounds  like the kind of show built for a quick binge, but the silly, off-putting cliffhanger it ends on makes the journey feel even less worthwhile. It’s not the first time Netflix has tried a Western like this — the Australian series Territory  comes to mind, and that one was cancelled after a single season. This show might face a similar fate, and even its big-name cast might not be able to save it. It’s concerning to see Netflix moving in this direction: high-profile creators delivering low-effort, derivative projects that feel like algorithm-generated mashups of better shows. The Abandons  is dull, uninspired, and completely forgettable — a messy blend of recent Western and period dramas without the heart, grit, or originality needed to stand out. Don’t be surprised if it ends up on several “Worst TV Shows of the Year” lists. The Abandons © Netflix About The Abandons Premiere Date:  December 4, 2025 Episode Count:  7 Showrunner: Kurt Sutter Executive Producers:  Stephen Surjik, Otto Bathurst, Emmy Grinwis, Jon Paré Production:     Sutter Ink Distribution:  Netflix Cast:   Lena Headey, Gillian Anderson, Nick Robinson, Diana Silvers, Lamar Johnson, Natalia del Riego, Lucas Till, Aisling Franciosi, Toby Hemingway, Michael Greyeyes, Ryan Hurst, Katelyn Wells, Clayton Cardenas, Elle-Maija Tailfeathers, Brían F. O'Byrne, Marc Menchaca, Patton Oswalt, Michael Ornstein, Jonathan Koensgen, Jack Doolan, Michiel Huisman, Haig Sutherland and Sarah White.

This review contains minor spoilers for 'It Was Just an Accident.' It Was Just an Accident © Memento Distribution It Was Just an Accident is a film about conflicting emotions. Sentiments like rancor and kindness, conviction and uncertainty, loathing and understanding should repel one another like oil and water, but in Jafar Panahi’s Palme d’Or Winner they converge in the messiest ways. Rather than defining themselves by their antagonism to one another, these ideas often find themselves under the same spotlight, where partial truths can become excuses, and mere accidents might mean so much more. The Iranian film follows a group of people with little in common, except for their shared traumatic past as political prisoners all tortured by the same intelligence officer, whose identity they must confirm, and whose fate they must decide together. Only able to identify their torturer, known as Eghbal (“Peg Leg”), by the sound of his squeaky prosthetic leg, the man they captured could be innocent, setting the stage for a political revenge tale full of doubt and contradiction. It Was Just an Accident is drenched in the same anxiety-inducing back-and-forths as the films of Asghar Farhadi such as The Salesman, A Hero, and A Separation , and examined through the documentarian-esque gaze historically inherited from the country’s influential Iranian New Wave. Vahid Mobasseri as Vahid and Hadis Pakbaten as Golrokh in It Was Just an Accident. © Memento Distribution The writer-director Panahi is no stranger to art as political resistance. The Iranian government has imprisoned him and attempted to censor his art countless times. Clearly, that hasn’t stopped him, and that punk ethos is present here, as the film was produced without official government permission. The women here don't always wear a hijab, which is punishable with prison time in Iran. Panahi’s film is a clandestine exercise on protest in more ways than one, but his delicate political commentary is beautifully rendered. Similar to last year’s The Seed of the Sacred Fig , directed by Iranian filmmaker Mohammad Rasoulof, who’s also been arrested several times, Panahi’s story studies the consequences of individual acts by agents of a repressive state as parables for wider conflicts. Mariam Afshari’s phenomenal character, Shiva, wonders whether retaliating against individual agents of the State is enough to substantially fracture the broader socio-political structure in which they’re merely cogs. It most likely isn’t enough, but can that partial truth disarm the victims’ immediate need for justice and resolution? It doesn’t even seem to work for Shiva, whose own stance on violence changes later on. In the opening scene, we see the man believed to be Eghbal driving a car, accompanied by his pregnant wife and young daughter. It’s a pitch-black night outside. They run over something - we hear a whimpering dog, then silence. “It was just an accident”, the mother says. “Whatever will be, will be. God didn’t place him in our path for no reason.” But the child doesn’t buy it. Her father killed a dog. God had nothing to do with it. Who is to blame: the flawed driver or the path devoid of light? Can someone surrounded by blinding darkness be exonerated from the harm they bring to others? Who accounts for what is done in God’s name, but outside His light? Panahi’s film asks all of these questions, and in an act of artistic maturity, answers none of them. It Was Just an Accident is refreshingly uninterested in pedestrian statements on religion. It critiques the misuse of faith as a tool for political repression and dehumanisation. The film illustrates the dialectical relationship between forces like faith and suspicion, and how atrocities can happen in between. The intelligence agent believes that if the prisoners he tortured were guilty, their punishment was justified, but if innocent, they will receive justice in heaven. Almost as if, like the dog killed earlier, they couldn’t have been placed on his path “for no reason." In this belief, he’s comforted by a sense of righteous certainty, while the victims now deciding his fate must grapple with doubt. Vahid Mobasseri as Vahid in It Was Just an Accident. © Memento Distribution The narrative exposes the irony of the contradictions intrinsic to being human. Vahid, the car mechanic who serves as the closest thing to a protagonist in this near-ensemble cast, materialises the concurrent movements of opposing sentiments. The faceless torturer ruined Vahid’s life, permanently injuring his back and leading his wife to suicide. Eghbal scarred him in ways he can never heal. Vahid begins the day nearly burying alive this man he suspects to be Eghbal. Cut to nightfall, and he’s desperately driving his suspected torturer’s pregnant wife to the hospital. Vahid Mobasseri brings to the screen one of the strongest performances of the year, imbuing so much life to this fascinating character. He might kill you but would also buy cake to celebrate the birth of your child because it’s the considerate thing to do. That's not the film's only instance of accidental humour cemented by that disconnect between words and actions. Throughout the film, Shiva’s ex-lover Hamid is the most vocal about enacting the violent revenge the presumed torturer deserves. Haunted by nightmares, he’s desperate for resolution. Mohammad Ali Elyasmehr's fantastic acting injects every scene with tension, a human stick of dynamite that ironically fizzles out the moment his feelings are hurt. Much of the cast's most pivotal moments expand on this fundamental dichotomy between their need for revenge and their mundane preoccupations. Goli, exquisitely played by Hadis Pakbaten, is a bride-to-be running around in a wedding dress discussing murder. A brilliant visual gag that also advances the film’s powerful moral provocations. Vahid Mobasseri as Vahid, Majid Panahi as Ali, Mohamad Ali Elyasmehr as Hamid, and Hadis Pakbaten as Golrokh in It Was Just an Accident. © Memento Distribution She makes it clear to her fiancé just how much revenge means to her, even if it costs them their wedding. She demands closure before starting a new life because, for the characters in It Was Just an Accident , revenge can mean several things. For Vahid, it's about payment for what was lost: a ruined life begets the end of another. For others in the group, it can mean new beginnings, though we can’t be certain they believe it themselves. The killing of the dog echoes through the final sequence of the film, as the alleged torturer awaits his judgement, tied to a tree while illuminated by the red lights from the car. The confrontation is lit with the same colour and contrast ratio as the scene in which the man examined the dog’s offscreen corpse earlier, a visual synonym that links the lives of the two and ties the film together. We remember the partial truths raised after the dog’s death. It is true, after all, that the path was dark - much like Iran’s political climate. It’s also true that the man couldn’t see what was ahead - similar to the individual agents that side with a status quo for which there are no alternatives in sight. But ultimately, the little girl’s words ring equally true: God had nothing to do with it. A man killed a dog. A man tortured people. All of these partial truths intertwine, and two questions are left: Is the truth enough? And can the light of forgiveness be found at the end of that dark road? It Was Just an Accident © Memento Distribution About It Was Just an Accident Premiere Date:  May 20, 2025 (Cannes Film Festival), October 1, 2025 (France) Writer: Jafar Panahi Director: Jafar Panahi Producers: Jafar Panahi, Phillippe Martin Production:   Jafar Panahi Productions, Les Films Pelléas, Bidibul Productions, Pio & Co, Arte France Cinéma Distribution:  Memento Distribution Cast:   Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, Mohamad Ali Elyasmehr, Delnaz Najafi, Afssaneh Najmabadi, Georges Hashemzadeh Synopsis: A small mishap triggers a chain reaction of ever-growing problems.

Heated Rivalry © HBO Max/Crave Canada Heated Rivalry did something I did not expect to be done in the first season of a series and that was give one of its side characters from the first two episodes an entirely dedicated episode... And honestly, it worked for me. In this week’s episode, we finally dive into the backstory of François Arnaud’s character, Scott Hunter. As many viewers suspected back in episode one, it’s now confirmed that Scott is gay and keeping his sexuality a secret. Still reeling from his losses to Rozanov and Hollander in the previous episode, Scott throws himself into an intense training session. Afterwards, he stops by a smoothie shop, where he meets the charming Kip (played by Robbie G. K.). What begins as a casual encounter quickly turns into a series of regular ‘encounters’ that eventually leads to the two hooking up. Not long after their first intimate moment, Scott admits he genuinely likes Kip, though he also makes it clear he isn’t ready to come out. It’s a dynamic that will feel deeply familiar to many queer viewers: developing real feelings for someone who isn’t yet able to live openly. Scott and Kip begin seeing each other, and their early days together are so sweet and charming that it’s almost easy to forget the inevitable conversation looming over them: the secrecy of their relationship. They spend nights together, attend a gala, and share plenty of steamy moments. And if the last two episodes’ sex scenes had you feeling any type of way, this week’s episode turns up the heat even more.   Everything comes crashing down when Kip’s best friend confronts Scott at the gala. In a semi-intense exchange, she warns him that keeping the relationship hidden will only end up hurting Kip and by extension, Scott himself. She tells him they both “deserve the sun,” a reminder that their secrecy is forcing them to live in the shadows rather than embracing the possibility of something honest and open. After the confrontation at the gala, Kip begins to pull away from Scott, choosing instead to lean on his friends as he prepares for his birthday celebration. The episode ends with Scott watching from outside the window, quietly observing the joy inside a moment that shows how much he longs to openly celebrate the person he loves. This episode is an unexpected yet strong addition to the series, offering new depth and genuinely relatable moments. If Heated Rivalry  continues delivering episodes with this level of emotional complexity and character development, it’s well on its way to becoming one of my favorite shows of 2025. Heated Rivalry Season 1 Episode 3 is now streaming on HBO Max / Crave Canada. Heated Rivalry © Crave About Heated Rivalry Premiere Date:   November 28, 2025 Based on: Game Changers by Rachel Reid Episode Count: 6 Created by: Jacob Tierney Production:   Accent Aigu Entertainment in association with Bell Media’s Crave Distribution:  Crave, HBO Max Cast:   Hudson Williams, Connor Storrie, François Arnaud, Robbie G.K., Christina Chang, Dylan Walsh, Sophie Nélisse and Ksenia Daniela Kharlamova.

Nexus Point News strives to provide insightful, engaging, and timely coverage of the latest entertainment media, celebrating the diverse voices and stories that shape our world. LATEST NEWS Sadie Sink, Mckenna Grace, Emma Myers And Isabel May Eyed For Disney’s Live-Action ‘Tangled’ Movie - Nexus Off The Record EXCLUSIVE: Scarlett Johansson In Talks To Join ‘The Batman - Part II’ Brainiac Shortlist For ‘Man Of Tomorrow’ Revealed - Nexus Off The Record NEWS Sadie Sink, Mckenna Grace, Emma Myers And Isabel May Eyed For Disney’s Live-Action ‘Tangled’ Movie - Nexus Off The Record EXCLUSIVE: Scarlett Johansson In Talks To Join ‘The Batman - Part II’ Brainiac Shortlist For ‘Man Of Tomorrow’ Revealed - Nexus Off The Record EXCLUSIVE: Frank Welker Set To Voice Scooby-Doo In Netflix’s Live-Action ‘Scooby-Doo’ Series EXCLUSIVE: Rupert Grint In Talks To Join ‘Ebenezer: A Christmas Carol’ EXCLUSIVE: Netflix’s ‘Assassin’s Creed’ Set To Explore Ancient Rome 1 2 3 4 5 REVIEWS REVIEW: 'The Abandons' Is Flat, Formulaic, And Massively Frustrating REVIEW: The Two-Episode Premiere Of 'Percy Jackson And The Olympians' Season Two Whets Appetites For A Bigger Otherworldly Story REVIEW: Brilliant Chemistry And Christmas Cheer Carry ‘Oh. What. Fun.’ Over The Finish Line REVIEW: ‘St. Denis Medical’ Season 2 Episode 6 Is A Funny, Revealing, And Heartfelt Exploration Of Mekki Leeper’s Matt REVIEW: ‘Eternity’ Offers Quirky Laughs And Creatively Eccentric Drama REVIEW: ‘Zootropolis 2’ Is Disney’s Best Animated Sequel Yet, And Feels Like A Warm, Heartfelt Hug 1 2 3 4 5 INTERVIEWS Inside ‘Prehistoric Planet: Ice Age’ - Mike Gunton Talks Science, Storytelling, And Tom Hiddleston’s Narration INTERVIEW: Tasha Huo Talks Adapting ‘The Mighty Nein,’ Live-Action Naruto And Challenges Of Adapting For Screen INTERVIEW: Nhut Le Talks Judomaster’s Journey And The Truth Behind The Hot Cheetos In ‘Peacemaker’ Season 2 1 2 3 4 5 EDITORIALS Oscar Predictions 2026: An Early Look Into The Awards Race The I.M.P. Crew Does Its Job So Well In Seasons 1 And 2 Of ‘Helluva Boss’ Coming To Streaming November 2025 1 2 3 4 5 COMICS & BOOKS REVIEW: ‘Ultimate X-Men #22’ - Armor Overshadowed No More REVIEW: ‘Wiccan: Witches’ Road #1’ Is A Well-Crafted, Authentic Billy Kaplan Story That Shows Promise For The Future REVIEW: Psychic Warfare Hits The Opposition In 'Ultimate Wolverine' #11 1 2 3 4 5

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