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© Golden Globes The Golden Globes is one of the biggest award shows celebrating excellence in TV and film – and, it seems, now podcasts too. The 83rd Annual Golden Globes ceremony will be hosted for the second year in a row by comedian Nikki Glaser and will air live on CBS on Sunday, January 11. Competition this year is tighter than ever, with an impressive slate of movies, TV series, and standout performances. Paul Thomas Anderson’s One Battle After Another leads the pack with a whopping nine nominations, including Best Actor and Best Actress nods for Leonardo DiCaprio and Chase Infiniti. Sentimental Value and Sinners follow closely with eight and seven nominations, respectively. On the television side, The White Lotus leads with six nominations. Check out the full list of Golden Globes nominees and winners below – updated live throughout the night. Best Supporting Actress  In Any Motion Picture Emily Blunt - The Smashing Machine Elle Fanning - Sentimental Value Ariana Grande - Wicked: For Good Inga Ibsdotter Lilleaas - Sentimental Value Amy Madigan - Weapons Teyana Taylor - One Battle After Another (WINNER) Best Supporting Actor In Any Motion Picture Benicio Del Toro - One Battle After Another Jacob Elordi - Frankenstein Paul Mescal - Hamnet Sean Penn - One Battle After Another Adam Sandler - Jay Kelly Stellan Skarsgård - Sentimental Value  (WINNER) Best Actor In A Television Series – Drama Sterling K. Brown - Paradise Diego Luna - Andor Gary Oldman -  Slow Horses Mark Ruffalo - Task Adam Scott - Severance Noah Wyle - The Pitt  (WINNER) Best Actress  In A Television Series – Musical Or Comedy Kristen Bell - Nobody Wants This Ayo Edebiri - The Bear Selena Gomez -  Only Murders In The Building Natasha Lyonne - Poker   Face Jenna Ortega - Wednesday Jean Smart - Hacks  (WINNER) Best Supporting Actor On Television Owen Cooper - Adolescence  (WINNER) Billy Crudup - The Morning Show Walton Goggins - The White Lotus Jason Isaacs - The White Lotus Tramell Tillman - Severance Ashley Walters - Adolescence Best Actor In A Television Series – Musical Or Comedy Adam Brody - Nobody Wants This Steve Martin - Only Murders In The Building Glen Powell - Chad Powers Seth Rogen - The Studio  (WINNER) Martin Short - Only Murders In The Building Jeremy Allen White - The Bear Best Podcast Armchair Expert With Dax Shepard Call Her Daddy Good Hang With Amy Poehler  (WINNER) The Mel Robbins Podcast Smartless Up First Best Original Song – Motion Picture “Dream As One” – Avatar: Fire And Ash “Golden” – Kpop Demon Hunters   (WINNER) “I Lied To You” – Sinners “No Place Like Home” – Wicked: For Good “The Girl In The Bubble” – Wicked: For Good “ “Train Dreams” – Train Dreams Best Original Score – Motion Picture Alexandre Desplat - Frankenstein Ludwig Göransson - Sinners  (WINNER) Jonny Greenwood - One Battle After Another Kangding Ray - Sirāt Max Richter - Hamnet Hans Zimmer - F1 Best Screenplay – Motion Picture Paul Thomas Anderson - One Battle After Another  (WINNER) Ronald Bronstein, Josh Safdie - Marty Supreme Ryan Coogler - Sinners Jafar Panahi -  It Was Just An Accident Eskil Vogt, Joachim Trier - Sentimental Value Chloé Zhao, Maggie O’Farrell - Hamnet Best Actress  In A Motion Picture – Musical Or Comedy Rose Byrne -  If I Had Legs I’d Kick You   (WINNER) Cynthia Erivo - Wicked: For Good Kate Hudson - Song Sung Blue Chase Infiniti - One Battle After Another Amanda Seyfried - The Testament Of Ann Lee Emma Stone - Bugonia Best Actor In A Motion Picture – Musical Or Comedy Timothée Chalamet - Marty Supreme  (WINNER) George Clooney - Jay Kelly Leonardo DiCaprio - One Battle After Another Ethan Hawke - Blue Moon Lee Byung-Hun - No Other Choice Jesse Plemons - Bugonia Best Actor In A Limited Series, Anthology Series, Or A Motion Picture Made For Television Jacob Elordi - The Narrow Road To The Deep North Paul Giamatti - Black Mirror Stephen Graham - Adolescence  (WINNER) Charlie Hunnam - Monster: The Ed Gein Story Jude Law - Black Rabbit Matthew Rhys -  The Beast In Me Best Actress  In A Limited Series, Anthology Series, Or A Motion Picture Made For Television Claire Danes - The Beast In Me Rashida Jones - Black Mirror Amanda Seyfried - Long Bright River Sarah Snook - All Her Fault Michelle Williams - Dying For Sex  (WINNER) Robin Wright - The   Girlfriend Cinematic And Box Office Achievement Avatar: Fire And Ash  (Walt Disney Studios Motion Pictures) F1  (Apple Original Films) Kpop Demon Hunters  (Netflix) Mission: Impossible – The Final Reckoning  (Paramount Pictures) Sinners  (Warner Bros. Pictures)   (WINNER) Weapons  (Warner Bros. Pictures, New Line Cinema) Wicked: For Good  (Universal Pictures) Zootopia 2  (Walt Disney Studios Motion Pictures) Best Director – Motion Picture Paul Thomas Anderson - One Battle After Another  (WINNER) Ryan Coogler - Sinners Guillermo Del Toro - Frankenstein Jafar Panahi - It Was Just An Accident Joachim Trier - Sentimental Value Chloé Zhao - Hamnet Best Picture – Animated Arco  (Neon) Demon Slayer: Kimetsu No Yaiba Infinity Castle  (Aniplex, Crunchyroll, Sony Pictures Entertainment) Elio  (Walt Disney Studios Motion Pictures) Kpop Demon Hunters  (Netflix)   (WINNER) Little Amélie Or The Character Of Rain  (Gkids) Zootopia 2  (Walt Disney Studios Motion Pictures) Best Picture – Non-English Language It Was Just An Accident (Neon) - France No Other Choice  (Neon) - South Korea The Secret Agent  (Neon) - Brazil   (WINNER) Sentimental Value  (Neon) - Norway Sirāt  (Neon) - Spain The Voice Of Hind Rajab (Willa) - Tunisia Best Actress  In A Supporting Role On Television Carrie Coon - The White Lotus Erin Doherty - Adolescence (WINNER) Hannah Einbinder - Hacks Catherine O’Hara - The Studio Parker Posey - The White Lotus Aimee Lou Wood - The White Lotus Best Performance In Stand-Up Comedy On Television Bill Maher - Bill Maher: Is Anyone Else Seeing This? Brett Goldstein - Brett Goldstein: The Second Best Night Of Your Life Kevin Hart - Kevin Hart: Acting My Age Kumail Nanjiani - Kumail Nanjiani: Night Thoughts Ricky Gervais - Ricky Gervais: Mortality  (WINNER) Sarah Silverman - Sarah Silverman: Postmortem Best Actress  In A Television Series – Drama Kathy Bates - Matlock Britt Lower - Severance Helen Mirren - Mobland Bella Ramsey - The Last Of Us Keri Russell - The Diplomat Rhea Seehorn - Pluribus  (WINNER) Best Television Series – Drama The Diplomat  (Netflix) The Pitt (HBO Max)   (WINNER) Pluribus  (Apple TV) Severance  (Apple TV) Slow Horses  (Apple TV) The White Lotus  (HBO Max) Best Television Limited Series, Anthology Series Or Motion Picture Made For Television Adolescence  (Netflix)   (WINNER) All Her Fault  (Peacock) The Beast In Me  (Netflix) Black Mirror  (Netflix) Dying For Sex  (FX On Hulu) The   Girlfriend  (Prime Video) Best Television Series – Musical Or Comedy Abbott Elementary  (Abc) The Bear  (FX On Hulu) Hacks  (HBO Max) Nobody Wants This  (Netflix) Only Murders In The Building (Hulu) The Studio  (Apple TV)   (WINNER) Best Actress In A Motion Picture – Drama Jessie Buckley - Hamnet  (WINNER) Jennifer Lawrence - Die My Love Renate Reinsve - Sentimental Value Julia Roberts - After The Hunt Tessa Thompson - Hedda Eva Victor - Sorry, Baby Best Actor In A Motion Picture – Drama Joel Edgerton - Train Dreams Oscar Isaac - Frankenstein Dwayne Johnson - The Smashing Machine Michael B. Jordan - Sinners Wagner Moura - The Secret Agent  (WINNER) Jeremy Allen White - Springsteen: Deliver Me From Nowhere Best Picture – Musical Or Comedy Blue Moon  (Sony Pictures Classics) Bugonia  (Focus Features) Marty Supreme  (A24) No Other Choice  (Neon) Nouvelle Vague  (Netflix) One Battle After Another  (Warner Bros. Pictures)   (WINNER) Best Picture – Drama Frankenstein (Netflix) Hamnet (Focus Features)   (WINNER) It Was Just An Accident (Neon) The Secret Agent (Neon) Sentimental Value (Neon) Sinners (Warner Bros. Pictures)

The Pitt © HBO Max The Pitt , HBO Max's latest medical drama, has been the talk of the town for the past year and is currently sweeping award season. It was only earlier in the week that it once again won "Best Drama" amongst several other awards at the Critics Choice Awards. There's a lot about The Pitt that makes it stand out amongst other streaming television shows. It retains quality across all departments that allow it to be recognised as prestige TV, and although its first season only debuted last year in January, it's already back for another 15-episode season, which is bound to throw us back into a chaotic shift at Pittsburgh Trauma Medical Centre. The Pitt Season 2 returns us almost a year after the events of the last season. We follow the doctors and nurses of Pittsburgh Trauma Medical Cetre aka The Pitt on their daunting and gruelling 15-hour shift on the Fourth of July weekend, with each episode taking place within an hour of the shift. It's the same structure as the last season, but this first episode builds on some of the storylines that began in the last season, introduces us to new characters and builds on the dynamics of characters that we love. A lot took place during the last few episodes of Season 1 as an active shooter was discovered at Pittfest, the music festival that Dr. Michael "Robby" Robinavitch's (Noah Wyle) stepson, Jake (Taj Speights), was attending. Unfortunately, there were some lives lost, including the life of Jake's girlfriend, Leah (Solan Mannino). The efforts of the doctors weren't forgotten, and there's a plaque in the building, thanking and commemorating them for their hard work on that night. Robby is back for yet another shift, which we soon find out is his final shift, as he goes on sabbatical for three months, which brings the introduction of Dr Baran Al-Hashimi (Sepideh Moafi), the new attending that will be covering Robby while he's gone. Before we even get to meet Al-Hashimi, we quickly learn what type of character she is from the surrounding nurses and doctors. She's arrived early to meet the night shift; she has plans and "quality improvement changes" for The Pitt which are already in motion, as patient passports have been distributed to give the patients a better idea of how long their overall procedure may be. On her first shift (mind you, she's arrived earlier than expected, throwing Robby off his game), she's already been described as having taken "giant balls of disrespect" for some of the stuff she's already pulled. Tracy Ifeachor unfortunately doesn't return in The Pitt Season 2 as Dr. Heather Collins, and as of this first episode, her absence isn't mentioned, but it's felt as Al-Hashimi feels like a replacement for the character. On this season's shift, there are now two attending physicians, and they both work completely differently, and we're shown just how they both clash, making attempts to lead at the same time, which creates tension between the two. It's unfortunate to see Ifeachor's departure from the series and to see it handled as such so far, but hopefully future episodes will bring closure to her character. Alongside Robby, there are two other characters who make a return whose storylines were previously unknown. There have been a few changes with Dana Evans (Katherine LaNasa). Firstly, although Season 1's finale made it seem like she had decided on retiring, we see her back for a shift, ready to tackle the day ahead. She took some time off for herself, and hopefully we won't be seeing any more retirement threats this season unless something blindsides her. In the last season, Dana got blindsided by a patient while she was having a smoke, and we get to see how that's still affected her, as she's quit smoking and replaced cigarettes with nicotine gum. She's also now holding the hands of Emma (Laëtitia Hollard), a new nursing school graduate who's been seen bouncing around the place helping Dana out. It's yet another character surrounded in mystery, but if we get to spend more time with Dana and Emma, we might soon get to find out what her character is all about. The Pitt © HBO Max In the last season, we discovered that Frank Langdon (Patrick Ball) has an addiction and stole a patient's dose to help calm his withdrawal symptoms instead of seeing a doctor in fear of losing his licence. This storyline saw Langdon and Robby going at each other, and it ended in a pretty bad spot. In the very first episode, we see Langdon return after he's taken some time off for rehab and counselling. His first encounter with Robby is an awkward one, as we see Robby try to avoid him and fail before forcefully sending him to triage, which to Langdon feels like a punishment, while Robby makes snarky comments such as "pretty sure we can cover for you; we've been doing it for months" as Langdon tries to avoid going to triage. It's here that we discover that Louis, his patient whom he met earlier outside in the waiting room, is the patient he had stolen the doses from last season. Langon receives forgiveness from Louis, but it's a matter of whether Robby will have the same change of heart for him. What makes The Pitt so engaging to watch is that its writing doesn't treat its audience like idiots. I, as a viewer, have no clue what they're talking about half the time, but they still make it incredibly easy to follow through the eyes of their patients. Whether it's lying to get yourself home early (been there, done that), to avoid an expensive medical bill, or to hide the truth because you're scared of the outcome, The Pitt ensures its patients, bedside or in the waiting room, are also characters within the show that we can connect with. R. Scott Gemmill also doesn't hold the audience's hand, telling them every little update and detail about the characters, but instead throws hints through their body language and dialogue, allowing us to connect the pieces. The greatest improvement is that it feels like time has actually passed within the world of The Pitt . We have Dennis Whittaker (Gerran Howell), who has grown more confident and seems to be taking the lead with new medical students, Joy (Irene Choi) and James (Lucas Iverson). Not much to say on them yet, but Joy seems pretty pessimistic, and James is eager and excited to get on with the shift. Trinity Santos was shown to be a character that's defensive of young women who may be in sexually abusive relationships that involve family, and this season doesn't waste any time with throwing Santos into a dilemma which involves a 9-year-old girl who seems to be telling a completely different story from what Santos believes and what evidence seems to be showing. Victoria Javadi (Shabana Azeez) is still avoiding her mother and doesn't want people finding out about her birthday, a secret that will be quickly revealed due to Trinity's cockiness. Samira Mohan (Supriya Ganesh) also seems to be struggling with family and Melissa "Mel" King (Taylor Dearden) has "Mel... ancholia," according to Trinity and has been stressed and quieter than usual due to a malpractice lawsuit which involves her having her deposition on that day. We'll likely see a development of Mel having to deal with this malpractice lawsuit, but it seems like we might get to see her form a relationship with a patient who seems to have quite an interest in her. One of the crazier stories from this first episode of The Pitt Season 2 is that a 1-month-old baby was found in the restrooms, which are currently being treated on high alert as they don't have enough information on the child. We are left on the cliffhanger of Al-Hashimi coming back to noticing something that Samira has yet to notice, and unfortunately, we're left in the dark until next week's episode. If an abandoned baby, a likely victim of child SA and a man who smells like complete and utter dog aren't an indication that The Pitt Season 2 is only going to get more chaotic and emotional, then I don't know what will. It's time we all brace ourselves for the oncoming storm. The Pitt . © HBO Max About The Pitt Premiere Date:  January 8, 2026 Episode Count:  15 Showrunner:  R. Scott Gemmill Production:  John Wells Productions in association with Warner Bros. Television Distribution:  HBO Max Cast:  Noah Wyle, Patrick Ball, Katherine LaNasa, Supriya Ganesh, Fiona Dourif, Taylor Dearden, Isa Briones, Gerran Howell, Shabana Azeez, Sepideh Moafi. Synopsis:  The Pitt is a realistic examination of the challenges facing healthcare workers in today’s America as seen through the lens of the frontline heroes working in a modern-day hospital in Pittsburgh.

Absolute Batman: Ark M Special 1 © DC Comics Absolute Batman: Ark M Special 1  is a One-Shot special that deep dives into the origins of Ark M - Absolute Batman's version of the classic Arkham Asylum. The special issue is written by Scott Snyder and Frank Tieri with art by Joshua Hixon, colors by Roman Stevens, and letters by Clayton Cowles. Ark M has been one of the most mysterious and fascinating elements of Absolute Batman , and this issue pulls the curtain back to reveal some horrific truths about the institution. It hits some well-trodden beats but, like most of the Absolute Universe, also offers up an original twist on a familiar concept. The issue is split into two main narratives. One narrative, the voiceover of the issue, comes from the writings of Dr. Amadeus Arkham. The other narrative comes from an in-person conversation between Amadeus and a potential buyer of Arkham Asylum. The latter conversation takes place in 1945, while the former voiceover spans decades, from the mid-to-late 1800s up to the "present day" of the issue, 1945. The writings of Amadeus serve as a confession and biography of his life, and give the readers unfettered insight into the history of Arkham. The narration bounces back and forth flawlessly with the conversation between Amadeus and the mysterious buyer interested in Arkham. Absolute Batman: Ark M Special 1 © DC Comics To say this issue is dark would be an understatement. From the opening pages, it is downright haunting. It homages an iconic moment but wraps it in an utterly horrific context. The stage-setter propels the story forward, immediately gripping the reader. It consistently ratchets up the tension, following one heinous revelation with another. Readers expect Arkham to have a troubled past; what is presented here is legitimately nightmarish. The art here, by Hixon and Stevens, is tremendous. The entire issue is dripping with atmosphere. Its depiction of violence, terror, and unsettling imagery is second to none. The paneling is varied and precise, giving moments time to breathe when needed and whisking the reader along elsewhere. Characters often look ghoulish, creating an added layer to the unsettling tone of the book. Every visual enhances the mood, and it's a spine-chilling affair. Absolute Batman: Ark M Special 1 © DC Comics Absolute Batman  has been a watershed moment for comics. It's completely captured the zeitgeist, and with issues like this, it's easy to see why. Sometimes special issues - issues not part of the mainline numbered story - can feel a bit like fluff. That is far from the case here. This is required reading when going through Absolute Batman , with just as much, if not more, meat on the bone than a standard issue. It rides the line of connecting too many dots in an almost convoluted way, but is executed with such precision and style that it manages to be incredible. Absolute Batman: Ark M Special 1  is a can't-miss entry in a can't-miss series.

Pole to Pole with Will Smith © National Geographic Pole to Pole with Will Smith  is National Geographic’s newest documentary series, premiering on January 13 on National Geographic and January 14 on Disney+ and Hulu. The mini-series follows actor Will Smith to all corners of the globe as he spends 100 days overcoming a variety of challenges your average person could only dream of experiencing. In doing so, and in exploring the big questions in life, Will is supported by a variety of experts in a large assortment of fields. One of those experts is Professor Bryan Fry, or as he’s better known in the wider scientific world he is part of, the Venom Doc.  Professor Fry specializes in venomology, which is the study of not only venomous creatures themselves but all the ways in which that venom can be used in helpful applications. He has published several books and papers on a variety of subjects relating to venomology, and he also runs an expedition and film production safety company called BFG Safety Consulting, which helps expedition leaders and film production companies remain safe while operating in high-risk areas of the world.  I was thrilled to get the opportunity to speak with Professor Fry about his background in scientific philosophy, the discovery and importance of a new species of green anaconda, and the best argument towards the conservation of our natural resources: economics.  SARAH: Thank you so much for taking the time to talk to me today. I am a big fan of yours. My first question is you have a degree in scientific philosophy. Can you talk a little bit about what that entails and how it ties into the work that you do now?  BRYAN FRY: I think that it's much to the great detriment of the current generation of scientists that humanities, and particularly philosophy, is steadily being eroded as a core part of the training because look at what a PhD stands for. It's a philosophy degree. You're supposed to be a thinker, not a tinkerer, but so much of it, of the academic training nowadays is training and tinkering. It's not training and thinking, of how to push boundaries, how to shift paradigms.   I really think that having a Philosophy degre definitely made me a better scientist. I'm just mystified about why there's so much of a push towards just these narrowly applied fields and focal points rather than the broader Waldenian idea of walking through the woods of knowledge, and then getting and then sitting on that thorn that gives you the serendipity. SARAH: It seems like that really does feel like it's missing in scientific inquiry these days, at least from a lay person's perspective. BRYAN FRY: We're going to lose those blue sky leaps. The discovery of nylon was just a graduate student screwing around in a lab. The discovery of penicillin was actually an error where a grad student left a petri dish out.The development of Wi Fi was an Australian invention, and they were just screwing around with different radio signals and just playing. They discovered Wi Fi that way . You'renever going to get those blue sky quantum leaps by tinkering. You need the freedom to just play. SARAH: I absolutely agree with that, and I think it's really important to keep pushing that idea of teaching people how to think and not just recreate stuff that's already been done. BRYAN FRY: Yep, absolutely. SARAH: That actually ties into my next question, where this expedition that you did resulted in discovering a new species of green anaconda. That's so cool. Can you talk a little bit more about the process of that?  BRYAN FRY: I think this is a great example of where studying of biology can have real world tangible impacts. The fact that the green anaconda is genetically distinct… [in regards to its sexual dimorphism]   has an impact only among snake nuts. The broader impact of that is zero. This is not going to save lives in and of itself, but there's a unique aspect about the northern green in that it's the only of the anacondas that has an extreme sexual dimorphism. That was the whole idea and the hypothesis I did about using it as an indicator species for what's happening with the Wairani's ecosystem from the oil spills. The females are the classic anaconda: 7 or 8 meters, 250 kilograms. Everything you'd expect from your imagination and terrible, but awesome, movies like the [Jennifer Lopez]  Anaconda  movie, which I still watch occasionally.  A new species of green anaconda was discovered during the filming of Pole to Pole with Will Smith . © National Geographic The male anacondas, you wouldn't even recognize as part of the same species. You'd be hard pressed to call it an anaconda. They're skinny little things built like an eel, and they're only 2 to 2.5 meters long and about 15 to 20 kilograms. That means they have a totally different predatory ecology. The females are feeding on grazers, like deer. Anything that's entering the food chain is going to be taken up by the plants, and then it's entering into the animal side of things will be through your grazers, whether like plecoderm fish on the aquatic side or deer on the terrestrial side.  So, females are eating something that's entering the food chain. They're eating it just after it's come through the first trophic level, but the males are feeding on other predators. They're eating arapama fish, arowana fish, turtles, frogs, caiman; they're a predator feeding on other predators. They're feeding up at the top of the food chain.  The idea that I had was that we could use them as sentinels, where if something has entered the food chain and is being bioaccumulated, then biomagnified as it moves up, we should see that in the males versus the females. Discovering that there's two different types of green anacondas allowed us to use one of them as a tool. [It] happens to be that the [green anaconda] in the Waironi lands is the one with the sexual dimorphism. So, what we did was we looked at what's happening with the heavy metals because the petrol chemical impacts, the long term impact are the forever chemicals, your heavy metals like cadmium and lead that have profound and terrible impacts on fertility, reproduction, sexual health, developmental biology, so fertility rates go down, miscarriages go up, birth defects go up, developmental issues in kids go skyrocketing… in plants, in animals as well as humans. The idea was to measure the male versus female anaconda’s accumulation of these pollutants and use that as a sentinel.  That's exactly what we found, that with cadmium and lead in particular, the two worst ones were in over 1,000% a higher concentration in male anacondas than females, which means that everything that they're eating on is a clear and present danger to the Wairani themselves. Clearly, pregnant women. When my wife was pregnant with our two kids, the first thing our doctors said after congratulations was, don't eat tuna, don't eat salmon. This is a well-known warning to pregnant women because of heavy metal accumulation, the potential for endocrine disruption.  We want to do more research, but we can already say to the Waironi, as far as a wild food safety guide, that in the very least, pregnant Wairani women should avoid eating arapama and arowana fish, or turtles or caimans because we know by virtue of the fact that the male anacondas have higher accumulation of these heavy metals that it's a threat to the Wairani themselves. It’s showing the intersection between basic ecology, basic taxonomy, which 99.99% of the world is not going to care about, but extreme public health messages that that 99% of the world will care about because the minute you start talking about male swimmers, you're talking about sperm health, you're getting people's getting people's attention and people start paying attention. SARAH: It's interesting how that works. I did want to talk a little bit about the specific expedition that you did with Will [Smith]. What kind of safety considerations may have gone in for people who don't have your experience dealing with highly venomous creatures and environments like that? BRYAN FRY: Will has a great ability to listen. One of the things that I really liked about him was that. It was ego-free. The premise of the show is that he's genuinely interested in science and nature. He's got a deep-seated advocacy for science and nature. His daughter Willow has a collection of boa constrictors and big tortoises, so he's familiar with these weird animals. The whole idea is that fish out of water bridge to a much larger audience and different kind of audience than I would normally be talking to. I've done over 200 docos, but they've been the classic, you know, BBC. Natural World . So, with Will, since he was totally ego-free, he's athletic, he's sporty, he's strong, he can do this stuff, but he doesn't try to pretend anything that he's not. With the rope safety, he listened, snake safety, he listened and followed it, which is refreshing because I've worked with some other people that I'm surprised that we didn't have a chalk out line at the end of it. Will Smith explores the world in 100 days in Pole to Pole with Will Smith. © National Geographic SARAH: All right, just to wrap up, what do you think is something that people would be surprised to know about the world of venomous creatures? BRYAN FRY: The example that I always use is they would be surprised to know that if they know of anyone taking high blood pressure medication, odds are they're taking a modified snake toxin. Captopril was developed as a drug 50 years ago, but it's still today a $15 to $20 billion a year market. There's very few drugs that have had that kind of staying power. Its economic, social, and medical impact is up there with aspirin. It's made from one of the most lethal snakes in South America, but a lot more lives have been saved by the snake than had been taken by it. It's an illustration that even if you don't care about nature, you need to want to keep nature around. When I'm lecturing at the university, I always have students ask what's the best message we can get out there of conservation? I always say that your weakest message is to try to convince people that these animals are awesome. They're not going to think that way. If they were going to, they already would. Instead, push the conservation-through-commercialization angle that it's a biosource. It's a biobank. That gets people's attention. I use the illustration that chopping down the Amazon is no different than blowing up an oil field with a nuclear bomb. You destroyed an economic resource. Angle that it's a biosource. That gets people's attention, the conservation through commercialization, people can relate to that. If you start talking about money and saving lives, you've got their attention. If you start talking about how beautiful the scorpion is, you've already lost it. The only people who are going to appreciate that are the ones who already think that way. You are preaching to the choir. You are not going to convince anybody new. But if you start talking about [the] economy, then, all right. We need to keep it around so you can make money. Anybody can understand that. Your elevator pitch is done in 5 seconds. Pole to Pole with Will Smith  premieres January 13 on National Geographic and January 14 on Disney+ and Hulu. This interview has been edited for clarity.

His & Hers © Netflix January has traditionally been the month where streamers and networks try to kick off the new year with a bang, often dropping some of their stronger projects to set the tone for the months ahead. Unfortunately, Netflix’s new limited series His and Hers , created by William Oldroyd and Dee Johnson, feels like a surprisingly weak start to 2026 for the streamer. While it manages to stay in the realm of "really good popcorn TV" for a significant chunk of its runtime, it ultimately stumbles under the weight of its own ambition, delivering a viewing experience that is as frustrating as it is addictive.   On paper, the series has everything you’d want in a mid-winter binge. It’s based on a popular novel and features a very juicy plot with a dark, twisty murder mystery as the central focus. The setup is exciting with a small-town setting, a violent murder, and a whole lot of secrets. For the first half of the season, the formula actually works. The pacing is exceptional, utilizing six tight, 45-minute episodes that respect your time. The dialogue is decent and sharp enough to keep you engaged, and the regular end-of-episode twists do exactly what they’re supposed to do: keep you on the edge of your seat and hitting "Next Episode" before the credits even finish rolling. His & Hers © Netflix However, once you look past the hooks, the cracks begin to show. The most glaring issue is the cast. It’s a great cast on paper, but the talent feels largely wasted. Tessa Thompson, usually a powerhouse, feels horribly miscast here; she never quite finds the right rhythm for the character’s internal turmoil. Opposite her, Jon Bernthal is a mixed bag. He’s great at times, bringing that signature charm and intensity, but he feels very average for the rest of the series, almost as if he’s operating on autopilot. Even more disappointing is the supporting cast, who barely have anything to do. Their characters are left entirely unexplored, serving as little more than human props to move the plot from point A to point B.   Visually, the show is a bit of a letdown, too. Given William Oldroyd’s involvement, I expected something more striking, but the direction is underwhelming, and the cinematography feels flat and uninspired. The show also tries to market itself as a "steamy" thriller, yet even the sex scenes feel oddly tame and clinical. On the positive side, the costumes are great, and there are some editing choices — specifically during reveals — that work really well to maintain the tension. His & Hers © Netflix Then, there is the finale. Despite having a seasoned writer like Bill Dubuque (the mind behind Ozark ) penning the final hour, the show completely falls apart. It has ridiculously wild twists that feel unearned and a lazy finale that prioritizes shock value over narrative logic. There are plot holes galore and while I’m pretty sure fans will be genuinely shocked to learn who the real killer is, the reveal feels more like a "gotcha" moment than a satisfying conclusion to the mystery.   His and Hers is highly watchable and makes for decent popcorn TV for the most part, and its unpredictable nature will likely make it a trending hit for Netflix. But in a month that has a lot better TV shows to offer across other platforms, and especially with this cast, His and Hers feels like a missed opportunity. It has the ingredients of a prestige thriller but settles for being a forgettable, middle-of-the-road mystery. © Netflix About His and Hers Premiere Date:  January 8, 2026 Episode Count:  6 Showrunner: William Odlroyd Executive producers:  Tessa Thompson, William Oldroyd, Kristen Campo, Jessica Chastain, Kelly Carmichael, Kishori Rajan, Dee Johnson, Bill Dubuque. Distribution:   Netflix Cast:  Jon Bernthal, Tessa Thompson, Marin Ireland, Pablo Schreiber, Chris Bauer, Crystal Fox, Sunita Mani, Rebecca Rittenhouse.

Industry  Season 4. © HBO After the explosive, high-stakes finale of season 3, many wondered if the immensely talented showrunner duo of Mickey Down and Konrad Kay could maintain that "Sunday night prestige" momentum with its next chapter. I’m happy to report that while it might not snatch the "best season" crown, Industry season 4 is a satisfying, high-pressure expansion of the world we’ve come to love (and fear). Myha’la, Marisa Abela, Ken Leung, Kit Harrington, and Sagar Radia reprise their roles, while Kiernan Shipka, Max Minghella, Kal Penn, and Charlie Heaton are the newcomers to this world. The performances remain the show’s greatest asset. Abela and Myha’la are great as usual, continuing to anchor the series with that razor-sharp, ruthless chemistry that defines their complex dynamic. This year, however, the writers really put the screws to Kit Harington’s Henry Muck. He is sent through the wringer in ways I didn’t see coming, proving his addition to the cast wasn't just about star-power but a vital part of the show's DNA. He is arguably the third lead of the show, and he is a central focus throughout the season. Myha'la and  Marisa Abela  in Industry Season 4. © HBO We also have some fresh blood this year. Max Minghella joins the fray and is absolutely magnetic in the beginning; he brings a certain shark-like energy, though by the end, his character feels a little too one-dimensional compared to the more layered leads. Charlie Heaton and Kiernan Shipka also pop up and have some really nice moments, adding a bit of variety to the trading madness. On the flip side, after his incredible standalone episode last year, Rishi’s arc this season was a little disappointing. It felt like he was sidelined just as we were getting to the core of his chaos. The structure of the season is a bit of a tale of two halves. The first half is utterly terrific—fast-paced, nail-biting, and intensely focused. The second half, however, gets a little too heavy on its themes. It tries to deal with too many things at once — navigating personal betrayals, corporate espionage, and a massive influx of political maneuvering. Speaking of which, this is easily one of the slowest seasons so far in terms of pacing, but the stakes feel higher than ever because the show has moved beyond just "making money" and fully into the realm of systemic power and politics. Kit Harington, Marisa Abela in Industry  Season 4. © HBO Despite the slower burn, the dialogue writing remains the best part of the show. The scripts are dense, witty, and incredibly sharp; the writers have a way of making every conversation interesting in some way. The storyline as a whole was very exciting and engaging, populated by so many twisted characters that you truly don't know what they're going to do next. It keeps you on the edge of your seat, even when the jargon gets thick. If I had to nitpick, the score wasn't quite as impressive or atmospheric as previous seasons, which usually help drive that heart-pounding anxiety the show is known for. It’s not the "best" overall season simply because Season 3 was such a tight, cohesive masterpiece that’s hard to beat. Many will miss Harry Lawtey’s Rob this season, and you can feel his absence. Ultimately, Season 4 is a very satisfying chapter in the Industry   saga. It’s a bit messier and more ambitious, but it remains one of the most intelligent and addictive dramas on television. It manages to balance the "shock value" with genuine character growth, even if those characters are becoming increasingly monstrous. It’s a wild ride that proves this show still has plenty of capital left in the bank. In one of the episodes, someone says, “You’re Undeniable", and that is exactly what this show is. Once you get on the Industry train, you’ll struggle to get off. © HBO About Industry Premiere Date:  January 8, 2026 Episode Count:  8 Showrunner: Mickey Down and Konrad Kay Executive producers: Jane Tranter, Kate Crowther, Ryan Rasmussen, Kathleen McCaffrey, Rebecca Ferguson. Distribution:   HBO Cast:   Myha’la, Marisa Abela, Kit Harington, Ken Leung, Max Minghella, Miriam Petche, Sagar Radia, Toheeb Jimoh, Charlie Heaton, Amy James-Kelly, Roger Barclay, Andrew Havill, Kiernan Shipka, Kal Penn, Jack Farthing, Stephen Campbell Moore, Claire Forlani, and Edward Holcroft.

This article contains spoilers for S2E9 of St. Denis Medical . Allison Tolman as Alex, Mekki Leeper as Matt, and David Alan Grier as Dr. Ron in St. Denis Medical © NBC St. Denis Medical  returns on January 5 with “You’re in His Bubble Space,” a steady 25-minute episode with familiar sitcom territory thanks to a stubborn child patient, a wedding spiralling out of control, and a workplace crush reaching new slow-burning heights. The central plot follows Jacob, a child patient who refuses a tetanus shot after stepping on a rusty nail. Matt’s (Mekki Leeper) first instinct is to defer to Jacob’s parents, only to be told that Jacob has bodily autonomy and that his wishes must therefore be respected. It soon becomes clear they are committed to gentle parenting, leaving no room for adult intervention at a moment when it’s clearly required. Matt dutifully asks for this to be noted on Jacob’s chart, even wondering aloud if bodily autonomy is genetic. While Matt is a nurse and should know better, the episode later suggests that his openness to this approach stems from an upbringing defined by rigid authority. Ron’s (David Alan Grier) response is predictably less patient. He believes Matt made his first mistake by ceding power to a child, making it clear that, over the years, he has seen every type of child patient, from biters and pinchers to screamers and manipulators, and insists that he always comes out on top. Naturally, it isn’t that simple. When Ron lifts Jacob’s sleeve, the latter tells Ron that he is in his “bubble space,” something his dad clarifies that Jacob is in charge of. As the only medical case of the episode, it’s obvious that this won’t be an easy fix. What follows is a series of attempts to convince Jacob to have the shot. When asked to hold Jacob down, his parents warn Ron that they will not restrain their son. They also do not use fear as a motivator, which cancels out showing Jacob gruesome images of a patient who refused the Tetanus vaccine. When Ron turns to bargaining with an animated vaccination clip, Jacob explains that he isn’t allowed screens until after his bath. At the end of his tether, Ron produces a Nutrageous bar to negotiate. If he takes the shot, the bar is his. Jacob counters with Nerd Clusters, which Ron refuses, unwilling to let the child win. In the end, it’s Matt, returning with the Nerds in a superhero costume, who succeeds. However, Ron does learn a thing or two about patience, leading him to seek out his son to make good on the mistakes he made while raising him. Elsewhere, Matt becomes the subject of his fellow nurses’ attention after wearing glasses to work. Holly (Alexandra Ford) considers making a move at happy hour, a prospect that delights Bruce (Josh Lawson), ever the gossip. Serena (Kahyun Kim) initially dismisses the idea that anything has changed, insisting it’s just the glasses, leading Bruce to helpfully point out that it’s the first time he’s really noticed Matt’s face. Lawson and Kim are easily the highlights of this week's episode as their back-and-forth is less about teasing and more about Bruce testing Serena’s self-awareness. When he floats the idea of Matt and Holly as the hospital’s new power couple, Serena’s reaction gives her away. That reaction becomes even clearer when Bruce asks whether she’s heard that Matt and Holly kissed. Her sharp “What?” is all Bruce and we need to know. She concedes that Matt is attractive and that she likes him, even loves him, before quickly reframing her feelings as platonic, as he’s one of her best friends, and nothing more. Josh Lawson as Bruce and Kahyun Kim as Serena in St. Denis Medical © NBC The conversation that follows between Bruce and Serena complicates any chance Matt and Serena had to progress in their will-they-won't-they relationship; something those waiting for the pair to get together will not enjoy. Serena insists that she isn’t trying to date Matt, to which Bruce admits that he’s relieved. He describes Matt as fragile and innocent, and despite his being divorced, is someone who would be permanently altered by the wrong relationship. Serena, in contrast, is likened to a shark, a comparison she rejects, though not very convincingly, if her behaviour at the end of the episode is to go by. Steve Little as Sanderson, Allison Tolman as Alex, and Wendi McLendon-Covey as Joyce in St. Denis Medical © NBC Running alongside this is Joyce’s (Wendi McLendon-Covey) wedding planning after Sanderson (Steve Little) proposed before the winter break. Joyce recruits Alex (Allison Tolman) to help organise the ceremony, positioning the role as an honour rather than a job. Alex is soon tasked with managing Sanderson’s impractical ideas, including a Norse Viking theme, Old Norse vows, and a level of eccentricity that bears little resemblance to anything Joyce had originally imagined for her wedding. As Alex attempts to impose some order, Joyce pushes back on more of Sanderson’s suggestions, including the idea of a wedding cake, leaving Alex to confront the growing sense that Joyce’s problem isn’t the logistics, but the match itself. “You’re in His Bubble Space” is a St. Denis Medical episode worth the wait, using humour and pivotal decisions, whether right or wrong, to set up the second half of the season with important developments for Joyce, Serena, and Matt to come. St. Denis Medical . © NBC Universal About St. Denis Medical Premiere Date:  November 3, 2025 Episode Count:  18 Showrunner: Eric Ledgin Executive Producers:   Eric Ledgin, Justin Spitzer, Simon Heuer, Ruben Fleischer, Bridget Kyle, and Vicky Luu. Distribution:   Universal Television, a division of Universal Studio Group, More Bees, Inc. and Spitzer Holding Company. Cast:   Wendi McLendon-Covey, David Alan Grier, Allison Tolman, Josh Lawson, Kahyun Kim, Mekki Leeper, and Kaliko Kauahi. Synopsis: St. Denis Medical  is a mockumentary about an underfunded, understaffed Oregon hospital where the dedicated doctors and nurses try their best to treat patients while maintaining their own sanity. In season two, after receiving a large private donation, hospital administrator Joyce bites off more than she can chew while her employees navigate staff shortages, office conflicts and their own personal lives.

This review covers the first nine episodes of The Pitt Season 2. The Pitt © HBO Max The Pitt, one of 2025’s most acclaimed and talked-about series, is finally back, and in a streaming landscape defined by long delays between seasons, the Emmy winning show's timely return feels especially welcome. Picking up nearly a year after the events of Season 1, the second season drops us into the chaos of the July 4th weekend as our favorite doctors and nurses take on the holiday shift. Season 2 once again follows the staff through a grueling 12-hour stretch, immediately finding its rhythm. While the season doesn’t reinvent the formula, it builds on the relationships and character dynamics that audiences grew to love in its debut year. One of the elements that sets The Pitt apart from other medical dramas is the time it allows us to spend with patients and the care they receive or at times, don’t receive. The series lets us spend time on these encounters in a way that feels true to life, often mirroring the frustrating, imperfect realities many people face when visiting an emergency room. A standout example of this is a storyline involving a deaf patient, thoughtfully illustrating how difficult treatment can become for both patients and doctors when proper resources aren't accessible and can make communication for something as important as healthcare very frustrating. The Pitt Season 2 also introduces a subtle but intriguing shift by offering deeper glimpses into the characters’ lives outside the hospital, while teasing potential colleague relationships. These moments are handled lightly but reward attentive viewers with small Easter eggs that fans who have been shippers of certain characters will enjoy catching.  Similar to Season 1, there’s an unmistakable sense that a major, urgent tragedy is building beneath the surface. An event at the hospital introduces an unexpected twist to its day-to-day operations, setting the stage for developments that should keep viewers engaged as the season continues. It doesn't feel like the stakes are risen high during the first half of the season but I doubt feeling will be the same by the end of the 15 episode second season.  On that note, Season 2 remains impressively well-paced, much like its predecessor. There’s no sense that the showrunner or cast are overreaching simply because the series has found a larger audience. Instead, the season allows viewers meaningful time with their favorite providers (shoutout to Katherine LaNasa’s standout performance in Episode 6 and 7) while also creating space to get to know new faces like Joy, Hucklebuck, and Dr. Al-Hashimi. Fans will also be excited to see more of the nighttime shift cast, that we got to really spend time with in the final episodes of Season 1. The Pitt © HBO Max The Pitt feels well worth returning to, largely because the performances remain just as strong as they were in the first season. Season 1 succeeded in making viewers care deeply about these characters and Season 2 maintains that emotional investment without missing a beat. The patient cases also feel new and refreshing, steering clear of rehashing past moments in Season 1.  My only minor gripe with the season so far lies in its handling of Dr. Heather Collins. While it was previously reported that the character was written out of Season 2 due to creative differences, her departure feels abrupt on-screen. Dr. Collins was one of the storylines many fans – particularly Black women – strongly connected with in the first season, making the lack of a more substantial explanation rather disappointing. Aside from brief exposition by Dr. Robbie, the show offers little closure around her exit.  I also found myself wishing the season had done more with another of the show’s Black characters, Brendan Mendez Homer’s newly certified nurse practitioner, Donnie Donahue. With Dr. Collins written out, this felt like a natural opportunity to further develop another Black character within the ensemble. However, based on the first nine episodes, Donahue largely remains in a smaller supporting role rather than being given the space to truly shine. However, if Season 2 is anything like Season 1 there is still time left to give this character time to shine on screen.  Overall, The Pitt feels well-positioned for a strong second half of the season, and it’s exciting to consider what intense stories the creative team has in store next. With less than a year between the releases of Seasons 1 and 2, the series maintains a momentum that’s rare in today’s streaming landscape, that I would bet leaves fans both satisfied by this chapter and eager for what comes next. Rating: ★★★★☆ The Pitt © HBO Max About The Pitt Premiere Date:  January 8, 2026 Episode Count:  15 Showrunner: R. Scott Gemmill Production:  John Wells Productions in association with Warner Bros. Television Distribution:  HBO Max Cast:  Noah Wyle, Patrick Ball, Katherine LaNasa, Supriya Ganesh, Fiona Dourif, Taylor Dearden, Isa Briones, Gerran Howell, Shabana Azeez, Sepideh Moafi. Synopsis: The Pitt is a realistic examination of the challenges facing healthcare workers in today’s America as seen through the lens of the frontline heroes working in a modern-day hospital in Pittsburgh.

Stranger Things © Netflix Netflix's staple hit show, Stranger Things , has finally come to its end after 5 seasons and 42 episodes, with numerous spin-offs on the way, video games and non-stop merchandise. The Duffer Brothers had something extremely special with Stranger Things Season 1, but as the show went on, it left behind the small-town mystery and slowly moved onto a grander supernatural story as we faced monsters and creatures that had the power to destroy the town of Hawkins and the rest of the world with it. The fourth season introduced Vecna (Jamie Campbell Bowers) as Stranger Things' overall villain, who was behind the scenes from the very beginning, and the Duffers did an amazing job setting up Vecna as a villain due to the stakes that were built in the fourth season with the many deaths that took place and Max's entire storyline, which saw her on the run from death. Stranger Things had never felt that good, with episodes reaching feature film runtime lengths to tell their story, which some people weren't the biggest fans of, but unfortunately, the Duffers seemed to have given up with their final season and its finale, which felt like it missed a few notes. Stranger Things Season 5, Episode 8, "The Rightside Up", follows Eleven (Millie Bobby Brown) and the party as they initiate their final plan to stop Vecna from merging the Abyss with their world. This show started off with a small-town mystery that was able to catch the attention of its audience and was filled with great performances all around, from the kids to its A-list stars like Winona Ryder. The Duffer brothers had a hold of the show when they were dealing with such a small-scale story, but as the seasons went on, the scale of their battle got larger. This finale proved that the Duffers weren't ever capable of handling a story of this scope. There are just too many variables which they lost control of. Stranger Things Season 5. © Netflix It's a 2-hour and 8-minute finale which spends the first hour on the battle against Vecna and the Mind Flayer, while the second half acts as an epilogue that wraps up (almost) everyone's story. There are some people who seem to be mistaken about what most fans of the show wanted from the ending. There is a strong lack of character deaths throughout the show when it comes to the core cast. The Duffers struggled to kill Steven and Hopper and failed to even kill off Max (Sadie Sink), who still would've received the same storyline in this season but instead would've gotten a bittersweet ending. With how large the stakes are, not enough casualties take place, and it personally stops Stranger Things from being a show that can be taken seriously when its writers are too afraid of giving any of their characters an ending that isn't happy. The epilogue manages to still be satisfying as a long-time fan of the show, and it does without a doubt give a euphoric feeling seeing the kids we've grown up with graduate, but the epilogue still leaves some questions to be answered with the overall show that not even the creators are capable of answering, making you wonder if they even wrote their own show. The Stranger Things finale manages to only kill off three characters: Vecna (unsatisfyingly), Kali (Linnea Berthelsen) (predictable) and Eleven (yet again, predictable). Coincidentally, the three characters with powers are killed off to stop any sort of cycle from continuing, but it's Mike's (Finn Wolfhard) monologue in the epilogue that just makes you take a huge sigh and shake your head as the Duffers try to give hope to Eleven being alive in a situation that makes completely no sense. Stranger Things Season 5's finale is frustrating because characters like Joyce (Winona Ryder) get no real development; characters are forgotten about, such as Vicke (Amybeth McNulty) and Dr. Kay (Linda Hamilton); deaths that take place have no meaning due to Mike's epilogue; and the final battle doesn't feel like a final battle and comes off as a lacklustre attempt to make the fans cheer one last time. How could there be no Demogorgons, Demodogs, or Demobats in the finale? If the show were truly based around Dungeons & Dragons , the Party would've been facing against all of the Upside Down/Abyss' creatures as they fight their way towards Vecna and the Mind Flayer, which would've acted as a final boss. There's no true connection to Stranger Things: The First Shadow , and the finale doesn't tell us anything new that we didn't already know, and yet again, the only performances that are worth mentioning come from Nell Fisher as Holly Wheeler, Sadie Sink as Max Mayfield, Gaten Matarazzo as Dustin Henderson and Jamie Campbell Bowers as Henry Creel/001/Mr Whatsit/Vecna. The writing might've been close to abysmal, but these four actors pulled through and gave a final performance that makes up for one of the worst finales in television history. Stranger Things may have concluded with a finale and final season that doesn't reach the lows of The Umbrella Academy , but it for sure reaches the underwhelming disappointment of the Game of Thrones finale. Stranger Things Season 5 . © Netflix About Stranger Things Season 5 Premiere Date : November 26, 2025 Episode Count : 8 Executive Producer/Showrunner : Matt Duffer and Ross Duffer Writers : Matt Duffer, Ross Duffer, Caitlin Schneiderhan, Paul Dichter, Curtis Gwinn and Kate Trefry Director : Matt Duffer, Ross Duffer, Frank Darabont and Shawn Levy Distribution : Netflix Cast : Winona Ryder, David Harbour, Millie Bobby Brown, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Joe Keery, Maya Hawke, Jamie Campbell Bower, Nell Fisher, Linda Hamilton, Priah Ferguson

This review contains minor spoilers for Murderbot . Murderbot is a heartfelt love letter to sci-fi fans. Adapted from Martha Wells' bestselling Hugo and Nebula Award-winning Murderbot Diaries novels, the series follows a wonderfully complex robot who secretly hacks its own governor module, freeing itself from mandatory obedience to humans. However, true to its deeply anxious personality, Murderbot maintains this newfound autonomy under a carefully constructed facade of compliance, biding its time until it can slip quietly away to solitary filled with binge-watching endless hours of space soap operas. This season begins with Murderbot assigned to the PreservationAux survey team, a quirky group of researchers who are essentially gentle, nature-loving hippies dedicated to scientific discovery and emotional connection. When Dr. Arada ( Tattiawna Jones) experiences profound trauma after seeing her friend nearly devoured by a terrifying alien creature, Murderbot's awkward yet touching attempt to calm her down unintentionally becomes the catalyst for the entire narrative. This event sets off a chain reaction of increasingly tense, paranoid and emotionally intricate scenarios, pulling Murderbot out of its comfort zone and into a deeper, inevitably messy entanglement with human relationships. Alexander Skarsgård embodies Murderbot with such delightful perfection that it becomes nearly impossible to envision anyone else portraying the adorable yet profoundly misanthropic robot. Skarsgård's voice acting is especially remarkable; his monotone, dry humour, and subtle undertones of existential dread elevate every scene. After finishing the series, I immediately went searching to find out if Skarsgård narrated any audiobooks from the original series for promotional purposes — sadly, he didn't, though he absolutely should. Beyond just voice, however, Skarsgård excels with physical acting that is a comedic revelation. He brilliantly captures Murderbot’s awkward discomfort with human interaction, employing long, uncomfortable gazes and stilted movements that beautifully highlight the bot’s internal anxieties. His painfully clueless and often exasperated expressions are funny and they’re genuinely endearing, creating a fully realized character viewers can't help but root for. Interestingly, Murderbot finds itself inadvertently sharing more commonalities with the humans it so loudly (in its head) criticises. It’s essentially an antisocial introvert who actively avoids eye contact, struggles through social interactions, and relies on fictional escapism to cope. The creators, the Weitz brothers, have cleverly given viewers a series within a series, The Rise and Fall of Sanctuary Moon , an elaborate fictional space soap opera Murderbot obsessively watches to escape real-world anxieties. This meta-series boasts a surprisingly stellar lineup of guest stars, including John Cho, DeWanda Wise, and Clark Gregg. Murderbot, naturally, knows everything there is to know about this soap. What could be more human? Noma Dumezweni, Tamara Podemski, David Dastmalchian, Tattiawna Jones, Akshay Khanna and Sabrina Wu in Murderbot. © Apple TV + Then we have the PreservationAux survey team, a wonderfully atypical crew of scientists who defy the usual sci-fi stereotypes. Instead of being cold, clinical researchers, they’re empathetic, compassionate individuals whose care for their work is only exceeded by the genuine affection and loyalty they hold for each other. This heartfelt camaraderie constantly frustrates and confounds Murderbot, who sees their endless optimism and emotional openness as naive, even dangerous. It frequently fantasises — often hilariously — about murdering its clients, who constantly place themselves in unnecessary danger. Yet, beneath this gruff, cynical exterior, Murderbot slowly finds itself drawn to the very community it pretends to disdain. Their humanity, even in its most flawed and foolish forms, proves irresistible, eventually prompting Murderbot to risk its existence to protect them. The cast achieves something remarkable here: their on-screen chemistry and genuine warmth turn these fictional characters into a believable family. Their interactions are comfortably familiar. Alexander Skarsgård and David Dastmalchian in Murderbot. © Apple TV + Yet not all members of the PreservationAux team are so easily won over. David Dastmalchian's performance as Gurathin, an augmented human, is another standout. From the moment Gurathin appears on screen, Dastmalchian portrays him with a wary intensity that immediately suggests layers of hidden trauma and mistrust. He’s openly skeptical and suspicious of Murderbot, and quite rightfully so. Dastmalchian’s expressive performance — his perpetually strained, haunted expressions, tinged with paranoia and pain — gradually unfolds to reveal Gurathin’s own traumatic past. His character struggles profoundly with PTSD, isolation, and a deep-seated distrust of anything that comes from the company.  At the same time, it’s undeniably entertaining to watch Gurathin and Murderbot clash — loudly, unfiltered, and with zero interest in politeness. Their constant sniping, barbed sarcasm, and begrudging cooperation create a sharply drawn, often hilarious dynamic. Despite (or because of) their mutual disdain, they make a surprisingly effective team, and bring a kind of chaotic charm to dynamic. What makes Murderbot such an extraordinary viewing experience goes beyond its clever sci-fi premise or its compelling cast as there is surprising warmth, wit, and humanity threaded through every episode. It’s a story about finding unexpected connections in the most unlikely places, discovering family where none was expected, and learning that vulnerability can sometimes be a robot’s greatest strength. The series is an absolute joy, lovingly crafted, deeply heartfelt, and sharply hilarious. It is a perfect tribute to the genre and a must-watch for any sci-fi lover. Rating: ★★★★☆ Murderbot . © Apple TV+ About Murderbot Premiere Date:  May 16, 2025 Episode Count:  10 Executive Producer/Showrunner: Chris Weitz, Paul Weitz, Alexander Skarsgård, Andrew Miano, David S. Goyer, Keith Levine Director: Chris Weitz, Paul Weitz, Toa Fraser, Aurora Guerrero, Roseanne Liang Production:   Paramount TV Distribution:  Apple TV+ Cast:   Alexander Skarsgård, Noma Dumezweni, David Dastmalchian, Sabrina Wu, Akshay Khanna, Tattiawna Jones, Tamara Podemski Synopsis: Based on Martha Wells’ bestselling Hugo and Nebula Award-winning book series, “Murderbot” is a sci-fi thriller/comedy about a self-hacking security construct who is horrified by human emotion yet drawn to its vulnerable clients. Murderbot must hide its free will and complete a dangerous assignment when all it really wants is to be left alone to watch futuristic soap operas and figure out its place in the universe.

© Marvel Studios Marvel Studios’ Thunderbolts* is a much-needed breath of fresh air among the latest wave of superhero movies. It’s packed with heart and soul, grounded in the broken, beautiful humanity of its characters. At the center of the story is Yelena Belova. We follow her from the very first moments of the film. She is lost, weighed down by loneliness, anger, and a growing feeling of her life being meaningless. Her days as an assassin and mercenary, carrying out the dirty work of others, have left her hollow inside. She questions everything about herself, her purpose, and whether she deserves a future at all. Watching her internal struggles unfold is gut-wrenching. Florence Pugh gives what might be one of the best performances in the MCU. She reminds everyone how Yelena became one of the MCU’s most beloved characters. Thunderbolts* is also further proof that Florence Pugh has incredible chemistry with everyone she shares the screen with, whether it was Natasha in Black Widow , Kate Bishop in Hawkeye , or now Bob in Thunderbolts . She brings out the best in every dynamic, making each relationship feel uniquely real and layered. Yelena’s path soon crosses with Ghost (Ava Starr), John Walker, and Bob. Like her, they are all carrying invisible wounds. They are all searching for something they cannot quite name, whether it is redemption, acceptance, or a reason to believe they can still be more than the sum of their mistakes. Their worlds have all collapsed around them in one way or another, and the weight of their past choices clings to them like a second skin. They are not a polished superhero team, they are a collection of broken people who are trying to be better, even when they are not sure how. Then there is Alexei, the Red Guardian, who adds a surprising and touching dimension to the story. Behind his loud bravado and clumsy attempts at leadership, there is real love. He believes in Yelena, maybe even more than she believes in herself. He pushes her and the others not to settle for being seen as disposable, not to fall back into the roles that the world expects of them. He believes they can be something greater if they just give themselves a chance to try. © Marvel Studios The chemistry between this team is electric. It is not just witty banter, although there is plenty of that. It is the way they push and pull at each other, the way they clash, and the way they come to care for one another without even realizing it. It feels messy, imperfect, and deeply real. It feels like family. And at the heart of this strange, broken family is Yelena. Her bond with Bob becomes the emotional centerpiece of the film. Bob, like Yelena, is isolated and used by those in power. To Valentina and others, he is just a weapon to be pointed at a target. But to Yelena, he is a person worth fighting for. Her care for him, especially during his darkest moments, is portrayed with so much sincerity that it becomes impossible not to root for them both. Their connection is one of the most quietly powerful relationships the MCU has ever put on screen. And Lewis Pullman gives a beautifully understated performance as Bob, showing all of his vulnerability, confusion, and desperate need to be seen. © Marvel Studios Jake Schreier’s direction elevates the film even further. His eye for small, emotional moments, combined with bold, creative visual choices, gives Thunderbolts* a distinct style and soul. It does not feel like just another chapter in a massive machine. It feels handcrafted, intentional, and personal. Every shot, every choice of lighting and framing, serves the story of these characters who are trying to find their way in a world that keeps trying to tear them down. The choreography in Thunderbolts* also deserves special attention. The action scenes are so fluid, inventive, and grounded that it is impossible not to notice how good they are. Every punch, every grapple, every sudden explosion of violence feels visceral and believable. The fights tell a story too, reflecting the characters' emotions and histories in a way that makes the action sequences feel deeply personal rather than just visually flashy. Thunderbolts* is a story about broken people learning to stand back up. It is about second chances, forgiveness, and the long, painful road to redemption. It shows that heroism is not about flashy powers or perfect morality. Sometimes, it is about choosing to be better when you have every excuse not to. And while it is dark, emotional, and full of raw moments, it is also genuinely funny. The humor feels earned, coming from character dynamics rather than forced quips, and it brings warmth to the film’s heavier moments. It is messy, it is moving, and it leaves a lasting mark. In a cinematic universe that has sometimes lost sight of the human stories underneath the spectacle, Thunderbolts* is a much-needed reminder of what made audiences fall in love with Marvel stories in the first place. Rating: ★★★★★ About Thunderbolts* Thunderbolts* . © Marvel Studios Premiere Date:  May 2, 2025 Writer: Eric Pearson and Joanna Calo Director: Jake Schreier Producer: Kevin Feige Executive Producers: Louis D’Esposito, Brian Chapek, Jason Tamez Production:  Marvel Studios Distribution:   Walt Disney Studios Cast:   Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Pierce, with David Harbour, with Hannah John-Kamen, and Julia Louis-Dreyfus Synopsis: In Thunderbolts* , Marvel Studios assembles an unconventional team of antiheroes—Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster and John Walker. After finding themselves ensnared in a death trap set by Valentina Allegra de Fontaine, these disillusioned castoffs must embark on a dangerous mission that will force them to confront the darkest corners of their pasts. Will this dysfunctional group tear themselves apart, or find redemption and unite as something much more before it’s too late?

This review includes minor spoilers from the first 6 episodes of Invincible Season 3. Invincible is back after a long year, and once again, it reminds us why we love this show—despite its not-so-great animation. Season 3 takes a calmer approach compared to the previous seasons, and shifts the focus toward more thought-provoking and existential questions about superheroes. Let’s dive in. From the very beginning, Invincible has been told primarily from Mark’s perspective. We’ve followed his struggles, sympathized with his dilemmas, and cheered for him as he navigated the impossible burden of being both a superhero and a teenager. Even when past seasons explored different viewpoints, Mark was always our moral compass—our unwavering protagonist. That, in turn, shaped how we perceived the world of Invincible and its many conflicts. However, Season 3 takes a bold step in shaking that perspective. Instead of reinforcing Mark’s heroism, it challenges it by showing us how others perceive him. We see Invincible from a different perspective—through the eyes of people who don’t know him as Mark Grayson, the well-meaning young man, but rather as an unstoppable force capable of massive destruction. And that shift is unsettling in the best way possible. One good example is when we see Invincible from the perspective of two criminals who are simply trying to survive. From Mark’s point of view, they are just another set of low-level villains standing in his way. But from their perspective, he is the threat—the looming, godlike figure with the power to end them in an instant. I was afraid Mark would unintentionally hurt them. That moment was a gut punch, and a strong reminder of how grand, how powerful, and how intimidating Invincible can be. The show also takes time to explore the broader consequences of Omni-Man’s catastrophic fight with Mark. While previous seasons focused on Mark’s personal trauma, Season 3 zooms out to reveal how deeply that battle scarred the world. Some civilians who once looked to superheroes for protection are now filled with fear, their trust shaken. The destruction was physical, emotional, and psychological. And that’s exactly why Cecil is so relentless. After witnessing what Omni-Man was capable of, he refuses to take any chances, not even with Mark. His paranoia is justified. He’s seen firsthand how quickly a hero can become a monster, how one moment of weakness or doubt can lead to devastation. But at the same time, his actions raise difficult moral questions. He’s preparing for the worst while he’s actively making ruthless, ethically questionable choices, including enlisting criminals and morally gray individuals to do his bidding. Invincible . © Prime Video That brings us to the central conflict between Mark and Cecil. Mark wants to believe that he can be both a good person and a protector, but to Cecil, such an idea is almost laughable. After decades of making impossible choices for the “greater good,” Cecil sees morality as a luxury, not a guiding principle. To him, superheroes are tools, and Mark—no matter how noble he may be—is still a potential threat that needs to be controlled. Mark’s belief in doing the right thing is naive and dangerous in Cecil’s eyes. In many ways, Mark is the antithesis of everything Cecil stands for. He challenges the very foundation of Cecil’s worldview by trying to be a good person and a hero. That tension makes for one of the most compelling dynamics of the season. It’s more than just stopping villains or saving the world. It is about what it means to be a hero in a world that demands compromise. Can Mark prove Cecil wrong, or will he be forced to make the same cold, pragmatic choices in the end? While the Earth-based storyline was handled exceptionally well, the season fell short in exploring Nolan and Allen’s arc within the first six episodes. This seems to be a deliberate choice, likely part of the larger narrative unfolding, but so far, we’ve seen very little of it. The absence is noticeable, especially considering how much weight these characters and their storylines carry. At times, it almost feels as though the season has put the Viltrumite threat on the back burner, despite them being one of the most significant looming threats to Earth. Their presence should cast a constant shadow over the story, yet for much of the season, they feel strangely absent. Despite this shortcoming, Invincible Season 3 still shows why it stands out among superhero shows. The series takes the time to explore the moral complexities of its characters. It challenges the traditional notion of heroism, and asks whether one can maintain their ideals in a world where power often demands difficult choices. This season forces the audience to reflect on the consequences of heroism, the ethics of power, and the blurred lines between right and wrong. While the pacing is slower, and some storylines are put on hold for now, the emotional depth and fresh perspectives make for a satisfying season. If the second half builds on what we've seen so far, we could be in for a real treat. RATING: 4/5 Invincible Season 3 will premiere February 6 on Prime Video.