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April is shaping up to be an exciting month for television, with a mix of highly anticipated returns and fresh new series. The Last of Us  and Andor  are finally back for their second seasons, while The Handmaid's Tale  and You  prepare to bid farewell with their final chapters. Meanwhile, Jon Hamm's Your Friends & Neighbours  and Kevin Bacon's The Bondsman  promise to deliver compelling new stories to our screens. To keep you updated, I've compiled a list of the most anticipated releases of April. April 2 Banger - NETFLIX Love on the Spectrum , Season 3 - NETFLIX April 3 (L-R) Jolene Purdy and Kevin Bacon in The Bondsman Season 1. © Prime Video Devil May Cry , Season 1 - NETFLIX The Bondsman , Season 1 - PRIME VIDEO Pulse , Season 1 - NETFLIX Jurassic World: Chaos Theory , Season 3 - NETFLIX April 4 Dying for Sex , Season 1 - HULU Karma , Season 1 - NETFLIX Y2K - Max April 7 Kill Tony , Season 1 - NETFLIX Blippi’s Job Show , Season 1 - NETFLIX April 8 Elizabeth Moss in The Handmaid’s Tale Season 6. © Hulu The Handmaid’s Tale , Season 6 - HULU Mobile Suit Gundam GQuuuuuuX , Season 1 - PRIME VIDEO How to Sell Drugs Online (Fast) , Season 4 - NETFLIX The Clubhouse: A Year with the Red Sox , Season 1 - NETFLIX April 10 Hannah Einbindera and Jean Smart in Hacks Season 4. © Max Hacks , Season 4 - PRIME VIDEO Black Mirror , Season 7 - NETFLIX G20 - PRIME VIDEO Frozen Hot Boys  - NETFLIX Moonrise , Season 1 - NETFLIX Gremlins: The Wild Batch ,  Season 2B - MAX April 11 Your Friends and Neighbors , Season 1 - APPLE TV+ April 12 Doctor Who , Season 2 - DISNEY+ April 13 Isabela Merced and Bella Ramsay in The Last of Us Season 2. © HBO The Last of Us , Season 2 - MAX Pets , Season 1 - DISNEY+ Godfather of Harlem , Season 4 - PRIME VIDEO April 15 The Glass Dome , Season 1 - NETFLIX April 16 Government Cheese , Season 1 - APPLE TV+ Project UFO ,   Season 1 - NETFLIX April 17 #1 Happy Family USA , Season 1 - PRIME VIDEO Leverage: Redemption , Season 3 - PRIME VIDEO Ransom Canyon ,   Season 1 - NETFLIX April 18 iHostage - NETFLIX April 20 The Rehearsal , , Season 2 - MAX April 21 Pangolin: Kulu’s Journey  - NETFLIX April 22 Diego Luna in Andor Season 2. © LucasFilm Andor , Season 2 - DISNEY+ Stranger Things: The First Shadow - Broadway - NETFLIX April 23 Bullet Train Explosion - NETFLIX Carlos Alcaraz: My Way , Season 1 - NETFLIX April 24 You , Season 5 - NETFLIX Étoile , Season 1 - PRIME VIDEO April 25 Havoc  - NETFLIX April 30 Carême , Season 1 - APPLE TV+ Asterix & Obelix: The Big Fight , Season 1 - NETFLIX This article will be updated as more details emerge, so be sure to check back for the latest news!

Yellowjackets season 3 continues to push boundaries and test philosophy in the most dire circumstances in episode 6 by turning elements of last week's episode inside out. There is never a dull moment with this show. Yellowjackets has a knack for leading unsuspecting folks down one direction only to take a sharp left turn, leaving them completely bewildered as if the series is not traumatizing enough. Anyone who thought fate was sealed at the end of episode 5 would be immediately proven wrong by episode 6. Disclaimer: This article contains minor spoilers for Yellowjackets season 3. In episode 6, "Thanksgiving (Canada)", roles are reversed in the wilderness following Coach Ben's last-minute pardon from his death sentence due to Akilah's vision revealing him to be their bridge back home. Now the girls want to keep him alive while he wants to be dead, so he can be out of his misery since escape stopped being an option after Melissa (Jenna Burgess) cut the Achilles tendon in his remaining foot. The present day deals with Shauna (Melanie Lynskey) scrambling to decipher a digital audio tape given to her by her frantic daughter Callie (Sarah Desjardins) who got it from an unidentified stalker. Meanwhile, Misty (Christina Ricci) reaches closer to discovering who killed Lottie (Simone Kessell). Withering Mercy for Ben Looking at Ben (Steven Krueger) is painfully depressing. The tribe has him tied up and severed in high volumes of pain. They only keep him alive by bringing him food every day, which accomplishes nothing in relieving him of his suffering. Ben is hurt, tired, and deprived of dignity and freedom. He deeply regrets his execution being canceled because death is the only way to guarantee rest at this point. Throughout the episode, he refuses to eat and begs Natalie (Sophie Thatcher) to take him out. Still, she initially denies his request because she does not want to take away anyone's hope of going home, including his own. Sadly, she fails to realize his hope is already dead and he's just waiting to catch up until she concludes that keeping alive in so much agony is not being fair to him. Natalie has always had the strongest moral compass among the Yellowjackets, which is why she was appointed to be their leader. She is always trusted to do the right thing and what's best for her people, no matter what, but those are not the same. The moral dilemma Natalie faces is the anchor of this episode. She gradually advocates for the coach's killing until she takes the matter into her own hands at the cost of her rank. The Queen Falls, A Tyrant Rises The transition Natalie goes through in the episode is bittersweet. Seeing her finally deliver the mercy killing Ben wanted only to lose her rank to Shauna (Sophie Nélisse) stirs a mess of emotions. Viewers can feel gratification from her selflessly killing Ben, but it is impossible to avoid the fear and woe that comes from knowing the price she has to pay. Natalie is not in charge anymore, Shauna is. Shauna is technically the primary protagonist in this ensemble series and there is a worthy argument supporting why she should have been the leader in the first place. However, there is one problem; she is the absolute worst. Yellowjackets has never been about good vs evil, only survival of the fittest, so it makes sense having a flawed protagonist, but Shauna might be the antagonist of her show. She is jealous, vindictive, and malicious. It is difficult to hate her knowing the trauma she endured, but it is more difficult to admire her or justify her actions. Nélisse seems to know this as she portrays the character provocatively, like she is daring anyone to detest her, presenting an interesting contrast from Thatcher's Natalie, who welcomes everyone to love her. The Present Is Not A Gift The present-day arcs are not as engaging this time, they fall in the shadow of the past savagery in the wilderness. Callie, her mom Shauna, along with other adult counterparts, are still entertaining because of the talented cast, but their stories feel largely disjointed, struggling to be held together by Lottie's murder-mystery subplot. The most interesting piece of the puzzle follows the digital audio tape Callie reveals to her mother. It was left by an unknown creep who may or may not have killed Lottie. Callie wants to push through her fears to take a more proactive approach to protect her family, unfortunately for her, Shauna and her husband refuse to let her because they finally come to terms with the possibility of them being the worst parents in the world. Since then, Shauna sinks into her obsession to uncover what's on the tape, so she calls Van (Lauren Ambrose), who is away in a hotel suite with Taissa (Tawny Cypress), for a DAT player. Meanwhile, Misty interrogates Lottie's former disciple Lisa (Nicole Maines). That DAT saga takes a backseat for a revolving door of distracting interpersonal drama among the adult Yellowjackets. Other than Shauna, their issues interrupt the episode's progression, less time on that would have made a huge difference. The Wilderness Reigns The journey the young Yellowjackets face with Natalie, Ben, and Shauna gives the sixth episode a rich spicy flavor worthy of praise. Their arc is magnetic with the right amount of turmoil to keep you hooked. Their adult counterparts are still portrayed wonderfully by the actors behind them, it is just unfortunate seeing their present surpassed by their past in terms of story and progression this time. Rating: ★★★☆☆ About Yellowjackets Season Premiere Date:  February 15, 2025 Episode Count:  10 Executive Producer/Showrunner: Ashley Lyle Writers: Ashley Lyle, Bart Nickerson, Elise Brown, Rich Monahan, Katherine Kearns, Karen Joseph Adcock, Ameni Rosza, Sarah L. Thompson, Liz Phang, Libby Hill, Emily St. James, Jonathan Lisco, Terry Wesley, Julia Bicknell, Chantelle Wells, Cameron Brent Johnson, Alisha Brophy Directors: Eva Sørhaug, Daisy von Scherler Mayer, Ben Semanoff, Bille Woodruff, Karyn Kusama, Anya Adams, Jeffrey W. Byrd, Jennifer Morrison, Bart Nickerson, Deepa Mehta, Jamie Travis, Ariel Kleiman, Eduardo Sánchez, Liz Garbus, Scott Winant, Pete Chatmon, Jonathan Lisco Production:  Lionsgate Television, Beer Christmas Ltd. Showtime Networks Distribution:  Showtime and Paramount Plus Cast:   Melanie Lynskey, Sophie Nélisse, Tawny Cypress, Jasmin Savoy Brown, Sophie Thatcher, Samantha Hanratty, Courtney Eaton, Liv Hewson, Christina Ricci Synopsis: Yellowjackets is a horror story and teen drama about an elite high school girls' soccer team stranded in the remote wilderness after a devastating plane crash, forced to adapt in harrowing ways. The series follows a non-linear narrative to reveal the depths in which their adult lives were molded by their shared loss of innocence.

Television has been lacking a well written medical drama series for quite some time now and The Pitt came in and filled that hole pretty quick. The series has now released 11 episodes and it continues to get better with each episode. Noah Wyle in The Pitt . © Max Two reasons set this show apart from past and future medical shows alike, the first being the entire season takes place over the course of a 15-hour shift with each episode covering 1 hour of said shift. This allows for the audience to really feel like they are immersing themselves in a practical work shift for hospital healthcare providers. The second reason is the show takes time to highlight the relationship between the provider and the patient. Too many medical shows become too focused on relationships between the doctors and nurses and forget that at the end of the day, it's a show about helping people. Episode 11 kicks off following the explosive ending to Episode 10 which saw Dr. Robby confronting Dr. Langdon about the misuse of patient drugs. The series handled the build up to this moment so well throughout the past few episodes. We, as the audience, started to question whether Dr. Santos was actually onto something with Langdon or if she just held a grudge against her superior. This episode deals with the aftermath of sending home a senior resident in an already busy department. We get to see Dr. Robby begin to feel stressed as two major emergencies hit the ER following Langdon's departure. This episode also finally circles back to another pivotal moment for another character, Dr. Heather Collins. We previously saw that she experienced a miscarriage mid shift and has been tight lipped out it, especially around Dr. Robby. Collins admits the miscarriage and has a heart to heart with Robby following the announcement. They sit in the back of an ambulance where she confirms that she has been attempting to get pregnant using IVF. The two share a rather emotional scene together, something that hints at there being some history between them but still not giving us any indication to what it may have been.... (yet!). The episode has another explosive ending as there's an announcement there has been a shooter at PittFest (the music festival that Robby's step-son was attending with his girlfriend). Setting up another exciting yet potentially traumatizing episode that is going to leave the audience wanting more! Rating: ★★★★☆ About The Pit The Pitt . © Max Premiere Date:  March 13, 2025 Episode Count:  11 Showrunner: R. Scott Gemmill Writer: Elyssa Gershman Director: Quyen Tran Production:   John Wells Productions in association with Warner Bros. Television Distribution:  Max Cast:   Noah Wyle (Dr. Michael “Robby” Robinavitch), Tracey Ifeachor (Dr. Collins), Patrick Ball (Dr. Langdon), Katherine LaNasa (Dana Evans), Supriya Ganesh (Dr. Mohan), Fiona Dourif (Dr. McKay), Taylor Dearden (Dr. King), Isa Briones (Dr. Santos), Gerran Howell (Whitaker), Shabana Azeez (Javadi).  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, Pennsylvania. Each episode follows an hour of Dr. Robby’s (Wyle) 15-hour shift as the chief attendant in Pittsburgh Trauma Medical Hospital’s emergency room.

Yellowjackets Season 3 delivers chaos, confusion, and despair, with some relatability between them in episode 5. Yellowjackets has a talent for taking viewers on a wild ride with all thoughts, emotions, and senses at its mercy. In today's age, this is not something many television productions know to handle as they either water down subject matter or dive headfirst into shock value with zero story relevance. Yellowjackets has been consistent thus far in delivering a compelling storyline that does not hold back the nature of its harsh reality. The third season's fifth episode is particularly uncompromising. Disclaimer: This article contains minor spoilers for Yellowjackets season 3. Episode 5 jumps into the aftermath of Coach Ben being found guilty in a trial by the Yellowjackets, while Shauna and Walter scramble to uncover the mystery behind Lottie's suspicious death. The contrasting parallel arcs depict mortality, distrust and uncertainty through multiple points of view. Judge, Jury... Executioner © Showtime Since the girls have been lost in the wilderness, they have been forced into doing disturbing acts ranging from cult rituals to cannibalism to ensure their survival and build their civilization under harsh terrain at the mercy of the elements. They are challenged to preserve order amid chaos, enforcing their laws like never before. Yellowjackets built their tribe, appointed their leader, Natalie( the lovely Sophie Thatcher), and established a body of rules to follow. However, they lack experience in convicting on their own for criminal acts. In last week's episode, we saw the Yellowjackets find coach Ben guilty of arson. Now they have to carry out his sentencing, which proves to be no easy task as they are conflicted and divided. Tai(Jasmine Sevoy Brown) just happens to be both as she is the unlucky one selected to kill coach Ben through a draw. Tai becomes a vessel for the girls who believe Ben is guilty but are hesitant to take his life, symbiotically carrying their demons through hers. True Citizen Detective © Showtime In the present day the animosity between Shauna(Melanie Lynskey) and Misty(Christina Ricci) is at a boiling point following Lottie's death. Although they were never close friends, there was still amicability between them until this season stared pitting them against each other with Lottie's death further dissolving their relationship into rivalry. Shauna does not trust Misty and the latter is tired of feeling disrespected by her. Now they are at opposite ends getting to the bottom of Lottie's death. Much to Misty's annoyance Shauna finds herself allied with Walter(Elijah Wood) which ironically annoys Shauna just as much. Interestlingly, seeing Shauna and Misty face off in a battle of wits feels reminiscent of sisters fighting because they have something to prove not only to one another but themselves. Though it is hilarious seeing them go back and forth, the hurt and a mutual sense of betrayal layered underneath peaks through. Neither of them know what happened to Lottie, they know their potential to have a close friendship was already dying so blaming each other made more sense than coming to terms with their own grief. The Final Verdict © Showtime Yellowjackets season three episode five delivers an impeccable multilayed story complimented by amazing performances from Melanie Lynskey, Christina Ricci, Sophie Thatcher and Jasmin Savoy Brown most of all. The way the episode's narrative positions Brown's character Tai to speak for so many of the Yellowjackets through her arc and portrayal reveals her range as an actor. The present contrasts the past well. As the yellowjackets grapple with internal conflict over punishing Coach Ben for his crimes in the past, they face another conflict over Lottie's murder in the present, going from the Devil they knew to the Devil they do not know. Rating: ★★★★☆ About Yellowjackets Season Premiere Date:  February 15, 2025 Episode Count:  10 Executive Producer/Showrunner: Ashley Lyle Writers: Ashley Lyle, Bart Nickerson, Elise Brown, Rich Monahan, Katherine Kearns, Karen Joseph Adcock, Ameni Rosza, Sarah L. Thompson, Liz Phang, Libby Hill, Emily St. James, Jonathan Lisco, Terry Wesley, Julia Bicknell, Chantelle Wells, Cameron Brent Johnson, Alisha Brophy Directors: Eva Sørhaug, Daisy von Scherler Mayer, Ben Semanoff, Bille Woodruff, Karyn Kusama, Anya Adams, Jeffrey W. Byrd, Jennifer Morrison, Bart Nickerson, Deepa Mehta, Jamie Travis, Ariel Kleiman, Eduardo Sánchez, Liz Garbus, Scott Winant, Pete Chatmon, Jonathan Lisco Production:  Lionsgate Television, Beer Christmas Ltd. Showtime Networks Distribution:  Showtime and Paramount Plus Cast:   Melanie Lynskey, Sophie Nélisse, Tawny Cypress, Jasmin Savoy Brown, Sophie Thatcher, Samantha Hanratty, Courtney Eaton, Liv Hewson, Christina Ricci Synopsis: Yellowjackets is a horror story and teen drama about an elite high school girls' soccer team stranded in the remote wilderness after a devastating plane crash, forced to adapt in harrowing ways. The series follows a non-linear narrative to reveal the depths in which their adult lives were molded by their shared loss of innocence.

Award-winning actress Elizabeth Olsen who is best known for her time spent playing Wanda Maximoff in the Marvel Cinematic Universe, while being known as indie darling and queen of Sundance in the early days of her career. However, now with her seemingly taking a break from all things Marvel-related. She has a variety of projects lined up set to release or start production over the coming months, ranging from romantic comedy, and science fiction to dark comedy. Here are the projects that we’ll all be seeing her in.  The Assessment | Mia Left-Right Alicia Vikander and Elizabeth Olsen. ‘The Assessment’ © Magnus Nordenhof Jønck Announced by Screen Daily last June Elizabeth Olsen will be starring alongside Alicia Vikander ( The Danish Girl ) and Himesh Patel ( Tenet ) in The Assessment  which is being categorised as a dystopian sci-fi film. The cast members that are starring alongside Olsen, Vikander and Patel are Indira Varma ( Game of Thrones ), Minnie Driver ( Good Will Hunting ), Charlotte Ritchie ( You ), Nicholas Pinnock ( Django ) and Leah Harvey ( Foundation ). The project was directed by Fleur Fortuné, which will be the debut feature for the filmmaker, whilst Nell Garfath Cox, Dave Thomas and John Donnelly are the writers of the project. The film is set in a world that has been destroyed due to climate change, due to this how society acts has changed drastically and the majority of things are monitored to create a sort of utopia, which includes the life of a couple (Olsen & Patel), The couple is evaluated by an assessor (Vikander) over the course of seven days which determines whether or not they are suitable for childbearing.  In July it was announced the project will have its world premiere this year at the Toronto International Film Festival. Production for the project took place in Tenerife and Köln, the film is produced by Augenschein Filmproduktion, MMC Movies Köln GmbH and Number 9 Films. Prime Video acquired all international rights excluding Germany and the US for the upcoming film as reported by Deadline , although a date has not been confirmed for its digital release yet, it is now set to release in US theaters March 21 and in German theaters April 3. Eternity | Joan Left-Right Elizabeth Olsen, Miles Teller and Callum Turner © Esteban Calderon & Getty & Blair Getz Mezibov In addition to all of this Olsen is set to star alongside Miles Teller ( Whiplash ), Callum Turner ( Masters of the Air ), Da’Vine Joy Randolph ( The Holdovers ), Olga Merediz ( In the Heights ) and John Early ( Search Party ) in A24’s romantic comedy Eternity, which was announced back in March by Deadline . Along with starring in the project, Olsen and Teller are both executive producers for the upcoming project. The project is being directed by David Freyne ( Dating Amber ) and Patrick Cunnane wrote it who previously worked as the senior writer and deputy director of messaging for former president Barack Obama, his screenplay was a part of The Black List back in 2022, which is a survey that is done annually of the most liked motion picture screenplays that had not yet been produced. The project started filming in Vancouver, Canada in May and subsequently wrapped filming in July! Although plot details were being kept under wraps, it's known that the film is set in a world where everyone must decide who they want to spend eternity with. Whilst there is no specific date for the release, Olsen herself confirmed in February in an interview with ExtraTV that it is set to release this year. Update from the original post: Panic Carefully | Character Unknown Left-Right Elizabeth Olsen, Julia Roberts, Eddie Redmayne and Brian Tyree Henry © William Lords, Lachlan Bailey, Robert Maxwell & Mamadi Doumbouya In more recent news in December, it was confirmed that Elizabeth Olsen is set to star alongside Oscar Winners Julia Roberts ( Erin Brockovich ) and Eddie Redmayne ( The Theory of Everything ) in Warner Brothers ’  upcoming paranoid thriller Panic Carefully. It is directed and written by Sam Esmail ( Leave the World Behind )   as confirmed by Deadline  and The Hollywood Reporter . The latest news heard regarding this upcoming project was that actor Brian Tyree Henry ( If Beale Street Could Talk ) was in final negotiations to join the cast of the paranoid thriller as established by Deadline . Although the plot and logline of the film are being kept under wraps it is said that this paranoid thriller is akin to Sam Esmail’s very own Mr. Robot  along with Jonathan Demme’s   The Silence of the Lambs. Production for the film is reportedly set to kick off this month (January) in England. Update from the original post: Seven Sisters | Character Unknown Left-Right Elizabeth Olsen & Sean Durkin. © Jason Armond/Los Angeles Times & Rich Polk. The latest news when it comes to Elizabeth Olsen is that just last night it was revealed by Deadline that Olsen is set to star in a new drama series called Seven Sisters for FX . The series is said to follow a tight-knit family that begins to unravel when a sister portrayed by Olsen starts communing with a voice that no one else can hear. The pilot is to be directed by Sean Durkin ( The Iron Claw ). This project reunites the pair after last working with each other nearly fifteen years ago on Martha Marcy May Marlene, which for the pair was both of their debuts, Olsen's film debut and Durkin’s feature directorial debut. Also attached is Will Arbery ( Succession ) who has written the pilot for the upcoming series. Sean Durkin, Will Arbery and Garrett Basch ( What We Do in the Shadows ) are all executive producers for the series. It is currently unknown when production for the series will start. Love Child  | Misty Left-Right Elizabeth Olsen and Charles Melton © Greg Swales & Brian Bowen Smith Love Child  is the much anticipated dark comedy by Todd Solondz. While this project has seemingly struggled to be developed over the past few years with cast members already being recast twice with the project initially starring Penélope Cruz and Edgar Ramírez, which were then replaced by Rachel Weisz and Colin Farrell, is the third time the charm? In February it was announced by Deadline  the project now had Elizabeth Olsen and Charles Melton ( May December ) attached and set to star in the film. The film follows Misty (Olsen) who is seemingly stuck in a loveless marriage, Junior her 11-year-old son takes a chance to reshape his mother’s love life when a handsome stranger Easy (Melton) appears mysteriously. Junior devises a plan to get rid of his father so Misty can marry Easy instead however it ends up leading to disastrous consequences. It is still unknown when exactly production for this project will take place there were rumours for production start dates being spread but as for now, the project is currently still in pre-production. Olsen has also expressed her excitement to be working on this project with Todd Solondz, “I am a long-time fan of Todd’s work and to collaborate with him on this film is a true dream.” Update from the original post: As brought to attention and confirmed by both writer and director of the project Todd Solondz and Elizabeth Olsen who was set to star in the upcoming film. The project has been postponed indefinitely due to struggles with getting financing. Solondz in a New York Times article  stated “The movie died last night... ” Unfortunately, it seems like the project had fallen apart the day before his cinematographer and production designer for the project were supposed to fly out to Spain for the film. Ultimately Elizabeth Olsen reaffirmed this when she attended Vulture's recent Vulture Festival which occurred in November, she confirmed that the production of Love Child has been postponed indefinitely due to issues regarding funding and finance for the project. However, that has not deterred Elizabeth from giving up hope on the film completely, she declared at Vulture Festival  “I’m not a producer on it, but I’ve never hustled more for a movie that’s having a hard time getting made. .. If you guys want to make a big, bold notice that says, Todd Solondz needs money to make a movie, that would be great.”   Here's to hoping all her hard work and dedication for this project can help it come to fruition sometime in the future. Rumoured Projects While they are the only projects of Elizabeth Olsen’s that have been confirmed there have been rumours she’s attached to two other projects, one is a limited series which is set to be an adaptation of Charlotte McConaghy’s novel Once There Were Wolves  for Apple. Garth Davis ( FOE ) is reportedly set to be the showrunner, director and lead writer alongside Alice Addison ( Devil’s Playground ). The small synopsis of the novel and potential future TV series is as follows, Inti Flynn arrives in Scotland with her twin sister, Aggie, to lead a team of biologists tasked with reintroducing fourteen gray wolves into the remote Highlands. She hopes to heal not only the dying landscape but her twin Aggie too due to the traumatic events that occurred in Alaska. It is reportedly set to film in Scotland at the end of September this year. The last project to which Olsen was rumoured to be attached to was a film adaptation of the short story by Mary South called The Age of Love  reportedly Olsen was or still is who is to know currently was set to star alongside Stranger Things  star and musician Joe Keery. Matthew Capodicasa was apparently the writer for the project, with Lance Oppenheim ( Ren Faire , Spermworld ) set to direct the film as was mentioned back in January 2023 in an article by Little Black Box about how he was developing projects with different actors and directors within the industry, Elizabeth Olsen was one of the people mentioned. Unfortunately, it was mentioned back in May in an article by Variety he had ended up leaving the project. Tragically it now seems the outcome of that project is left hanging in the air, unknowing if the development of the project will carry on with the two stars still attached or if it will sadly be a project now that will never see the light of day.  There are also some rumours around Olsen's return as Wanda Maximoff/Scarlet Witch in the Marvel Cinematic Universe. Deadline has stated that there was a possibility for Olsen's return in the WandaVision spin-off Vision series starring Paul Bettany as Vision and James Spader as Ultron. The industry insider DanielRPK has also stated that Olsen would return for a Marvel project that is filming in 2025.

You can also read our recent interviews with the cast and crew of The Parenting here . A young couple’s weekend retreat with their parents in a holiday home takes a turn for the spookier in The Parenting , a slight but entertaining flick that is considerably more comedy than horror.  The film might not deliver on anywhere near the level of scares of its obvious horror influences, but gets by on its impressive ensemble cast and a kooky script that matches their infectious energy.  Its tendency to infantilise its characters, and by extension, the audience, grates at times, and even at 100 minutes, the film could have been higher.  Nonetheless, and in spite being consigned to the ignominious slot of a March streaming-only release, the film has more than enough entertaining set pieces, sparring and provocative moments to keep you engaged throughout.  Kudos also to stars Nik Dodani (Atypical) and Brandon Flynn (13 Reasons Why) - here, making their debuts starring in a film release, they admirably stand their own against heavyweights like Brian Cox and Lisa Kudrow. We meet couple Rohan (Dodani) and Josh (Flynn), as they drive to a charming house in the countryside to stay with their respective parents for a long weekend.  Both are keen on making the best possible impressive, being the first time they are going to meet each others’ families - although the somewhat prim Rohan is privately planning to propose to his more freewheeling boyfriend, which sets him even more on edge than usual.  Despite his proclamations that as “the chill one”, everyone he meets adores him, Josh (a budding musician but in between jobs) finds himself fazed by Frank (Brian Cox, Succession ) and Sharon (Edie Falco, The Sopranos ), Rohan’s adoptive parents.  The pair, you see, are not amused in the slightest by Josh’s jokes or faux pas  - an awkwardness further compounded when Josh’s comparatively nonchalant parents, Liddy (Lisa Kudrow - played as equally as kookily as her name) and Cliff (Dean Norris, Breaking Bad ) enter the scene.  This mixing pot of personalities does not bode well for the idyllic weekend Rohan had envisaged for his fiancé-to-be - and that is before a demon enters the scene to truly turn the whole house upside-down.  Nik Dodani, Vivian Bang and Lisa Kudrow in The Parenting . © Ma Rather than flinging us into occult territory from the get-go, director Craig Johnson ( The Skeleton Twins, Alex Strangelove ) and screenwriter Kent Sublette ( SNL ) choose to make us feel at home amongst the discomfort of the two families.  The earliest scenes in the film are some of its best - whilst not laugh-a-minute funny, they resoundingly succeed in endearing us to the motley bunch.  This is arguably more of a credit to the calibre of the actors involved than the script itself, which is not especially nuanced and lacking in a certain degree of tact (this is not the kind of narrative than holds up to too much analytical scrutiny.  No prizes for originality here - but the scenarios which Sublette places his subjects in often play to his broad strengths honed on SNL  - raucous, accessible and about as subtle as a brick.  Credit to Parker Posey and Vivian Bang, who deliver some of The Parenting ’s most uproarious lines in spite of limited screen time. When the horror does come in though, it is somewhat disappointingly tame.  Johnson and Sublette do a fine job calling back to films such as The   Exorcist, Poltergeist and The Shining  - but being that this is foremost a comedy those moments ring more like a diet version of Beetlejuice  (however, there a few moments which for this critic trumped some of those in Tim Burton’s 2024 sequel to that film).  Despite a hefty helping of sex jokes, gross-out humour and F-bombs (some funny, others far less so), the film’s R-rating seems like more arbitrary than intentional.  Budgetary constraints may be a contributing factor to this - but it could have done with a few litres of fake blood to supplement the fountains of fake vomit.  If anything, the most unsettling aspects of the film come from Cox as Frank - who, whilst wrangling with the hold of the demon over him, finds himself contending with his mortality.  Irrespective of the comedy moments sandwiching it, Cox performance against the rest of the cast (and himself, as his demonic half) has a tragic dimension which is almost jarring in its relative poignancy when set against the antics around him.  Frank’s subsequent unconscious outbursts against his family (including the surprising repeated gag of homophobic slurs, overkill which struck me as in somewhat poor taste) imply an inner turmoil that might have formed the bones of a more probing film akin to Johnson’s earlier Skeleton Twins . Nik Dodani, Brandon Flynn, Edie Falco, Dean Norris, Lisa Kudrow and Brian Cox in The Parenting . © Max Whilst it is never destined to become a classic of the horror, comedy or horror-comedy genres, The Parenting  harkens back to something of a bygone era of movies which could be fuelled simply by putting a bunch of a great actors in a space together for a prolonged period of time, giving them a moderately funny script, competent direction and letting them riff off each other.  There are certainly far worse ways to spend 100 minutes of your time than this. The Parenting  releases March 13 on Max. Rating: ★★★☆☆ About The Parenting The Parenting . © Max Release Date:  13 March 2025 Director: Kent Johnson Writer: Craig Sublette Production:   Warner Bros. Pictures, New Line Cinema, Good Fear Content, Mighty Engine Distribution:  Max Cast:   Nik Dodani, Brandon Flynn, Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Parker Posey, and Vivian Bang Synopsis: The Parenting follows young couple Rohan and Josh as they plan a perfect weekend getaway in the country to introduce their parents. As tensions begin to flare between the more traditional Sharon and Frank and the laid-back Liddy and Cliff, the families soon realize that their rental – managed by eccentric local Brenda – is haunted by the presence of a 400-year-old poltergeist. When one parent becomes thoroughly possessed, it’s up to the young couple and their meddlesome BFF Sara to unite the families and stop the evil entity once and for all.

Daredevil: Born Again stumbled but showed promise in its two-episode premiere, and it gets back on track in the third episode. Disclaimer: This article contains minor spoilers for Daredevil: Born Again Season 1. Episode 3, "The Hollow of His Hand", follows Matt Murdock(Charlie Cox) as the trial of Hector Ayala(Kamar de los Reyes) kicks off. The other main thread revolves around Wilson Fisk(Vincent D'Onofrio) adjusting to his new role as mayor while trying to rebuild his marriage with Vanessa(Ayelet Zurer). The show settles into a great rhythm as it amps up its courtroom drama while planting the seeds for further escalation as the season goes on. The courtroom proceedings of the original show were always a high watermark of the series, as the lawyer side of Matt Murdock is just as integral to the character as the red suit and horned mask. Born Again captures some of that magic this episode. The trial puts viewers through a rollercoaster of emotions. It's intense, surprising, and constantly engaging. The cast delivers incredible performances, with lingering shots that let the gravity of the situation and the energy of the characters permeate the screen. It also doesn't overstay its welcome, this episode features the beginning and end of the trial, setting up and knocking down dominoes that will surely have ramifications throughout the season. RELATED: ‘Daredevil: Born Again’ Episode Titles Faith in the System © MARVEL 2025 The trial of Hector Ayayla, who moonlights as the vigilante White Tiger, also provides a great parallel for Matt. Matt can relate to Hector in a way few can and brings that insight to their conversations. Hector speaks on the compulsion to don the mask and make a difference, while Matt reassures him that there are other ways to enact change. It's a poignant discussion and one that can be read as Matt trying to convince himself as much as he is Hector. The trial also establishes what appears to be a gang of police who have been radicalized and co-opted the Punisher's logo. It'll be fascinating to see the direction the show takes this arc when Jon Bernthal's Punisher shows up down the line. Fisk's time in this episode is more of a slow burn. He's becoming acclimated to his new position and honestly seems quite bored and restless. He keeps reiterating that he has loftier goals and higher aims and can't be bothered with the lower dealings of what used to constitute his criminal empire. However, like Matt's speech to Hector, it sounds more like he's trying to convince himself. Matt and Fisk are the two pillars of this season, and it's fitting that their arcs parallel each other so completely here. They're trying desperately to move beyond their past demons, but it feels inevitable that they'll regress to the mean. RELATED: Daredevil Is Born Again: Everything You Need to Know © MARVEL 2025 This episode feels like a true return to form for the series. It's clear that Born Again wants to evoke as much of the original series as it can, and this episode is the closest it's gotten so far. It understands that the true highlight of the original wasn't how violent or gritty and grounded it could be, but rather a tight and nuanced focus on the characters that inhabit this world. If the rest of this season follows suit, it'll be the better for it. Rating: ★★★★☆ About Daredevil: Born Again © MARVEL 2025 Premiere Date:  March 4, 2025. Episode Count:  8 Executive Producer/Showrunner: Dario Scardapane Writers: Dario Scardapane, Brad Winderbaum Directors: Justin Benson & Aaron Moorhead, Michael Cuesta, Jeffrey Nachmanoff, David Boyd Production:  Marvel Television, Disney Distribution:  Disney Cast:   Charlie Cox, Vincent D’Onofrio, Margarita Levieva, Deborah Ann Woll, Elden Henson, Zabryna Guevara, Nikki James, Genneya Walton, Arty Froushan, Clark Johnson, Michael Gandolfini, with Ayelet Zurer and Jon Bernthal Synopsis: In Marvel Television’s “Daredevil: Born Again,” Matt Murdock (Charlie Cox), a blind lawyer with heightened abilities is fighting for justice through his bustling law firm, while former mob boss Wilson Fisk (Vincent D’Onofrio) pursues his own political endeavors in New York. When their past identities begin to emerge, both men find themselves on an inevitable collision course.

We can report new details regarding Babak Najafi's upcoming action thriller The Florist , which we can confirm stars Kiefer Sutherland ( 24 , Melancholia ) and Jean Reno ( Léon: The Professional ). The Florist tells the story of Carl Rikker, a mild-mannered horticulturalist who harbours a hidden life as an assassin. One day he finds his true identity jeopardised when he befriends a witness to police corruption. Here is the logline in full: A seemingly mild-mannered florist, more at home with his many plants than with people, lives a secret double life as a ruthless assassin. When a young girl seeks his help, the florist's life is thrown into disarray when he gives her shelter at his vast tropical glasshouse. These two people, who have only ever known loneliness, must now learn to work together as we are thrown into an action-packed spectacle as corrupt forces intent on killing the girl move ever closer... Sutherland stars as Rikker, the titular florist, with Reno playing the yet-to-be-named witness whom Rikker befriends. The film is due to begin shooting in New Jersey later in March. Babak Najafi on the set of London Has Fallen . © Focus Features The screenplay comes from writers Eran Creevy ( Welcome to the Punch ) and Scott Windhauser ( The Hurricane Heist ). A release date and distribution plan have yet to be announced.

Seth Rogen and Evan Goldberg’s new Apple TV+ show The Studio  could so easily have fallen its face like [redacted cameo]  after one too many magic mushrooms.  It could have been a dime-a-dozen attempt at satire that ends up in the same ignominious grave dug for HBO’s ostensibly ‘prestige comedy’ The Franchise  (naturally, its ultimate fate is yet to be determined).  And yet, akin to the beleaguered Matt Remick (Rogen) himself, this show constantly defies expectation.  It is not a tired satire, navel-gazing cameo-palooza or a frat-boy comedy for which Rogen is most associated with - but a remarkable televisual accomplishment that emerges greater than the sum of its parts. Matt Remick (Seth Rogen) faces one of his regularly-scheduled crises. © Apple The 10-episode series follows Remick as he is elevated to the role of studio head at the fictional Continental Studios as it enters a new era in the face of numerous threats.  Each episode, Remick and his team - including Ike Barinholtz as veteran producer Sal, Chase Sui Wonders as the ambitious young climber Quinn and Kathryn Hahn as hyperactive marketing guru Maya - face a new trial, threats to their livelihood, sanity and morality.  His overarching quest, however, is to develop a feature-length theatrical film based off the Kool-Aid Man  (mascot of the American flavoured drink mix, for those unacquainted, like myself).  Suffice to say, this show is often far from subtle - but it knows as much so does not shy away from the fact, instead swinging for the fences wherever it can. “I’m the motherf**king Kool-Aid Man!” Seth Rogen, Ike Barinholtz, Chase Sui Wonders and Kathryn Hahn in The Studio . © Apple In most self-referential TV shows, when a line of dialogue mentions a real-life actor or director, the instinctive reaction is to dismiss it as an amusing reference nothing more ( cf . Christopher Nolan being name-dropped The Franchise ). But in this  show, if a celebrity is name-dropped, you can guarantee that minutes later, we see them… and not merely for one scene.  Oh no .  Rogen, Goldberg and crew have clearly taken full advantage of a formidable rolodex of bona fide Hollywood contacts - sweetened, one strongly suspects by Apple’s practically boundless coffers.  In fact, just like the world that it depicts, this show oozes money - and it is money that they should consider well-spent when it comes to the final product.  Although I anticipate that many out there will be understandably preoccupied by its seemingly endless stream of cameos, they are merely the icing on the cake of a show that stands on the strength of its calibrated humour, visuals (suitably cinematic), character collisions (Sal vs Quinn in Episode 5 is a delight) and refreshing lack of cynicism. “Just because I hate movies with subtitles, it doesn’t mean I have nothing to teach you.” Matt Remick and his motley crew despair at the third act of [redacted] 's new film. © Apple Rogen and Goldberg mark an especially creative milestone with The Studio , crafting a deftly paced and frenetic show with the work of editor Eric Kissack.  If anything, the 10 episodes were nowhere near enough for me - I could happily sit and watch 20-plus episodes of a show of this standard (although such a creative feat would obviously be unfeasible by the very nature of this production).  Cinematographer Adam Newport-Berra ( The Last Black Man in San Francisco, Euphoria, Blink Twice ) delivers an array of remarkably sophisticated shots, some of which I could not help but rewind just to marvel at their extravagance.  The biggest masterstroke, though, has to be the fact that every single scene in this show is shot in one take (or at least, seamlessly appears to be, as in the case of Iñárritu’s Birdman ).  These sweepings vistas, along with the often breakneck pace of this show, brought most to mind Babylon , Damien Chazelle’s unfairly maligned opus of golden-age Hollywood (if you do not consider this a compliment, well then, you should). Special mention to composer Antonio Sánchez for crafting an absolutely stupendous score, as fittingly quirky, dynamic and anxiety-inducing as the scenes it envelops. Matt (Seth Rogen) and Sal (Ike Barinholtz) get a talking-to by Martin Scorsese (as himself). © Apple The show is consistently playful, walking the delicate tightrope between commentary and comedy, with a satisfying degree of bite without falling into pretentiousness (although your mileage on that may vary depending upon your appetite for self-referential art).  Nonetheless, just as the Apple TV+ marketing team produced multiple posters homaging classic films  (its key poster pays tribute to Paul Newman’s 70s caper The Sting ), make no mistake: The Studio is in love with Hollywood.  It should go without saying that any show full of Hollywood stars, suitably bankrolled by big players and no doubt reviewed by a cornucopia of legal teams and publicists along the way can only go so far in being capable of self-criticism.  Nonetheless, there are a fair share of swings taken that I was at least somewhat taken aback by at times, which I will not hasten to spoil, lest I ruin the fun (Episodes 8-10 really threw me for a loop). Matt (Seth Rogen) realises that not everyone shares his zealotry for film. © Apple The Studio  contains multitudes, flirting with various genres and tropes whilst being better than it arguably had any right to be considering how easily things could have gone wrong.  Rogen, Goldberg and team deliver a blockbuster of a comedy-drama (and yes, I would consider the travails depicted as drama ) which deserves to stand proudly amongst the pantheon of its genre. Rating: ★★★★★ Episodes 1 and 2 of The Studio premiere March 26 on Apple TV+, with subsequent episodes releasing weekly. About The Studio The Studio . © Apple Premiere Date:  26 March 2025 Episode Count:  10 Directors:  Seth Rogen, Evan Goldberg Executive Producers : Seth Rogen, Evan Goldberg, James Weaver, Alex McAtee, Josh Fagen, Alex Gregory, Peter Huyck Writers: Seth Rogen, Evan Goldberg, Alex Gregory, Peter Heck, Frida Perez Production:   Perfectly Pleasant Productions, Point Grey Pictures, Lionsgate Television Distribution:  Apple Cast:   Seth Rogen, Catherine O'Hara, Ike Barinholtz, Chase Sui Wonders, Kathryn Hahn Synopsis: In “The Studio,” Seth Rogen stars as Matt Remick, the newly appointed head of embattled Continental Studios. As movies struggle to stay alive and relevant, Matt and his core team of infighting executives battle their insecurities as they wrangle narcissistic artists and craven corporate overlords in the ever-elusive pursuit of making great films. With their power suits masking their never-ending sense of panic, every party, set visit, casting decision, marketing meeting and award show presents them with an opportunity for glittering success or career-ending catastrophe. As someone who eats, sleeps and breathes movies, it’s the job Matt’s been pursuing his whole life, and it may very well destroy him.

With Peter Craig's Dope Thief , Apple TV+ adds another richly compelling drama to its already formidable library.  Bolstered by top-notch performances from stars Brian Tyree Henry ( Atlanta , Widows , Eternals ) and Wagner Moura ( Narcos , Civil War ) and rounded out by an exceptional supporting cast deserving of recognition come awards season, this show succeeds in carving its own place in what is an absurdly crowded genre. Ray (Brian Tyree Henry) and Manny find themselves in a tough spot. © Apple The Philadelphia-set crime thriller comes courtesy of Craig, screenwriter behind such hits as The Town, Bad Boys for Life, The Batman, Top Gun: Maverick  and the recent Gladiator II  - and is adapted from Dennis Tafoya’s 2009 novel of the same name. This marks Craig's first time helming and writing for television - and he comes out swinging, with the pilot episode directed by the venerable Ridley Scott (re-teaming after collaborating on Gladiator II ), seldom letting up across its 8-episode run.  Out of Craig’s previous writing credits, Dope Thief  feels most indebted to Affleck’s The Town  as an grounded, unglamorous crime caper exploring relationships under strain and how even the most resilient of friendships can only stretch so far against seemingly insurmountable odds.   The show tells the story of Ray Driscoli (Henry) and Manny Cespedes (Moura), lifelong Philly residents and inseparable friends, who in the pilot’s delightfully frenetic cold open, are deep in the hustle.  That hustle?  Impersonating agents of DEA (US Drug Enforcement Agency), the pair pounce upon unsuspecting small-time drug dealers and get away with their cash before anyone wises up to their deception.  This rather creative grift serves them well enough (though by no means extravagantly), enabling Ray to look after his surrogate mother Theresa (a note-perfect Kate Mulgrew) and Manny to have a relatively stable home life with his girlfriend Sherry (Liz Caribel Sierra).  However, this normalcy is soon shattered when the pair bite off more than they can chew with their next target - a ramshackle meth lab out in the middle of nowhere, which it turns out is the stash house of a shadowy gang known as ‘The Alliance’, which employs bikers as its muscle.  Ray and Manny are beleaguered and on the run, not just from the Alliance and its associates, but the police and the DEA.  This takes its toll on their bond with each other (fuelled by the magnetically natural chemistry between Henry and Moura), and those around them, in more ways than one. Theresa (Kate Mulgrew) on the run. © Apple If anything, the titular dope thieving does not really extend beyond the pilot.  This is not an issue, as the story being told is a different one - if anything, the narrative potential of the show’s premise serves as a testament to how effectively Craig and Scott manage to secure our investment from the offset.  Craig or anyone at Apple: If you are reading this, how about a prequel chronicling the dope thieves’ early days as DEA wannabes? “Me and Manny, we were posing as feds. We were ripping off drug dealers— scumbags, nobodies, you know? And we would take their money, we would take their drugs, and we would make sure that nobody knew who we was. Like, it was work. Research. Protocol. We were very, like, professional. Anyway, we went to the wrong house, and now these people are looking for us and they are gonna hurt anybody that we care about.”  Nowadays, far too many streaming dramas can be placed into the categories of being artificially glossy to superficially grungy, struggling to create a believable, lived-in world regardless of the absurd amounts of money thrown at it.  Fortunately, Craig and his production team manage to swerve such traps, constructing a tangible vision of Philly that is richly populated with living, breathing characters.  No matter how briefly we encounter the supporting cast or bit parts, they seldom resort to cardboard cutouts or caricature.  Instead, each individual we, Ray and Manny encounters on their journey feels in possession of a genuine inner life, rather than a mere cipher or tool to propel the narrative forwards - with scant exception.  Mulgrew’s Theresa makes for a particular highlight, imbuing pain, pathos and dry wit into a role that could have so easily faded into the background if handled differently.  Ving Rhames delivers a solidly gruff turn as Ray’s convict father Bart, though he is unfortunately saddled with some of the more notable clunkers in the script (arguably Craig could have put a few less analogies in his characters’ mouths).  Nesta Cooper is sweetly sensitive as Michelle, Bart’s lawyer who finds herself drawn into Ray’s orbit as his world spirals out of control.  Marin Ireland is yet another standout as Mina, the DEA agent who takes it upon herself to bring Ray and Manny in - clashing with her superiors, including boss Amir (played by Mark Nader, giving one of the few performances which fails to register).  I could keep reeling off the other wonderful characters in this show, but I will save you the joy of discovering them for yourselves.  A tighter show could have arguably been crafted by jettisoning some of the show’s tertiary characters and subplots, but I would consider that a net loss.   DEA Agent Mina (Marin Ireland) at the scene of the crime. © Apple One of my few gripes comes with the resolution of the season, which (without going into spoiler territory) unfortunately falls prey to the more glaring of narrative tropes and traps that had up to that point been successfully dodged (or at least minimised).  Nonetheless, that does not cancel out the potency of what has been delivered up to that point - including nuanced character work, wryly humorous flecks of respite and some absolutely barnstorming action set-pieces which rank amongst the best TV in recent years (watch out for Episode 6). “I saw someone who is trying so hard to be a good person and had no idea what that meant.” Bart and Ray have a heart-to-heart. © Apple Dope Thief makes for an exceptionally fulfilling watch in its own right, although in its explosive closing moments, Craig and co make pretty obvious that they hamper for the story to continue.  Given what has been delivered and provided standards can be maintained (exceeded, even), they absolutely deserve to - certainly more than some of Apple TV+’s disproportionately praised shows (here’s looking at you, Silo ).  Dope Thief  deserves to be heralded as a case study in crime drama done right. Rating: ★★★★☆ Episodes 1 and 2 of Dope Thief  premiere March 14 on Apple TV+, with subsequent episodes releasing weekly. About Dope Thief Dope Thief . © Apple Premiere Date:  14 March 2025 Episode Count:  8 Showrunner: Peter Craig Executive Producer : Ridley Scott Writer: Peter Craig Director: Various Production:  Scott Free, Apple Studios Distribution:  Apple Cast:   Brian Tyree Henry, Wagner Moura, Marin Ireland, Kate Mulgrew, Ving Rhames Synopsis: Based on Dennis Tafoya’s book “Dope Thief,” the series follows long-time Philly friends and delinquents who pose as DEA agents to rob an unknown house in the countryside, only to have their small-time grift become a life-and-death enterprise, as they unwittingly reveal and unravel the biggest hidden narcotics corridor on the Eastern Seaboard.

The unfiltered Dutton family history returns in 1923 season two. Creator and showrunner Taylor Sheridan is an unstoppable force of nature proving why he does not need any cinema for Yellowstone to have a cinematic universe of its own making. The franchise remains consistent in delivering a whirlwind of rich storytelling, immersive imagery, and phenomenal performances by actors, veteran and young, who stand on equal footing in this world Sheridan has built. 1923 takes place years after Yellowstone's first prequel 1883 . It follows Jacob and Cara Dutton, played by Harrison Ford and Helen Mirren respectively, as they navigate through harsh times and fight tyrants to protect their home, The Yellowstone Ranch, and keep their family safe. The odds are not in their favor with opposing factors including pandemics, the end of Prohibition, historic drought, and the evil tycoon Donald Whitfield(Timothy Dalton) who seems to be holding all the cards for now. What makes matters worse is the legendary Spencer Dutton(Brandon Sklenar) who is more than capable of literally fighting lions singlehandedly is away and probably lost at sea. It's not a spoiler to say the Duttons ultimately keep their home. If that wasn't the case, the flagship series Yellowstone would not exist. How they hold to the ranch during this tumultuous period is left to be uncovered. One thing is certain, Duttons never run away from a fight. The Dutton Clan vs. the World Helen Mirren as Cara Dutton. Harrison Ford as Jacob Dutton. 1923: A Yellowstone Origin Story . © Paramount Plus It's amazing how the Duttons are not necessarily a force for good in the traditional sense, but a force against evil. They abide by a gritty Western philosophy that calls them to defend family and what rightfully belongs to them. The first three episodes of 1923 season two reveal the extent of the resilience running through Dutton blood across generations. Harrison Ford and Helen Mirren are once again incredible as the power couple Jacob and Cara Dutton. Those legends breathe life into characters who refuse to let mortality take them away from a fight. Watching them act feels like a masterclass as they accomplish excellent storytelling by living through their characters. Brandon Sklenar as Spencer Dutton. 1923: A Yellowstone Origin Story . © Paramount Plus Brandon Sklenar's Spencer Dutton is a powerful and intimidating presence who lives up to the hype. He transforms into the superhero that is Spencer Dutton. His only problem is separation from his family. Now he is fighting to reunite with his love and go home to his aunt, uncle, and the rest of his family. That distance is perhaps what's best for 1923's saga because the story would be over from the moment he arrives at the Yellowstone. He would make quick work of Donald Whitfield. The Devil Himself Timothy Dalton as Donald Whitfield. 1923: A Yellowstone Origin Story . © Paramount Plus Now is a great time to segway into how much I loathe Donald Whitfield, played by Timothy Dalton. If you are one of those people who think "he's not really a villain, just misunderstood", please stop watching this series and seek professional help. It is not too late to turn your life around. It is so blood-boiling witnessing the depths Whitfield would go to torment others for his sick amusement. He is a sadistic bully who worships himself and cherishes power in its darkest shapes and forms. Dalton succeeds in his resolve to make Donald so irredeemable and cruel. I may forgive him for portraying such an evil villain, but not today. 1923 Is As Real And As Raw As It Can Be Brandon Sklenar as Spencer Dutton. 1923: A Yellowstone Origin Story. © Paramount Plus 1923 is essential viewing for not only Yellowstone fans but aspiring filmmakers, actors, and Western enthusiasts as well. The quality of production, visuals, attention to detail, and talent set the bar as high as the mountain top. The visuals especially are majestic or gruesome depending on the setting the scene calls for. 1923's atmosphere can be inviting or harsh. The series has no problems destroying any innocence left in viewers for devasting and heartbreaking moments. This is not a series for those with a weak stomach. As brutal as the 1923 can be at times, the performances of the cast, writing, and directing greatly complement each other, making the series worth watching. Rating: 5/5 The first episode of 1923 Season 2 is now streaming on Paramount Plus. New episodes will be released every Sunday. About 1923 © Paramount Plus Premiere Date:  February 23, 2025 Episode Count:  7 Executive Producer/Showrunner: Taylor Sheridan Based On:  Yellowstone Writer: Taylor Sheridan Director: Taylor Sheridan Production:   101 Studios, Linson Entertainment, Bosque Ranch Productions, MTV Entertainment Studios Distribution:  Paramount Plus Cast:   Harrison Ford, Helen Mirren, Tanc Sade, Luke Tyler, Patrick Burch, Brandon Sklenar, Michelle Randolph, Julia Schlaepfer, Amelia Rico, Tyler Gaisford, Remy Holt, Jerome Flynn, Darren Mann, Brian Geraghty, Isabel May, Aminah Nieves, Sebastian Roché, Timothy Dalton, Jennifer Carpenter, James Badge Dale, Jennifer Ehle, Robert Patrick, Marley Shelton, Leenah Robinson, Kerry O'Malley Synopsis: 1923 is a Yellowstone prequel series revolving around the Dutton family led by Jacob and Cara in the early twentieth century. This chapter in The Yellowstone Saga explores the obstacles the Duttons face amidst pandemics, the end of Prohibition, historic drought, and the Great Depression in their fight to protect their home.

I sat down with the cast and crew of Max's rollicking new horror-comedy The Parenting - including Nik Dodani , Brandon Flynn , Dean Norris , Vivian Bang , Craig Johnson ( The Skeleton Twins ) and Kent Sublette ( Saturday Night Live ). The film follows couple Rohan (Nik Dodani) and Josh (Brandon Flynn) as they host a weekend getaway in a country house with their respective parents. Unfortunately, things do not quite go to plan - and that is even before the families discover that an evil, 400-year-old demon lies in wait ready to wreck its own blend of havoc. Suffice to say, the film is a lot of fun, whilst delivering its fair share of delightfully creepy moments. We discussed the film's roots in classic horror, situational and improv comedy, and the colour of Brian Cox's vomit, amongst other things. The Parenting 's standout dinner table scene, with Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Nik Dodani and Brandon Flynn. © Max Dean Norris ('Cliff') Dean Norris : How are you doing? John Cullen-Kennedy, NPN :  I'm great. How are you doing? Dean Norris : I'm great, thank you. NPN :  I must say the film, I loved it and I don't want to put words in your mouth, but it did seem like you had a blast on the film. Your joy just came across and I imagine the hijinks you got up to, I mean, just the amount of vomit alone [NB: in the film itself, not on set] must have been quite a sight to behold. How was the experience for you? Dean Norris : Oh man, it's literally one of the most, maybe the most fun set I've ever been on. Myself, Lisa Kudrow, Parker Posey, all had shared a house and Edie Falco was right next to us and it was just instant family and fun and friendship and laughing. We would have film nights together, we would have game nights together, we would go out to eat together, we would cook sometimes and we were all in a small town in Massachusetts. So it was amazing, man. It was just so much fun and on-camera, off the set off camera. What you spend a lot of your time doing in a movie, even with you're working that day, there's a lot of times sitting around waiting and it was just so much fun with these brilliant actors and actresses to shoot the shit and laugh and come up with stuff. And we would do improv stuff with ourselves. We would come up with a story, I dunno, [laughs] Parker Posey is great at this, and her and I had this whole kind of joke that we had an affair and we would keep fighting so off-camera. We would pretend like we were fighting and we couldn't work together and all that kind of stuff. [Laughs] So all that kind of thing was fun and I think kind of helped inform the movie itself. NPN :  No doubt. Speaking of that sort of blurred line between the film at hand and your own life, the character of Cliff, how did you find yourself drawing upon just your own life experiences to craft that character and how much of him and his arc in the film did you relate to? Dean Norris : I think the concept of when two people get married, that's hard enough - and then you got to deal with these two families and their dynamics. So I certainly know what that is, having been married and I think that that informed a little bit - but mainly what informs me is the written words in the script. And it was so well written, it was clear who Cliff was from the beginning. When he talks too much, he's not diplomatic. He'll say whatever's on his mind, but at his heart he loves his son and he accepts the world as it is. And I think he obviously loves his wife too and is willing to stick a finger up the ass of a dog to a saver. [Laughs] NPN : Yeah. How was that experience? I did wonder about what you did on that set. Was it real? Was it to scale? Were there multiple dogs? What was the deal there? Dean Norris : [Laughs] They had multiple real dogs and they had multiple fake dogs. So yeah, that was a fun day. NPN : Were there any surprising moments on set, which you've drawn from as an actor moving forward? Dean Norris : Yeah, well I appreciated the chance to kind of improvise with Lisa Kudrow and Parker Posey, who are both just genius comedic actresses in my humble opinion and the chance to get to, like I said, we had long running improvs off camera. We would just go into something and it really sharpened me, because I haven't done a lot that type of stuff - but it really sharpened my skills there and I'll be looking for it in the future. NPN : Thanks so much, Dean. Great talking with you. And congrats again on the film . Dean Norris : Thank you, man. Appreciate you. Sara (Vivian Bang), Rohan (Nik Dodani) and Liddy (Lisa Kudrow) in The Parenting . © Max Vivian Bang ('Sara') NPN : Vivian, it was really just so heartening to actually get a comedy of this kind that (a) is funny and (b) has those scares in there as well - a little bit of edge to it. Also, just your energy - I really enjoyed your performance as Sara. I'm curious, in terms of the genesis of the character going into it, how much of yourself did you put into the role and what were your general inspirations when it came to the performance? Vivian Bang : Yeah, I think I related to the character so much upon immediate reading because I've always been that friend that is a fixer and has no boundaries and is just going to have your back whether you want it or not. So I think this kind of feeling protective over your loved ones, especially, I think the movie's so funny because it's so true. We have these families - families so complicated and so horrifying and especially when you don't agree on views and these people are coming from all different walks of life, multi-generational, just very different ways of parenting even. And so coming together, I felt like, "Oh gosh, this is my family. This is loaded." It was really easy to relate to because my family is messy, my friendships are messy, especially these days when so many kind of different various views and viewpoints and then having sort of this demon or a generational trauma, it's this darkness and fear and anxiety that can be drawn. I really could relate to all of it. I think it's funny because it's so true. We all have friends like that. We all have parents. We all have parents who have to be in control. NPN : That's so true - and as you say, that really came across on screen, just the chemistry. I suppose you must have had quite a bit of fun filming it, especially some of the... physical effects, shall we say, that are involved. There were some moments where I did kind of just think, how must that have been for you guys to have those creature effects? I am always interested to see the colour of movie vomit, you know what I mean? There's so many shades. It wasn't quite as... luminescent. Vivian Bang : I mean, it's a good time, it's such a good time. All of a sudden you see Brian Cox transformed - and all of a sudden Brian Cox is a demon and sort of running around with your players. A lot of it was about the performance and sort of meeting these gruesome [situations]. It was hard to keep a straight face, at the same time. You're scared and you're terrified, but then a lot of times you also kind of lose control of your body functions and all of a sudden you're letting go and it's hilarious. And I think as humans, I always laugh when horrible things happen, so this kind of tone is perfect for me. NPN : Did you have a favourite moment on set that comes to mind? Favourite scene to shoot? Vivian Bang : I love when we're all together at the table. It reminds me of so many dinner times where you're trying to connect with humans and we're all just not quite coming at a same place and everyone has their thing. And then on top of it, we have a 400-year-old demon who's haunting this space! So yeah, dealing with all of that, it was so fun to kind of be at the table with all of these people. For me, I love movies and I grew up watching everybody. So to be at the table, it was like such a metaphor for "I get to play now, I belong, I belong to this family, I belong at the party even though I wasn't invited." NPN : That really came across - but a bit less slicing with steak knives or bodily harm, I hope. [Laughs] No, that was a particular favourite scene of mine and I'm just so glad that you had a wonderful experience on the film. If I may, what's coming up next for you? I know you've got a film called Song of the Bigfoot, which I must admit piqued my curiosity. How has that been going for you? Vivian Bang : It was so fun. I mean this film [ The Parenting] , the horror genre was something that I had never worked in before and comedy for sure - but then this mixture of tone, of horror comedy, it was so fun. And then with [ Song of the Bigfoot ], that was the hardest sort of filming I've ever done, being in nature and literally fighting with nature... and we were fighting demons in [ The Parenting ]. We're fighting nature and cliffs, and we shot in Portland, which was supposed to kind of represent Washington State and just the wildness of the forest. At one point, I think one of our cast members almost died because he fell off a cliff. It was very gruesome and physically challenging, the most sort of physically, it just is very physical to look for Bigfoot. It's a very physical task that I wasn't used to. Lots of hiking and being in nature. And yeah, it was really fun times. I think it's going to be a really special film. I actually knew not much about Bigfoot, but now after having shot the film, I really do believe in Bigfoot. NPN : I can't wait. You've sold it to me. Thanks again, Vivian - really great chatting with you and congrats again on the film. And yeah, looking forward to seeing Bigfoot myself, and whatever you've got coming down next on the pipeline. Vivian Bang : Thank you! Rohan (Nik Dodani) and Josh (Brandon Flynn) come face to face with something terrifying in The Parenting . © Max Nik Dodani ('Rohan') and Brandon Flynn ('Josh') NPN :  It is just always great to watch a film where I can kind of tell, and you can, well, you can correct me if I'm wrong, but it did seem like you guys had quite a lot of fun making the film. [Nik and Brandon nod] I believe this marks your first times leading a feature film, a big, big Hollywood production, and congrats on that milestone. So I'm just sort of curious what the experience was like for you. Any highlights? Nik Dodani : It was like a comedy summer camp. We were all staying in this haunted hotel in Massachusetts, and during the day we were shooting these insane scenes and at night we were cooking dinner or playing board games or watching trash reality TV. And by the way, Lisa Kudrow is really good at Boggle and you should not challenge her to that ever. But it was great. I feel like I learned so much. Just being around this cast and working with Brandon was a dream. He's a dream. Brandon Flynn : Yeah, it was really very meaningful. As you said, first time leading this scale of a film. It was a really meaningful experience and exactly what I hope for when I work is that I also leave having learned a bunch of stuff from the people that I'm working with. NPN : In terms of highlights - and I suppose there were many both off and on set, too many scenes to name where I just thought "Wait, they went there?" I hope you didn't have too many takes of getting drenched, Brandon, by the vomit of ghostly Brian Cox. Yeah. I'm just kind of curious whether there were any highlights... or lowlights, however you want to phrase them. Brandon Flynn : For sure. One of the highlights was that family dinner scene that was just so chaotic and all of the personalities together. It was one of the first scenes that we all shot together as well, that was really active and had a larger arc within the scene. I mean, there were so many highlights, so many highlights. Nik Dodani : Yeah, I think probably the highlight for me was when Brian Cox as a possessed host of a demon stripped butt-naked and made us all look at his... little 'Brian Cox'. [Laughs[ NPN : Very eloquently put, Nik. When it came to the freedom that you had - because again, it all felt like you were very free on set and very comfortable - did that extend to improvisation? The wonderful script that Kent wrote for you guys, did you sort of feel you had much freedom to improvise? You don't have to tell me the secrets behind movie magic, but did you come up with a few lines on the spot and riff? Were there maybe scenes that ended up having to be unfortunately cut for time that were full of comic gems? Nik Dodani : There is one scene that was cut for time that I really miss, but I feel like it'd be a spoiler to say it.  Brandon Flynn : Oh yeah. Nik Dodani : Well, there was a scene that we shot a wedding for the two characters. A dream sequence. Really a nightmare sequence. And Brandon had this crazy makeup and everyone was singing, what was the song everybody was singing? Brandon Flynn : [Sings] "Karma, karma, karma chameleon." Nik Dodani : Everyone was singing, it was like a choreographed dance, like an Indian wedding. But with this cast and demon Brandon. It was really sad it's not in the movie. Brandon Flynn : It's so weird that we witnessed Edie [Falco] and Brian [Cox] sing this song... [laughs] and no-one else will. NPN : I love the sound of that. Thanks so much, guys - and I hope that one day that finds its way out into the wild. Liddy (Lisa Kudrow) and Cliff (Brandon Flynn) consider their options in the face of some troubling revelations. © Max Craig Johnson (director) and Kent Sublette (writer) NPN : I really enjoyed the fact that [ The Parenting ] invites me in, of course, to a comedy, ostensibly - but then hits me in the feels with those real heartfelt moments. It felt far more relatable at times than perhaps I would have wanted, let's say [laughs]. Craig, how must this felt returning to what, in many ways, is more of a traditional comedy - although there are so many other layers to it - in contrast to your previous two films ( The Skeleton Twins and Alex Strangelove ) and how you took the lessons from those films and then went in new directions? Craig Johnson : Yes. I've always identified as genre agnostic, right? I'll play in any genre as long as the characters are great and there's a little bit of a sense of humour. Those are my only requirements, and then I'll do a sci-fi, I'll do whatever - but [ The Parenting ] reminded me of the movies I loved as a kid from the Eighties. I grew up on Gremlins and Death Becomes Her and Beetlejuice and these wonderful genre mashups that were these spooky, freaky movies - but they were also really funny. And you're right, this is a comedy at its core - but it's a comedy trapped in a horror movie. And those are two genres that just kind of, I think belong together. You don't see them as much anymore. And when I read Kent [Sublette]'s script, I was like, "Well, this is the kind of movie that made me want to be a filmmaker." NPN : Y es, that really resonated for me. It felt rich, unexpectedly, dare I say, because of course you have to fit a box when films are marketed and you have to almost somewhat sand down the edges when it comes to the whole way of film is marketed. There's a limitation there. So one thing that I felt as well, you talk about the influences, and again, yes, I did think of Beetlejuice , especially that wonderfully quirky score. There was some real stings in there, and I just felt like it really took me back. Kent, when it came to crafting the script - and also Craig, from a directorial point of view - when it comes to homages, you of course have The Exorcist , but are there any other deeper cuts and other influences, whether in horror or other genres that you drew upon? Kent Sublette : Yeah, when I was writing, I mean, it was important to me to make it funny, with my comedy background - but I also love horror movies and I wanted it to be genuinely scary. And I sort of remember in early draughts, the studio saying like, "Hey, less blood, maybe less of this." So I definitely could have brought out more of it, but I think with Craig and [the studio] we found this amazing balance of those tones. I also grew up with The Exorcist , The Shining , Poltergeist , Beetlejuice - and all those things sort of just earned the background. It's like I wasn't specifically trying to "This is for this, and this is for this" - it was just like I have those amazing works to sort of build off of and hopefully do a new spin on and then make them fresh. And not that they need to be fresh, amazing - but just my own version of them. NPN : It really came across and I just found again, your film was just so full of heart and the care and attention that you put into it just really came across. Congrats again with the film. I had a great time with it, and I am sure that audiences will too when it comes out. Thank you. The Parenting premieres 13 March on Max.