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This article contains spoilers for St. Denis Medical  S02E03. David Alan Grier as Dr. Ron, Allison Tolman as Alex in St. Denis Medical © NBC In its third episode of the second series, St. Denis Medical  continues to prove that it’s one of television’s sharpest comedies. “Get Me in the Pod, Brother” is a brilliant 26 minutes built around the futility of open communication and the modern obsession with health technology. Convinced that she's improving morale, Joyce (Wendi McLendon-Covey), starts the episode by welcoming a therapy horse into the hospital for patients. Before anyone can process the horse, Joyce unveils her new purchase, the Tomo Pod, a full-body scanner that she was influenced to buy after seeing it promoted by actors on Instagram. She presents it as a leap forward in preventative care for St. Denis, but Ron (David Alan Grier), ever the realist, calls it what it is: another way to make people anxious. Joyce offers staff a free scan to encourage enthusiasm, and from there, the episode unravels hilariously. Bruce (Josh Lawson) jumps at the chance and discovers a minor spinal curvature. It’s nothing serious, but that doesn’t stop him from turning it into a crisis. He fixates on the Tomo Pod’s precision, quoting its 40-micron margin of error, less than the width of a human hair, as proof that his spine is perfect. When Matt (Mekki Leeper) tells him that the technician couldn’t tell his scan from the stock image all scans are compared to, his delusion is fueled. Bruce becomes obsessed with posture, copying Matt’s movements, shadowing his stretches, and accusing him of peacocking when he bends down to pick up a pen. Pictured: (l-r) Josh Lawson as Dr. Bruce, Mekki Leeper as Matt. © Justin Lubin/NBC. Meanwhile, Joyce’s new technology starts to backfire. The Tomo Pod’s constant hum fills her office, distracting her during a meeting with Dakota (Emma Pope). When she tries to carry on as usual, she’s forced to shout over the machine and eventually shoos the other woman out of the room, muttering that she’ll get used to the noise. Unsurprisingly, she doesn’t. Her conversation with the technician operating it also highlights how little she understands about the machine she wants to implement within the hospital. When she asks why he’s wearing a protective vest and he replies because he's here all day, she cannot get out of the room fast enough. It’s enough to drive home the episode’s point about misplaced faith in technology. While Bruce spirals, Alex (Allison Tolman) and Ron get caught in a different kind of self-inflicted mess, much to the audience's joy. When Alex insists that she and her husband, Tim (Kyle Bornheimer), share everything, Ron cannot believe that she's the type who values open communication. When he asks if Tim knows about "hot Gary," a delivery driver who frequents St. Denis, that the nurses are smitten with, she says that it's a silly office joke. Ron isn't convinced. Alex soon tries to prove Ron wrong and calls Tim to clear up the running joke about “hot Gary.” Tim reacts casually, believing that everyone is attracted to another at their place of work. When asked who his work crush is, he admits he finds Serena (Kahyun Kim) attractive. What begins as a smug demonstration of openness to Ron turns into a painfully funny sequence of oversharing. Alex, mortified but determined not to let Ron win their debate, decides she must tell Serena what has been said. Her attempt to do so is gloriously awkward. She greets Serena as “pretty lady,” blurts out the story, and panics when Serena, who describes herself as poly-friendly, assumes Alex is proposing something. Ron witnesses it all with satisfaction, using the moment to declare that people sharing every thought that pops into their heads is what is wrong with society. Pictured: Kahyun Kim as Serena. © Justin Lubin/NBC. The situation only worsens, which in turn brings plenty of laughs. Tim arrives at the hospital with flowers, thinking Alex is angry with him after she abruptly hung up the phone during their prior conversation. In a misguided effort to smooth things over, he tells Serena that he doesn’t want to sleep with her. Awkward. Elsewhere, Bruce continues to spiral. Having been told to accept his spine as it is, he immediately decides he wants another scan, blaming the curvature on the three coffees he drank that morning. When the technician warns against back-to-back scans, Bruce insists he’ll sign a radiation waiver. Matt, ever patient, finally tells him that the spine he’s got is the spine he’s got, which only triggers Bruce further. As the episode goes on, St. Denis fills with the noise of too much information. Everyone knows too much about everyone else, whether it’s spinal metrics or relationship gossip. Joyce has abandoned her office, working from the ward and eventually retreating to her car for peace.  Ron, trying to prove that keeping quiet is sometimes the better policy, manages to do the opposite. A staff member misinterprets images on his computer and concludes that he’s obsessed with Serena. Exasperated, Ron blurts out that he’d rather sleep with Joyce than Serena, unaware that the former is in earshot. Her reply, that it's a thought she's had on occasion, and she's relieved someone said the quiet part out loud, but they need to put this genie back in the bottle, shuts him and the staff that has gathered around immediately up. While the jury is out on whether there's a romance there, it is wickedly funny. McLendon-Covey should be one to watch this upcoming award season. Pictured: (l-r) Wendi McLendon-Covey as Joyce, David Alan Grier as Dr. Ron. © Justin Lubin/NBC. The final five minutes tie the episode together. Alex attempts to justify her belief in open communication, but Ron reminds her that none of the day’s disasters would have happened if she’d kept quiet. She insists honesty feels good, then tells Dakota that Ron has been stealing her yoghurts. All ends well with Bruce after he takes the advice Matt gives a patient, who is concerned about the scars she will have once recovered and makes it about himself. Imperfections tell a story, and he twists and contorts his body to save lives. His spine is his battle wound, and Matt is no longer better than him. Lawson, once again, impresses. “Get Me in the Pod, Brother” is a funny and well-observed episode, showcasing exactly why St. Denis Medical  is going from strength to strength. It captures how good intentions and self-awareness (or vanity in Bruce’s case) can make ordinary situations worse. The cast continues to excel, hitting every awkward beat to extract laughter from their audience this week, proving they're an ensemble to watch. Rating: ★★★★☆ St. Denis Medical . © NBC Universal About St. Denis Medical Premiere Date:  November 10, 2025. Episode Count:  18 Showrunner: Eric Ledgin Executive Producers: Eric Ledgin, Justin Spitzer, Simon Heuer, Ruben Fleischer, Bridget Kyle, and Vicky Luu. Production:   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.

Sources tell Nexus Point News that Elizabeth Olsen is set to star in Peaked with Molly Gordon.  Gordon will direct based off a script written by her and Allie Levitan ( Adults , Saturday Night Live ). Gordon will produce with David Hinojosa and Zach Nutman of 2AM for A24. Peaked  will be Gordon’s second film as a director and first as a solo director. The film follows two women in their late-twenties, Bobby (Gordon) and Millie (Olsen), who were once the most popular girls in their high school, but have now amounted to nothing. When they don’t receive an invite to their 10 year high school reunion, they plan to crash the reunion. Olsen will next be seen starring in A24’s Eternity alongside Callum Turner and Miles Teller and Sam Esmail’s Panic Carefully . She’s best known for her role as Wanda Maximoff in the Marvel Cinematic Universe which she has appeared in several projects across film and TV since 2014. Her other credits include Martha Marcy May Marlene , Godzilla , Oldboy , and Love & Death. Olsen is repped by CAA, Brillstein and Sloane, Offer. Gordon made her directorial debut with Theater Camp  which she also starred in. This past year she co-wrote and starred in Sophie Brook’s Oh, Hi!  She’s best known for her roles in Life of the Party , Good Boys , Booksmart , Shiva Baby , Animal Kingdom , and The Bear . Peaked begins production in January in New Jersey for A24. We have reached out to A24 for comment and we'll update the story as details come in.

© Warner Bros. Animation Merry Little Batman (2023) discovered a desirable success amongst younger audiences, combining superhero antics with the spirit of Christmas. In the absence of Batman, his son, Damian Wayne (Yonas Ascunsion Kibreab) uncovered a plot that threatened to destroy the holidays, and protected the festive period in Gotham. Prime Video's animated film was a deviation away from DC’s usual target audience, instead hoping to introduce the next generation of children into the bizarre world of Batman. Upon receiving a positive reception, plans to expand upon the film were greenlit, thus giving birth to the series Bat-Fam . This time, audiences will follow the adventures of Damian, Batman (Luke Wilson) and Alfred (James Cromwell) who continue to protect Gotham whilst living alongside some new guests at Wayne Manor. Together, the residents combine into an unlikely band of misfits and outcasts, each infusing important teachings of betterness, teamwork and friendship into the series for its younger audiences. Such messages linger throughout, resulting in a delightful charm and earnestness, with viewing parents potentially finding enough to resonate with during their unavoidable 6 a.m. wakeup call and mandatory cartoon-watching service. Make no mistake, Bat-Fam caters almost entirely to its ages 10 and below audience, this isn’t a necessary viewing for even the die-hard DC fans, and certainly bares no importance to the ever-growing DC Universe continuity. Bat-Fam ’s primary watchers will have no qualms with the series direction or animation style, both of which are simply unapologetic fun. Parents may even find themselves reminiscing upon their own childhoods, reminded of Saturday mornings in front of Cartoon Network, Boomerang and Foster’s Home for Imaginary Friends (2004), of which the Prime series bares a strikingly welcome resemblance to. Fun references and twists upon character names result in throwaway gags likely to steal a laugh from older ‘in the know’ audiences, delivering enough to keep parents clicking next episode whilst their morning coffee brews. The depth to the series is unsurprisingly limited, with each episode intending to inspire quicker life lessons and introduce the foundations of trust and good. Damian’s adventures are extravagant and hilarious, impossible not to find a childlike level of enjoyment within, seemingly originating from a bygone era of children’s television rather than one encompassed by Youtube and TikTok brainrot. Thanks to a memorable 2-D sandbox and voice acting carrying a genuine enthusiasm, Bat-Fam may become recognised amongst modern children’s television, similar to a PG version of Adult Swim. Simplistic gags and over-the-top animated sequences lend to a niche and quirky humour, the kind that can define a generation and motivate the production of similar style content. Bat-Fam   © Warner Bros Animation A continuous mystery flows throughout the 10-episode season, encouraging a long-term narrative for viewers to sink their baby teeth into, even if this takes a backseat amongst the episodic antics that occur. All fronts are directed towards a streamlined style, with momentary sparks of eccentric visual energy that burst with a childlike approach. Given Bat-Fam ’s target audience, any implication of criticism feels unfair. The series doesn’t need to revolutionize the genre or become the focus of this week’s discussion on ‘Superhero Twitter’. Bat-Fam  captures a nostalgic magic and heart that has been absent from younger media in recent times and should be celebrated for capitalizing upon the achievements of a genre near forgotten, yet still producing something new. Evidently playing the long-game, DC may have just inspired their new wave of superhero fanatics. Rating: ★★★★☆ Bat-Fam . © Warner Bros. Animation About Bat-Fam Premiere Date: November 10, 2025 Episode Count: 10 Executive Producer/Showrunner: Mike Roth Production: DC and Warner Bros. Animation Distribution: Prime Video Cast: Luke Wilson, Yonas Kibreab, James Cromwell, Haley Tju, London Hughes, Michael Benyaer, Bobby Moynihan. Synopsis: Bat-Fam follows Batman, Alfred, and young Damian Wayne - now having taken on the mantle of “Little Batman” - as they welcome a few new residents to Wayne Manor. Joining the family dinner table is Alicia Pennyworth, Alfred’s free-spirited grandniece; Claire, a recently reformed Super-Villain; Ra’s al Ghul, Damian’s adoring “Pap Pap” who also happens to be Batman’s longtime nemesis; and Man-Bat, who takes up residence in the Wayne Manor belfry. Oh! And let’s not forget Selina, the beloved family cat. This close-knit family of misfits navigate the fun and frustrations of ordinary life while protecting the streets of Gotham City.

© Netflix It's crazy to say this, but to have a television show return for its second season the following year after its first season has aired is quite unheard of in today's age of modern television. When The Vince Staples Show first aired on Netflix last year, it gave audiences a comedy that felt reminiscent of the surreal nature of Atlanta and the day-to-day mundane celebrity life that Curb Your Enthusiasm brought, but The Vince Staples Show manages to be its own thing in the midst of those two shows as Vince Staples dives into his own mind to create a comedic show that feels like him and relates to the hip hop world and to people that also look like him. The first season didn't have much story structure but had individual stories for each episode as you grew to know the characters that surrounded Vince Staples' life. This second season takes a much darker tone with its story and also extends it by an extra episode to tell a story that's cohesive and hilarious but also effective. This doesn't take away from how effective Season 1 was with its topics, but that season managed to handle them in a light-hearted fashion, while Staples has decided this time to let out his anger and truly tackle grief and how race is perceived in America. In The Vince Staples Show Season 2, Vince's uncle James Brown (Beau Billingslea) has passed away, and he deals with himself, his mother, Anita (Vanessa Bell Calloway), and his sister, Bri (Naté Jones), dealing with the aftermath and the lead-up to his uncle’s funeral. There's an overarching story this season that starts from the first episode to where Vince and Anita try to rent a car after Vince gets his mother's car tolled to the final episode where Uncle James' funeral finally takes place. The randomness and chaos of Season 1 can still be found in The Vince Staples Show Season 2, but with its more focused storyline that focuses on a family trying to deal with the death of a family member while also healing past wounds and learning more about the man James once was. Compared to its first season, it's a much deeper and more emotional story, but don't let that turn you away, as each episode will have you laughing until you're in pain. The Vince Staples Show . © Netflix As mentioned, this season is slightly spooky, and having just passed Halloween, it still feels like the perfect timing for a season such as this. The Vince Staples Show has incredible framing and blocking that helps build the intensity in some sequences, whether that's between Vince Staples and another character or simply to build on the atmosphere. You can't find great filmmaking like this in any other comedy show; they all feel too similar to one another, and The Vince Staples Show sets itself apart by remaining a comedy that's inspired and a homage to cinema. Vince Staples has to deal with the ghost of his uncle by his side, a haunted house, supposed cannibals on the loose and a cult that worships Black kings and queens (I wouldn't trust it either, Vince). At times, you have to force yourself to remember that you're watching a comedy and not a horror. It's a part of The Vince Staples Show's charm that makes this Netflix's most unique comedy. This second season is very on the nose with its commentary and regarding itself; Staples at one point comments on the second season of The Vince Staples Show Season 2 releasing soon, saying, "We're filming it right now," and technically, they were. It's humour such as this that comes right after intense, revealing moments that helps ensure the show doesn't remain grounded the entire time and gives it that level of levity. This season features more of Vince Staple's mum, Anita and it dives into her relationship with her daughter, which was ruined last Juneteenth and how the death of her brother is affecting her. Vanessa Bell Calloway is a scene stealer, portraying a true Black mother who will ensure that her children stand up for themselves and that the world doesn't push them around. She doesn't waste time with anyone, not even family and will get what she needs. She's a joy to watch, and while it may be a season not as chaotic as its first, her attitude really helps set up a lot of the gags early on in the season. The Vince Staples Show Season 2 fights hard for the spot of Netflix's best comedy, but with everything it brings to the table from its filmmaking, writing and performances, it might easily take the crown. It never feels as absurd and ridiculous as the first season due to its overarching story, but it manages to balance its deeper and more emotional themes while still fitting in the surrealism that made the first season successful. While it ends on a cliffhanger, I'd happily take a couple more seasons of The Vince Staples Show , which breaks apart from the conventional. TV comedies that we usually get. Rating: ★★★★☆ About The Vince Staples Show The Vince Staples Show . © Netflix Premiere Date:  November 6, 2025 Episode Count:  6 Executive Producers: Vince Staples, Holly Redford, Corey Smyth, Andrea Sperling, Kenya Barris, William Stefan Smith, Leonard Chang, Amy Hubbs, Crystal Jenkins, KJ Booze, Leah Pablo Showrunner:  Leonard Chang Writers: Vince Staples, Amy Hubbs, Crystal Jenkins, Jeff Patneaude Directors: Riley Stearns, William Stefan Smith Production: Khalabo INk Society, Section Eight, Arthouse, Edelgang Worldwide Distribution:  Netflix Cast:   Vince Staples, Vanessa Bell Calloway, Beau Billingslea, Nate' Jones Synopsis: In the wake of a tragic death, Vince embarks on a wild journey in search of inner peace. However, his path is littered with reminders of his haunted past.

This article contains spoilers for Palm Royale  Season 2. Palm Royale  returns to Apple TV determined to prove it has more to say, and more to spend, than ever. It doubles down on the camp glamour and social satire of its first season, but also on the weak writing and excesses that made that season divisive. The result is a lavish, frequently entertaining, but ultimately uneven second outing that stretches itself far beyond what its story structure can comfortably handle.   Following the events of the first season’s finale, we begin with Maxine (Kristen Wiig) strapped to a hospital stretcher, wrists and ankles bound. Rather than ending in triumph, her Beach Ball ended in a psychiatric hold at Sunny Tides, where she’s accused of being a danger to herself and others. Inside the hospital, she hallucinates the Palm Royale around her. Orderlies become waiters, sedation injections act as martinis, and the wives’ psychiatric wing transforms into a private cabana club for those (women, of course) nervously exhausted. Wiig plays these sequences with impressive control, leaning into the surreal humour without losing the discomfort of a woman realising that her dream life has been taken from her. Palm Beach is about poise, and here Maxine learns that even perceived instability can exile a woman faster than any actual wrongdoing. Kristen Wiig as Maxine in Palm Royale © Apple TV+. If that sounds like an interesting start, it is. For a moment, the show suggests that it will delve more deeply into its themes of performance, wealth, and femininity in a world where all are fragile currencies. Maxine’s hallucinations reflect the idea that Palm Beach society runs on shared illusion, and that losing grip on that illusion is social death. Unsurprisingly, Palm Royale  doesn’t quite trust its strengths, nor its A-List cast, to deliver something worthy of their talents. Just as the first season did, the second binds itself in excess. There’s too much of everything: too many twists, too many schemes, and too many subplots that you’ll lose track of just as the writers did. That’s not to say the show isn’t entertaining. The broad arc of the season follows Maxine’s fight to reclaim her social footing after being labelled unstable. Once she pries herself back to freedom, with minimal assistance from her husband Douglas (Josh Lucas), who remains as useless and easily influenced as ever, she sets her sights on regaining control at Palm Royale. If she so happens to prove that Norma-turned-Agnes (Carol Burnett) is a serial murderer in the process, well, that’s a bonus. Around her, Palm Beach continues its usual business of scheming. Douglas is torn between marital loyalty (what remains after his affair with Mitzi, played by Kaia Gerber) and the promise of immense family wealth. Robert (Ricky Martin), recovering from his shooting at the end of season one, remains uncomfortably stuck between duty, affection, and safety. His back-and-forth indecision, particularly surrounding Norma, is as tiring as it is dull. Instead of repeating and rehashing the same sentiment, this screentime would have been better served to Virginia (Amber Chardae Robinson), who is present throughout the season, but never enough that her part in any storyline carries real weight. There's an instance where she sticks beside the women, namely Maxine, Evelyn, Linda, and Ann (Mindy Cohn), but her role as "the man" and struggles as a black woman in the FBI take an unfortunate backseat. Linda (Laura Dern) becomes the scapegoat, held in a padded cell at Sunny Tides, accused of attempting to assassinate President Richard Nixon. We know she’s innocent, but it’s easy to pin the blame on the radical woman rather than giving Dern something more to do. Her arc this season is interesting and ultimately a tearjerker towards the end as she finds both herself and love; yet there is not enough of her. She disappears for episodes on end and is missing from scenes that Linda's presence would have elevated. By the time her connection to Agnes is explored, far too late into the season, you’ll wish it had been a focus from the start. Allison Janney, meanwhile, remains one of the show’s most reliable assets. Evelyn is a masterclass in self-protection, a woman who refuses to show vulnerability even when it spills out anyway. Janney never tips her into caricature, even when it would be easy to in a show such as this one. This is evident when she marries toyboy Eddie (Jason Canela), and ends up alone again, preferring her independence. Her evolving dynamic with Maxine, which is part rivalry, part reluctant alliance, is easily the most compelling relationship of the season. When the show places those two women in the same room (or underground tunnel) and lets them communicate or plan their next move, it comes closest to the prestige comedy-drama it wants to be. Allison Janney as Evelyn in Palm Royale   ©  Apple TV+. Visually, Palm Royale  remains one of the most appealing shows on television. The opening credits are a delight, provided you don't skip through them. The costumes are immaculate and character-driven, while the hair and make-up are stunning. It feels as if everyone is doing their job, except the writers. This season’s central mystery revolves around the Dellacorte fortune: who controls it, who will inherit it, and how far people will go to secure it. The Dellacorte Generation Skipping Trust Fund will open once a legitimate baby is born within a marriage. With Maxine out of the way (not for long), Norma (Agnes) sets her sights on marrying Mitzi and Douglas so that the money held in Switzerland will be unlocked. Naturally, it’s not that simple. There are secrets tied to family lineage, questions about legitimacy, and inheritance technicalities that feel more soap opera than anything else. Occasionally, there are moments when the writing does nail the absurdity of power structures and how quickly they unravel when challenged by an outsider. But then the show doesn’t know how to stop. Instead of sitting with any one theme (power, identity, performance, legacy – they’re all there), it flits between all of them. There are dramatic confrontations that couldn’t be further from the truth revealed in the finale, secret alliances, and conveniently timed revelations. Some are fun, such as how Norma came to be through flashbacks and Burnett’s voiceover. Others are baffling, such as the introduction of Mirabelle, Maxine’s long-lost twin sister. While you can never have enough of Wiig, you do have to wonder what the point of it truly was. It’s never boring, but it is frequently exhausting trying to keep up. Some individual episodes and sequences work well. Musical numbers occur, namely, by Kristen Wiig, Ricky Martin, Carol Burnett, and Patti LuPone. Burnett sings a rendition of "Something Good" from The Sound of Music that is as beautiful and emotional as it sounds, while LuPone sings for the sake of it in the first of her two-episode guest stint. She's underused but brilliant throughout, and her number is a highlight of the season, even if it feels like her character, Marjorie, performs at the Square Dance gathering she holds for Palm Beach because of who she is portrayed by. It's no surprise then that even these high points highlight the season’s lack of discipline. What should feel like a sharpened continuation, one that has learnt from previous criticisms and aims for further Emmy nominations in what could be a weaker year for Apple following the lack of The Studio , feels like an over-decorated return destined for mockery. Carol Burnett in Palm Royale   ©  Apple TV+ . Palm Royale  is gorgeous to look at, consistently well-performed by its experienced cast, and full of clever ideas, but it too often buries those strengths under sheer volume. In the end, Season 2 is another frustrating watch. It swings big, which is admirable, but misses the mark more times than it hits. It’s a world still worth visiting, particularly if you are a fan of its leading ladies, but one that would benefit from less spectacle and more focus. Rating: ★★☆☆☆ Palm Royale . © Apple TV About Palm Royale Premiere Date:  12 November 2025 Episode Count:  10 Executive Producers: Abe Sylvia, Laura Dern, Jayme Lemons, Kristen Wiig, Katie O’Connell Marsh, Tate Taylor, John Norris, Sharr White, and Sheri Holman. Writers: Abe Sylvia, Sharr White, Sherri Holman, Becky Mode, Celeste Hughey, Emma Rathbone, Kelly Hutchinson, and Logan Faust. Directors: Abe Sylvia and Stephanie Laing. Production:  Jaywalker Pictures, Aunt Sylvia's Moving Picture co., Wyolah Entertainment, Boat Rocker Media, Inkshares, and Apple Studios. Distribution:  Apple TV Cast:   Kristen Wiig, Ricky Martin, Josh Lucas, Leslie Bibb, Amber Chardae Robinson, Mindy Cohn, Julia Duffy, Kaia Gerber, Laura Dern, Allison Janney, and Carol Burnett. Synopsis: In season two, Maxine is left a social pariah after a scandalous public breakdown. She'll have to draw on her deep well of cleverness and cunning to prove once and for all, that not only does she belong, but she just might have what it takes to rule this town. Along the way she will uncover untold truths and finally understand what this town is truly built on... secrets, lies, and the occasional felony.

Now that we are in October and most of the major fall film festivals have wrapped up, we finally have a much clearer picture of how the Oscar race might be shaping up. Venice, Telluride, and Toronto have all had their say, and with the dust beginning to settle, the awards landscape is starting to take form — though, as always, new questions have emerged just as quickly as some old ones have been answered. Early favorites have stumbled, surprise contenders have surged, and the race is proving to be as unpredictable and exciting as ever. Some early front-runners that seemed unstoppable back in August have lost momentum, while a fresh wave of films and performances are now capturing the industry’s attention. It will be fascinating to see if the Academy once again leans toward its reliable favorites —names like Leonardo DiCaprio and Daniel Day-Lewis — or if young blood will step up to steal the spotlight. Day-Lewis’s long-awaited comeback, directed by his son in Anemone , has created serious buzz and could mark one of the season’s defining performances. Meanwhile, One Battle After Another  continues its run as one of the year’s biggest success stories, maintaining impressive momentum across both critics and audiences, even though it might struggle to make a profit at the box office. It came out out swinging with many giving it the tag of a "masterpiece" and has emerged as a major frontrunner despite skipping all the festivals. Elsewhere, The Smashing Machine  has struggled to sustain its early hype despite a strong lead performance, while Sinners  has impressively sustained momentum despite releasing very early in the year. Hamnet ’s People’s Choice Award win at TIFF has catapulted it firmly into the Best Picture conversation, echoing the path of past crowd-pleasers that went on to Oscar glory. International features, including Sentimental Value, The Secret Agent, and No Other Choice , too, are thriving this year, with multiple titles showing the potential to break through beyond their own category. On the other hand, After the Hunt — once seen as a serious contender — has crashed out of the race following mixed festival reactions. Still, the awards season is far from over. A few heavyweights have yet to take the field, with Josh Safdie’s Marty Supreme, John M. Chu's Wicked: For Good,  and James Cameron’s Avatar: Fire And Ash  looming on the horizon as potential game-changers. As the industry braces for their arrival, the stage is set for another dynamic and unpredictable Oscar season — one that could see the old guard challenged by fresh voices in what’s shaping up to be one of the most competitive lineups in recent memory. Now, let’s dive into the above-the-line categories and see where the race currently stands. (Nominees are listed in the order of highest to lowest probability of nomination) Best Picture Jessie Buckley and Paul Mescal in Hamnet . © Focus Features One Battle After Another Marty Supreme Hamnet Sinners Sentimental Value No Other Choice Wicked: For Good It Was Just An Accident Jay Kelly A House Of Dynamite Threats: The Secret Agent, Bugonia, Train Dreams Best Director Michael B. Jordan and Miles Caton in Sinners. © Warner Bros. Paul Thomas Anderson ( One Battle After Another) Chloé Zhao ( Hamnet) Ryan Coogler ( Sinners) Josh Safdie ( Marty Supreme) John M. Chu ( Wicked: For Good ) Threats: Jafar Panahi ( It Was Just an Accident), Park Chan-Wook ( No Other Choice) Best Actor Timothée Chalamet in Marty Supreme. © A24 Timothee Chalamet ( Marty Supreme) Leonardo DiCaprio ( One Battle After Another) Wagner Moura ( The Secret Agent) Joel Edgerton ( Train Dreams) Jeremy Allen-White ( Springsteen: Deliver Me from Nowhere) Threats: George Clooney ( Jay Kelly) , Ethan Hawke ( Blue Moon ) Best Actress Chase Infiniti in One Battle After Another. © Warner Bros. Jessie Buckley ( Hamnet) Renate Reinsve ( Sentimental Value) Cynthia Erivo ( Wicked: For Good ) Chase Infiniti ( One Battle After Another) Rose Byrne ( If I Had Legs I’d Kick You) Threats: Emma Stone ( Bugonia), Jennifer Lawrence ( Die My Love) Best Supporting Actor Adam Sandler in Jay Kelly. © Netflix Sean Penn ( One Battle After Another) Adam Sandler ( Jay Kelly) Paul Mescal ( Hamnet) Stellan Skarsgård ( Sentimental Value) Jeremy Strong ( Springsteen: Deliver Me From Nowhere) Threats: William H. Macy ( Train Dreams) Best Supporting Actress Gwyneth Paltrow in Marty Supreme. © A24 Regina Hall ( One Battle After Another) Ariana Grande ( Wicked: For Good) Amy Madigan ( Weapons) Elle Fanning ( Sentimental Value) Gwyneth Paltrow ( Marty Supreme ) Threats: Inga Ibsdotter Lilleaas ( Sentimental Value), Emily Blunt ( The Smashing Machine ) Best Original Screenplay Stellan Skarsgård and Renate Reinsve in Sentimental Value. Sentimental Value (Joachim Trier & Eskil Vogt) Sinners (Ryan Coogler) A House of Dynamite (Noah Oppenheim) Marty Supreme ( Ronald Bronstein and Josh Safdie) Jay Kelly (Noah Baumbach & Emily Mortimer) Threats: Weapons (Zach Cregger) Best Adapted Screenplay Jessie Buckley in Hamnet . © Focus Features Hamnet (Chloé Zhao) One Battle After Another (Paul Thomas Anderson) Bugonia (Will Tracy) Train Dreams (Clint Bentley & Greg Kwedar) Springsteen: Deliver Me from Nowhere (Scott Cooper) Threats: Wake Up Dead Man: A Knives Out Mystery (Rian Johnson), No Other Choice (Park Chan-wook, Lee Ja-hye, Lee Kyoung-mi & Don McKellar) Best Animated Feature KPop Demon Hunters  © Netflix KPop Demon Hunters (Netflix) Arco (Neon) In Your Dreams (Netflix) Ne Zha II (A24) Zootopia 2 (Disney) Best International Feature Sentimental Value Sentimental Value - Norway It Was Just an Accident - France No Other Choice - South Korea The Secret Agent - Brazil The Voice of Hind Rajab - Tunisia Threats: Sirāt ( Spain), Homebound (India)

Predator Badlands © 20th Century Studios For many, including the studio, it seemed the Predator franchise was quickly running out of gas after a series of underperforming entries in the series, the nail in the coffin seemingly being Shane Black's controversy fueled and critically panned The Predator. However, this was all before Dan Trachtenberg stepped into the frame with Prey : A self-contained, stand-alone film that packed a tight story with a string of characters, thrills, and action set pieces. He then returned with a surprise animated feature on Disney+, Predator: Killer of Killers , a very different but exciting film great for what it was and what it intended to do. Now he's back once again with Predator: Badlands, and it's yet another home run that, like the former entry, begins to connect different strands of the series that hints at an exciting future with a strong and secure plan in place for where it intends to go. Predator: Badlands flips the series upside down for a refreshing change of pace, instead of its Yautja lead filling the role of the antagonist, it steps into the shoes of the movie's protagonist. Through this creative decision, director Dan Trachtenberg explores a side to a Predator we haven't seen before, alongside some elements that previous iterations have touched upon, such as their ways of life, hunting, and communication with things not considered as their primary target. The overarching question of the movie is: What if a Predator is seen as the weakest of its group, and what does that mean for the Yautja itself?The Yautja in question, placed at the forefront of Predator Badlands is Dek, brought to life greatly by Dimitrius Schuster-Koloamatangi. Dek is viewed as the runt of the litter in his tribe, and after narrowly evading death, sets out on a quest to prove his worth by killing what others, through either experience or legend, view as an "unkillable" beast. Along his journey he comes across a damaged Weyland-Yutani synthetic unit named Thia (Ellie Fanning). Not only is this a great character in this film, but also one of the biggest connections to the Alien franchise we've seen feature in this series in quite some time, possibly alluding to a future new addition to the existing Alien vs. Predator duology, or something even more exciting we don't currently know. Elle, in yet another dual performance in a 2025 movie (as in Superman, Sinners, and Mickey 17 ), additionally features as one of the film's primary antagonists, a second Weyland-Yutani named Tessa. The dual roles allow for Elle to bring a welcomed dose of humour and heart to the film as Thia, complimenting the film's themes of self-worth and found family through the character's own thoughts and actions. She also delivers a threatening and more serious tone as Tessa, who unlike her self-titled sister, believes her sole purpose is to complete the mission she's been assigned for, as just like Dek she is also charting the planet for a reason that later gets revealed. Elle Fanning as Thia and Dimitrius Schuster-Koloamatangi as Dek in Predator Badlands © 20th Century Studios Though initially hesitant to partner with Thia, her relationship with Dek is an unlikely alliance that's rather joyful to watch unfold across the respectfully paced one hour and forty-seven minute runtime. An additional creature is tossed into the mix and effectively becomes the movie's version of 'Baby Yoda,' which isn't a bad thing not only thanks to its execution but also its explored purpose to the story. Like Dek and Thia, the idea of a "found family" resonates for all three widely looked down upon characters. Accompanying Predator Badlands is an abundance of slick, strong, and despite a PG-13 rating, violent and brutal action with plenty of blood (even if not humanly red at times) to go around. There's decapitations, exploding heads and detached limbs aplenty, so although the movies tone, humour, and light story at times may lean towards a "family friendly" style film, it ironically manages to meet the expectations of both potentials: The idea of this film and the basic story may at times certainly feel familiar, but in a Predator movie, it's something previously untouched and thus an uncharted piece of this world. Visually, in terms of the multiple visual effects, Predator Badlands is as strong as its previous series siblings, though it feels flat, an unexpected & unfortunate flaw (though really a nitpick) of having Jeff Cutter ( Prey ) returning as the director of photography. There's a plethora of shots that, though appealing, feel washed multiple times over. A multitude of these are present across the marketing for the movie. Ultimately, Dan Trachtenberg yet again leads the Predator series into uncharted territory with Predator Badlands which, though oozing in violence and deliciously put together action sequences, is an ironically tender and humourous sci-fi fantasy about companionship and found-family with a strong exploration of the Yautja Mythology and great hand-in-hand performances from Elle Fanning and Dimitrius Schuster-Kolomantangi, making it one of the most accessible films of the year with plenty of fun to be had. Rating: ★★★½ Predator Badlands © 20th Century Studios About Predator Badlands Pre miere Date:  November 7, 2025 Writer: Patrick Aison, Jim Thomas, John Thomas Director: Dan Trachtenberg Producers: John Davis, Brent O'Connor, Marc Toberoff, Dan Trachtenberg, Ben Rosenblatt Production:     Lawrence Golden Productions, Davis Entertainment, Toberoff Entertainment Distribution:  20th Century Studios Cast:  Elle Fanning, Dimitrius Schuster-Koloamatangi, Reuben de Jong Synopsis: A young Predator outcast from his clan finds an unlikely ally on his journey in search of the ultimate adversary.

This article contains spoilers for S02E01 and S02E02 of St. Denis Medical . St. Denis Medical  returns to NBC on Monday, November 3. If the first two episodes are anything to go by, the mockumentary hospital comedy has lost none of the warmth, wit, or disorder that made its debut last year such a joy to watch. Kicking off with "Aloha, Everyone" and "Mama Bear Activated," the series welcomes us back to St. Denis’ madness, with emphasis placed on the awkward will-they-won’t-they stalemate between Matt (Mekki Leeper) and Serena (Kahyun Kim). "Aloha, Everyone" Season two kicks off with a cold open to laugh at. A father-to-be and his pregnant partner are rushed into the hospital after a gender reveal mishap gone wrong, leading to Matt walking a powder-filled balloon into a door frame and coating himself in pink powder. It’s perfectly timed and a smart reintroduction to the lack of crisis management the staff of St. Denis have. Fresh off a restorative trip to Hawaii with husband Tim, Alex (Allison Tolman) returns determined to keep her newly acquired inner peace intact after a promotion the year previously left her frazzled. She’s “Chill Alex” now, unbothered and refusing to be dragged into anyone’s drama. Of course, this is St. Denis, and within minutes she’s juggling Joyce’s escalating birthing-centre meltdown, Serena and Matt’s obvious feelings for the other, and Bruce’s desperate need for someone to notice his new tattoo. She doesn’t stand a chance. Watching her grasp weaken on her zen while everything unravels around her is both hilarious and will pull at your heartstrings. We may have just returned, but somebody give her a break already. Allison Tolman as Alex in the St. Denis Medical episode "Aloha, Everyone." Photo by Justin Lubin/NBC. 2025 NBCUniversal Media LLC. Joyce (Wendi McLendon-Covey), meanwhile, is spiraling. A generous donation has allowed her to build a birthing centre at the hospital, complete with themed suites ranging from under the sea to Old Hollywood, because nothing says a calm labour like a Cary Grant cardboard cutout. McLendon-Covey continues to be one of television’s great deadpan reactors. Her eagerness, tight smiles, and glances to the camera earn a guaranteed chuckle every time. The looming visit from benefactor Amelia, however, sends her into a tizzy so severe that she decides every elaborately themed room must be stripped bare so that Amelia can have a blank slate to work with. During this, Matt and Serena continue the path of their will-they-won’t-they relationship. Following her discovery of Matt’s crush on her, Serena had asked Alex to schedule them in different zones. After they joke around like old times, she informs Alex that they’re fine working together again, having clearly missed him. However, when Alex tells her that Matt had also asked to be moved away from her, she’s devastated, even if she won’t admit it. Matt, to his credit, has apparently used the time to focus on himself, though his bumbling ability to speak near Serena suggests otherwise. When Matt finally tells Serena he’s over her, clearly believing this is what she wants to hear, her disappointment is palpable. Beyond Matt, she’s convincing no one, least of all herself. It's safe to say that this season will explore their feelings for each other, much to the delight of the audience. After all, it wouldn't be a network sitcom without a couple to root for. Kahyun Kim as Serena and Mekki Leeper as Matt in the St. Denis Medical episode "Aloha, Everyone." Photo by Justin Lubin/NBC. 2025 NBCUniversal Media LLC. By the time Amelia cancels her visit (after everyone has stripped the birthing centre in line with Joyce’s panic), Joyce’s anxiety finally cracks. Alex’s reassurance that people will come and the birthing centre is not a pointless venture adds a touching note to what is an amusing return. "Mama Bear Activated" The second instalment of the night begins with Bruce (Josh Lawson) entering the hospital, bloodied, claiming he’s been attacked in the car park.  Someone came up from behind, hitting him in the back of the head and knocking him down. The team gathers around him, wanting to check him for a concussion, despite the wound seeming superficial. Bruce, rattled and dramatic, insists that he has above-average reflexes, so this shouldn’t have happened to him. Ron (David Alan Grier) dryly dismisses him as fine, but Bruce spirals into regret that his attacker didn’t finish the job. It’s a deliciously over-the-top cold open that only gets funnier once the truth comes out. First, the show lets the paranoia spiral. Mekki Leeper as Matt, Josh Lawson as Bruce, and Allison Tolman as Alex in the St. Denis Medical episode "Mama Bear Activated." Photo by Justin Lubin/NBC. 2025 NBCUniversal Media LLC. Alex informs Joyce about the attack and reveals that half of the hospital’s security cameras no longer work. Joyce’s mama bear mode is activated, and she vows to make the hospital safer by any means necessary. Elsewhere, Serena proudly boasts her Pilates-honed core strength and claims she can defend herself, only for Ron to tell her she could, unless her attacker was a man. The two immediately descend into a competitive debate over who could take who out, leading to Ron trying to scare her, subsequently throwing his back out, and stubbornly refusing help as Serena delightfully toys with him. Their father-daughter-like relationship could easily become the heart of the series if committed to. Under the guise of mentorship, Bruce takes Matt under his wing. To the audience, it's clear that the former has been affected by what happened in the car park, even if he denies it. First, he makes Matt inform a patient that he'll need kidney stone surgery, repeating "Matt Pearson" for the patient to remember. It's an obvious attempt to redirect blame onto his co-worker, but to Matt, ever naive, Bruce is putting his name out there. When he comes up behind Bruce and frightens him, he’s kicked for his efforts. Lawson shines in this episode, and you can only hope that as the season continues, he'll be given more to do within the ensemble. Ever the mama bear, Joyce has Leslie (Frankie Quinones) scrambling to fix the security system, which turns out to be comprised of two broken cameras and one that faces down as a bird sat on it. However, the fix will cost $2000, which the hospital cannot afford. So, she buys a self-defence book to teach the staff tips and tricks. It’s as earnest as it is useless. Matters escalate when Alex reaches out to Channel 3’s investigative team, believing Bruce’s attack to be associated with the rising violence against healthcare workers. Soon, the network and Carl Justice are outside St. Denis, and in front of a hilariously bad green screen, ready to film a report. Before Alex can share her piece on workplace safety for healthcare workers, Leslie informs her that the 7/11 across the street caught the attack on their cameras. Bruce’s vicious assailant was not an angry patient, but a lone goose that hit him and knocked him flat. Wendi McLendon-Covey as Joyce in the St. Denis Medical episode "Mama Bear Activated." Photo by Justin Lubin/NBC. 2025 NBCUniversal Media LLC. As the news wraps, Serena takes pity on Ron and helps him hobble to his car, offering a sweet end to their petty strength argument. Bruce has gained a new phobia, while in one final burst of misplaced confidence, Joyce attempts to honk the geese away from the car park, only to find herself pursued. It’s a brilliantly silly episode that only a sitcom can make work. Verdict While many have branded the series NBC’s answer to Abbott Elementary , the opening of season two proves it stands firmly in its own lane, especially in the era of hospital-set The Pitt , carving out a distinctly sillier and surprisingly heartfelt corner of workplace-comedy television. If you loved the first season, season two feels like a confident evolution rather than a retread. The humour is sharper and the ensemble chemistry even stronger. St. Denis Medical is back, and it has the potential to grow and remind us all why network television does comedies better than anywhere else. Rating: ★★★★☆ 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. Production:   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.

Sources tell Nexus Point News that Benicio del Toro is in talks to join the cast of the upcoming Ocean’s Eleven prequel. Details surrounding his character are currently under wraps but he would potentially be portraying the antagonist. Del Toro would join Margot Robbie and Bradley Cooper who are set to star as the film’s leads in 1960s Europe. Lee Isaac Chung ( Twisters , Minari ) is set to helm the film with a script written by Carrie Solomon ( A Family Affair ). The project has been in development at Warner Bros. since May 2022. Originally Ryan Gosling was attached to star opposite Robbie with Jay Roach set to direct.  Steven Soderbergh’s Ocean’s Eleven  released in 2001 and starred George Clooney as the titular Danny Ocean. The film spawned two sequels, Ocean’s Twelve and Ocean’s Thirteen  and a spin-off, Ocean’s 8  starring Sandra Bullock as Debbie Ocean, the sister of Danny. The franchise was originally conceived as a remake of the 1960 film, Ocean’s 11  starring Frank Sinatra as Danny Ocean, along with the rest of the Rat Pack. Del Toro most recently starred in Paul Thomas Anderson’s One Battle After Another  which has put him in the conversation for the Academy Award for Best Supporting Actor. He’s best known for his roles in Traffic , 21 Grams , Sicario , Sin City , and The Phoenician Scheme . Del Toro will next be seen in Jamie Foxx’s All-Star Weekend alongside Foxx, Robert Downey Jr., Ken Jeong, Gerard Butler, Eva Longoria, and Jeremy Piven. Del Toro is repped by LBI Entertainment, Range Media Partners and Hansen Jacobson Teller. The Ocean’s prequel is set to begin production next year in 2026.

This review contains minor spoilers for Babel . Babel , written by R.F. Kuang, is a historical fantasy epic that delves into revolutions, colonization, linguistics, translation, and an intriguing manifestation of magic. The biblical story of Babel, found in Genesis 11, tells the tale of humanity trying to build a tower to reach the heavens. God intervenes, thwarting them while turning their one language into many and scattering them across the globe. As the title suggests, a primary pillar of Babel  is language - specifically translation. Kuang explores how language colors every aspect of life, and how easily it can - and has been - used as a weapon. Taking place in 1828, Kuang provides an alt-history tale in which Britain has obtained global dominance through the isolation and exploitation of two things: translation and silver-working. Within the pages of Babel,  silver-working is a form of magic that imbues silver bars with the means to act upon the world through gaps found in translation. Scholars inscribe words and their translations in other languages to elicit a particular effect. For example, a bar with wúxíng (Chinese for "formless") and invisibility (English) inscribed on it can turn someone holding that bar invisible. Importantly, for the bars to be activated, someone who fluently speaks all of the languages inscribed on the bar has to utter the phrase aloud. Within the narrative, Babel is a tower in Oxford that houses the Royal Institute of Translation. It's here that students study languages and learn the craft of silver-working. Within Babel lies the beating heart of British power. Through Babel, Britain maintains a stranglehold on vast reserves of silver and weaponizes a monopoly on translation. It's a striking literalization of how impactful language is. We owe more than we typically realize to language. Language is the reason and method in which you understand this sentence. It shapes the way we see and interact with the world. It structures the way we think. Language is the vehicle for expression between people. If you don't have the words to convey something to another, there simply isn't a way to make them understand. Ludwig Wittgenstein once said, "The limits of my language mean the limits of my world.", and it's painfully true. Think about it, if you didn't have language, how would you think? How would you describe anything to yourself, or to others? Language fundamentally changes how you perceive the world. Isn't it fascinating how many examples of "There isn't a word for it in X language" there are? This is an example of how language can significantly alter one's experience. There are descriptions of feelings and events that simply don't have a corollary in a different language. There literally  are no words for it. Now, think about what would happen if a non-benevolent power were in control of language. Babel  imagines a history in which Britain has built its empire through language. It subsumes cultures and turns their languages into weapons to be wielded. It plucks their youth, presents them with silver shackles, and turns them against their homes. It justifies its actions through the lens of progress, but it hoards that progress behind capital. It creates an unjust system through which the world runs, and deems anything against that system unjust. Babel  gets into the weeds of linguistics consistently, and it's all the better for it. It routinely educates the reader on the minutiae of how languages operate. It spotlights how Herculean a task translation is. It broaches the ethics of translation, consolidation of power, and institutional education. At its core is a story about whether violent revolution is always necessary for change, but it travels through a Gordian knot of themes to get there. For all its academic accomplishments, Babel  is also a stunning tale of finding belonging, friendship, and yourself. It is packed with elation, heartache, and betrayal. Kuang pulls no punches, delivering on every ounce of promise baked into Babel's  premise. Rating: ★★★★★

I Love LA  © HBO Max There are going to be comparisons made to Lena Dunham's Girls , which also aired on HBO, but what helps Rachel Sennott's I Love LA stand out is that it comes from a completely different generation and keeps its focus on how influencers operate and how our appearance on social media controls almost every aspect of our lives. It's a safe assumption to make that Rachel Sennott is without a doubt an IT girl, as she's highlighted her stylish lifestyle on Instagram and has also risen as a star from her debut in Shiva Baby to comedies such as Bodies Bodies Bodies and Bottoms . She's displayed range with her acting, taking on a slightly more dramatic role with I Used to Be Funny and playing characters based off real people, such as in Saturday Night . Sennott has shown that she's capable of it all. After co-writing Bottoms with Emma Seligman and delivering a high-school comedy classic, she returns with I Love LA , a show that she's created for HBO which displays the LA lifestyle, friendships, relationships and the social commentary on influencing. I Love LA follows Maia (Rachel Sennott), who's trying to make a life for herself at a talent agency but has failed to catch the attention of her boss. Her life changes when her best friend-turned-enemy-turned-back-to-best-friend, Tallulah (Odessa A'zion), arrives in LA for her birthday, giving her the chance to represent an up-and-coming influencer, gaining her the traction she needs at her job to rise up. Maia and Tallulah's relationship is constantly put to the test as they occasionally blur the lines between friends and work. They navigate life alongside their friends Alani (True Whitaker) and Charlie (Jordan Firstman), respectively, a nepo baby who has been given the title "VP" (only in name) at her father's production company who also works as an actor, and a stylist who's simply trying to get by and figure out their relationships. Episode 1 opens up with Maia and her boyfriend, Dylan (Josh Hutcherson) celebrating her birthday with some good old-fashioned birthday sex, which Maia is completely lost in despite Dylan freaking out that there's an earthquake, which his seismology app has confirmed. She wants to continue going, stating that "if we're going to die, I just want to cum," and this entire scene sets the tone for what to expect from Maia as a character and for her arc, as she's someone who's determined to push further and get what she wants but is too stubborn to achieve what she wants any other way that isn't her own way. Rachel Sennott as Maia in I Love LA © HBO Max Josh Hutcherson is phenomenal as Dylan; he doesn't get much screentime compared to the rest of the characters, but his character helps ground the series a little bit as he acts as the normal person in the friend group. He's a teacher, enjoys reading ( The Third Reich , specifically), loves to play board games and cook, and overall is just the pitch-perfect boyfriend anybody could ask for. Dylan is the complete opposite of everyone around him and gets swept into Maia's chaotic life whenever she's around, and the show dives into how Dylan continuously stays supportive of her decisions but fails to have that energy feel reciprocated. It's a dynamic that balances out the group and is needed to help tone down the chaos that everyone else brings. The entire cast of characters in I Love LA are lovable, but honestly, they are the most annoying bunch that you will come across, as they get themselves into situations that only dig them a deeper hole. The beauty of this show is that Rachel Sennott is able to tap into the humanity of LA and its characters, allowing them to grow from their mistakes and not feel like complete idiots the entire way (although deep down they always will be). Sennott takes the lead as the main character, and she's always fun to watch, but I Love LA has an ensemble cast that complements each other rather well and is filled with some of the funniest actors we could come across. Odessa A'zion steals the spotlight in I Love LA as she plays an over-exaggerated influencer who's still trying to grasp an understanding of the world. A'zion's chemistry with Sennott is impeccable, with no one being able to get between the two, even when they're at their rock bottom, and while Tallulah is a character that's outrageously hilarious and feels too connected with her phone and social media, she begins to feel like a grounded character that's more in tune with reality when she comes across a chef (Moses Ingram) that allows her to truly be herself and disconnect from the rest of the world. Jordan Firstman as Charlie, True Whitaker as Alani and Odessa A'zion as Tallulah in I Love LA © HBO Max True Whitaker, in her debut role, highlights that she's able to share the screen presence with actors who have had much more experience, perfectly portraying a character that's too kind for her own good and lacks self-awareness, still landing some great jokes alongside Jordan Firstman, who plays a character who quite literally has one of the worst gaydars in the world (or perhaps LA is just filled with extremely sexy men who just appear to be gay) and displays the most emotional range with his character as he balances his struggling relationships, social life and endeavors to find job security. I Love LA is at its best when it makes a parody of the influencer culture, especially during episode 4, which features Quen Blackwell playing a fictionalised version of herself, which explores the grievances of getting the perfect video made for TikTok or farming clicks to work the algorithm. This show has it all and highlights the chokehold that social media has over us and how it can control the way some people behave. This show isn't a Curb Your Enthusiasm or Entourage , but it does have its fair share of celebrity cameos that will surprise you, which we won't ruin here but are great additions to the show and can promise will have you pointing and whistling at your screen like the famous Leonardo DiCaprio meme. It's hard to believe that I Love LA is Rachel Sennott's first show, as she delivers a show that's witty, remarkable, heartfelt and genuinely one of the best comedies to debut this year next to The Studio . The jokes surrounding the city of LA might go over some people's heads depending on their knowledge or where they're from, but it won't take away from their enjoyment of the series. It has a cast of characters that are relatable to the younger generation that can't help but have their lives dictated by their phones and social media. While some characters lack screentime, they all feel three-dimensional and have the depth to be memorable and have landed their mark in Sennott's first landmark season of I Love LA , which we'd be happy to have five more seasons of. Rating: ★★★★1/2 I Love LA . © HBO Max About I Love LA Premiere Date:  November 2, 2025 Episode Count:  8 Showrunner: Rachel Sennott Writer: Rachel Sennott Directors: Lorene Scafaria Executive Producers: Rachel Sennott, Emma Barrie, Aida Rodgers, Lorene Scafaria, Max Silvestri, Michael Seitzman, Jason Blum Production:   Pasta Pasta, Maniac Productions, Blumhouse Television, HBO Entertainment Distribution:  HBO Max Cast:   Logline: A codependent friend group reunites, navigating how the time apart, ambition and new relationships have changed them.

This review includes minor spoilers for The Three-Body Problem . The three-body problem in physics is a theoretical problem that describes the motion of three celestial bodies under their mutual gravitational attraction. It is notoriously unsolvable with a closed-form equation, meaning there is no single formula that can predict the trajectories of all three objects from any set of initial positions and velocities. In other words, the system is inherently chaotic. Even the most minute changes to initial conditions lead to drastically different outcomes. It is simply impossible, with our current understanding of physics, to accurately predict how a three-body system will interact over an extended period of time. It's worth noting that the problem can be simplified and solved if one of the bodies has significantly less mass than the other two (like the Earth, Moon, and Sun), but it becomes chaotic when all three bodies have comparable masses. This basic understanding of the three-body problem was all of the knowledge I brought into my first read of Liu Cixin 's groundbreaking science-fiction novel, The Three-Body Problem . Reading through the novel (translated by Ken Liu) was an experience of wonder and tension. I'd seen the praise for the book - it's hard not to if you're plugged into the sci-fi literary world at all, and the Netflix adaptation certainly helped bolster its awareness - but I didn't really know what the book was about. It turns out it's about quite a lot, but the aspect I found most surprising was just how much it feels like a thriller. The Three-Body Problem  brings a lot of elements to the table. It dives into cosmology, virtual reality, politics, history, technology (future and ancient), and philosophy, exploring all of them. It switches between modes seamlessly, keeping the reader engaged while consistently drip-feeding new information. This consistent trickle of information isn't revolutionary; it's how novels work, but the way it's presented in Three-Body  is addictive. Every discovery feels like a revelation. Understanding scope is crucial when telling a story. Stakes have to be determined, promises to the audience have to be made, and paid off. Is this an end-of-the-world story, or is it about a character getting out of a localized, isolated problem? It's important in any story, but in science fiction it commonly manifests itself in determining how far into the future the story is set, how technologically advanced the world is, whether interstellar travel is possible, and whether aliens exist. Three-Body  has an answer for all of these, and it executes them brilliantly. Liu Cixin masterfully escalates the stakes of the story in Three-Body . The narrative evolves across multiple time periods with distinct point-of-view characters bringing their own flavor to the tale. Things start relatively contained but consistently grow in scope until the entire planet and beyond hang in the balance. Liu understands how to realistically bring the story to unbelievable points. Where the narrative ends up would feel incredulous if told out of context, but each step towards getting there feels like a completely logical evolution. Three-Body  is a first contact story played out as a thriller. I've never read a book with as much sheer awe wrapped in growing dread. And when the chips are all down, when you reach the moments of final revelation, when all the pieces fall into place, the entire book feels so obvious in hindsight. Feeling obvious isn't a critique; it's an accomplishment. It is taking a test with all the answers. It's reaching the end and realizing this is the only possible way things could have happened. It's a feeling of inevitability. The Three-Body Problem  is heralded as a groundbreaking science fiction novel. It injects its narrative with questions of existence, meditations on the universe, advancements in technology throughout history, and the place politics has in science. While it easily earns its spot among the greatest sci-fi novels of all time, it should also be considered one of the most engaging, awe-inspiring, and enlightening thrillers on bookshelves. Rating: ★★★★★