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The Lost Bus © Apple The Lost Bus from Apple and Blumhouse Productions is a film about the most devastating fire in the history of the United States. It's crazy to think when writing that last sentence you would expect the term "wild" fire. However sadly this was not the case as PG&E had plead guilty to 84 counts of involuntary manslaughter, 1 count of unlawfully starting a fire, and were deemed responsible for 3.5 million dollars in damages. In 2018, the Camp Fire devastated the town of Paradise, CA and its outer regions. An approximate total of $16.65 billion dollars in damage was caused; a total of 85 lives were lost and the community of Paradise was largely destroyed within the first six hours of the fire. Cal Fire dispatched 5,596 firefighters, with a force of 622 engines, 75 water tenders, 101 hand crews, 103 bulldozers, 24 helicopters, and 9 air tankers to do everything they could to contain the 2018 Camp Fire. Based on a short story from the book Paradise: One Town’s Struggle to Survive an American Wildfire  by Lizzie Johnson , the film introduces us first to the sheer terror of what insinuated the fire, almost like a scene played out of a real-life Final Destination . We then find Matthew McConaughey as Kevin McKay, a bus driver for Ponderosa Elementary School and divorced dad down on his luck who just relocated back to his hometown of Paradise, California to attend to matters after his father had passed away. It's a McConaughey family affair as he is paired with his real-life mother Kay McCabe McConaughey who portrays Sherry McKay, and Matthew's son, newcomer Levi McConaughey , who also portrays his on-screen son in the film. While delayed on a routine bus route the day of Thursday, November 8, 2018, for Ponderosa Elementary School, all hell literally erupted around him. Starting in Butte County, California- the Paradise fire had already engulfed 20,000 acres by the time it reached the town of Paradise. After receiving a distress call from the principal of Ponderosa Elementary School, Kevin McKay is tasked with the responsibility to pick up 22 kids and their teacher Mary Ludwig ( America Ferrera ) and escort them to safety. What should have been a trip a few miles away to a rendezvous/safe point, turned into a five-hour odyssey trying to escape the blaze due to how fast the wildfire had moved. Kevin McKay and Mary Ludwig were now faced with a difficult task which then became almost impossible as they are forced to navigate their way through a burning town and the destruction of all traces of humanity within it. The supporting cast in this film was pretty much non-existent aside from America Ferrera who does a great job portraying an educator who is responsible for each and every student, even as they are thrust into sheer turmoil. Unfortunately, as gut-wrenching as the situation may be, I was never emotionally invested in any of the characters. Whatever backstory that was thrown in, came towards the end of the film when we find the main characters in a moment of despair. However, by this time I had emotionally checked out and found myself eagerly waiting for the bus to arrive at its destination. In a film based on true events I would have expected some kind of investment in the characters emotionally, but strangely even though based on such a tumultuous event, I had no emotional investment to the characters at all. As a parent of two children myself, the realness of the situation did resonate with me on a parental level. It is terrifying to think of what happens when your fail safe fails. I could only imagine how my own kids or myself would feel if they were to find themselves unexpectedly thrust into such a catastrophic event unfolding everywhere you look. But I also find it a little hard to believe that those 22 kids in that bus were as cool, calm, and collected as they were throughout that terrifying bus ride through the hellish burning landscape. The film here tries its best to give us a portrayal of the gravity of the situation. The Lost Bus does well in portraying the real-life terror of a wildfire, but in some ways the fire burns out due to the lack of investment of the cast. Rating: ★★½ The 2018 Camp Fire began on Thursday, November 8, 2018, and was fully contained on November 25, 2018. Currently the town is still rebuilding, seven years after the fire was contained. The Lost Bus is now streaming on Apple TV. The Lost Bus © Apple About The Lost Bus Premiere Date:  October 3, 2025 Writer: Paul Greengrass and Brad Ingelsby Director: Paul Greengrass Production: Blumhouse Productions Distribution:   Apple TV Cast:   Matthew McConaughey, America Ferrera, Yul Vazquez, Ashlie Atkinson, Katie Wharton Synopsis:  A white-knuckle ride through one of America’s deadliest wildfires as a wayward school bus driver (Matthew McConaughey) and a dedicated school teacher (America Ferrera) battle to save 22 children from the terrifying inferno.

This review contains minor spoilers for 'Wasteman.' Wasteman  © Lionsgate David Jonsson, this year's BAFTA rising star, continues to show the world why he's an actor that people should be keeping their eyes on. Coming fresh off The Long Walk , Jonsson enters Cal McMau's directorial feature debut to deliver yet another outstanding performance as he fights with the social hierarchy of prison while attempting to stay on good behaviour to finally meet his estranged son. Alongside David Jonsson is Tom Blyth, famously known for The Hunger Games: The Ballad of Songbirds & Snakes , where he played Coriolanus Snow, a character without any good in his body. Now Blyth brings a demonic energy to his role as Dee, a new inmate who begins to cause trouble for everyone around him. In Cal McMau's debut movie, Wasteman , we witness Taylor (David Jonsson) be given a chance to be released early on good behaviour, but unfortunately for him, the psychopathic Dee has entered the prison and become his cellmate, making it his goal to be top of the social hierarchy. As Taylor gets close to his release date, Dee gets closer to ruining everything Taylor has worked so hard for. It's the performances from co-stars David Jonsson and Tom Blyth that elevate Wasteman's intensity and grittiness. Blyth finds something hidden deep within himself to play the violent and unhinged Dee that won't allow anything to get in his way. It's his most frightening role yet, and his performance combined with the uncomfortable close-ups that cinematographer Lorenzo Levrini provides creates a tense space that makes you feel like you're involved with something that you shouldn't be witnessing. David Jonsson highlights his range as he plays a character who's the complete opposite of Dee; he's timid, displays an array of emotions and comes across as the voice of reason in this prison. David Jonsson as Taylor and Tom Blythe as Dee in Wasteman © Lionsgate Jonsson and Blyth clash with their personalities as Taylor becomes a character that gets lost in the power dynamic, fearing Dee not because his terrifying attitude feels like a threat but simply because Dee is a loose cannon who will ruin Taylor's chances at becoming free and getting to see his estranged son. Dee can sometimes come across as manipulative, as he helps Taylor with getting into contact with his son, gaining that trust from him, while also retaining authority. It's these opposite energies that keep the movie alive and have you struggling to control your heartbeat through the latter half of the film. Wasteman was a movie that Cal McMau has been trying to bring to life since 2017, with it also being David Jonsson's first audition. McMau went on to direct countless music videos and finally got the chance to return and direct Wasteman with a now experienced David Jonsson, who came off the back of projects such as Rye Lane , Alien: Romulus and Industry . McMau challenges himself with his debut feature movie by creating a tense experience in an extremely tight 90 minutes. He doesn’t shy away from the unrelenting brutality that takes place in prison, which he elevates by working with Lorenzo to create phone footage that not only brings the prison to life with its rampant energy but also adds to Wasteman’s grittiness. McMau’s direction is flawless for his first time creating a feature film, as he captures the audience with the sheer ruthlessness and fear that it brings. With prison, it’s their goal to rehabilitate their prisoners, and we see that slightly with Taylor in his chef job and also working as the local barber. We also come to learn that Taylor’s drug addiction comes from within the prison, as it has only worsened since being sentenced. Wasteman delves into how prisons can become enablers of our worst addictions, failing to help people when they need them most, and it highlights it most when Taylor struggles to live his life around Dee’s unpredictable rage that controls him. Wasteman is one of the London Film Festival’s best and an outright phenomenal British movie that highlights the unrelenting horrors that take place within prison. Tom Blyth and David Jonsson continue proving to audiences why they’re actors worth watching, improving their craft with each performance and elevating what is an intense, gripping thriller that doesn’t let go of you through its 90-minute runtime, which McMau uses to its full effect. Rating: ★★★★☆ Wasteman © Lionsgate About Wasteman Premiere Date:   February 20, 2026 Director: Cal McMau Producers: Sophia Gibber, Myles Payne, Philip Barantini, Samantha Beddoe, David Jonsson Writer: Hunter Andrews and Eoin Doran Cast: David Jonsson, Tom Blyth, Alex Hassell, Corin Silva, Neil Linpow, Layton Blake, Cole Martin Production:  Agile Films Distribution:  Lionsgate Synopsis: Parolee Taylor's hopes for a fresh start are jeopardized by cellmate Dee's arrival. As Dee takes Taylor under his wing, a vicious attack tests their bond, forcing Taylor to choose between protecting Dee and his own chances at freedom.

Star Wars has an extensive publishing history. The Star Wars library is full of books that take place in myriad eras and expand the Galaxy Far, Far Away. From novelizations of mainline movies to video game tie-ins to standalone stories, if there is an area of Star Wars that you're interested in, chances are a book of it exists. Fans will cite a variety of titles as their favorites, and many books released in the Star Wars canon (both Legends and current Canon) are incredibly influential to the mythos. However, none carry as much impact or feel as important as The Rise and Fall of the Galactic Empire by Dr. Chris Kempshall. © Lucasfilm The Rise and Fall of the Galactic Empire is presented as an in-universe history book on the reign and defeat of the titular antagonist in Star Wars . Dr. Chris Kempshall is a historian with a focus on the First World War and the portrayal of history and war in modern media. His academic background is felt prominently throughout the novel and lends a necessary weight to the topic. The text feels like a history book, with the breadth and depth that such subject matter deserves. Kempshall pulls from all corners of the Star Wars mythos to paint a full picture of the Imperial Machine. This book is exceptional in both conception and execution. Establishing itself as an in-universe text offers an added layer of experience and encourages an authorial voice to shine through. Kempshall makes the author a researcher of the Resistance and sets the book shortly after the defeat of the First/Final Order on Exegol. This gives readers context and perspective as the book dives headfirst into the machinations of the Empire. The text goes into great detail, exploring key aspects of the Empire. It's broken into parts detailing its rise and consolidation, expansion and oppression, the Galactic Civil War, and its fall and continuation. While the exhaustive research done here to give readers a full grasp on how the Empire came to be, how it operated, and how it fell is impressive, these are not the book's true strength. © Lucasfilm The true strength of The Rise and Fall of the Galactic Empire comes from how it can mirror our own world. Evil empires, hateful rhetoric, and fascist regimes are not ideals that exist in a vacuum in a fictional galaxy far, far away. They are real, and they are terrifying. This book is an attack and a warning. Its thesis is education and prevention. It uses the lens of Star Wars to explore the painfully real avenues through which fascism takes root in a society. It elaborates on how easy it is to let things slip through the cracks, for hate and acquiescence to fester. It wants the reader to truly understand how a governing body as evil as the Galactic Empire, led by a cackling megalomaniac, can come into power. It wants the reader to understand how, all along the way, it can seem "not that bad" until it's too late. Until the vices of oppression are bound so tightly that violent revolution is the only possible answer. The Rise and Fall of the Galactic Empire wants to illuminate these problems so the reader can recognize them and act in defiance. It refuses to let the mistakes of the past be constantly repeated, a doomed record player running on a loop. The specific atrocities described in these pages may have been committed by a fictional Empire, but they have echoes in our world. Heinous crimes perpetrated by perversions of power are not relegated to Star Wars . This book implores readers to examine the institutions and world around them. It emphasizes education and empathy. Yes, The Rise and Fall of the Galactic Empire is about Star Wars , but it's also about our own history. It's about our own tendencies to let our worst impulses overcome what we can be. It shouts that we can and should do better. It's an excellent Star Wars novel, but above all, it's an outstanding work dedicated to demystifying the pillars of fascism. The Rise and Fall of the Galactic Empire is one of the best Star Wars novels you can read, but its impact bursts beyond the borders of the Galaxy Far, Far Away. Dr. Chris Kempshall © https://chriskempshall.com/

After making a memorable appearance in Gen V Season 1, Sean Patrick Thomas returns to the world of Vought in a much bigger way. Now a series regular in Season 2, Thomas’s character Polarity steps into the spotlight, navigating grief, responsibility, and redemption as the story pushes deeper into the chaos surrounding Godolkin University. We spoke with him about stepping into a larger role this season, the emotional challenges of filming after Chance Perdomo’s passing, building chemistry with his co-stars, and how Gen V continues to reflect the darker truths of our own world. So, I've seen all of Gen V Season 2, and I must say, you're holding your own this season. Sean Patrick Thomas: Yeah, I've got a lot to do. You were in Season 1 but in a more limited capacity, and now you are a series regular in Season 2. Did you see that shift coming? Sean Patrick Thomas: I knew that I was gonna have some type of presence in Season 2, but I just didn't know in what capacity. Then when Chance passed, they had to rework storylines and find a different way to tell the story. That just required a little bit more from the character, Polarity, to help them tell the story that they were trying to tell. Your character shows grief, anger, anxiety, and also resilience and determination. How did you prepare yourself to play such a wide spectrum of emotions? Sean Patrick Thomas: I don't know how you can ever really prepare yourself for that. I think you just try and, stay open to whatever may come through you to a degree. Life prepares you for it. The experience of losing Chance in real life obviously has some effect. Being a father myself, of a son and a daughter, that prepares you. Outside of that, you just put yourself in these situations, and let your imagination go where it goes, and try and be as truthful as you can. You're also one of the few characters who really steps into this caring, parental, role for the younger generations in the show. Sean Patrick Thomas: I think that it was really important, because in the world of Vought - in the world of Gen V and The Boys - the adults really don't care about the children. They don't care at all. They only care about them to the extent that they can use them for whatever their personal purposes are. Polarity himself was guilty of that in Season 1. I think that it was a wonderful thing to be in a position to be an adult, to be the one adult who doesn't want to use them, who doesn't want to hurt them, who doesn't want to exploit them. When you see Polarity being that way, you see how starved they were for that. A lot of their own parents don't provide that for them. I'm really, really, gratified to be able to be that type of parental energy for the characters in Season 2. Your scenes with Lizze Broadway were especially heartfelt and sometimes funny. What was it like building that chemistry? Did the connection come naturally to you both? Sean Patrick Thomas: I guess so. I think she has a very particular, specific energy. She's kind of a wild card, and I have my own specific energy. We both just let things flow and bounce off each other. We both tried to keep it honest. We both like to have fun. I think we share that same instinct on set that we're not just there to do the work, we're there to have fun. Another character you really were good with was Hamish's character, so how was that? Sean Patrick Thomas: Oh, I love working with Hamish! He still comes out of left field with so many different things. I've said before that when you're working with Hamish, you can read the script, and you can know your lines, and you can know his lines, and you can know what he's gonna say. But when you're on camera with him, you still have this weird feeling like you don't know what he's gonna say, which is a beautiful thing because that means that he's finding a way to make what's written on the page fresh and make it sound and feel inventive and new. That made my job easy, to just play off against that. Gen V also doesn't shy away from social and political commentary, and it is a reflection of our reality, in a way. What was it like navigating those layers as a performer? Sean Patrick Thomas: I loved getting the opportunity, because I'm so dismayed and upset and disheartened with the way the world is going right now, with the way our leadership is taking this country. It's appalling to me. Gen V shows where that can go. It shows the ugly places that that could lead to. I'm very, very, very grateful to be a part of telling a story that shows that to the audience. I think that there's a lot of people nowadays who either don't watch the news, or they get it from heavily biased sources, or they just don't pay attention to current events. A show like this really can help educate people about what fascism really is, about what abuse of power really is. If you can see it in the show, maybe you'll start to see how it's happening in your real life, and maybe you'll want to do something about it. Yes, couldn't agree more. Gen V can be pretty wild and intense. It's definitely not everyone's cup of tea. Are there any friends or family members you actually told, "You know, maybe skip this one?" Sean Patrick Thomas: (Laughs) My mom… She loves the show but she says, "Oh my gosh, Sean, I had to turn my head at this point," or "I had to turn my head at that point." The thing is, I don't want to warn her, because it should come as a surprise to all of us, the things that we do on the show. I feel like I would rob her of her enjoyment if I told her too much in advance. That's what the world of this show is. People who love Gen V , people who love The Boys , that's what they want to see. That's what it is, that's the vocabulary that we speak in when we're telling these stories. Okay, one last question. Audiences are already theorizing from week to week. Without giving too much away, what can we expect for the rest of the season? Sean Patrick Thomas: Obstacles. A lot of obstacles, and you're not gonna really be sure how these people are gonna find their way out of it. Some of them may find their way out of it, some of them may not, but they're gonna face enormous, seemingly insurmountable obstacles, every episode from here on out. It's gonna be very interesting to see how they navigate that. ‘Gen V’ season 2 is now streaming on Prime Video. This interview has been edited for clarity.

Splinter Cell: Deathwatch © Netflix Splinter Cell: Deathwatch , the Netflix animated series based on Tom Clancy's video game phenomenon, delivers the powerful blend of action and suspense that Clancy's world is renowned for. Unfortunately, the story drags its feet to get there. The animated series revolves around Sam Fisher, a veteran black-ops agent working for the US government's division known as The Fourth Echelon. He has been trying to enjoy a quiet life in retirement until he is drawn back into action to help Zinnia McKenna, a rookie operative, uncover a conspiracy that hits close to home. Splinter Cell: Deathwatch hails from Ubisoft Film & Television, with Sun Creature and Fost behind the animation, and Guillaume Dousse and Félicien Colmet-Daage as the directors. Derek Kolstad, the scribe behind blockbusters John Wick and Nobody, is the lead writer and showrunner of the series. Liev Schreiber and Kirby Howell-Baptiste are the voices behind our dynamic duo, Sam & Zinnia. Joining them are Walles Hamonde, Janet Varney, Joel Oulette, and Miranda Raison as the supporting cast. Inside Splinter Cell's Legacy Sam Fisher and Zinnia McKenna in Splinter Cell: Deathwatch © Netflix The Splinter Cell video game franchise has been like an answered prayer to fans who seek more immersive experiences in a world forged by Tom Clancy, in a way that books or movies cannot provide, as video games are where sports, art, and science converge. Since 2002, fans have had the opportunity to experience the thrill of going on missions as Sam Fisher in a virtual environment. Deathwatch , being the game's first TV series adaptation, serves as an evaluation of the storytelling capability that allows fans to watch events unfold from the back seat. The series receives a passing grade as it utilizes the voice talents of Schreiber and Howell-Baptiste to complement their characters, as the animation complements Clancy's imagination with the authenticity it demands. The action is another bonus. Imagine Jason Bourne fighting, but in animation. It is awesome as it sounds. However, Deathwatch is not perfect. There is room for improvement in the writing. Splinter Cell: Deathwatch starts with a bang, introducing us to the protagonists and the dilemma they face, but it burns slowly to the point where it struggles to maintain interest. For a mature animated series dealing with espionage and conspiracy, it is underwhelming to see Deathwatch 's storyline hold itself back. Some characters and subplots distract from the show's narrative instead of enhancing it, doing a disservice to Schreiber and Howell-Baptiste, who masterfully transform into Sam & Zinnia. The Voices Behind Legends Zinnia McKenna and Sam Fisher in Splinter Cell: Deathwatch © Netflix Liev Schreiber walks in the shoes of Sam Fisher, being as comfortable as he can be, portraying a veteran black-ops operative with no shortage of skeletons in his closet. Schreiber's take on Fisher is reminiscent of a warrior who carries his turmoil quietly in his pursuit of solitude but is always ready to pick up his sword when a battle calls. Schreiber, being as adept at acting as he is, conveys the emotion of this dangerous, troubled character in a dignified way that honors Michael Ironside, the original actor who voiced Sam Fisher in the iconic video game series. Kirby Howell-Baptiste voices Zinnia McKenna, the rookie operative seeking Fisher's expertise. She's an excellent addition to the Splinter Cell lore, being an original character with no prior history in the franchise. Howell-Baptiste succeeds at voicing the show's deuteragonist without being relegated to a stereotypical "sidekick" role. Mckenna, though much younger and less experienced than Fisher, is treated like an equal. While she needs Fisher, she knows that he needs her, as she keeps him on his toes, providing a balance he didn't think he needed. Splinter Cell: Deathwatch Endures Its Splinters Sam Fisher  in Splinter Cell: Deathwatch © Netflix The rest of the characters in Deathwatch are honestly uninteresting. Unlike McKenna, who drives the plot forward, they feel like NPCs taking up time and space. Whenever they're on screen, boredom follows. No one in the cast is at fault for this. The problem lies in the writing, as the pacing spends too much time on these characters. At times, it feels like they're competing to star in a show, exclusive from the leads of the actual show. Deathwatch's rating would obviously be much lower without Liev Schreiber and Kirby Howell-Baptiste's roles as Sam Fisher and Zinnia McKenna. Their chemistry, along with their characters' aligned journeys, provides a refreshing energy. However, they are not the only best aspects of the series. Animation studios Sun Creature and Fost deserve their flowers for crafting the lucid, gorgeous imagery in Deathwatch. The action sequences are especially on another level, showcasing the full scope of their capabilities with visual effects you would expect to see from an award-winning theatrical film. Splinter Cell: Deathwatch manages to be entertaining enough, thanks to its veteran, rookie, and beautiful animated universe, doing all the heavy lifting, but it barely scratches the surface of its potential. Rating: ★★★☆☆ Splinter Cell: Deathwatch © Netflix About Splinter Cell: Deathwatch Premiere Date:  October 14, 2025 Episode Count:  8 Executive Producer/Showrunner: Derek Kolstad Writer: Derek Kolstad Directors: Guillaume Dousse, Félicien Colmet-Daage Executive Producers: Derek Kolstad and Hélène Juguet, Hugo Revon, Gérard Guillemot Production:   Ubisoft Film & Television Animation Studio: Sun Creature, Fost Distribution:  Netflix Cast:   Liev Schreiber, Kirby Howell-Baptiste, Walles Hamonde, Janet Varney, Joel Oulette, Miranda Raison Based on: Tom Clancy's Splinter Cell video game franchise Logline: Legendary agent Sam Fisher is drawn back into the field when a wounded young operative seeks out his help.

Armorsaurs . © Disney XD Disney XD's Armorsaurs armors up to fill a void left by Power Rangers , reviving an age where teenage color-coded heroes must save the world with the aid of mechanized beasts. The new series checks off boxes for those craving a mainstream henshin, toku-inspired series, but goes the extra mile to forge its own identity and plant the seeds for a new fan base to grow. Armorsaurs is a hybrid live-action 3D animated series produced by MGA Entertainment and Daewon Media, based on the Korean tokusatsu series Armored Saurus, about five teens who are recruited to become pilots of living, mechanically enhanced dinosaurs to combat an alien threat. Their genes allow each of them to bond with a dinosaur telepathically, so what they may lack in experience, they make up for in their blood. Armorsaurs star Jailen Bates as Liam, Avianna Mynhier as Paloma, Jakob Makabi as TJ, Derrick Kwak as Joon, Sade Louise as Prisca, Julien Kang as Switchblade, Yvonne Chapman as Lieutenant Colonel Hemsworth, Andrew Russell as Doctor Chandler, and Carson Allen as Kex. The Armorsaur pilots and their dinosaurs in Armorsaurs . © Disney XD Not Power Rangers But They Get The Job Done The fresh actors playing the Armorsaur pilots can convince anyone of their ability to bond with dinosaurs with their organic chemistry with each other, and how they adapt to their roles to subvert audience expectations. In a typical Breakfast Club fashion, these teens have absolutely nothing in common except one factor that ties them together, uniting them with a common goal. Their personalities cannot be any farther apart. Liam is a socially awkward nerd, Paloma is a party girl, and her sister Priya is the exact opposite. Then we have TJ, the fun-loving jock, and Joon, a talented young man who takes himself too seriously, always feeling like he has something to prove. While they follow this trope seen in every other teen show, they do not play by the same rules. Our heroes defy their stereotypical roles with nuance, adding flavor to the narrative. Anyone watching the average Power Rangers series would recognize the confident alpha male as the leader, the Red Ranger, the nerd as the Blue Ranger, and the popular girl as the Pink Ranger. However, that's not the case with Armorsaurs . It is not easy to predict which Armorsaur each rookie will pilot. Folks are especially going to lose their minds when they meet the red and blue pilots for the Armorsaurs known as Ajax and Cobalt, respectively. The villains in the Armorsaurs world are a mystery. They are aliens intent on resurrecting their prehistoric army for the sole purpose of world domination, of course. Beyond that, not much is revealed other than Julien Kang's Switchblade being the muscle and right-hand man to the boss himself. Speaking of Switchblade, he has all the best qualities of a '90s Saturday morning cartoon villain: stoic, intimidating, but also, unintentionally hilarious. Cobalt Armors Up in Armorsaurs . © Disney XD An Imperfect World Worth Exploring Armorsaurs establishes a colorful world with an alternate history where humans and dinosaurs coexist to fight against alien invaders, with technological marvels at their fingertips. The concept of dinosaurs fitted in cybernetic armor while telepathic teens pilot them to fight otherworldly threats is honestly insane. Still, the series makes it work through clever writing and a bold blend of live-action and animated footage that makes this world inviting. Similar to how Power Rangers has been utilizing footage from its Japanese source material, Super Sentai , Armorsaurs combines footage from its Korean progenitor, Armored Saurus , with original footage to create a new experience. Unlike the early seasons of Power Rangers, there is no overreliance on stock footage. A significant portion of the footage in Armorsaurs is original 3D animation, created to adapt to the live-action elements and the groundwork laid by Armored Saurus. This cocktail works for the most part, but some flaws stick out like a sore thumb, especially when it comes to the armor the pilots wear. The suits may be the Achilles heel of the original footage. While their designs look great, subtly merging prehistoric and futuristic aesthetics akin to the Armorsaurs, the CGI makes them appear flat, especially in the second episode, when our heroes armor up for their first mission. The way the CGI engulfs their bodies undercuts what should have been an epic transformation sequence. Fortunately, the series quickly earns redemption through its action sequences and the way the writing plays with the lore it establishes. The Armorsaurs . © Disney XD Here Come The Armorsaurs Heroes tend to fight crime, embody the best of humanity, or bury themselves deep in humanity's cynical nature. Some come back from extinction to save the world from monsters. Armorsaurs falls in that category. It is a love letter to an era of superhero culture, distinct from anything at Marvel and DC, that's been largely abandoned for years. This series is unapologetically cheesy. Despite its emphasis on CGI over practical effects, it homes in on everything that makes Tokusatsu charming. Anyone who grew up with fond memories of not only Power Rangers , but also Beetleborgs , VR Troopers , and Superhuman Samurai Syber-Squad, will most likely create new fond memories watching Armorsaurs . Armorsaurs premieres on October 13, 2025, at 8 pm EST, with new episodes every Monday night. Rating: ★★★★☆ About Armorsaurs Premiere Date:  October 13, 2025 Episode Count:  13 Executive Producer/Showrunner: David Feiss Writers: Chuck Austen, Paul McEvoy, Konnie Kwak Director: David Feiss Producers: Benson NG, Kevin Yi Production:  MGA Entertainment, Daewon Media Distribution:  Disney Branded Television, Cake Entertainment Cast:   Jailen Bates, Derrick Kwak, Sade Louise, Jacob Makabi, Avianna Mynhier, Yvonne Chapman, Andrew Russell, Carson Allen, Julien Kang Synopsis: Dinosaurs are back, and five teens are the only ones who can bond with them. It’s up to these heroes to armor up and pilot their dinos to fight evil and save the world.

At New York Comic-Con last weekend, Marvel hosted an eventful panel featuring fresh trailers and confirmed premiere dates for its forthcoming television lineup. Here’s a breakdown of all the key announcements. Wonder Man Release Date: January 27, 2026 Yahya Abdul-Mateen II and Sir Ben Kingsley treated fans to an exclusive first look at the new trailer, which you can watch below. The series follows Simon Williams (Abdul-Mateen), a struggling actor determined to land the lead role in a blockbuster reboot of the classic superhero film Wonder Man . Directed by Destin Daniel Cretton, the eight-episode series will premiere on Disney+ after the holidays. Abdul-Mateen shared his excitement with the crowd during the panel: As an actor, there's so much that goes into it. There's vulnerability, there's ego, there's hopes and dreams, there's ambition, there's the lonely road. As Simon, I get to walk that fine line and experience all of that. I'm really excited to share Simon's journey towards achieving his dream. Da redevil Born Again Release Date: March 2026 © Marvel Charlie Cox (Matt Murdock) and Kristen Ritter (Jessica Jones) took to the stage to present the first trailer for Season 2 of Daredevil: Born Again . The footage opens with Matt and Karen Page having a romantic domestic life until Matt is attacked and his senses are hit with some sort of sonic device. Following the attack, we see missing person posters for Matt Murdock being put up around town. We get a peak of Kingpin's underground tunnel, the return of Foggy Nelson, and Dex. Daredevil: Born Again has already been renewed for a Season 3 as Nexus Point News has previously reported. Dario Scardapane recently shared a photo confirming writer's room is currently planning out the story for Season 3. X-Men '97 Release Date: Summer 2026 © Marvel The return of Marvel Animation's critical hit series is something fans have been anxiously awaiting. Brad Winderbaum hit the stage to confirm that the hit series will officially return next summer along with an exclusive first trailer for the series. In Season 2, we will find our beloved X-Men scattered across different time period (as teased in the Season 1 finale following the battle with Bastion. We see that Jean Grey and Cyclops are in period where Nathan is all aged us as teenager, Wolverine teams up with Lady Deathstroke and Sabretooth, Xavier and Polaris have teamed up against a foe and Jean and Cyclops in their classic yellow and black suits from the Grant Morrison New X-Men run. Season 3 of X-Men '97 is currently underway with Winderbaum confirming that the animatics phase is in progress. Winderbaum has also confirmed with CBR that Marvel Animation is already having conversations about Season 4 and 5. It seems X-Men fans will have plenty of content to enjoy in the coming years, especially with the highly anticipated introduction of mutants into the MCU. Your Friendly Neighborhood Spider-Man Release Date: Fall 2026 © Marvel Another hit series that the Marvel Animation team has put out is Your Friendly Neighborhood Spider-Man . The trailer shown for guests at NYCC showcases Gwen Stacy along with Spider-Man sneaking into Oscorp. We see the return of villains from Season 1 including Doctor Octopus and Lonnie Lincoln. Daredevil and Venom will also appear in Season 2. Vision Quest Release Date: Fall 2026 © Marvel Vision Quest is a series that has been in the works for quite some time. Marvel announced earlier this year that the show was in development with Paul Bettany and James Spader returning as Vision and Ultron in the series. An early exclusive trailer offered a glimpse of White Vision (last seen in WandaVision ) entering a mysterious mansion, where he encounters several AI entities, including Tony Stark’s creations F.R.I.D.A.Y. and E.D.I.T.H. It was also confirmed that James D’Arcy will reprise his role as Jarvis from Marvel’s Agent Carter . The trailer concludes with a brief shot of Ruaridh Mollica in a CCTV recording, identified as Thomas Shepherd, better known to comic fans as Speed, the son of Wanda and Vision. Paul Bettany revealed what to expect from the show on stage: What’s different about Vision right now is that Red Vision gave Vision all of his memories, including the memories from within the Hex. But White Vision is having real difficulty connecting to them. So he has the memories, but he doesn’t have the emotions and the feelings, and I think that’s what the journey is. White Vision’s journey during the show is about his attempt to connect to those memories and who he was… but with lasers! An official announcement following the panel also revealed the additional: Henry Lewis as D.U.M.-E, Jonathan Sayer as U, Orla Brady as F.R.I.D.A.Y., and Emily Hampshire as E.D.I.T.H. It seems Marvel is finding their groove in the television department and fans can expect to see some interesting projects hit Disney Plus next year.

This review contains minor spoilers for 'Bugonia.' Bugonia © Focus Features Every director has their favourite actor, whom they can rely on to return and play a role in their next movie. Ryan Coogler has Michael B. Jordan. Martin Scorsese has Leonardo DiCaprio. Quentin Tarantino has Samuel L. Jackson, and Sofia Coppola has Kirsten Dunst. For Yorgos Lanthimos, his favourite actor to work with is Emma Stone, with Bugonia being their fourth collaboration and their third in a row, with Kinds of Kindness having been released in 2024 and Poor Things in 2023. They've become a power dynamic and Emma Stone once again gives a phenomenal performance in Bugonia that's convincing, vulnerable and layered with her tone, allowing for the story to work and feel believable. Unlike Kinds of Kindness , which felt experimental with its storytelling and structure, or Poor Things , which was overall an uncomfortable story that was hard to digest, Bugonia is a film that's more accessible for general audiences, as it lays down a simplistic story that may feel relatable to some but also doesn't shy away from the absurdity that Lanthimos usually brings to his movies. Bugonia follows Teddy (Jesse Plemons) and his cousin Don (Aidan Delbis) who are paranoid and led to believe that extraterrestrial beings called Andromedans hide on Earth, waiting to destroy it. To prove this, they kidnap CEO Michelle Fuller (Emma Stone), who they believe is from the Andromedan race. It's a plot that's quite ridiculous when just reading it for what it is, but Will Tracy does such a great job of building the tension surrounding the mystery of whether or not Teddy and Don are correct in their hunch or if they're just maniacs who have had their strings pulled the entire time by conspiracy theories online. Emma Stone as Michelle Fuller in Bugonia © Focus Features The movie opens up on Teddy's discussions on bees, the dangers they face in society and also how they work collaboratively to achieve their goals. It cuts between Teddy and Don training to kidnap their victim (who they strongly believe to be an alien) and Michelle, who's just going about her normal day, training and listening to Chappell Roan while heading to work. We quickly witness the kidnapping of Michelle, which at first Teddy and Don hysterically struggle with but eventually succeed in catching her. Tracy plays around throughout the entire movie with whether Michelle is an alien or human, and there's not a single moment in the film where you'll be satisfied with your guess. The dialogue provided to Emma Stone and her deliverance of the lines will keep you guessing until the very end on the reality of her situation. It's the structure of the script that helps to keep this movie entertaining as we witness the lengths that Teddy and Dom go through to prove she's an alien. We witness them shave her hair, as it could be used as a way of communicating to the mothership that's above Earth. Teddy also continuously interrogates and tortures her in hopes that she'll break and finally confess. As outrageous as the story is, it would've been a letdown if there wasn't more to Teddy's motive to find an alien because simply being radicalised by conspiracy theories isn't enough. We live in a world where people come up with conspiracies all the time and spread them online. We have people who believe that the Earth is flat (flat Earthers may enjoy this movie) and people who believe that the COVID vaccine led to irrational side effects. We also have people just like Teddy and Don who believe that aliens exist and are among us. The list goes on and on. What Bugonia focuses on is the poor treatment that corporations, especially pharmaceutical ones, put their clients through, with Teddy's mom unfortunately being a victim of Michelle's testing, which has kept her hospitalised. Aidan Delbis as Don and Jesse Plemons as Teddy in Bugonia © Focus Features Tracy puts into question who's really the bad guy in the movie: is it the people who are torturing this woman on the basis that she may be an alien, or is it the woman who makes millions or billions of dollars, sacrificing the working class to grow their power and wealth? Bugonia doesn't offer much in terms of this messaging and instead decides to keep its focus on Teddy and Don, who may possibly be misled by the conspiracies they've seen online and their own hunches. The performances of Bugonia sell this movie, as Emma Stone uses a soothing but also commanding tone with Teddy and Don, which leads you to believe that she has entire control of the situation, just as a greedy and maniacal CEO would at their job. It's one of her best roles, as the entire believability of the movie rests on her shoulders. She commands the entire screen with ease, switching up her tones to get exactly what she needs from her captors and also the audience. Jesse Plemons is soon going to be entering Yorgos' club; after previously appearing in Kinds of Kindness , he returns to give a performance that's frightening, psychotic and completely unhinged. Similarly to Michelle, Teddy has a way with words and is able to influence his impressionable cousin, Don, who is autistic. He teaches him everything that he needs to know about the Andromedans and how to prepare himself, taking his time to ensure that he understands and allowing for him to follow his own path. Aidan Delbis delivers a performance that's soft while also remaining terrifying in his role, as he still holds as much power as Teddy in regard to Michelle but, unlike Teddy, sympathises with the torture she goes through. The last fifteen minutes of the movie are chaotic and unpredictable, with Lanthimos letting it all loose and allowing for Bugonia to truly feel like one of his own, despite it being a remake of the 2003 South Korean film, Save the Green Planet! . It's a wild tonal shift from the rest of the movie, but fans of Lanthimos can expect to see something outrageous at the end, while newcomers to the director may either be left unsatisfied with how Bugonia decides to conclude or thrilled at its execution. Bugonia is without a doubt Yorgos Lanthimos' most accessible movie yet, with performances that elevate Will Tracy's script, cinematography from frequent collaborator Robbie Ryan, who brings the discomfort to the screen with awkward close-ups, and a score that also heightens the movie as it deceives audiences on which characters to trust. It has several messages that it tries to bring up, but Tracy and Lanthimos make it clear that they're not trying to make Bugonia seem bigger than it already is; all they simply want to do is make a movie about conspiracy theorists who act out on their theory. If that is enough to sell you, then this movie will be worth the watch, but if you're looking for something more, then this might not be the Lanthimos film for you. Rating: ★★★★☆ Bugonia . © Focus Features About Bugonia Premiere Date:  October 24, 2025 Director:   Yorgos Lanthimos Producers: Ed Guiney, Andrew Lowe,Yorgos Lanthimos, Emma Stone, Ari Aster, Lars Knudsen, Miky Lee Writer: Will Tracy Cast:  Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, Alicia Silverstone Synopsis: Two conspiracy-obsessed young men kidnap the high-powered CEO of a major company, convinced that she is an alien intent on destroying planet Earth.

Rian Johnson is back with the third installment in the Knives Out franchise, titled Wake Up Dead Man . Following the success of Knives Out  and Glass Onion , this third Benoit Blanc outing takes the franchise in a bold new direction, weaving gothic influences, religious symbolism, and classic locked-room mystery tropes into something both familiar and startlingly fresh. The result is a film that is arguably the best of the series so far, and certainly the most daring. Johnson returns once again to write and direct this one and just like its predecessors, it premiered at TIFF. This time the ensemble includes Josh O'Connor, Glenn Close, Josh Brolin, Jeremy Renner, Andrew Scott, Mila Kunis, Cailee Spaeny, Kerry Washington, Daryl McCormack apart from Daniel Craig as Benoit Blanc. Wake Up Dead Man slyly subverts all the expectations. Rian Johnson has proven once again that he is one of the most talented, inventive, and reliable filmmakers working today. One of the most striking differences this time around is tone. Where Knives Out  dissected class and Glass Onion  skewered tech billionaires, Wake Up Dead Man  turns its razor-sharp commentary toward religion, death, and greed. These weighty themes give the film an added resonance, elevating it beyond puzzle-box entertainment into something richer and more unsettling. Johnson still delivers the clever twists and crowd-pleasing humor fans expect, but he layers them within a darker, more haunting atmosphere that also offers thriller and at times even horror elements. The ensemble cast is once again filled with big names, though less thoroughly explored than in past entries. Johnson chooses instead to focus his attention on Josh O’Connor, who takes on the largest supporting role the franchise has yet seen. O’Connor delivers a complex, unpredictable performance that anchors much of the story and adds a fascinating foil to Daniel Craig’s Benoit Blanc. When Blanc does eventually make his entrance — after a deliberately patient buildup — his arrival electrifies the screen. Craig has never been better in the role. Here, we see new shades of the detective, but while being as witty and clever as ever. His charisma, comic timing, and razor-sharp delivery once again remind us why Blanc has quickly become one of cinema’s most beloved detectives. Josh O'Connor and Daniel Craig in Wake Up Dead Man . © Netflix On a technical level, Wake Up Dead Man  dazzles. The production design is the most ambitious of the franchise, draped in gothic flourishes that perfectly echo the film’s themes. Costumes, from Blanc’s impeccable wardrobe to the more eccentric ensembles of the suspects, are equally memorable. The cinematography and lighting are exquisite — Johnson and his team play with shadows, reflections and confined spaces in ways that continually trick the audience. It is also one of the most unpredictable and cleverly constructed mysteries Johnson has ever staged. Perhaps the film’s greatest achievement is its balance of homage and originality. With nods to classic locked-door mysteries, Johnson tips his hat to the genre’s traditions while still crafting something thrillingly modern. Watching it with an audience only enhances the experience: the gasps, laughs, and collective tension transform the film into an event. It’s no wonder the film placed as second runner-up at TIFF 2025 — a strong sign of its awards season potential, with even a Best Picture nomination not out of reach. Wake Up Dead Man is a thoroughly engaging whodunit that is a worthy successor and, in many ways, superior to its predecessor. Rian Johnson delivers his most complex yet interesting entry in the franchise, solidifying Knives Out  as one of the most consistent and rewarding franchises in modern cinema. It is the year’s best murder mystery and a bold reminder that Benoit Blanc is one of the most entertaining detectives in Hollywood. Rating: ★★★★☆ Wake Up Dead Man © Netflix About Wake Up Dead Man Premiere Date:  December 12, 2025 Writer: Rian Johnson Director: Rian Johnson Production: T-Street Productions, Ram Bergman Productions Distribution:  Netflix Cast: Daniel Craig, Josh O'Connor, Glenn Close, Josh Brolin, Jeremy Renner, Andrew Scott, Mila Kunis, Cailee Spaeny, Kerry Washington, Daryl McCormack. Synopsis: Benoit Blanc returns for his most dangerous case yet.

This article contains spoilers for Loot Season 3. Loot Season 3 © Apple TV+ Loot returns for its third season on Apple TV+, doubling down on its satire of excess and emotional honesty, proving there's still plenty of fun and feeling to be had from billionaire self-reflection. Season 3 picks up with Molly Wells (Maya Rudolph) at a crossroads, determined to redefine herself following her public divorce, foundation drama, and will-they-won't-they relationship with Arthur. What unfolds is a brisk, often ridiculous exploration of privilege, accountability, and love, balancing outlandish comedy with surprising tenderness. The premiere wastes no time in signaling that we’re in for a good time this season. We continue where we left off in the Season 2 finale, after Molly and her ever-loyal assistant Nicholas (Joel Kim Booster) boarded a private jet to escape LA and her fellow billionaires who were not in agreement about stepping up philanthropy. The pair wake up on what appears to be a deserted island after a plane crash. Instead of panic, there’s absurdity: they scrawl “UH OH!” in the sand rather than SOS, and Nicholas promptly wanders off to consult with the island's kitchen staff, wondering what a desert island deodorant might look like. It’s a brilliantly deranged start that turns out to be a ruse. The crash, the island, and the survivalist set-up are an elaborate healing retreat invented by Nicholas to pull Molly out of her spiral. Their location, a private island called St. Novak’s, was acquired as part of her divorce settlement. Maya Rudolph as Molly and Joel Kim Booster as Nicholas in Loot. © Apple TV+. When the rest of the Wells Foundation crew – Sofia (Michaela Jaé Rodriguez), Howard (Ron Funches) and Rhonda (Meagen Fay) – arrive, they are bewildered by the make-believe circumstances the pair have found themselves in. The comedy deepens when they encounter a neighbouring nudist commune, Vagine, led by Henry Winkler’s blissfully unfiltered Gerald Canning, resulting in some of the funniest physical gags  Loot  has ever staged. Yet beneath the laughter, the episode quietly reaffirms Molly’s growth, even if she has a long way to go, as she tells Rhonda that she must stay on the island, believing it to be where she belongs, after the older woman was delighted by the nudity surrounding her. Perhaps this good deed is why, when Arthur (Nat Faxon) finally tracks her down at Vagine, the rekindled chemistry feels earned rather than forced, a reward for those rooting for them, rather than a reset button. That tone, silly but sincere, carries into the next few episodes as Molly and Arthur begin to navigate their new romance amid Nicholas’s suffocating overprotectiveness. His micromanaged binder of Molly’s preferences and a subsequent mishap for Arthur with a gold chain offer laugh-out-loud moments that Rudolph and Faxton shine with. The show remains most successful when it lets its ensemble bounce off each other with a mix of affection and hilarity, and the beginning of the season delivers exactly that. Episode three swings for a bigger target, aiming at deepfakes, digital disinformation, and performative philanthropy. When an edited version of Molly begins circulating online, singing about hating poor people, the scandal threatens to undo her foundation’s work due to the attention it gets. However, a perfectly timed invitation to Britain, where she’s due to receive the Silver Cross for Good Works honour from Lady Olivia Tottenham (the fifth richest person in the UK between Baby Spice and Posh Spice), gives Loot  room to poke fun at the contradictions of old-money charity. It’s perhaps the broadest episode of the series, leaning heavily into British stereotypes that some may find tedious, while further cementing the show’s cynicism about inherited wealth. Rudolph’s delivery of Molly’s climactic outburst as she rejects the medal and denounces Olivia’s colonial hypocrisy lands as both triumphant and self-aware. It’s the kind of comedic activism that Loot enjoys playing with, part spectacle, part substance. Michaela Jaé Rodriguez as Sophia, Stephanie Styles as Ainsley, Maya Rudolph as Molly, Joel Kim Booster as Nicholas, Nat Faxon as Arthur, and Ron Funches as Howard in Loot . © Apple TV+. John Novak (Adam Scott), Molly’s ex-husband, re-enters the picture in episode four with a new girlfriend, Luciana (D’Arcy Carden), who harbours a secret of her own. The episode’s farcical dance-off and motorboating sequence might be one of the series’ most hilarious turns, but the emotional undercurrent is sincere. When Molly tells John he needs to find happiness beyond wealth and figure out who he is, it feels like she’s finally speaking to herself as well. If the fourth episode is the funniest, then the following episode, a Nicholas-centric story, is the most emotionally satisfying of the season. Through flashbacks to his first encounters with Molly, we see how their bond was forged through mutual loneliness. The present-day scenes, in which Molly tries to re-energise a visibly burnt-out Nicholas by showering him with attention and Kesha, reflect the show’s core theme: money can’t fix disconnection. His eventual decision to take a new opportunity abroad, a conclusion he is helped come to by Molly, who wants him to put himself first for once, gives the series a bittersweet moment through a recognition that growth sometimes means stepping away. With Nicholas gone, Season 3’s latter half delves into the cracks between Molly and Arthur, testing whether love can survive unequal power and financial circumstances. Their romance falters when a weekend away exposes their class divide: Molly’s instinct to solve discomfort with extravagance collides with Arthur’s modest sensibilities and a desire for his normal. A bird-watching debacle with Paula Pell’s fiercely territorial president of SCAB (Southern California Alliance of Birders) is excruciating in the best possible way, ending in embarrassment for all and a deceased bird. The subsequent episodes unfold with a lighter but melancholic rhythm. Molly’s attempts to deny the breakup, staging lavish romantic gestures rather than addressing the problem, underline how deeply she still defines herself through control. A visit to Korea to see Nicholas, now working on a television show inspired by the Wells Foundation, re-centres the series on friendship and found family. Maya Rudolph as Molly in Loot. © Apple TV+. By the time we reach the finale, the show begins to map out its future. Sofia faces the possibility of a political career, Nicholas has returned to the fold in LA, and Molly’s tangled personal life collides spectacularly with her professional one. A wedding in Italy, inevitably disrupted, brings all of Loot ’s competing themes into focus: image versus integrity, self-reliance versus connection, and the seductive pull of spectacle. While the details of the episode veer toward soap opera, the emotional resolution feels earned, even if it ends on a cliffhanger. Season 3 never quite loses faith in the possibility of good people doing better. The writers are aware that audiences no longer want a simple story where rich people learn empathy. Instead, they give us a version of Molly who still makes absurd choices, still relies on money as a buffer, but now recognises that emotional labour cannot be outsourced. The humour, too, is a standout. Maya Rudolph, Nat Faxon, Adam Scott, and D'Arcy Carden deliver the funniest moments of the season. At the same time, Joel Kim Booster remains a highlight, delivering sarcasm as he grounds Nicholas’s loyalty in real affection. Elsewhere, Michaela Jaé Rodriguez continues to be the series’ moral compass, even when Sofia’s rigidity falters, and Faxon brings a vulnerability to Arthur that makes his exasperation with Molly both justified and deeply sympathetic. Visually, the show maintains its signature sheen. The billionaire chic of its Los Angeles offices and homes, an island retreat in the Indian Ocean, and shenanigans in Italy still look aspirational, even as their luxury is gently mocked. If there’s a criticism to be made, it’s that Loot occasionally spreads itself too thin. The Luciana subplot, though hilarious, sometimes undercuts the emotional focus, and a few of the show’s late-season twists risk melodrama. We also don't spend enough time with Luciana herself. As Carden appears in three episodes to Scott's one, there isn't enough time to invest yourself in their story beyond rooting for Molly. Similarly, if you’re a fan of Molly and Arthur, the constant back and forth of their relationship will also become tedious as the show creates drama for the sake of it. But, even at its lowest points, the series retains a beating heart: a belief that reinvention is messy but worthwhile. Three seasons in, Loot  has evolved from a post-divorce comedy into something more complex, even if the mark can be missed. It’s a glossy, surprisingly reflective look at how privilege both shields and isolates. Its latest instalment finds the sweet spot between satire and sincerity, and while its cliffhanger may frustrate those craving closure, it also signals that the show still has places to go and things to say. Rating: ★★★1/2 Loot . © Apple TV+ About Loot Premiere Date:  15 October 2025 Episode Count:  10 Executive Producers: Matt Hubbard, Alan Yang, Maya Rudolph, Danielle Renfrew Behrens, Dave Becky, Dean Holland, Natasha Lyonne Showrunner: Matt Hubbard Writers: Emily Spivey, Maya Rudolph, Luke Del Tredici, Jeremy Beiler, Sudi Green, Gabe Liedman, Zeke Nicholson, Anna Salinas, Nick Lehmann, Maggie Sheridan, Leigh Pruden, Hank Winton, Matt Hubbard Directors: Claire Scanlon, Rebecca Asher, Carrie Brownstein, Dean Holland, Anna Dokoza, Production:  Universal Television Distribution:  Apple TV+ Cast:   Maya Rudolph, Michaela Jaé Rodriguez, Nat Faxon, Ron Funches, Joel Kim Booster Synopsis: In “Loot,” billionaire Molly Novak (Maya Rudolph) has a dream life, complete with private jets, a sprawling mansion and a gigayacht — anything her heart desires. But when her husband of 20 years betrays her, she spirals publicly, becoming fuel for tabloid fodder. She’s reaching rock bottom when she learns, to her surprise, that she has a charity foundation run by the no-nonsense Sofia Salinas (Michaela Jaé Rodriguez), who pleads with Molly to stop generating bad press. With her devoted assistant Nicholas (Joel Kim Booster) by her side, and with the help of Sofia and team — including mild-mannered accountant Arthur (Nat Faxon) and her optimistic, pop-culture-loving cousin Howard (Ron Funches) — Molly embarks on a journey of self-discovery. Giving back to others might be what she needs to get back to herself.

© Paramount+ and Apple+ If you’ve seen a streaming thriller in the past fifteen years, chances are you’ve heard the work of Will Bates. That’s not his only niche, though: from video games to feature films, Will Bates helps the projects that he works on become a fully immersive experience for the audience. I was able to speak with Mr. Bates about his most recent projects: NCIS: Tony & Ziva , and Stiller & Meara: Nothing is Lost . He answered questions about his process, favorite motifs, and provides some fantastic insight about the world of composing for both television and film.  SARAH: What was the process of becoming involved in those particular projects? They’re kind of disparate. They're all over the place. What was the process for those? WILL BATES:  I feel kind of fortunate that I'm able to jump around different styles in my career. This was sort of a perfect analogy of the kind of stuff that I do. But we’ll start with NCIS: Tony & Ziva . I worked with John McNamara and the team over there on a show called The Magicians.  We did five seasons of that. It was actually my first foray into scoring TV. I was brought on by a wonderful director called Mike Cahill, whose movies I’ve scored over the years, and he brought me on board. Then I joined the family over there. When John started to develop this show, he called me, and that was a while ago — like a year and a half ago. I think they’d been planning to make this show for years. SARAH: Yeah, it seems like it’s been in the works for a while. WILL BATES:  It has, and our first conversations were about doing something different from The Magicians  but with similar wit and intelligence — that’s very much John’s thing as a writer. We talked about Bond, Bernard Herrmann, classic Hollywood scores with a modern twist — that’s the defining characteristic of the show. Michael Weatherly as Anthony ("Tony") DiNozzo and Cote de Pablo as Ziva David in NCIS: Tony & Ziva. © Paramount+ SARAH: With Stiller & Meara: Nothing Is Lost  — how did you get involved with that? WILL BATES:  I think Ben had heard my score for a movie called Bright Lights , a biopic I did about Carrie Fisher. SARAH: Yes! That one was phenomenal. I’ll have to go back and watch it again. WILL BATES:  Thank you! Ben’s great friends with Alexis Bloom and Fisher Stevens, who directed that. They were discussing composers, and they introduced me to him. We had meetings, really hit it off, and I started working on it. I actually wrote sketches while they were still editing, which was a great way to start collaborating. It’s always good to have something to talk about rather than nothing, if that makes sense. SARAH: That ties into what I wanted to ask next, more about your creative process. You mentioned sketches - can you walk me through how something goes from a melody to the final score on screen? WILL BATES:  Totally. It doesn’t always work the same way, but for both these projects, because I knew John and got involved early on, I was able to just write freely. I tend to throw a lot at the wall. For NCIS , I wrote these suites — including a sweeping love theme for Tony and Ziva that was my favorite thing. I’m always searching for a kind of eureka moment — stumbling on a theme or chord sequence that fits a character or scene. That was the case with both of these projects. SARAH: When you’re building themes, are there certain musical elements you come back to — like favorite chord progressions or motifs? WILL BATES:  I think we all have tendencies. You can often hear a score and know it’s John Williams, right? We all have signatures. I try to evolve - to move on from where I’ve been. Sometimes I’ll play something and realize, "Wait, that’s Elliott’s theme from The Magicians !" We even have a space in my studio called 'the orphanage' where I put instruments used for specific projects. I get emotionally attached to them, so I retire them there. It helps me keep moving forward creatively. Anne Meara Stiller, Jerry Stiller, Ben Stiller and Amy Stiller in an archival image from Stiller & Meara: Nothing is Lost. © Apple+ SARAH: One thing I’ve noticed across your work is this beautiful, subtle tension — the way you use space and silence, especially in The Better Sister.  It builds suspense so effectively. WILL BATES:  Thank you, that’s so nice. Yeah, space is important. I have to remind myself not to overfill things. On The Better Sister , I started dense and then stripped things away — finding the simplest way to communicate emotion. That’s something I’ve learned to do over time. SARAH: In NCIS , there are big action beats. Can you talk a bit about composing for action scenes? WILL BATES:  When I get an episode, I’ll watch it and think, "Oh my god, this will be hard!" It’s a lot of math — especially car chases, like that one in the first episode. So much percussion, twists, turns, finding where to fit the theme. It’s daunting at first but becomes really fun. We actually scored the episodes out of order — starting with episode 3, then 4, 5, and back to 1. That helped me find the musical language before revisiting the start. SARAH: That’s interesting! It must change your perspective. WILL BATES:  Yeah — and John’s direction was great. In one percussive scene he kept saying, "More drums! Bigger!" Usually you’re told to hold back, but here it was the opposite. It was so fun. SARAH: That’s awesome. What kind of project do you have the most fun working on? WILL BATES:  I feel lucky to move between genres — horror, sci-fi, fantasy, emotional dramas. Horror is so fun, but recently I’ve been doing more character-driven work, including a documentary for Alex Gibney. It’s very emotive and painful in parts, which makes it meaningful. SARAH: I look forward to that! I can’t wait to hear what you create. WILL BATES:  Thanks — it’s a fun one. Stiller & Meara: Nothing is Lost  will be available to stream on Apple+ on October 24, 2025.  NCIS: Tony & Ziva is available to stream on Paramount+, with new episodes being released each Thursday until the finale on October 23, 2025. This interview has been edited for clarity.

Sources tell Nexus Point News that Danielle Deadwyler is in talks to join Ryan Coogler’s The   X-Files series as one of the leads. Deadwyler would play one of the lead investigators, whose character is partnered with a male investigator. The series has been in development since 2023 with Coogler attached to write the pilot, executive produce, and potentially direct. The X-Files creator, Chris Carter, has met with Coogler and is developing the project with him. The original series premiered in 1993 and ran until 2002 and returned in 2016 for an additional two seasons for a total of 218 episodes. Additionally, two feature films spun out of the original series, The X-Files (1998) and The X-Files: I Want To Believe (2008). The series starred David Duchovny and Gillian Anderson as Agents Fox Mulder and Dana Scully respectively. Coogler mentioned that he specifically has met with Anderson regarding his upcoming reboot. Coogler is coming off his last feature film, Sinners ,   which released this past year to universal acclaim. Coogler is also known for directing Black Panther  and Black Panther: Wakanda Forever , with a third film in development. His additional credits include the Creed  films and Fruitvale Station . Danielle Deadwyler is best known for roles in The Harder They Fall , Till , and The Piano Lesson . Deadwyler will next be seen starring as Zelma Redding in Otis & Zelma . She is repped by Paradigm Talent Agency, Play Management, Shelter PR and Ziffren Brittenham The X-Files reboot is currently in development for 20th Century Television.