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This review contains spoilers for Primal Season 3. Primal © Adult Swim All Primal Season 3 needed to do was give us more Primal. The show is a consistent oasis of some of the most playfully violent yet technically bulletproof animation America has to offer, perpetually using its unique setting to conjure singular environments and increasingly bloody images. Season 3 represents a reset for its neanderthal main character, Spear, but the flow of creator Genndy Tartakovsky and animation house Studio La Cachette remains uninterrupted, the latter officially stamping itself as one of the most consistently stylish studios on the planet and the former proving that he still has the juice after a disappointing outing with Fixed.  After being killed off and leaving behind a child at the end of season 2, it felt natural for Primal to continue without Spear (if it were to continue at all). Instead, in the opening moments of season 3, Spear is resurrected in a zombified state. Part of this feels a little cheap. The world the first two seasons of the show establishes is so rich, full of early human civilisations, dark magic, dinosaurs and mythical creatures. Surely, there was some avenue to go down by not resurrecting the same character who was given an emotional send off just a few years ago.  Initially, the decision to set Spear back to a mindless state is also a little confusing and frustrating. The character is without all the lessons learned and relationships formed throughout the show’s run, embarking on a solo journey towards nothing in particular in the first episode, making it difficult to reconnect with this shell of a character and buy into him emotionally.  Zombie Spear lacks motivation beyond survival, which begins to reveal some interesting shades the more you sit with in this dialogueless universe. Spear has always been representative of this middle point between man and ape, and now he’s occupying a middle state between life and death. We see him walk off would-be fatal injuries from beasts and men, tunnelling through the pain fast enough to enact swift and bloody vengeance, becoming a God of Death, a neanderthal John Wick, and slipping further away from humanity. However, bringing him back to his most human side, and recovering what could have been a massive misstep with the character, are the flashbacks. Every now and then we’re taken into a pink and yellow tinted vision from Spear’s mind, reminding him of the connection he once had to his partner dinosaur, Fang. These flashbacks turn into full on surreal dream sequences as Spear inches closer to the person he once was. When his search to recover his past life becomes his focus, the momentum and purpose of the character reinstalled, the show begins to click into a new gear.  Having said that, if this was just a hangout season with zombie Spear going batshit on evil humans and mythical beasts, it still would’ve slapped. The action in this show balances the fine line between being too gory to look at and too cool to look away from. The surreality of the show’s art style allows the characters to strike more exaggerated poses that heighten Spear’s aura whenever he’s tearing out the tongue of a massive crocodile or gouging out the eyes of a great lion. Genndy has always been someone with an incredible eye for imagery and he uses that skill to both dastardly and emotional effect throughout every episode of the show. That talent was used to less pleasing effect in Fixed where his desire for raunchy humour made for images that left a bad taste in the mouth, especially when paired with the film’s less than stellar dialogue. Primal being a silent show allows for Genndy’s images to speak loudly, and he thrives.  Every frame of this show scratches your brain in just the right way, a magical effect owed to the incredible work by Studio La Cachette. Their style of giving characters and props thick black outlines that squash and stretch so malleably with the action makes everything they do so watchable. There’s an unfiltered roughness that they preserve in their work, as if some of the chicken scratches from early sketches were left in, something that complements Primal’s whole deal extremely well.  To watch Primal is to know you’re in the hands of an animation legend, a relaxed excitement in anticipation of the next frame, knowing it’s going to throw out something fascinating. Genndy lost a bit of credit in the bank from Fixed, but Primal Season 3 sees him get back to basics in a super satisfying way, with a huge helping hand from La Cachette who every animation fan should be keeping an eye on. Thank you for more Primal, Mr. Tartakovsky. Rating: ★★★★☆ Primal . © Adult Swim About Primal Season 3 Premiere Date:   January 11, 2026 Writer: Genndy Tartakovsky Director: Genndy Tartakovsky Cast:   Aaron LaPlante

This review contains spoilers for Ponies . Ponies © Peacock Following the success of The Pape r, All Her Fault and The Copenhagen Test  last year, Peacock is clearly looking to build momentum around their original content in 2026. The first of these is Ponies , an eight-episode Cold War espionage drama. Co-created by Susanna Fogel and David Iserson ( The Spy Who Dumped Me ), it stars Emilia Clarke and Haley Lu Richardson and is set for release on January 15. While the series would benefit from a weekly rollout, thanks to its cliffhangers, reveals, and plot twists that invite post-episode discussion through theories and analysis, the full season will be available to stream on the day of launch. Opening in Moscow, 1976, Bea (Clarke) and Twila (Richardson) meet at a market. Bea has been stationed in the city for six months, and Twila for 24 hours. From the outset, it’s obvious that the pair couldn’t be more different. Bea is an over-educated, Russian-speaking child of Soviet immigrants, and Twila is a small-town American who is as abrasive as she is fearless and openly disdainful of her surroundings. Moscow, to her, is a shit hole, but it’s where they find themselves living while their husbands, Tom (John Macmillan) and Chris (Louis Bayer), work for the CIA. Or at least, that’s what they believe. Emilia Clarke as Bea and Haley Lu Richardson as Twila in Ponies © Katalin Vermes/Peacock The initial 16 minutes of the first episode are well-paced, immediately upending the trajectory of what the audience will expect the series’ plot to be (unless you have read the logline). While attending an embassy Christmas party later that evening, Bea and Twila are soon taken into a private room, where they are told that a small single-engined aircraft crashed in a field 30 kilometres south of Moscow. Their husbands were on board, and there were no survivors. They are to pack their belongings as they will be returning home to the US to be with their families. If asked about their loss, they are to tell people that while on diplomatic business, two embassy employees were flying a single-engined Soviet aircraft that encountered engine failure and crashed. Twila knows this is a cover story, but she will have no choice but to repeat it. That is, until Bea returns to Providence, Rhode Island, distraught and unsure of what her life is meant to look like without Chris. She does, however, know that she has no choice but to discover what really happened to her husband. When the pair meet up, Twila tells Bea that there is nowhere for her to go, so she is heading back to Moscow, where she will have a place paid for by the US government with no rules. Bea, in turn, was also thinking about going back so that she could discover the truth. She reveals that Chris had a card in his pocket written in another’s handwriting with the phrase “winged horse over the entire world” in Russian. This is their first clue that something is amiss in their husband’s deaths, and they cannot figure out what it means unless they go back to Moscow. Dane Walter (Adrian Lester) is the head of the Moscow station whom they must convince to let them return to the USSR and join America’s intelligence work. Bea wants to make an impact and do something important with her life, and Twila agrees. The latter believes that no one would suspect them of anything as they’re women. While he says no, he does speak to another above him in the CIA, noting that where Bea speaks Russian, Twila is fearless like a bull. Together, they could make a good officer. The US has never successfully run a secret agent in Moscow, and the Russians would never bring on a woman as a case officer. Naturally, they’d never expect the US to either, so they would be one step ahead on their turf. Once agreed, Bea and Twila are to pass and retrieve documents as Ponies, persons of no interest, but they will never be privy to the intelligence, nor will they be a part of the operation. You know how that will go. Adrian Lester as Dane in Ponies © Katalin Vermes/Peacock What follows is steeped in suspicion, encouraging viewers to scrutinise each character, including their relationship to both the Soviet Union and the United States. As Bea and Twila work to piece together the truth behind their husbands' deaths, they also work to uncover a vast Cold War conspiracy, zeroing in on the KGB from the inside and outside. Although Ponies deals with heavy subject matter, namely grief, betrayal, and morality, it remains an entertaining watch. There's a real pleasure to be had in losing yourself within the plot, with no line too small or unimportant to use in your theories. However, given how tightly packed each episode is, it's easy to gloss over characters, particularly those unnamed on either side. Ponies is at its strongest when Clarke and Richardson share the screen. Whether working in tandem or separately, they form a compelling partnership. Their differences never disappear, but over time, they learn how to move in sync, effectively acting as a single agent as they become increasingly entangled with the inner workings of the DPG. Clarke delivers an impressive performance. Her command of Russian, a language she did not speak before the show and learned with her language teacher Fabien Enjalric, adds credibility and tension to Bea's presence in Moscow, reinforcing how exposed and capable she is in equal measure. The relationship she forms with Andrei Vasiliev (Artjom Gilz), the most dangerous KGB officer, is a high point, though it's her chemistry with Sasha Shevchenko (Petro Ninovskyi), a technician for top-secret Soviet technology, that is delightful. Petro Ninovskyi as Sasha and Emilia Clarke as Bea in Ponies © Katalin Vermes/Peacock Richardson, meanwhile, breathes life into Twila, ensuring she never becomes comic relief, despite often being very funny, nor merely a counterpoint to Bea's restraint. Her unconventional outlook is never treated as a caricature either, even as she navigates new emotional and sexual experiences with a woman. Together, Clarke and Richardson ground the show, making a strong case for the pairing as Ponies' greatest asset. With the series ending on a cliffhanger, it's difficult not to hope that this won't be the last time we see Bea and Twila. An assured and consistently engaging run that understands both the pleasures and anxieties of the spy genre should find its audience, particularly as it releases while the second season of The Night Manager , a British spy thriller, is airing. Tense and character-driven without losing momentum, Ponies is your next TV obsession. Ponies . © NBC Universal About Ponies Premiere Date:  January 15, 2026 Episode Count:  8 Showrunner: Mike Daniels Executive Producers: Susanna Fogel, David Iserson, Mike Daniels, Jessica Rhoades, and Emilia Clarke Writers: Susanna Fogel, David Iserson (101-105, 108), Rosa Handelman (106), Carolyn Cicalese, and Jordan Riggs (107) Directors: Susanna Fogel (101, 102, 105, 108), Viet Nguyen (103, 104), and Ally Pankiw (106, 107) Production:   U niversal Television, a division of Universal StudioGroup Cast:   Emilia Clarke, Haley Lu Richardson, Adrian Lester, Artjom Gilz, Nicholas Podany, Petro Ninovskyi, and Vic Michaelis Synopsis: Moscow, 1977. Two “PONIES” ("persons of no interest" in intelligence speak) work anonymouslyas secretaries in the American Embassy. That is until their husbands are killed under mysterious circumstances in theUSSR, and the pair become CIA operatives. Bea(Emilia Clarke) is an over-educated, Russian-speaking child of Sovietimmigrants. Her cohort, Twila (Haley Lu Richardson), is a small-town girl who is as abrasive as she is fearless. Together, they work to uncover a vast Cold War conspiracy and solve the mystery that made them widows in the first place.

A Knight of the Seven Kingdoms  © HBO For a long time, Game of Thrones was one of the most beloved and talked-about series on television. What initially felt confident and carefully constructed began to deteriorate once the show moved beyond the books, and by its final two seasons, the problems were impossible for me - and honestly, for everyone - to ignore. The finale cemented its reputation as a series that collapsed under its own weight. When House of the Dragon arrived years later, I felt cautiously optimistic. Its first season suggested a return to discipline and character-driven storytelling, but the second season left me disengaged and, honestly, less interested in the franchise as a whole. That context is important, because it shaped how I approached A Knight of the Seven Kingdoms.  I knew it was coming. I did not feel strongly about it either way. After watching the first season, I can say it caught me completely off guard in the best possible way. Set roughly a century before Game of Thrones, the series follows Ser Duncan the Tall, a hedge knight with no lord or land, and Egg, a sharp, insistent boy who becomes his squire. From the opening moments, especially after Ramin Djawadi’s iconic theme begins to play, you will immediately see what kind of show this is going to be. What impressed me most is how intimate the storytelling feels. This isn’t a low-stakes series, because nothing in this world ever truly is, but the stakes are personal rather than epic. I watched Duncan struggle to afford armor, food, and basic dignity, and I felt the weight of how easily his sense of honor could get him killed. Egg’s presence adds both humor and emotional tension, and I found myself increasingly invested in the bond forming between them. I was surprised by how often the series made me laugh, and by how effectively it could turn somber. Peter Claffey’s performance as Duncan is the emotional center. He plays the character with warmth, awkwardness, and a deeply felt sincerity that made me root for him almost immediately. That focus on character pays off most powerfully late in the season. Episode five, especially, had me fully locked in, watching in near silence. Daniel Ings brings an easy charm to Lyonel Baratheon that feels rare in this universe, and Dexter Sol Ansell is remarkably convincing as Egg, selling both the character’s intelligence, sass and his vulnerability at such a young age. On a visual level, the show impressed me with its restraint. The cinematography leans into natural light and textured landscapes, and the production design makes Westeros feel worn, practical, and lived in. I never felt overwhelmed by spectacle, and I appreciated that choice. Everything feels close, tangible, and human. I also appreciated what the show chose not to emphasize. Familiar houses are present but not overused. House Targaryen is the most relevant, followed by House Baratheon. Other houses are mentioned only when necessary. There are no real dragons, and there is very little political intrigue. Instead, the series focuses on class disparity and personal consequence, which made the world feel more grounded to me than it has in years. By the time the season ended, A Knight of the Seven Kingdoms had genuinely won me over. It feels different from what came before, and that difference is its strength. After the disappointments of Game of Thrones and House of the Dragon, I didn’t expect to care this much again. My only real complaint is how short it is. At six half-hour episodes, it ends just as I felt fully settled into its rhythms. Still, as a quiet, character-focused story set in a familiar world, it reminded me why I ever cared about Westeros in the first place. A Knight of the Seven Kingdoms  © HBO About A Knight of the Seven Kingdoms Premiere Date:  January 18, 2026 Writer: Ira Parker, Aziza Barnes, Hiram Martinez, Annie Julia Wyman, Ti Mikkel Director: Owen Harris, Sarah Adina Smith Distribution:  HBO Cast:   Peter Claffey, Dexter Sol Ansell, Finn Bennett, Bertie Carvel, Tanzyn Crawford, Daniel Ings, Sam Spruell

Who would’ve thought that in 2026, we could say that we’ve received another movie in the 28 Days Later franchise? When the news was revealed that we were getting a sequel from both Danny Boyle and Alex Garland, the streets cheered. And cheered we did as 28 Years Later finally came out, and it was better than we ever could’ve expected. With near masterful direction from Danny Boyle and the inventive cinematography he brought to the movie with his usage of iPhone cameras to Alex Garland’s writing, which transported us back to the horrific post-apocalyptic Britain that has been taken by the rage virus.  28 Years Later: The Bone Temple was filmed back-to-back with Nia DaCosta taking over directing and takes place directly after 28 Years Later. It follows Spike (Alfie Williams) as he’s taken into Sir Lord Jimmy Crystal’s (Jack O’Connell) satanic cult as they travel, providing charity to people they come across, while Dr Ian Kelson (Ralph Fiennes) tries to find the humanity in Alpha, Samson (Chi Lewis-Parry), which might be the key to saving the world. While this is a sequel to 28 Years Later , if you’re looking for a movie that feels like it when it comes to its direction and themes, then you’re unfortunately out of luck. This is a Nia DaCosta movie; there’s no usage of iPhones here, and I respect that. Immediately you begin to realise that she’s not just trying to create a sequel that happens to only replicate what Boyle did, but she goes into 28 Years Later: The Bone Temple , making the film her own from its visuals to how she handles Alex Garland’s writing, which tells a completely different story in the same world. 28 Years Later was a movie that focused on the nature of family as we were first introduced to Spike and went with him on a journey to try to find a cure for his mother while dealing with his unreliable father. Despite being in a horrific setting, it was a family movie all the way through, but with Spike separated from his family and on his own, family is no longer something that’s at the forefront, but it still finds itself sneaking in as a theme. 28 Years Later: The Bone Temple is a film that is instead focused on the nature of evil, and it’s safe to say that to start the year with a movie this demented, it could possibly be a bad omen for what’s to come. 28 Years Later: The Bone Temple . © Sony Pictures The movie opens up with Spike being integrated into Sir Lord Jimmy’s cult and becoming one of his “fingers” to help him serve Old Nick (or, as we all know him, Satan). This opening doesn’t waste any time with the bloodspilling and is only just the beginning of some of the horrors that you’re going to witness as you watch the Jimmies provide “charity” (an act of sacrifice killing) to their unfortunate victims. I’m thankful to have seen this movie on numerous occasions, and it’s rare to witness people on each watch turn away during the same scenes. The word 'evil' isn’t enough to describe the type of man Sir Lord Jimmy Crystal is, but what makes watching all these gruesome scenes worthwhile is that you have the extremely talented Jack O’Connell behind the character.  His performance is beautifully deranged, just like the movie itself, and it’s a miracle that Jack walks away from a role like this without being affected because despite playing a villainous role last year, he comes to this with a completely different take and somehow plays a character that doesn’t deserve any pity effortlessly. He’s such a complex character that’s first introduced to us at the start of 28 Years Later as we follow his childhood and how he lost his own family, but to see how that event has traumatised and moulded him into quite literally the devil himself is unbelievable, and to witness the heinous acts he commits is something that not even God himself could forgive. While Jack O’Connell delivers one of the finest horror performances I’ve seen (yet again) and is bound to stay in the conversation for the remainder of 2026 (or, at least, he should), Ralph Fiennes and Chi Lewis-Parry both return as Dr Ian Kelson and Samson, respectively, and deliver exceptional performances which highlight the beauty of this sick and revolting world. Their storyline continues from the first film, but Alex Garland’s script takes a deeper look into Kelson’s interest and care for Samson. We get to learn quite a bit from their interactions on just how the Rage virus might infect people, and for the first time, it starts to feel like there could be a cure that could bring this insane world back to what it used to be. It slightly steps into the nature of the evil theme and plays around in that field, but without stepping into spoiler territory, Kelson and Samson’s scenes are some of the best throughout the film, and the third act delivers both of their finest moments with a bloody rampage and a fiery conclusion (Iron Maiden fans, strap in). 28 Years Later: The Bone Temple is one of the greatest horror movies of this decade and should be witnessed with a full crowd as intended in the cinema. Nia DaCosta takes over from Danny Boyle for this sequel and doesn’t disappoint, reminding audiences why she’s a name that people need to keep their eye out for in the future. It’s only January, but we’ve already been delivered a horror masterpiece that has outstanding performances from all around the board. Thankfully, a sequel has already been confirmed, and after that ending, which will excite fans, I’m sure everyone will be happy that a third movie is on the way. 28 Years Later: The Bone Temple . © Sony Pictures About 28 Years Later: The Bone Temple Premiere Date:  January 14, 2025 Writer: Alex Garland Director: Nia DaCosta Production:  Columbia Pictures, Decibel Films, DNA Films Distribution:  Sony Pictures Cast:  Ralph Fiennes, Jack O’Connell, Alfie Williams, Chi Lewis-Parry, Erin Kellyman

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

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

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

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

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

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

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

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