THE RECRUIT: SEASON ONE Starring: Noah Centineo, Laura Haddock, Aarti Mann, Fivel Stewart, Daniel Quincy Annoh, Vondie Curtis-Hall, Colton Dunn, Kristian Bruun, and Kaylah Zander Creator: Alexi Hawley QUENTIN Netflix’s The Recruit , which, sadly, is not based on the 2003 movie starring Colin Farrell and Al Pacino, is nothing special, but it has enough goofy charm to keep you clicking the “next episode” button. Noah Centineo’s easy-going affability makes him easy to root for even as he fails upward in increasingly absurd situations (people who work in DC will find it laughably ridiculous). Overall, it’s like a light-hearted Jack Ryan for twentysomethings, and is a show that I will probably return to next season (it ends on an intriguing cliffhanger). That said, I wouldn’t miss it if it ends up getting canceled either.

PRIMO Starring: Ignacio Diaz-Silverio, Christina Vidal, Carlos Santos, Henri Esteve, Johnny Rey Diaz, Jonathan Medina, and Efrain Villa Creator: Shea Serrano AMARÚ If you follow Shea Serrano on Twitter or have read any of his “(And Other Things)” books, then you know his writing makes you feel like part of the family. With a combination of family wholesomeness (and crudeness), pop-culture savvy, and nerdy geekdom, he has created a giant ball of feel-good foolishness with Primo . Its perfect blend of comedy and coming-of-age storylines will resonate with anyone who has ever had to grow up, ever. Watch one scene with Rafa (Ignacio Diaz-Silverio), his mom (Christina Vidal), and his swarm of uncles (Carlos Santos, Henri Esteve, Johnny Rey Diaz, Jonathan Medina, Efrain Villa), and you’ll want to be family forever.

Previous Next April 23, 2025 WRITTEN BY: BODE Everyone knows that the relationship between music and visual media is a critical one, and the role of music supervisor is a major aspect in that relationship. Music supervision involves the process of selecting, licensing, and researching pre-written music for all forms of media, but especially film and television. They work closely with directors, producers, writers, and oftentimes composers to ensure that the music being chosen aligns with the project’s creative vision while simultaneously managing budgets and legal rights. It’s a role that I’ve always been fascinated by, especially as a music lover, and I think it’s one that often goes under-discussed and under-appreciated. That’s why I wanted to shed some light on this role by showcasing some of my favourites working today, detailing their brief histories and my favourite drops from them. RANDALL POSTER Notable Credits : Kids , Rushmore , School of Rock , The Hangover , Boardwalk Empire , Spring Breakers , The Wolf of Wall Street , The Grand Budapest Hotel , Joker Favourite Drop : “Starálfur,” Sigur Rós ( The Life Aquatic with Steve Zissou ) https://youtube.com/watch?v=IPMf8G8Pi5o Perhaps the most prominent name on this list, boasting thousands of credits that span film, television, and advertisements, Randall Poster has been responsible for some of the most iconic needle drops in pop culture history, counting filmmakers like Martin Scorsese, Harmony Korine, Richard Linklater, Todd Haynes, and Todd Phillips among some of his most frequent collaborators. He’s even won a Grammy for his efforts, specifically for his work on the HBO series Boardwalk Empire . Amongst those accomplishments, however, it’s his working relationship with director Wes Anderson that has stood the test of time. Poster has sourced music for nearly all his films, starting with Rushmore, and continuing into The Royal Tenenbaums , Fantastic Mr. Fox , Moonrise Kingdom , The Grand Budapest Hotel , and Asteroid City . To pick a favourite drop would be difficult, but The Life Aquatic with Steve Zissou (still Anderson’s most polarizing film) holds a special place in my heart for its underrated use of Sigur Rós’ “Starálfur,” which scores the moment the title character goes through the final stage of grief: acceptance. It’s a great example of not only the heart that lies beneath Anderson’s signature quirk, but most importantly, how Poster meets him there. ALEXANDRA PATSAVAS Notable Credits : The O.C., Grey’s Anatomy, Gossip Girl, Mad Men, Twilight, The Perks of Being a Wallflower, CODA Favourite Drop : “Hide and Seek,” Imogen Heap ( The O.C. ) https://youtu.be/LQBxK1XMpCs?si=7eSAaNv5jCxgequt There was a time when Alexandra Patsavas was considered the most famous music supervisor in the game, and that’s for good reason. Whenever she handled soundtrack work on a project, it was usually a mark of quality, as her ever-growing CV includes shows like The O.C. (which started working relationships with showrunners Josh Schwartz and Stephanie Savage), Grey’s Anatomy (which similarly started a working relationship with Shonda Rhimes), Gossip Girl , and Mad Men , not to mention films such as the Twilight franchise, The Perks of Being a Wallflower , and Academy Award-winning Best Picture CODA . It’s her work on The O.C. (one of my favourite shows, I should add), in particular, that made her name stay with me because of the many indie artists it exposed me to, including Death Cab for Cutie, The Walkmen, and Modest Mouse, but also how expertly she used even the best-known artists (Will Smith, Coldplay, Beastie Boys, and Beck, among others). Of all the drops Patsavas provided for the show, though, nothing beats her use of Imogen Heap’s “Hide and Seek,” featured twice in the second season finale but most memorably placed in its devastating cliffhanger, a moment so famous that it launched several parodies and memes (arguably started by the Saturday Night Live digital short “Dear Sister,” iconic in its own right). LUCY BRIGHT Notable Credits : Aftersun , Tár , The Iron Claw Favourite Drop : “Under Pressure,” Queen & David Bowie ( Aftersun ) https://youtube.com/watch?v=912Ntw7oYOg When compared to some of the other people on this list, Lucy Bright may strike some as a fresh face. However, she has been working as a music supervisor for more than 15 years, with some of her most notable credits including Sean Durkin’s The Iron Claw (which has one of the best uses of Rush’s “Tom Sawyer” in recent memory), Lynne Ramsay’s short film Swimmer , and most recently, Blumhouse’s Speak No Evil remake). I came to know her name through two of my favourite films of 2022: Charlotte Wells’ Aftersun and Todd Field’s Tár , both awards darlings that were music-driven in their own ways. Her work on the former film particularly sticks in my mind since the song selections perfectly match its 1999 setting. Tracks such as Bran Van 3000’s “Drinking in L.A.” (a personal favourite), Chumbawamba’s “Tubthumping,” and R.E.M.’s “Losing My Religion” float over the scenes they’re placed in, steeping the audience into the time effectively. But if we’re talking favourite drops, nothing trumps the use of the Queen & David Bowie classic “Under Pressure,” where a unique crossover between soundtrack and score (provided by experimental composer Oliver Coates) occurs. Arguably one of the most overused songs in media (and an expensive one for a film of Aftersun ’s size), it manages to change the way you think about that song in a big way. My jaw was on the floor the first time I saw it, and every time I think back to that moment, that feeling remains. SUSAN JACOBS Notable Credits : Unbreakable , Little Miss Sunshine , American Hustle , Big Little Lies , Sharp Objects , Promising Young Woman , Trap Favourite Drop : “Come Down,” Sylvan Esso/“Tumbling Lights,” The Acid. ( Sharp Objects ) https://youtube.com/watch?v=GMi11rurhcQ Much like some of the other music supervisors on this list, Susan Jacobs has built a considerable reputation in the 30+ years she has been working, forming relationships with filmmakers like M. Night Shyamalan, David O. Russell, Bennett Miller, and Craig Gillespie in the process. Of all those collaborations, my favourite lies with her work alongside the late, great filmmaker Jean-Marc Vallée, who throughout his filmography, deeply understood the role music plays in our lives, especially when interwoven with memory. Together, they curated the soundtracks for his films Wild and Demolition , as well as his two HBO miniseries, Big Little Lies (which would win Jacobs the first-ever Emmy Award for Outstanding Music Supervision) and Sharp Objects . Her work on the latter is especially impressive considering she was able to secure the rights to four Led Zeppelin tunes, a massive achievement given how expensive it is to license their music and how difficult it is to get the band’s permission. However, I think a better example of how well the two worked together came in Objects’ opening scene, a flashback that slowly becomes a nightmare, soundtracked by Sylvan Esso’s “Come Down” before drifting into the ambient chimes of The Acid’s “Tumbling Lights.” It perfectly sets the tone for the dark and twisted story that is to come. MARY RAMOS Notable Credits : Pulp Fiction , Reality Bites , Jackie Brown , Kill Bill: Vol. 1 & 2, Inglourious Basterds, Django Unchained , Wish I Was Here, Once Upon a Time… in Hollywood Favourite Drop : “Cat People (Putting Out Fire),” David Bowie ( Inglourious Basterds ) https://youtu.be/TzkW-380ESI?si=Yy2XBRBBwYzPBBIn If you ask the average film fan what their favourite needle drop in a movie is, chances are they would mention a Quentin Tarantino film. It’s really not hard to figure out why, as the celebrated auteur has demonstrated his eclectic taste in music throughout his entire filmography. He’s also famously specific about which songs go with which scene, from Stealers Wheel’s “Stuck in the Middle with You” scoring the infamous ear-cutting scene in Reservoir Dogs , to The Rolling Stones’ “Out of Time” signifying the end of Old Hollywood in Once Upon a Time… in Hollywood . Mary Ramos is the reason many of those songs are part of the final product, having been in the role of music supervisor for nearly all his films since Pulp Fiction (though, her relationship with Tarantino actually dates back to Dogs , where she assisted that film’s music supervisor as a coordinator). Of course, she has many credits outside of Tarantino, from Ben Stiller’s directorial debut Reality Bites (which had a popular soundtrack all its own), to the Adam Sandler vehicle Happy Gilmore , to 2015’s Best Picture-winning Spotlight (which continued a working relationship with director Tom McCarthy). However, her work with Tarantino has simply yielded so many iconic music moments, and if I had to pick a favourite, Inglourious Basterds ’ use of David Bowie’s “Cat People (Putting Out Fire)” is a personal standout. Originally composed for Paul Schrader’s 1982 remake of the same name, Tarantino and Ramos use it to open the film’s third act, where Mélanie Laurent’s character sets up her explosive revenge against the Nazis responsible for killing her family. By soundtracking a moment featuring a woman regaining her sense of agency in the face of adversity, it brings more power to the lyric “putting out fire with gasoline.”

Previous Next June 15, 2026 WRITTEN BY: THE BITESIZE CREW Another July, another opportunity to see if the first half of our cinematic year lived up to our early hopes. Looking back at our list HERE , there were a few gems that turned out better than one could have ever imagined: the possible Oscar player Project Hail Mary and the indie horror juggernaut Obsession . As always, divisive titles are never avoidable: Steven Spielberg’s Disclosure Day and the Michael Jackson biopic Michael . And, full disclosure, a couple of us picked flat-out bombs: the Nate Bargatze-led The Breadwinner and the gothic re-imagining The Bride! That’s usually how it works when looking ahead to movies that may have little to no marketing in January. That said, the Bitesize Crew is back at it again, focusing on the releases we are looking forward to as we race toward 2027. Now, let’s get to the rules. We’re only focusing on the second half of 2026, so to be eligible, the entry must have a confirmed release date between July 1st and December 31st, 2026. The reason for this is that there are several films and series expected to release by year’s end, but as we’ve seen in the past, we can never really know when something will actually drop. Having this rule makes for more accurate selections while also avoiding repetitive lists in the future. So, from Summer Blockbusters to Oscar hopefuls, here is what we are most anticipating for the second half of 2026, in order of release date. Are any of these on your list? What are you excited about? And who do you think had the best picks from the first half of 2026? THE ODYSSEY (July 17) The first of two chalk choices from Amarú Moses… If you know anything about me, you know that Christopher Nolan is my favorite director of all time. You also know that, based on my love for (almost) all things Percy Jackson , I am a sucker for Greek and Roman mythology. So, no-brainer here. Nolan pulled together another stacked cast to tackle this epic, and the only thing I wonder about is how Nolan is going to attack a film for which he didn’t get to write his own story. I know he can adapt source material with the best of them, but we’ve yet to see how he approaches a narrative trajectory this well known. That excites me. What flair will he add to the well-known tale? What is he going to bring out of Matt Damon in the lead role? How beautiful are The Sirens? What will the Cyclopes, Scylla, and Charybdis look like? Also, as I write this, I realize that my top two most anticipated movies for the next six months both feature Peter Parker and Frank Cast… I mean Tom Holland and Jon Bernthal (hint, hint). I’m just geeked for the whole experience. But don’t worry, I’m not one of those who bought my ticket a year in advance. I will purchase opening weekend like normal fanboys. — Amarú SPIDER-MAN: BRAND NEW DAY (July 31) Back-to-back with my second chalk choice… But what is there to not look forward to when you’ve got my favorite Peter Parker (Tom Holland) joining up with my favorite Frank Castle (Jon Bernthal), not to mention my favorite Bruce Banner (Mark Ruffalo)? Plus, after Shang-Chi and the Legend of the Ten Rings and Wonder Man , I trust Destin Daniel Cretton to direct the hell out of action set pieces and character-focused stories. Finally getting into the friendly neighborhood version of Holland’s Spidey is going to be interesting, especially after the events of No Way Home . Yes, one of the reasons the first three Spidey movies didn’t seem grounded was because of the cameo appearances from the bigger MCU players, but I feel confident that both Castle and Banner will be true supporting characters that don’t create world-shattering stakes for our web-slinging hero. Castle and The Hand, who appears to be a factor in the story, have always been New York street-level, while Bruce has been a secondary character ever since Ruffalo took over the role. This is going to start the next chapter in what has been a golden era for Spider-Man content (at least for me), and I can’t wait to continue this journey. — Amarú THE END OF OAK STREET (August 14) In 1975, Steven Spielberg directed Jaws . Since that time, there have been several successful shark-centric movies, like The Shallows , The Meg , and even the cult hit Sharknado . In 1993, Steven Spielberg directed Jurassic Park , but for some reason, Hollywood has struggled to make successful dinosaur movies outside of that franchise. Even the Jurassic World sequel trilogy failed to live up to the 1993 classic. The End of Oak Street hopes to buck that trend. The story is shrouded in mystery, but it pairs the prehistoric creatures with two dynamic leads in Ewan McGregor and Anne Hathaway. Equally as important, it comes from the mind of David Robert Mitchell, who wrote and directed one of the more creative and inventive horror films of the 21st century: It Follows . For this reason, I expect this to align far more with the horror elements of Jurassic Park than what we were given with the sequels. Dinosaurs are scary, and I’m ready to see that back on the big screen. — Nick RESIDENT EVIL (September 18) Zach Cregger is quickly becoming an event filmmaker in the horror genre. With just two films under his belt, Barbarian and Weapons , he has already proven capable of delivering original and compelling horror stories. This time around, he’s taking a crack at an IP project with Resident Evil . Thankfully, Cregger has stated that this is an original standalone story set in Raccoon City, meaning it is not connected to any of the previous live-action movies. While I'm not a gamer and I’ve tried to forget the franchise's previous seven adaptations, Cregger hasn't let me down yet. The sinister yet adventurous vibe of the trailer gives me hope that Resident Evil can finally reach its full potential on the big screen. Considering how bad the previous films have been, the franchise has nowhere to go but up. In Cregger’s hands, I have no doubt that this will be the fresh start this property deserves. — Paige SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (September 18) Some of my favourite films of all time are family-friendly animations, but I find truly good ones are few and far between. Even the likes of Pixar don’t always impress me. However, the renowned Aardman Studios have never once disappointed me, so I’m very excited to see the inevitably delightful and expertly crafted Shaun the Sheep: The Beast of Mossy Bottom. It’s always a privilege to witness the painstaking stop-frame animation that defines Aardman films and infuses them with their signature charm, so this, combined with the horror genre, sounds perfect for me. One of the things I love most about Aardman films is the constant stream of references, parodies, and homages to cinema history, and judging by the trailer, it looks like I’ll be treated to many allusions to classic horror movies, reminding me of my favourite Aardman animation, The Curse of the Were-Rabbit. — Katie DIGGER (October 2) The teaser for Digger is one of the most exciting and effective I’ve seen in a long time. It’s wonderfully simple, yet it has me utterly intrigued and excited by the concept, story, and execution. It introduces Tom Cruise’s character and the tone of the film with excellent use of a Gorillaz track but leaves everything else unexplained. It declares itself “a comedy of catastrophic proportions,” and I’m thrilled by the idea of seeing Tom Cruise in a comedy, using his talent for dark humour. Alongside Cruise, the incredible cast features Sandra Hüller, John Goodman, Riz Ahmed, and Jesse Plemons, to name a few, while director Alejandro González Iñárritu’s diverse filmography includes notable films such as the Oscar-nominated Amores Perros and the Oscar-winning Birdman or (The Unexpected Virtue of Ignorance) and The Revenant . Could we be looking at the film responsible for Tom Cruise’s well-deserved and long-overdue Oscar recognition? — Katie STREET FIGHTER (October 16) With one anticipated video game adaptation down, why not rally for the next one? Since Mortal Kombat II was fun and didn’t try too hard, my expectations for Street Fighter occupy a similar space. When it was announced with the eclectic cast attached, bonkers was the only way to describe it… and that’s saying something considering the 1994 version. However, the trailer hit a tone that indicated plot is secondary: campiness, vibes, and actual FIGHTING are the foremost qualities the creatives are focusing on for this ride. Street Fighter was a game I played at home and in arcades whenever it was available, and video game movies have been less apocalyptically awful the past decade, which inspires hope. Kitao Sakurai is unfamiliar to me as a filmmaker, but he directs comedy television with a scale that mirrors the aesthetic I am looking for with this IP. If you can find another movie where 50 Cent could be fighting Roman Reigns, Cody Rhodes, AND Jason Momoa, I would consider swapping my answer, but without that alternative, I can only sit back for the upcoming manna from heaven that is dudes beating the hell out of a Lexus for…reasons. — Robert CLAYFACE (October 23) Batman: The Animated Series was a seminal television program for me as a child, and it could be argued as the greatest Batman content this side of director Christopher Nolan. One of the most haunting episodes of that run was “Feat of Clay,” where the character Matt Hagen was introduced: an actor aiding a businessman in criminal pursuits in return for a specialty beauty drug to help with his career is double-crossed, with a horrific accident turning him into a shapeshifting monster named Clayface. He was terrifying and tragic, a story built on how trying to hold onto success can generate monstrous results. Thus, a horror movie is the correct avenue to explore these themes, and even though it is set in Gotham, it seems to be smaller-scale, allowing for Clayface (Tom Rhys Harries) to remain the focus. James Watkins had an incredible start to his directing career before it short-circuited a bit, but with Mike Flanagan writing and wanting to stay true to the source material as inspiration, a character that seemed impossible for live-action adaptation will be ready to produce nightmares as a true specter from within the Caped Crusader’s Rogues Gallery. — Robert WILDWOOD (October 23) To me, stop-motion animation is the best kind of animation. I can always feel the staggering artistry and human touch behind each frame, and that’s something that can’t easily be replicated with digital CGI or even 2D animation, as painstaking as those probably are too. It’s just a shame that it’s not considered a mainstream industry standard like those latter methods, but luckily, Laika is one of a few studios doing their best to keep the form alive. While they haven’t made as many films as Pixar or direct competitor Aardman, they’re just as consistent, with the likes of Coraline , ParaNorman , and Kubo and the Two Strings contributing to their great track record. Every Laika film is an event in my eyes, and Wildwood is no exception, especially as it re-teams director Travis Knight (pulling double-duty this year as he also helmed the live-action Masters of the Universe adaptation) and screenwriter Chris Butler. Not only that, but it’s an adaptation of a fantasy novel written by Colin Meloy, perhaps best known as the frontman of The Decemberists. You can’t get more indie-coded than that, especially with a fantastically cut trailer soundtracked by M83. I’m already signed up. — Bode GODZILLA MINUS ZERO (November 6) Godzilla Minus One was a refreshing take on the famed monster; at least more refreshing than what the character had become in pop culture. Case in point: a few months later, Godzilla x Kong: The New Empire released, a terrible movie that tried to turn Godzilla into an Avenger. God bless director Takashi Yamazaki for coming to wash the taste of that movie out of our collective mouths with Godzilla Minus Zero . Like Minus One , from the looks of it, we’re staying with the roots of Godzilla’s origins with another exciting film, but it also looks to be a character-driven film that shows a filmmaker using the iconic kaiju to express something. Minus One is easily one of my favourite surprises of the decade, so I’m uncharacteristically welcoming this sequel with open arms. — Adriano WILD HORSE NINE (November 6) There has been some chatter recently about “Event Directors.” If you aren’t familiar, these are the never-miss directors who work relatively infrequently, so every time they have a new release, it’s an event. Quentin Tarantino and Christopher Nolan are a couple that come to mind. One name that isn’t often mentioned is Martin McDonagh, which, incidentally, probably is my favorite director of the current generation. I will, sight unseen, buy whatever McDonagh is selling. He only has four movies ( In Bruges , Seven Psychopaths , Three Billboards Outside Ebbing, Missouri , and The Banshees of Inisherin ), but they all are acclaimed bangers that have garnered a combined 58 nominations (20 wins!) from the Oscars, BAFTAS, and Golden Globes. His ability to weave razor-sharp comedy, existential melancholy, and layered character development through extreme violence, witty one-liners, and complex moral plays is unmatched, so I will be there on opening night regardless of what the actual story is or who is in it. The fact that Wild Horse Nine stars Sam Rockwell and John Malkovich as CIA officers (giving strong In Bruges -inspired odd-couple vibes) working on Easter Island in the 70s, with Steve Buscemi, Parker Posey, and Tom Waits in supporting roles… I mean, I can only get so excited. — Quentin THE ADVENTURES OF CLIFF BOOTH (November 25) When I first heard that David Fincher would be directing a film written by Quentin Tarantino, I thought someone was playing Mad Libs. But the more I thought about it, the more I realized this could be a match made in heaven. While we still know very little about this standalone sequel, we do know it's set in the 1970s, roughly eight years after Once Upon a Time in… Hollywood , and it follows Cliff Booth (Brad Pitt) as he navigates a changing Hollywood industry in his new role as a fixer. Even that vague premise has me intrigued. Considering Pitt won the Oscar for Best Supporting Actor playing Booth, I can’t wait to see him step back into the role. Plus, he’ll be surrounded by another stellar ensemble, including Elizabeth Debicki, Carla Gugino, Yahya Abdul-Mateen II, Holt McCallany, and Timothy Olyphant. Lastly, Netflix is giving the film an exclusive, two-week IMAX release on November 25 before it hits the streamer on December 23. With two of my favorite filmmakers collaborating on a sequel centered around one of my favorite Brad Pitt characters, what more could I really ask for? — Paige MADDEN (November 26) Your eyeroll is probably deserved, but of course I picked a Nic Cage movie. Madden isn’t a “normal” Cage movie, though. In fact, it might be one of the more “odd” Cage projects in the context of his filmography. Think about it… Madden is a seemingly standard biopic that features Cage as legendary Oakland Raiders coach and NFL broadcaster John Madden. That sounds straightforward and normal to me, which is odd for Cage, who usually stars in movies with off-the-wall concepts that have him making choices . On top of that, there are several other factors that got me immediately on board. First, I’m a football fan that grew up playing the Madden NFL video game. I’d be interested regardless of Cage. Second, speaking of Cage, he’ll be in a fat suit (Madden weighed nearly 275 pounds). That’s just good fun. Third, chameleonic Christian Bale as eccentric Raiders owner Al Davis should be a site to behold. Fourth, Madden is from probable dirtbag but still acclaimed director David O. Russell, which…we’ll see how that goes. And lastly, it’s being released directly to Prime instead of getting a theatrical release, which is surprising given the talent involved. Did test audiences hate it, or is this a purely synergy-driven decision since Prime is the home of NFL Thursday Night Football and NFL’s only Black Friday game (note that the movie hits Prime on Thanksgiving)? But, more than anything, it is the first Cage casting announcement I’ve heard in a long while where I didn’t instantly think, “that sounds exactly like something he would do.” That alone would be enough for me. — Quentin AVENGERS: DOOMSDAY (December 18) There is a lot to be nervous about when it comes to Avengers: Doomsday . Whether it’s the disappointment of Phases Four and Five, the decision to bring Robert Downey Jr. in as Doctor Doom, or the attempt to build another Avengers “super film” without the methodical development through multiple phases of the Marvel Cinematic Universe – pick your poison. And I hear you, but that doesn’t quell my anticipation for the film. I’m actually filled with intrigue about how they're going to pull it off. Most importantly, unlike everything else post- Endgame , Doomsday feels like a definitive conclusion that will lead to something new. If that isn’t enough, this will be the first time we get to see the X-Men in a non-cameo appearance since Fox held the rights. As someone who always loved those versions of the uncanny mutants, I can’t wait to see them back on my screen. I know there are a lot of people being very negative towards the film, proclaiming there's no way the directing duo Russo Bros. can pull it off again. But, to that I say, what if they can? — Nick DUNE: PART THREE (December 18) For the longest time, it seemed nearly impossible that we would ever get a worthy adaptation of Frank Herbert’s still-influential sci-fi novel Dune , but director Denis Villeneuve miraculously defied the odds. In fact, by splitting the story of Paul Atreides’ (Timothée Chalamet) rise to power into two distinct films, he did it twice over. It’s a risk that paid off, not just narratively, but certainly commercially. As any Dune fan knows, though, the rise is only the beginning, and Villeneuve — himself a massive fan — intends to see it through its bitter, tragic end. With the second novel, Dune Messiah, being Part Three ’s main source material, I’m very much looking forward to seeing how he goes about fully dismantling the hero’s journey (as Herbert intended to do) and exploring how Paul is a prisoner of his own foreknowledge. Most importantly, I’ll be curious to see how non-readers experiencing this arc for the first time take to that subversion, especially if the really weird and unsettling material of the novel is brought over. Could we have a new contender for the feel-bad movie of the holiday season? Only time will tell. — Bode WERWULF (December 25) Of the new-age, “elevated horror” filmmakers, I don't think it’s a stretch to say Robert Eggers is the most universally consistent. He's got a penchant for folklore horror as seen in…well, all his films…and a keen eye for historically accurate set design that enhances the unease of everything he’s doing. His latest, Werwulf , promises another raw horror film, this time taking on, obviously, werewolves. Considering he just successfully tackled another classic monster in Dracula with Nosferatu , I highly doubt he’ll disappoint. And considering the set images we have of Aaron Taylor-Johnson covered in blood and howling like, I assume, the titular wolf, he has no signs of getting any less weird. — Adriano

AMERICAN PRIMEVAL Starring: Taylor Kitsch, Betty Gilpin, Dane DeHaan, Saura Lightfoot-Leon, Derek Hinkey, Kim Coates, Joe Tippett, Jai Courtney, Preston Mota, Shawnee Pourier, Lucas Neff, Alex Breaux, and Shea Whigham Creator: Mark L. Smith PRESTON It’s impossible to know how close to truth it hits, but American Primeval is a delightfully shocking limited series about a very real historical event. Its gritty approach and brutal realism are complemented by chilling set designs and masterful cinematography, while the ending, although tragically unsatisfying, also is completely appropriate. Yes, you may have to forgive the creative liberties taken to paint the Mormons in such a negative light (however true they might have been for the time) and the muffled dialogue had my old-ass watching with subtitles, but this show is still a terrific “must watch” conversation-starter. QUENTIN While I didn’t exactly love Netflix’s American Primeval , my penchant to be more forgiving for gritty westerns nonetheless resulted in me enjoying it well enough despite a few nitpicks, the most egregious of which is Sara’s (Betty Gilpin) annoying, Karen-esque self-righteousness. That aside, the absolute brutality demonstrated on screen is surely accurate to the era, showcased through incredible cinematography and a production design so palpable that you can almost feel the blood on your face. It’s not always an easy watch, but at only six episodes, it’s probably one of the more authentic representations of the American West, which means it’s worth your time.

MARGO'S GOT MONEY TROUBLES Starring: Elle Fanning, Michelle Pfeiffer, Nick Offerman, Thaddea Graham, Greg Kinnear, Michael Angarano, Nicole Kidman, Lindsey Normington, and Rico Nasty Creator: David E. Kelley NICK Thanks to Sentimental Value and Predator: Badlands , 2025 was the year I became a fan of Elle Fanning. Well, it couldn't have happened at a better time as it led me to check out Margo's Got Money Troubles . This limited series is filled with terrific performances from the likes of Fanning, Michelle Pfeiffer, and personal highlight Nick Offerman as he channels Mickey Rourke's Randy "The Ram" Robinson (The Wrestler ). The writing by David E. Kelley is crisp, and the story handles the world of sex workers as if this were a Sean Baker project. I was caught off guard by how much I enjoyed this show. ADRIANO I don’t know if there’s a phrase for this, but Margo’s Got Money Troubles is whatever the opposite of “style over substance” is. Its stylistic pop is easily the show’s worst element, but the wonderfully grounded story makes up for that. It can often veer into ridiculous territory, but thanks in part to the wide array of great performances, it always remains humanistic, compelling, and above all else, unjudgmental. A story of flawed, struggling people trying their best, and it has no qualms about being anything else. This really worked for me in spite of my nitpicks.

KALEIDOSCOPE Starring: Giancarlo Esposito, Rufus Sewell, Paz Vega, Rosaline Elbay, Jai Courtney, Tati Gabrielle, and Peter Mark Kendall Creator: Eric Garcia AMARÚ I love me some Giancarlo Esposito. And I love me a good heist. But, apparently, a Giancarlo Esposito-led heist series doesn’t guarantee greatness. Netflix’s Kaleidoscope banks on his charm and the heist’s inherent intensity to hook you to something that, without its randomized episode order, would be no more than a predictably generic caper. I started with a non-chronological view of the past, then a chronological post-heist reveal before the finale; that helped build more tension and greater connection to the crew. Filling in those missing pieces out of order covered for, when viewed in order, a formulaic story. Order watched: Yellow, Green, Blue, Orange, Violet, Red, Pink, White PAIGE While Kaleidoscope 's unique and clever storytelling approach delivers an engaging, binge-worthy watch, I’m sad to report that the end result does not reach its full potential, leaving me unsatisfied. Don’t get me wrong, the concept is fascinating. Telling a story by jumping to different time periods within these characters’ lives, leading to an elaborate heist, is such a brilliant and distinctive way to tell a story like this; however, the last few episodes about the heist and its aftermath are just weak and not fleshed out enough to tie the series together coherently. Order watched: Yellow, Green, Orange, Violet, Blue, Red, Pink, White QUENTIN As a gimmick and narrative, Kaleidoscope doesn’t completely work. The “watch-the-episodes-in-any-order” approach means that the viewer will inherently lose tension and mystery depending on the order watched. Also, given the bingeable structure and episode formatting (i.e., “Seven Years Before the Heist,” “Five Days Before the Heist,” etc.), it’s not always easy to remember when in the timeline key plot points are subtly hinted at, making certain revelations less clever than they could be. Still, all that aside, Giancarlo Esposito is never not compelling, Jai Courtney is always a fun loose cannon, and there are enough episodic heist elements to keep fans of the genre engaged. Order watched: Green, Yellow, Blue, Violet, Orange, Red, Pink, White

REACHER: SEASON THREE Starring: Alan Ritchson, Maria Sten, Sonya Cassidy, Anthony Michael Hall, Brian Tee, Johnny Berchtold, Roberto Montesinos, and Olivier Richters Creator: Nick Santora AMARÚ Reacher continues to be campy, melodramatic, and beautiful. It strikes the right chord of not taking itself so seriously that it can’t poke fun at itself while also being just serious enough that you care about the characters, action, storyline, and stakes. All of this is carried on the stoic shoulders of Alan Ritchson, who embodies the saying “he knew the assignment” – an assignment that requires taking soap-opera like characteristics (romance, shootouts, revenge, and the like) right to the edge of entertaining believability. Season Three tightens all the looser bolts of its predecessor to have you trapped in its cheesy, muscular chokehold. QUENTIN You know, not every series needs to be an awards-baity “prestige drama,” and there absolutely is a space for the television equivalent of a fun beach read. Amongst those somewhat disposable, escapist, turn-your-brain-off shows, Reacher must be near the top. Alan Ritchson’s dry charisma and hulking frame make for a character that is just a joy to watch, whether he’s cracking skulls or dropping a one-liner. Sure, the dialogue can be cheesy at times and the plot is a tad forced, but this Prime series continues to be a damn good time, even improving on the just-okay Season Two by delivering a more focused narrative. Check out our reviews for Season Two HERE.

POKER FACE: SEASON TWO Starring: Natasha Lyonne, Simon Helberg, Rhea Perlman, Patti Harrison, and Steve Buscemi Creator: Rian Johnson AMARÚ You know you really like a show when you can excuse some silly bullshit that Natasha Lyonne’s human lie detector Charlie could call out from a mile away. Not to say that Poker Face Season Two isn’t well written, but there are plenty of conveniences that if it weren’t for the lovable guest-stars-of-the-week’s chemistry with Lyonne, my eyes would live inside the top of my head. Fortunately for me, the exuberant atmosphere is undeniable, and I wouldn’t have my foolish, lighthearted, well-acted, Columbo -coated weekly murder mysteries any other way. ADRIANO I watched the last season of Poker Face week-to-week, and in that review, I noted that I feared a binge-watch could feel repetitive. Well, I put that theory to the test, and I'm happy to report I was wrong. Season Two of Poker Face almost leans into the cartoonish nature of a woman (Natasha Lyonne) running into so many murders hilariously, but what works best is that the show continues to find new ways to shock us with intriguing and well-plotted stories. It's an impressive feat that remains fun, and I can't imagine it ever overstaying its welcome. Check out our reviews for Season One HERE .

TED Starring: Seth MacFarlane, Max Burkholder, Alaina Ubach, Scott Grimes, and Giorgia Whigham Creator: Seth MacFarlane NICK Much like he is in the films, Ted, the character, is funny. Ted , the show, however, is a bit more of a mixed bag. Playing like a hybrid of the film series and live-action Family Guy (but with less bite), the lack of consistent laughs are accentuated with the longer runtimes. At 22 minutes, these episodes could have been more succinct, with more frequent laughs, but there are entries upwards of 50 minutes here, which only shines a spotlight on the mediocre (and annoyingly New England) supporting characters. Ted has its laughs, but just isn’t able to hit like the films do. QUENTIN Though not without moments of slight amusement, Ted isn’t a prequel that is necessary viewing, even for franchise fans. It’s basically juvenile Family Guy -humor (not to mention the carbon-copy musical transitions) mixed with the sentimentality of cheap-looking, TGIF-era sitcoms, except with overlong episodes ranging from 34 to 51 minutes. Ted - and only Ted (Seth MacFarlane) - delivers enough improvisational-style observations to elicit a few chuckles, but the rest of the characters land somewhere between “well-intentioned, but bland” (Blair, played by Giorgia Whigham) and “annoying New England caricature” (Matty, played by Scott Grimes). That said, I didn’t hate it, but I certainly don’t need a second season.

RUSSIAN DOLL: SEASON TWO Starring: Natasha Lyonne, Greta Lee, Elizabeth Ashley, Annie Murphy, Charlie Barnett, and Chloë Sevigny Creators: Natasha Lyonne, Leslye Headland, and Amy Poehler QUENTIN Season One of Russian Doll , which dropped over three years ago, was a brilliantly inventive series that ended in such a way that it did not necessitate a second season, yet here we are with a disappointing sophomore outing that has virtually no connection to what came before. Gone is the time loop mystery in favor of a standard time travel plot, while Alan (Charlie Barnett) is a complete afterthought. Plus, Natasha Lyonne now plays Nadia with such an over-the-top NYC moxie and aloofness that it becomes irritating, spouting snarky quips reminiscent of 2007’s Juno . They should have left well enough alone with Season One.

VIKINGS: VALHALLA: SEASON ONE Starring: Sam Corlett, Leo Suter, Johannes Haukur Jóhannesson, Laura Berlin, David Oakes, Frida Gustavsson, Bradley Freegard, and Caroline Henderson Creator: Jeb Stuart JAMES Vikings might've thrown historical accuracy overboard, but at least it had voicey writing and visual flair to keep it afloat. Valhalla commits the same sin, but without either of the saving graces; therefore, it sinks. It doesn’t help that it recycles the plot of Vikings ' fourth season with generic characters and dull writing. The high-end production values are there, yet the show somehow feels cheaper than its predecessor. And although the actors are clearly doing their best with what they're given, it's not enough to save the show. Valhalla had so much potential, but no imagination. It is neither good history, nor good entertainment.