In the wake of a series of sexual misconduct and assault allegations against creator Neil Gaiman, production on the series's third season was paused indefinitely. Although Gaiman has repeatedly denied the claims, it certainly felt like the Prime Video comedy about the unorthodox love story between an angel and a demon-as well as the human world they both adore-would likely find itself in the proverbial bin alongside several other shelved and/or canceled projects connected to the disgraced author.
“When I first heard about it, I was like, 'Come on, what?'” Louis-Dreyfus, who plays “the smartest sheep,” Lily, admitted. “And then I read the script, and I completely fell in love and knew this was a project I had to be a part of just based on the material itself.”
The Lost Boys is out for blood, adapted from the 1987 coming-of-fangs film about teenagers fighting a vampire infestation in southern California. This show aims to set your pulse bounding; no other new tuner this season has been so ambitious in scope or anywhere near so spectacular in stagecraft.
A big issue with how we understand Shakespeare and how we're introduced to it is we sit down and read it. But Shakespeare's plays, like any play, are meant to be heard, to be experienced.
"There's no case where those things aren't critical, but with a project like this, there is no 'fix it in post' because it just can't work like that. This is a show that has about 3,000 VFX shots, and we were working with up to five different VFX vendors at times."
From its opening scene-a shakedown of Armando Solimões (Wagner Moura) by local authorities at a rural gas station-Kleber Mendonça Filho immerses viewers in a world of casual corruption and clandestine violence endemic to authoritarian rule.
It follows a young Syrian boy, Ahmet, who arrives in the UK without his parents. He joins a school and befriends a group of kids who hear that the government is going to close the gates. They don't fully understand what it means other than that Ahmet's parents, who must be looking for him, won't be able to get into the country. So they decide, in a beautifully innocent way, to go to the most powerful person they can think of—the queen!—and ask for help to find Ahmet's parents and keep the gates open.
"That was so much fun, that scene. I think that was Emerald kind of taking the killing of the dog and these really dark parts of the novel and putting them into this scene," Elordi said. "I had so much fun because it's at that point that Isabella and Heathcliff are completely off the deep end. They're living in a kind of hell, you know?"
My grandchildren live 3000 miles away, so I don't get to see them nearly as often as I'd like. Recently, I took a three-week break from my regularly scheduled life to help take care of them while their nanny was away. My son and daughter-in-law both work full-time, and I was eager to pitch in and help with school runs, meal prep, baths, and bedtime.
BBC Threads, directed by Mick Jackson, follows two families in Sheffield as they try to survive a direct hit from a nuclear bomb. It pulls no punches as its characters fall one by one, before ultimately only focusing on pregnant Ruth (Karen Meagher) as she tries to survive and carve out a life for her and her child. Meticulously researched, it presents a bleak picture of what civilization would look like after nuclear winter, including the ozone layer weakening, resulting in blindness and skin cancer, and the degradation of the English language itself.
Adapted from Julia May Jonas' critically acclaimed debut novel, Vladimir follows an unnamed middle-aged woman (Weisz), a writer, professor, wife, and mother who feels increasingly dissatisfied with her own life. Her husband (Slattery), also a professor, has been accused of inappropriate relationships with former students and is under review. This didn't come as a shock to her, as they have an open marriage, but she dislikes the personal scrutiny it has brought.
I'll start with the obvious: even the thinnest novel is densely packed. There's just too much good stuff! That's partly why early studio heads preferred short stories and potboilers to classic doorstoppers like War and Peace . While you can write a novel to any length (and Tolstoy tried), knowing the reader will stop and start at will, in film you have a painfully finite amount of time before the audience itches to leave.
Our actions may be impeded by [others], but there can be no impeding our intentions or our dispositions. Because we can accommodate and adapt. The mind adapts and converts to its own purposes the obstacle to our acting. The impediment to action advances action. What stands in the way becomes the way. Ryan Holiday's bestselling The Obstacle Is the Way brought
The holiday hustle, bustle, and distractions have come to a halt, and the stillness of winter is starting to set in. The winter season can also be a beautiful time of year for some, with cozying up by the fireplace, enjoying the crisp winter air, and engaging in outdoor activities unique to the season. But for others, the shorter amount of daylight, cold weather, lack of greenery, cabin fever, fewer outdoor activities, and slower pace can begin to wear on them as the season progresses.
Rather than being a one-size-fits-all solution, AI will likely deliver distinct benefits to particular industries and jobs. It'll therefore be the responsibility of every individual to figure out how the technology fits within the unique contours and requirements of their particular role. The watchwords of the hour when it comes to the use of AI at work are experimentation and adaptation, not copy and paste.
Adapted from Donald Westlake's novel The Ax, No Other Choice captures - most delightfully and cathartically - the perpetual and unsolvable anxiety of living under an economic system built around extracting surplus value from its workers. Or the dark irony that if a corporation makes a person redundant, it is strategy; if a human does the same, it's a crime.
For most of 2025, we were either watching one of the playwright's comedies or bracing for one. In June, we had almost simultaneous productions: Taylor Mac's "Prosperous Fools" (an update of "Le Bourgeois Gentilhomme") and Jeffrey Hatcher's fizzy adaptation of "Le Malade Imaginaire." And, this fall, one version of the comedy "Tartuffe" (at the House of the Redeemer) had barely closed before New York Theatre Workshop premièred its own.
The musical, based on the bestselling book by R.J. Palacio and the award-winning movie of the same name, follows Auggie Pullman, a young boy with a facial disability making the transition from home school to public school. In doing so, he navigates the challenges of being seen as different by peers who both embrace and reject him. The musical also explores the perspective of his older sister in a family whose rhythms have revolved around Auggie's medical needs.
Perhaps the greatest difference between the 1956 Philip K. Dick novella "The Minority Report" and the 2002 film Minority Report is the fact that on the page, John Allison Anderton (Tom Cruise) is an old guy close to retirement, and in the film, he's a vibrant 40-year-old who looks 25. In fairness, Dick may have imagined a balding guy in his fourties when he wrote "The Minority Report," since, at the time, Dick was only 28.
Born in Beijing, in 1982, she wound up at New York University's film school, where she studied under Spike Lee. Starting in 2015, she directed three small-scale, slow-burn features set in the American heartland: "Songs My Brothers Taught Me," "The Rider," and "Nomadland." All three capture the expansive beauty of the West-in particular South Dakota, with its moonlike badlands and wide, grassy plains-while using local nonprofessional actors to achieve documentary-like naturalism.
