AMC’s horror anthology The Terror has quietly gained a stellar reputation since its premiere in 2018. The acclaimed first season adapted Dan Simmons‘ history-inspired fiction novel of the same name to frigid perfection, infusing a catastrophic 19th-century naval expedition with supernatural dread. Season 2’s original concept, subtitled Infamy, drew from Japanese folklore and centered on Japanese American individuals forcibly confined inside a World War II-era internment camp.

Season 3, Devil in Silver, returns to the series’ bookish origins by way of award-winning author Victor LaValle‘s (Apple TV’s The Changeling) 2012 bestseller. LaValle serves as a writer, co-creator, and executive producer alongside Christopher Cantwell (Halt and Catch Fire), Karyn Kusama (Yellowjackets), and Ridley Scott. As for other significant names, Dan Stevens — who’s become something of a genre regular since his Downton Abbey days — assumes Season 3’s leading man mantle. It’s suitable casting in several ways; for one, Devil in Silver unfolds in a similar setting as Stevens’ mind-melting FX series Legion. Location comparisons aside, the third installment’s synthesis of unsettling anxiety, character-first psychological horror, and piercing contemporary social critique makes Devil in Silver a gratifying watch for both returning Terror fans and devotees of shows like American Horror Story or From.

What Is ‘The Terror: Devil in Silver’ About?

Rarely seen without his well-worn Iron Maiden shirt, punk-rock Queens resident Pepper (Stevens) helps support his loving partner Marisol (Juani Feliz) and her daughter by teaching one-on-one drumming classes and driving a moving van. When Marisol’s belligerent ex-boyfriend harasses her yet again, Pepper’s self-restraint snaps. A one-sided fist fight ensues until three police officers (Michael Aronov, Marin Ireland, Philip Ettinger) intervene and arrest Pepper. Rather than filling out overtime paperwork at the police station, they select a more convenient option — committing their detainee to New Hyde Hospital’s Behavioral Unit.

Despite Pepper’s hot temper, he poses zero threat to himself or others. Nevertheless, the psychiatric ward’s supervisor, Dr. Anand (Aasif Mandvi), places Pepper in a 72-hour hold. If Pepper doesn’t obey the rules, they’ll extend his stay until he can successfully “play nice.” When Pepper’s first sedative dose plunges him into days of impenetrably deep sleep, Anand prolongs Pepper’s stay by two weeks. The fact that Pepper was too unconscious to take his mandatory daily medication wouldn’t matter to New Hyde’s executives, so Anand doesn’t even try advocating on Pepper’s behalf.

As Pepper rebels against his unjust circumstances, Dorry (Judith Light), a long-term patient, greets him with an ominous proclamation — a mysterious force has “summoned” Pepper to its domain. Eerie slithering sounds and disturbing visions seem to substantiate her theory. Pepper’s drive to escape becomes a battle to unearth the truth behind New Hyde’s sordid history and survive the alleged malevolent force lurking behind one locked, silver door.

Systemic Evil and the Demonic Collide in ‘The Terror: Devil in Silver’

Image via AMC

Rest assured, Devil in Silver humanely repudiates ableist stigmas rather than retreading One Flew Over the Cuckoo’s Nest‘s inaccuracies. No matter the severity of a character’s mental health condition, they don’t exhibit violent behavior (countless statistics have disproven this damaging rhetoric). Although the season’s runtime requires Devil in Silver to reserve its most substantial nuances for its main quartet, the show avoids reducing the neurodivergent spectrum down to two-dimensional stereotypes. Every patient has a layered past and a poignant perspective on their profoundly lonely circumstances; they encourage one another’s individuality and build communal friendships on tenets like understanding, empathy, respect, selflessness, and speaking truth to power.

Likewise, New Hyde’s employees aren’t unethical or irredeemably imperfect. Gaslighting, negligence, and violation undoubtedly exist in the medical field, but it’s disingenuous to paint every professional with that brush. At best, the burned-out attendants provide as much compassionate support as their underfunded, understaffed resources allow. At worst, they’re too resigned to the bureaucratic red tape undermining their efforts to keep fighting for sufficiently healing care.

As long as they meet individualized needs, prescription medications and structured psychiatric facilities aren’t destructive. Dehumanizing systems that abuse their power, and the specific people profiting from said exploitation are more heartless, sinister villains than whatever demonic entity might stalk the facility’s white-gray walls. New Hyde remains a place where society discards those whom they disdain and consider inferior. Considerable healthcare reform aside, such insidious systemic violence spans every corner of America — from mental health to racism, domestic abuse, state-sanctioned incarceration, and police corruption. To paraphrase Pepper’s roommate, Coffee (Silo‘s Chinaza Uche), the “broken” system works precisely as its architects intended.

‘The Terror: Devil in Silver’s Mesmerizing Cast Anchors an Occasionally Bumpy Plot

Running at a trim six episodes (all provided for review), Devil in Silver qualifies as a slow burn similar to the creeping eeriness of Jaws before the film reveals its bloodthirsty predator in full. Emmy-nominated director Kusama directs the first two episodes, establishing a menacingly claustrophobic tone. Filmed in Staten Island’s Arthur Kill Correctional Facility, the same location used for Orange Is the New Black, the over-bright and flickering fluorescent lights, seeping black mold stains, powerless confinement, and visual motif of a floor bifurcated by a single red line resembling a pristine blood trail, feel oppressive, abrasive, and infested with heinous intent.

The stacked ensemble cast heightens these strengths until the performers materialize into Devil in Silver‘s predominant selling point. Stand-outs consist of Uche (sensational), Light (a tragic chameleon), Mandvi (subtly intriguing and a treat for Evil fans), and CCH Pounder, an icon who’s always a superb joy to watch. Stevens, meanwhile, tracks Pepper’s contrasting permutations with compelling force and ever-ratcheting fervor. All things considered, it’s a demanding arc; introduced as a casual, cool dude who believes himself a protective unsung hero, Pepper’s past mistakes and callous attitude toward his fellow patients testify otherwise. Confronted by inner demons he can no longer outrun, he must either embrace emotional growth or perish. Stevens unlocks Pepper like a Rubik’s Cube, including frenzied volatility, distraught paranoia, wearied resentment, defiant fury, and compassionate vulnerability.

Although Devil in Silver‘s parallel themes are complementary and arguably The Terror‘s most chillingly resonant scenario yet, the series doesn’t always place them on equal footing. The potent social condemnation packs a weightier blow than the mythological lore, which isn’t necessarily a flaw, but does cause an occasionally unbalanced feel with moments hovering near (if not reaching) formulaic. Never fear, however, for The Terror‘s third entry boasts effectively grisly supernatural moments, especially one devastating occurrence. Season 3 might not quite reach the spectacular first season’s overall heights, but it’s still a disquieting, philosophical dissection of human nature that simultaneously proves this anthology’s flexibility and its staying power.

The Terror: Devil in Silver premieres May 7 on AMC.

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Release Date

2018 – 2025-00-00

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AMC, Shudder, AMC+

Showrunner

David Kajganich, Soo Hugh, Christopher Cantwell

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Directors

Tim Mielants, Edward Berger, Sergio Mimica-Gezzan, Fred Toye, Karyn Kusama, Michael Lehmann, Josef Kubota Wladyka, Lily Mariye, Toa Fraser, Meera Menon

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Writers

David Kajganich, Shannon Goss, Tony Tost, Steven Hanna, Andres Fischer-Centeno, Benjamin Endsley Klein, Danielle Roderick, Alessandra DiMona, Josh Parkinson

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Pros & Cons

• Dan Stevens leads a sensational cast.
• Director Karyn Kusama establishes a menacing and claustrophobic tone.
• The patients are three-dimensional human beings rather than stereotypes.
• The underlying social critique holds profound relevance.

• The supernatural mythology doesn’t hit quite as hard as the cultural criticism.

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By Jonathan Klotz
| Published 30 seconds ago

Everyone who tells a time-travel story has to deal with the inevitable thought process, “Why not go back in time and change everything?” The most common thought is to go back and kill Hitler, thus preventing World War 2, but a 1980s sci-fi military classic took a different spin, and asked, “Could a single modern aircraft carrier prevent the attack on Pearl Harbor?”

The Final Countdown, a gorgeously shot time-travel film, is about that very thing, with the U.S.S. Nimitz, a real ship, standing between the Japanese fleet and Hawaii. Even though they can prevent the attack, should they? 

It’s The Final Countdown

The Final Countdown makes a mystery out of where the Nimitz ended up after passing through a strange vortex, though the use of a recon plane shown reveals, based on the state of Pearl Harbor and the ships present, that they’ve landed before December 7, 1941. How far is the question, but soon the crew is rescuing civilians from an attack by Japanese planes, one of whom happens to be a United States Senator who disappeared just before the attack. With it clear that they are in the past, the crew slowly starts to split between those who want to stop the Japanese and those who want to find a way home, worried about altering the timeline. 

It would have been simple for The Final Countdown to focus on a nuclear-powered aircraft carrier single-handedly defeating the Japanese Pacific Fleet, a scenario tabletop wargamers have been playing out for decades, but the film decides to instead lean into the philosophical drama of the situation. Kirk Douglas plays Captain Yellen as the stern commander who doesn’t want to change the future, while Commander Laskey (James Farantino) thinks it’s foolish not to try and save as many lives as possible, and both men are shown to be right and wrong as the film progresses. Ultimately, there is a choice. 

Time-Travel Adventure Ahead Of Its Time

Kirk Douglas isn’t the only Hollywood legend to appear in The Final Countdown; Martin Sheen plays Lasky, a civilian contractor who joins the Nimitz for the mission and serves as the audience surrogate into the world of the United States Navy. That’s important, since the film was made with the full cooperation and support of the U.S. Armed Forces onboard the actual Nimitz, complete with servicemen as extras and a real emergency landing making it into the film. Before Top Gun, this was the film the Navy wanted to use to drive recruitment, and they helped ensure that every fighter-jet sequence was gorgeous from start to finish, with cinematography that had to have influenced, even a little, the Tony Scott classic.

Ahead of its time, The Final Countdown was unappreciated at the box office, earning only $16 million, and though it was profitable thanks to a budget of $12.5 million and strong VHS sales for years, critics lambasted it. Deemed slow and boring by no less than Siskel and Ebert, the film eventually became a success thanks to its focus on naval war machines and its time-travel plot, which became relevant with the release of Back to the Future in 1985. Today, it’s a cult classic notable for the thoughtful approach to sci-fi, the pairing of Sheen and Douglas, and, of course, the planes.

The Final Countdown is streaming for free on Tubi.

Last month, Matt and Ross Duffer officially packed up their Upside Down Productions banner and headed off to new frontiers with Paramount after spending ten years building Stranger Thingsat Netflix. The brothers’ newest four-year overall deal kicked in with the end of their old pact in April, though they’ll still be involved with their original streaming home for a while. While they’ll focus on other feature films, television, and streaming projects under the now Skydance-owned banner, existing projects, like the recently renewed animated spin-off Stranger Things: Tales From ’85, will still be part of their itinerary. One such remaining series, an entirely new IP created and showrun by The Dark Crystal: Age of Resistance helmers Jeffrey Addiss and Will Matthews, is set to debut this month.

The Boroughs is another sci-fi horror mystery series executive produced by the Duffer Brothers that, as they previously teased at SCAD TV Fest last year, shares plenty of DNA with Stranger Things and a bit with Ron Howard‘s Cocoon. Instead of Hawkins, Indiana, the story unfolds in the New Mexico desert where the titular Boroughs lie. An idyllic retirement community where senior citizens can enjoy their golden years with some level of freedom, it seems like heaven, with pristine homes, well-manicured lawns, and plenty of activities. Alfred Molina‘s Sam Cooper sees it as little more than a well-dressed prison, but it soon proves to be much more terrifying than he could imagine.

With just over two weeks until the premiere, Netflix shared a new trailer set to David Bowie‘s “Golden Years” that pulls back the curtain on more of the monsters that come out at night. Like the first footage, it shows Sam’s begrudging arrival in the community, where everyone else has otherwise seemingly found happiness in what the Boroughs have to offer. However, his annoyance turns to fear as he starts seeing “impossible things” and nobody, save for a band of neighborhood misfits, believes him. Spindly hands and inhuman clicks hint at something otherworldly lurking just within the shadows. Sam joins with the other outcasts of the Boroughs to find both the wonders and the dark secrets of their community, knowing full well that knowledge of what’s really happening could put them all in grave danger.

To bring The Boroughs‘ formidable residents to life, a formidable ensemble was recruited for the occasion. Joining the Emmy-nominated Molina are Geena Davis, Alfre Woodard, Denis O’Hare, Clarke Peters, Bill Pullman, Carlos Miranda, Jena Malone, Seth Numrich, and Alice Kremelberg. Additional cast members include Ed Begley Jr., Dee Wallace, Eric Edelstein, Rafael Casal, Mousa Hussein Kraish, Beth Bailey, Karan Soni, and Jane Kaczmarek. For Molina, this will be his first leading live-action television role since he starred in Prime Video’s short-lived mystery series Three Pines. It’s also a reunion for him and Netflix, after he lent his voice to the animated Greek mythology series Blood of Zeus as the titan Cronus.

The Boroughs open on Netflix on May 21. Check out the new trailer in the player above.

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Release Date

May 21, 2026

Network

Netflix

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Directors

Augustine Frizzell, Kyle Patrick Alvarez, Ben Taylor

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Some movies arrive with trailers. Others arrive with a full-blown reminder that, yes, cinema can still look absurdly massive when the right person gets handed ancient myth, IMAX cameras, and a budget big enough to make most studio accountants quietly leave the room. After months of first-look images, teaser footage, and online arguing over armor, accents, and whether anyone should be saying “daddy” in a Greek epic, Christopher Nolan’s next film has finally shown more of itself. And, annoyingly for anyone hoping the hype might calm down, the trailer looks enormous.

The official trailer for The Odyssey has arrived, giving audiences their clearest look yet at Nolan’s adaptation of Homer’s classical epic. The film stars Matt Damon

(Good Will Hunting, The Martian) as Odysseus, the legendary Greek king of Ithaca, as he fights to return home after the Trojan War. The footage teases the scale of that journey, from war and shipwrecks to mythological threats, the Cyclops, and the emotional pull of Odysseus trying to get back to Penelope and the son who has grown up in his absence. The film opens in theaters on July 17, 2026.

The trailer also gives fresh glimpses at the film’s immense cast, and it features Damon’s Odysseus battling his way through impossible odds, while Penelope faces growing pressure at home and Telemachus searches for his missing father. In other words, family drama, but with more ships, monsters, and men making terrible decisions in sandals.

The long and short of it? Nolan won his Oscar for Best Director and Best Picture and decided, screw it, I’m going to go full blown fantasy and historical epic and retell the ultimate story. This is a man who feels no fear. And of course, it’s all shot on IMAX.

Who Stars in ‘The Odyssey’?

Alongside Damon, the hilariously stacked cast includes Tom Holland (Spider-Man: No Way Home, Uncharted) as Telemachus, Anne Hathaway (Les Misérables, The Devil Wears Prada) as Penelope, Robert Pattinson (The Batman, Tenet) as Antinous, Charlize Theron (Mad Max: Fury Road, Monster) as Calypso, Lupita Nyong’o (12 Years a Slave, Black Panther), Zendaya (Dune, Challengers), Jon Bernthal(The Punisher, Ford v Ferrari) as Menelaus, Mia Goth (Pearl, Infinity Pool), Elliot Page (Juno, Inception), Himesh Patel (Yesterday, Station Eleven), and Benny Safdie (Oppenheimer, Good Time).

The Odyssey opens in theaters on July 17, 2026.

Some lives are too big to squeeze neatly into a standard biopic, and honestly, that’s usually where the more interesting stories are hiding. Rather than trying to cover decades of travel, fame, food, writing, television, reinvention, and grief in one package, this new film takes a much narrower approach. It goes back to one summer, one place, and one young man stumbling into the kind of world that would eventually help shape everything that came later. That feels like a smarter way, especially when the person at the center is someone audiences still feel so personally connected to.

The trailer for Tony is out now, giving audiences their first real look at Dominic Sessa (The Holdovers, Now You See Me: Now You Don’t) as Anthony Bourdain. Directed by Matt Johnson, the filmmaker behind BlackBerry and Nirvanna the Band the Show the Movie, the film follows a 19-year-old Bourdain as he travels to Provincetown, Massachusetts, in 1975 and stumbles into the chaotic world of a restaurant kitchen. The movie is set to arrive in theaters this August.

The official synopsis reads: “A 19-year-old Anthony Bourdain travels to Provincetown and stumbles into the chaotic world of a restaurant kitchen, setting off a summer that will shape the course of his life.”

The cast includes Emilia Jones (CODA, Locke & Key) as Nancy, Tony’s love interest, Rich Sommer (Mad Men, Fair Play) as Pierre Bourdain, Stavros Halkias (Tires, Salesmen) as Dimitri, a restaurant worker and Tony’s friend, Leo Woodall (The White Lotus, One Day) as Sal, Antonio Banderas (The Mask of Zorro, Pain and Glory) as Ciro, the restaurant owner who hires Tony, Michael Jibrin (Tony) as Tyrone, a restaurant worker, Caroline Portu (The Society, Julia) as Robin, Nancy’s friend, Monica Raymund (Chicago Fire, Hightown) as Mary, and Dagmara Domińczyk (Succession, The Lost Daughter).

Why Is ‘Tony’ Not a Standard Anthony Bourdain Biopic?

Bourdain’s life has been discussed, mythologized, mourned, and revisited so often that a traditional, full blown biopic could easily feel too neat and tidy for someone who was never especially interested in tidy storytelling, so Tony instead focuses on one formative stretch of time, before Kitchen Confidential. His estate revealed why they’ve chosen this way to tell his story:

Anthony Bourdain’s legacy is meaningful to millions of people. He was a man who valued authenticity above all else and would have been both moved and baffled by the world’s curiosity about his life. We chose to support TONY because it is not a standard biopic and doesn’t attempt to summarize a life. Guided by the vision of director Matt Johnson, the film depicts one transformative summer in 1975 in Provincetown, Massachusetts. It is an interpretation as that part of Tony’s life will always remain somewhat unknown. We appreciate the portrayal of Tony’s complexity, his intellectual appetite and his conviction — qualities that eventually took him around the globe and endeared him to so many. We hope this film serves as a reminder that every journey has a start, and that audiences see the beginnings of the man who taught us how to be better explorers on our own paths.

Tony opens in theaters this August.

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Release Date

2013 – 2018-00-00

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Network

CNN

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• 
• 

  Afrika Bambaataa

  Uncredited

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  Darren Aronofsky

  Self – Host

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  Paul Theroux

  Self – Actor

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By Brian Myers
| Published 53 seconds ago

A soundtrack can make or break a film. Imagine Pulp Fiction, The Crow, or even Forrest Gump without the carefully curated songs to accompany the action on-screen or to provide interludes between scenes.

A soundtrack that truly captured the essence of the film like no other was from the 1985 horror comedy Return of the Living Dead. It not only worked to accentuate the cinematography but also gave the 1980s one of the greatest punk rock collections of all time, and it is now streaming for free.

Return of the Living Dead isn’t a sequel to Night of the Living Dead (1968) in the literal sense, but rather a spoof of what a sequel might look like. It assumes that the events from the classic Romero zombie film happened, but that it was quickly contained by the military.

The plot involves a lone zombie corpse in a barrel of Trioxin gas mistakenly sent to a medical supply warehouse. There it was stored for years before being disturbed by curious employees.

After the barrel is opened and the gas leaks out, it infects a cadaver that’s being stored in the medical supply house’s morgue. This causes the body to reanimate and attack the employees. The body is taken to a nearby incinerator, but the fumes from the Trioxin work to create a low-lying fog that seeps into the ground of a nearby cemetery.

Return of the Living Dead sees the bodies rise from their graves, just as a group of young punks have invaded the grounds one evening for a night of partying. The debauchery the teens have planned gets interrupted in the worst way as the zombies make their way from their tombs so that they can feed on human brains. It becomes a question of who will survive the attacks and how they will make it out of the cemetery.

The film has the corny dialogue you might expect from a horror-comedy which is on par with the B-movie acting. But the special effects are fantastic, the work of Bob and Kevin McCarthy on par with anything Tom Savini created under the direction of Romero for Dawn of the Dead or Day of the Dead. But the real contribution Return of the Living Dead made was the list of songs that played throughout its 91-minute streaming time.

Return of the Living Dead‘s streaming soundtrack begins with “Surfin’ Dead” by psychobilly band The Cramps, before leading into the punk rock classic “Party Time” by 45 Grave. T.S.O.L.’s heavy hitting “Nothin’ for You,” The Flesh Eaters’ “Eyes Without a Face,” and The Damned’s “Dead Beat Dance,” all work to give the film the right sounds for both the partying and the zombie attacks on the screen.

Return of the Living Dead also featured garage band icon Roky Erickson (formerly of The 13th Floor Elevators) with his single “Burn the Flame.”

The film was a box-office success, grossing more than $14 million on a budget of only $4 million. Return of the Living Dead spawned several sequels as well, though none with a soundtrack as iconic as the original. The sequels, like the original, are also available on various streaming services.

The movie’s contributions to the zombie horror genre are every bit as significant as Romero’s original zombie movies and the modern-day series The Walking Dead. Return of the Living Dead was one of the first to weave comedy into an otherwise frightening set of circumstances.

Return of the Living Dead is streaming for free on Pluto, Tubi, and Roku, or rent it On Demand with Vudu, AppleTV, and Prime.

RELATED: All Eyes! Beyoncé’s Return And The Biggest Met Gala 2026 Moments Of The Night

Proud Dad Jay-Z Watches Blue Ivy Steal Spotlight

In a circulating clip obtained by Entertainment Tonight, Blue Ivy was confidently doing her thing on the red carpet while cameras caught Jay-Z at the bottom of the steps laughing alongside publicist Yvette Noel-Schure, both visibly beaming as all eyes stayed on her. Continuously, Jay looked every bit the proud dad, eventually making his way up the steps to assist her, offering his arm and posing for photos together. At one point, he even flashed a thumbs up to photographers, clearly soaking in the moment as his daughter held her own on one of fashion’s biggest stages.

The Comments Said What They Said

Folks wasted no time running to the Entertainment Tonight Instagram comment section, and let’s just say—everyone had something to say. Some were convinced Blue Ivy Carter is Jay-Z’s twin, while others stood ten toes down, claiming she’s giving nothing but Beyoncé. And of course, plenty of folks were just happy to see her outside, living her best life with parents who clearly don’t play about their baby girl.

One Instagram user, @kimberlyvivecacreations, said, “I love this look on her. She is a whole vibe 🔥❤️”

This Instagram user @beyond_the_ce added, “BLUE BLUEEE AHHHH❤️🙌”

And, Instagram user @anniedadiva_ commented, “Proud dad moment 😂😂🔥🔥🔥”

Meanwhile, Instagram user @sorigaby shared, “Proud papa!!!! That look JZ gave Blue ivy is Beautiful!“

While Instagram user @btention claimed, “She is a mini me of her mom.“

Lastly, Instagram user @thomasbennie72 wrote, “Take your time baby you doing great you got this and you know it“

Beyoncé Gushes Over Blue Ivy’s Red Carpet Moment

And if there was any question about who runs things in the Carter household, Beyoncé made it very clear she doesn’t play when it comes to her baby girl. While speaking with La La Anthony for Vogue at the top of the Met steps, Bey kept the focus right where it belonged—on Blue Ivy Carter. When asked how it felt to be back after a decade, she called the moment “surreal” because her daughter was there, adding that Blue looked “so beautiful” and “incredible,” like a proud mama who already knows what’s up. Beyoncé even shared that she was most excited to experience the night through Blue’s eyes, and both she and La La joked that everyone could probably take a few red carpet notes from the Carter princess—because clearly, Blue isn’t just attending, she’s setting the tone.