Farscape: the definition of “if you know, you know.” If you’re an outlier in this equation, allow us some evangelizing. Within cult classic circles, Farscape is the Sci-Fi Channel series guaranteed to make you weep over farting, lustful alien puppets designed by the incomparable Jim Henson Company. In many ways, a summation like “an American guy gets stuck in an Australian BDSM fever dream” isn’t wrong. In other ways, Farscape‘s reputation as the defining “found family in space,” proto-Guardians of the Galaxy story is untouchable and nigh-impossible to replicate.

Part and parcel of this content feast is the series’ most irrefutable fact: Farscape is a romance. Normally, love stories aren’t a selling point for traditional science fiction. You have your Mulder and Scully, your Sheridan and Delenn, even your Aral and Cordelia if you include books. But love stories are one plot among many, a complementary feature emerging from a series’ character pool that sometimes enhances the whole.

Farscape doesn’t just brandish its weeping, swooning, whack-a-doodle heart on its sleeve; it bellows it into a space megaphone. Creator Rockne S. O’Bannon and co-producer Brian Henson crafted this oddball gem as a sweeping love story set against the backdrop of an equally sweeping space opera. John Crichton (Ben Browder) and Aeryn Sun (Claudia Black) are a destined love written by the stars. More importantly, because Farscape also defined itself through enviably exemplary script work, John and Aeryn resonate as palpably human.

Their connection is as delicate as a whispered secret and as wrenching as an open wound. These two are everyone’s favorite love story across decades of science fiction — yes, everyone’s, because I said so. And if Farscape‘s team hadn’t broken the television industry’s rules about romance, then this revered couple — the concept baked irreparably into Farscape‘s DNA — might never have unfolded.

How Was ‘Farscape’s Romance Different?

Image via SyFy

When Farscape premiered on the Sci-Fi Channel in 1999, television romances were defined by the “will they won’t they.” A dynamic as timeworn as, say, Little Women‘s Jo and Laurie, series like Moonlighting, Cheers, The X-Files, Friends, and Gilmore Girls notoriously toyed with fans’ hearts by dangling potential love stories and denying them resolution season after season. By those standards, Farscape hits the ground running and never stops long enough to beat around the bush (or asteroid belt). John Crichton, a human astronaut transported to another galaxy through a wormhole and stuck with a group of murderous criminal misfits, might be outrunning villains who want to master wormhole technology. Still, John Crichton and Aeryn Sun simply are the A-plot of Farscape. The two kiss halfway through Season 1 and sleep together three episodes later.

And they keep sleeping together into Season 2! They catch “I’ve never felt this before” feelings and tentatively reckon with their significance! Yet John and Aeryn are far from a rushed, empty attempt to increase ratings via sex (in space, no one wears anything but leather). The writers’ room uses the seasonal episode counts to their advantage. They time emotional arcs beat for beat, prioritizing the characters’ separate and shared growth and letting situations organically emerge from that conflagration. John and Aeryn’s romance consumes them without ever subsuming.

If Farscape had adhered to television practices contemporaneous with the 1990s, a romance executed to this caliber — a full series of this caliber, where people talk more than they shoot — wouldn’t exist. In May 2023, Shout! Factory TV held The Farscape Fandemonium Marathon. Reflecting on the series, Rockne S. O’Bannon and Brian Henson left no doubt about their intentions with John and Aeryn. Farscape intentionally broke with established industry practice. “The television rules with a potential romance were, don’t ever let them get together,” Henson explained. “But Rockne, you knew really early, this was going to be a huge romance. We are not going to keep them apart.” O’Bannon elaborated: “I wanted it to be a classic, classic romance. […] I wanted to keep them at odds as long as possible […], but it was all kind of this planned thing to make sure that we made it as unlike other shows as possible, the way other shows would follow tropes [and never let them get together].”

If Farscape hadn’t crossed out the rules with permanent marker then shredded the rule book and ejected the scraps into space’s cold vacuum, the most exquisitely poignant and agonizingly raw romance known to science fiction probably wouldn’t deserve those adjectives. What a disappointing world that would be.

What Made John and Aeryn a Compelling Romance on ‘Farscape’?

By bucking the confines of the will-they-won’t-they, Farscape lets John and Aeryn’s galaxy-spanning love story exist. Sometimes their love thrives, sometimes it withers, but it’s always lived in, always breathing, and always reactive to the wider narrative and proactive in its evolution. Watching John and Aeryn is compelling not just because of the superior writing and the actors’ chemistry (an embarrassment of riches, there), but because Farscape makes good on its scope — microcosm and macro. At first, these grown 30-somethings dance around each other like smitten, awkward teens. It’s simultaneously endearing and tragic given the abusive brainwashing the Peacekeepers subjected Aeryn to. For a soldier conditioned to never feel, being vulnerable with John breaks every rule. What’s more, Aeryn’s been hurt before. A hulking space monstrosity? No big deal. Hand the lady a gun. True emotional vulnerability is a risk from which Aeryn flees time and time again. She’s a desperately frightened rabbit in a trap, trembling inside her protective Peacekeeper shell.

Yet to paraphrase the perennially applicable Jane Eyre, there’s a string binding John and Aeryn together. It pulls them taut, an irresistible gravitational pull. Their primary emotional conflict and division stem from finding the courage to love and be loved in a ruthless galaxy where pain, loss, and tragedy lurk predatorily around every corner. Who couldn’t root for that? Just the way the camera frames their kisses or tracks John’s yearning blue eyes is worthy of scholarly study. Their empathy’s aching tangibility warrants assuming the fetal position. John and Aeryn’s romance is a testimony to the lengths we’ll go to protect this fragile yet innately human thing called love. Farscape devastates you to a pulp and then offers catharsis.

A solid foundation compounded by genuine stakes and “no other show has the guts, I’m scarred for life” tragedies makes John and Aeryn’s romance oscillate like a tuning fork on repeat. Farscape makes the psychological stakes equivalent to the plot’s stakes — which are the height of space opera. Whether the crew survives, whether these two wild kids can make it work, matters as much as preventing the totalitarian villains from conquering the universe. Personal conflict balances with spectacle; they work together to escalate tension like a storytelling pas de deux. John and Aeryn survive plot twists that should be ludicrous but are earned by their sincerity. They don’t even break up (a tired trope) so much as grow. Sometimes, growing means unraveling your tangled knots before reuniting.

Their relationship evolves because the characters exist in constant metamorphosis. Science fiction can equal escapism, but isn’t a realistic relationship inside an outrageous situation the most pleasing outcome? Farscape tells the best story: one where every joint in the architecture informs the rest until it’s a symphony, with John and Aeryn’s romance as the leading motif. (Yes, I’ve mixed my metaphors. John Crichton would be proud.)

25 Years Later, ‘Farscape’s John and Aeryn Are Still Amazing

Image via The Jim Henson Company

John and Aeryn even call gender stereotypes a rude name before punching the concept, because why not add egalitarian feminism and healthy masculinity to the victory lap? The radiant Aeryn Sun with her cutting features is the stoic, closed-off one. She’s the action woman who never leaves Moya without her guns. John Crichton eventually can aim for more than the broadside of a barn, but he’s a wise-cracking pop culture maven attuned to his emotions. He’s starstruck, reverent, and open, and unrepentantly cries at a hat drop. John and Aeryn balance one another by coincidence and understand each other by design. Shades of Peter Quill and Gamora exist here, but Quill couldn’t manage this level of male-wife.

As for the actors carrying 2000s science fiction on their backs, Ben Browder and Claudia Black are, in the words of Brian Henson, “magic.” Chemistry that one in a million can’t be manufactured. They’re attentive performers who match, regulate, and dynamically improve their scene partner. Both deliver a Masters curriculum on how to act your ass off. And even with scripted exchanges like “Do you love Aeryn Sun?” “Beyond hope,” Browder and Black convey that enormity without words. It’s a testament to the risks Farscape took and the rewards it reaped. Moya’s family of misfits, criminals, and morally bankrupt broken people defined the era. John and Aeryn defined the sci-fi genre. Next year marks the series’ 25th anniversary. No science fiction love story has surpassed the reformed Peacekeeper and her nerdy astronaut — and good luck trying.

Farscape is available to stream on Peacock in the U.S.

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Farscape

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1999 – 2003-00-00

Writers

Rockne S. O’Bannon, David Kemper, Justin Monjo, Richard Manning

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Amanda Batula may believe her relationship with West Wilson deserves another chance, but not everyone around her agrees. 

Months after the couple’s romance sparked controversy, one of Batula’s own “In the City” co-stars is making it clear she thinks the reality star is heading in the wrong direction. 

Georgina Ferzli says she has already delivered her advice face-to-face and remains convinced Batula still has an opportunity to repair her reputation, if she’s willing to walk away before it’s too late.

Ferzli revealed she wasted little time addressing Amanda Batula about her relationship when they crossed paths at the “In the City” premiere in May.

Speaking exclusively with Page Six’s “Virtual Reali-Tea,” the board-certified dermatologist recalled approaching the TV personality to commend her for attending the event despite the controversy surrounding her romance with Wilson.

“I went up to her and I was like, ‘This is the first great thing you’ve done. It takes a lot of courage to show up to this premiere party,’” Ferzli recalled.

She admitted she understood why Batula may have wanted to avoid the spotlight altogether, noting, “Nobody wanted to see her. She hadn’t made any sort of public appearance. I wouldn’t have shown up.”

However, after offering praise, Ferzli quickly pivoted to what she considered an even more important conversation.

Batula’s Reaction Didn’t Change Ferzli’s Opinion

According to Ferzli, she encouraged Amanda Batula to reconsider her relationship with West Wilson before it caused further damage. “The next good thing is to break up with West,” she recalled telling her.

Batula, however, didn’t appear to take the comment seriously. Ferzli said the reality TV star laughed as if she was joking. That response hasn’t changed Ferzli’s stance.

She explained that Batula has repeatedly acknowledged the romance was a mistake, making it difficult for Ferzli to understand why she continues to stay in the relationship.

“She keeps saying this is a mistake she made,” Ferzli explained, adding, “My point to her at the premiere and also going forward from there was, ‘You keep making the mistake. You can end the mistake and start fixing it.’”

Although she believes everyone deserves another chance, Ferzli argued that redemption requires action, not simply recognizing where things went wrong.

Amanda Batula Still Has A Chance To Change Course, Ferzli Says

The release of Big Little Lies is one of the most important television events of the 21st century, as it marked a point when a network like HBO could attract movie stars. There had certainly been HBO shows featuring A-list actors before, but it was unheard of for a series to be populated by some of the most famous stars, based on a hit novel, and helmed by an acclaimed director. Big Little Lies was a summer television spectacle that created a thrilling mystery, yet also sparked meaningful conversations about domestic abuse and toxic relationships. While the series was a faithful interpretation of Liane Moriarty‘s book, it became too big a hit for HBO to remain a limited event. Big Little Lies returned for a second season entirely based on new material, and it’s set to continue soon with the impending Season 3.

Set in Monterey, California, Big Little Lies explores a wealthy elementary school and the parents of its attending children, including Celeste Wright (Nicole Kidman) and Madeline Mackenzie (Reese Witherspoon). Madeline is trying to rebuild her confidence after her ex-husband Nathan (James Tupper) marries the yoga instructor Bonnie Carlson (Zoë Kravitz), and Celeste discovers that her husband Perry (Alexander Skarsgård) has a relationship of some kind with single parent Jane Chapman (Shailene Woodley). Both Madeline and Celeste share a friendship with the socialite Renata Klein (Laura Dern), but all five women develop a bond when they discover the extent to which Perry has been abusive. Big Little Lies‘ first season tells a concise story; its seven episodes are a flashback following the reveal that a homicide occurred on school grounds. While Season 2 didn’t have the same exciting hook, it offered a deeper exploration of surviving trauma.

‘Big Little Lies’ Became an Event Series for HBO

Big Little Lies amplified the class commentary present in Moriarty’s novel, with a fair amount of black comedy satirizing the extent to which wealth and privilege have made these women out of touch with reality. Yet the series also confirms that no amount of money or material possessions can protect them from rampant sexism. Kidman depicts the turmoil that Celeste faces as she copes with Perry’s violence, Witherspoon portrays the pressure Madeline is under to retain her public profile after her husband remarries, and Dern takes on a somewhat more comedic role that becomes more nuanced as Renata reveals some of her mental health struggles. Kravitz’s role in the series was particularly important because it was critical to highlight the experience of a woman of color, especially given the culture of Monterey. Although Woodley had given several notable performances in young adult films, Big Little Lies confirmed her maturation as a performer.

Big Little Lies delicately handled potentially divisive subject matter; it was unflinching in its graphic content, but it didn’t exploit the characters. Although the first season was directed in its entirety by the Oscar-nominated filmmaker Jean-Marc Vallée, both Kidman and Witherspoon were involved as producers and were thus able to determine how they were projected onscreen. It became clear that the characters were the reason for Big Little Lies‘ success, and that there was audience interest in seeing how their lives changed after the traumatic incident that ended Season 1. Since the show had made icons of its characters, it would have been a missed opportunity for Season 2 not to let the stars continue playing their roles.

‘Big Little Lies’ Turned Into More Than a Book Adaptation

Season 2 of Big Little Lies is a bit of a mess, as the brilliant filmmaker Andrea Arnold was reportedly not allowed to execute her vision, resulting in some tonal inconsistencies. That being said, Season 2 deepened the message of survival and perseverance by showing how the absence of an abuser does not mean that trauma is erased; a majority of the season is spent on the bonding between Celeste and Jane, who decide to inform their children that they all share the same father. The biggest addition to Season 2 was Meryl Streep as Perry’s mother, Mary Louise, delivering one of her best performances of the 21st century. The season addressed nuanced themes of modern feminism by confronting the women who ignore abuses committed by their loved ones, and the arc of Mary Louise coming to grips with the reality that her son was a monster is unforgettable.

Big Little Lies wasn’t just a ratings hit and an Emmy-nominated critical darling, as the show changed the landscape of prestige television by revealing the demand for these types of book adaptations. Kidman would transform her career by becoming one of the most consistent television stars around, and Witherspoon also had a career resurgence that led to more work on the small screen. While it is unclear what shape the next iteration of Big Little Lies will take, its legacy has already been solidified.

Lindsay Hubbard’s “Hot Hubbs Summer” is officially heating up after Summer House received a 2026 Emmy Awards nomination.

“I screamed, I didn’t cry but I got chills, and I ran a lap around my apartment,” Lindsay, 39, exclusively tells Us Weekly after the hit Bravo show earned its first-ever Emmy nomination for Outstanding Unstructured Reality Program after 10 seasons on Wednesday, July 8. “Then I started pacing around on the phone calling everyone.”

Lindsay, who has been part of the Hamptons-based series since its 2017 premiere, confesses she couldn’t “contain my excitement for an entire two hours.” (The Emmy nominations were announced on Wednesday morning, with Summer House competing against America’s Sweethearts: Dallas Cowboys Cheerleaders, Love on the Spectrum, RuPaul’s Drag Race: Untucked and Welcome to Wrexham.)

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Related: Emmy Awards 2026 Nominations: See the Complete List

The countdown to the 2026 Primetime Emmy Awards has begun following the official nominations announcement. The first two honorees were announced on the Today show before Liza Colón-Zayas and Jeff Hiller unveiled the complete list of nominees live from the Wolf Theatre at the Television Academy’s Saban Media Center in Los Angeles on Wednesday, July […]

The TV personality — who has created multiple catchphrases on the show, including “Hot Hubbs Summer” and “Don’t Activate Me” — tells Us that when she calmed down, she had to contact fellow OG stars Kyle Cooke and Carl Radke to celebrate the milestone.

“I texted Kyle and Carl on a group text first,” Lindsay recalls. “And then I texted our editors and our executives from Truly Original.”

Lindsay reveals that her messages were “filled with a lot of caps, exclamation marks and extra letters to express my excitement.”

“I am so beyond proud and excited for our entire team top to bottom,” Lindsay gushes. “From our producers, editors, executives at Truly Original, to [the] cast and our entire crew that has been with us for the majority of these past 10 years, I am just so happy for our show! Very well deserved nomination!”

During season 10, which aired earlier this year, the cast got even more attention than usual following Kyle and Amanda Batula’s divorce announcement in January. (Amanda, 34, has been part of the show since season 1 when she was Kyle’s new girlfriend and not yet a full-time cast member.)

Related: Summer House’s Lindsay Slams Austen Love Triangle Comparison to Amanda, West

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Lindsay Hubbard is over comparisons between her past with Southern Charm star Austen Kroll and the current drama surrounding Amanda Batula and West Wilson’s budding romance. Instagram account Unhinged and on Camera got her attention this week by suggesting that “Lindsay kind of did the same” to Ciara Miller when they were both interested in […]

After four years of marriage, the pair announced their divorce. The following month, Amanda sparked romance rumors with season 8 addition West Wilson, but they both denied there was any truth to the fan speculation.

On March 31, Amanda and West, 31, changed their tune and confirmed that their platonic friendship had turned romantic.

The revelation shocked the Bravoverse, especially since West and his ex-girlfriend — costar Ciara Miller — had seemingly gotten close again during filming in summer 2025. West and Ciara, 30, previously dated in 2023 and Amanda was privy to all of her ups and downs with West as one of her former BFFs.

During the explosive three-part reunion special, West confessed to having “sleepovers” with Ciara during the fall of 2025, but claimed that he didn’t start seeing Amanda until February. (He also confessed that he was dating Meija Moreno before Amanda, but said she was never his girlfriend.)

Some of the cast, including Lindsay, Amanda, Kyle, West and Ciara also filmed Summer House: The Aftermath to give fans even more clarity on Amanda and West’s relationship timeline.

While Us has since confirmed that both West and Amanda are not returning to the franchise amid the drama and subsequent fallout, their hookup seemingly gave Summer House the fuel it needed to get its first Emmy nod.

Related: Lindsay Hubbard Teases ‘Summer House’ Future Before Season 11

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Lindsay Hubbard is sharing any insight she has into Summer House season 11. “I think they’re working on it because it would start filming in a month from now,” Lindsay, 39, told Us Weekly exclusively while attending Dustin Lynch’s fourth annual Pool Situation: Nashville CMA party at the Margaritaville Hotel in Nashville earlier this month. […]

“This season was jam-packed with drama, fun, and vulnerability from the cast,” Lindsay tells Us about why she thinks the show was nominated. “It was a 16-episode season, with three-part reunion, and one additional aftermath episode: 20 episodes of premium content to feed the viewers was huge for fans.”

Lindsay, who is also one of the stars of the show’s spinoff In the City, says that the way their editors were able to “seamlessly and flawlessly incorporate a present scandal into two shows” should be applauded.

She explains that the production teams were able to not confuse viewers while “also delivering all the new content in a way that still told these updated stories,” calling it “beyond impressive.”

“They were working around the clock editing these shows and they did such a phenomenal job,” Lindsay adds.

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While Lindsay has always been one to prepare for anything life can throw at her, she admits to Us that she’s not ready to write an acceptance speech just yet.

“I don’t want to jinx anything so I’m going to just keep my fingers crossed for now and see what happens next!” she teases.

The 2026 Emmy Awards air on NBC Monday, September 14, at 8 p.m. ET.

Remakes are always risky, especially when it comes to beloved series. For audiences who grew up watching 1974’s Little House on the Prairie, which ran for 200 episodes, the idea of remaking a quintessential piece of American television history feels like an odyssey of errors. But rest assured that not only does Netflix’s new 8-episode series pay homage to what came before with grace and understanding, but it also improves upon aspects of the book series with the aid of primary source-led historical context that enriches the story for a new generation.

Inspired by Laura Ingalls Wilder’s eponymous semi-autobiographical book series detailing her family’s real-life experiences traveling and homesteading across the American frontier in the late 19th century, Little House on the Prairie arrived on television screens at a unique point in the nation’s history where frontier life was just far enough removed from most households, while remaining within a generation’s experience. Now, fifty-odd years removed from the original series, the Western genre remains a driving force for viewers — not just for Netflix with hit series like American Primeval, but across media and beyond.

Despite some early reactionaries insisting that Netflix’s remake would usher in a homesteading renaissance, this series is far from the conservative fever dream that some would wish it to be. Instead, showrunner Rebecca Sonnenshine has painstakingly sought to contextualize aspects of history that Wilder, writing from childhood memory, only partly understood. 2026’s Little House on the Prairie carefully weaves in the perspectives of the Osage Nation, expanding the scope of the series beyond the limited viewpoint of the Ingalls family. The series also reintroduces a very important character from Wilder’s book series: Dr. George Tann, the Black doctor who saved the Ingalls from malaria, who was omitted from the original television series. With his reintroduction into the narrative, Netflix’s series is able to touch upon Black life on the American frontier, which was far more vibrant than its often narrow portrayal within the Western genre.

Netflix’s ‘Little House on the Prairie’ Cast Makes the Series Feel Whole

While much goes into adapting a novel series — and even more into remaking an American classic — none of those laborious efforts really matter if the series’ cast is not up to snuff. With a series like Little House on the Prairie, where the diminutives “Ma and Pa” almost immediately invoke memories of Michael Landon and Karen Grassle in the roles, Netflix managed to strike gold with its casting for the couple. Crosby Fitzgerald and Luke Bracey breathe new life into Charles and Caroline Ingalls, elevating an already top-tier script that doesn’t shy away from the conflict a couple might face on the frontier. Caroline may be quiet and patient, but she is a fierce defender of her family and madly in love with her husband. While Charles may be the one to physically build the family’s iconic log cabin outside Independence, Kansas, Caroline is the supporting beam that keeps the family together.

Little House on the Prairie gives Bracey a far more expansive backstory to work with as Charles, delving into both trauma from personal losses and the mysterious reasons that send the Ingalls out west to begin with. While Charles is undeniably a man of the time, it doesn’t stop him from having the soul of a poet, musician, and storyteller. That trait is passed down to the couple’s daughter, Laura (Alice Halsey), whom the series still positions as the narrator of the story. Together with her sister Mary (Skywalker Hughes), audiences are invited to see what life on the frontier looks like for two girls who are, at times, at odds with their situation. Mary wants to grow up and court boys and make friends, while Laura chases after anyone who might add color to the stories she tells.

It’s through its ensemble that Little House on the Prairie gets to really explore the themes that made the books such seminal literature for many generations of children. Beyond the Ingalls, Little House on the Prairie also adds greater depth to John Edwards (Warren Christie), a character who was largely defined as a gruff, man-of-few-words type in the original series. Here, Sonnenshine redefines Mr. Edwards as a Civil War veteran haunted by tragedy and poorly coping with what we now recognize as PTSD. Across the first season, Edwards is given room to evolve as a character, and his friendship with Charles and the care that he extends to the Ingalls girls is one of the best parts of the series. While it is a departure from how he was originally portrayed, it is more in line with Wilder’s unreliable narration of Mr. Edwards in the novels, where he becomes an amalgamation of many different people the Ingalls encountered throughout their journey.

The aforementioned Dr. Tann (Jocko Sims) exists far beyond the restrictions of merely being the doctor who saves the Ingalls’ lives. His relationship with Emily Henderson (Barrett Doss) may be a secondary plotline to the overarching story, but it will leave audiences wishing that the Ingalls would stay in Independence, leaving the conclusion to their romance open-ended. If Netflix’s Little House on the Prairie has a single fault, it is the fact that it makes you fall in love with characters who aren’t able to continue on the Ingalls’ journey with them.

This is undeniably felt when it comes to those who are involved with the Osage Nation, too. Meegwun Fairbrother‘s performance as William Mitchell is a true standout, particularly as William struggles with the contention between the two sides of his identity. Rounding out this new cast is William’s wife, White Sun (Alyssa Wapanatâhk), and their daughter Good Eagle (Wren Zhawenim Gotts), the latter of which becomes an integral part of Laura’s life in Independence and a window through which she can understand the Osage and grapple with why the Ingalls are at odds with them. The Osage storyline is perhaps the most poignant element of the Netflix series, especially as it gracefully reminds audiences that the Ingalls aren’t the only ones who live on stolen land.

It’s No Surprise ‘Little House on the Prairie’ Has Already Been Renewed for Season 2

Image via Netflix

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Shortly after the first trailer for the series dropped, historical costuming aficionados were quick to praise the series for its commitment to historical accuracy, and costume designer Mitchell Travers has indeed achieved something that few other series depicting rural life in any period of time have done. That level of detail extends far beyond just the costuming. Throughout the course of the series, the town of Independence grows and changes, reflecting the slow growth of the community across a span of seasons, and that change is visible in the set pieces and props, both close to the camera and in the deep background. All of these small details help to build a fully realized world that feels tactile and familiar, in the same way that the book series inspired a generation of children to pretend they were a member of the Ingalls family traveling across the American frontier.

Netflix’s Little House on the Prairie upholds the feel-good nature of the original series, delivering a serialized story that will leave audiences desperate to find out what transpires in the next episode. While it is very much a wholesome family epic, it still understands that a homespun story can push boundaries and make the audience engage with the material at hand more seriously. Whether it’s conflict between the settlers and the Osage, bouts of life-threatening illness, childbirth on the prairie, town-threatening fires, or quarrels between children, Sonnenshine and her team treat each plotline with the same deft care, underscoring why Little House on the Prairie is such an enduring story.

After watching the entirety of Season 1, it’s no surprise that the series was renewed for a second season long before it was even made available to critics to review; there’s a confidence that is felt across every aspect of the production, from the actors to the creative team to everyone working behind the scenes. Little House on the Prairie is sure to be an instant hit for Netflix, and with any luck, it will live on for many more seasons, just as the original series did. While gritty Westerns like American Primeval will always remind audiences of the high-stakes brutality entwined with westward expansion, Little House on the Prairie presents the era through the eyes of a child who understands the importance of community, family, and friendship.

Little House on the Prairie is now streaming on Netflix.

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Little House on the Prairie

An incredibly faithful adaptation of a beloved series.

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Release Date

July 9, 2026

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Netflix

Directors

Kat Candler, Julie Anne Robinson, Sydney Freeland, Sarah Adina Smith, Erica Tremblay

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Pros & Cons

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• The series masterfully incorporates primary source-led history to expand the narrative, beautifully weaving in the perspectives of the Osage Nation and reintroducing crucial historical figures like Dr. George Tann.
• Netflix struck gold with Crosby Fitzgerald and Luke Bracey, who bring incredible depth and new life to the iconic roles of Charles and Caroline Ingalls.
• Secondary characters like Mr. Edwards are given far more expansive and nuanced backstories, allowing them to meaningfully evolve over the course of the season.
• The series successfully upholds the wholesome, feel-good family quality of the original while remaining confident enough to tackle high-stakes, serious frontier conflicts with deft care.
• The show features an extraordinary commitment to historical accuracy, boasting praised costume designs and detailed, tactile set pieces that evolve alongside the town.

A Chris Brown fan shared photographs of her experience at a recent meet & greet online, and they are going viral.

Aisoylina Kelly shared the pictures on Instagram on Sunday, July 5, along with video footage that appears to be from the artist’s ‘R&B’ tour stop in Minneapolis on June 30. Brown’s interaction with Kelly has the internet on fire as folks joke about how much love the “Loyal” singer showed Kelly.

Chris Brown Fan Shares Meet & Greet Pics

Judging from his happy fans, Brown seems to have understood the assignment.

RELATED: Caught Up? Fans Are Popping OFF With Reactions To Chris Brown & Usher’s Opening Tour Night (VIDEOS)

Tom Holland recently earned bragging rights over Lupita Nyong’o after England knocked Mexico out of the World Cup.

The two Hollywood stars had backed opposing sides before the clash, with Holland posing with an England shirt while Nyong’o held up Mexico’s jersey.

The viral moment came during a London photocall for Christopher Nolan’s upcoming film, “The Odyssey,” where they both star.

Tom Holland appears to have bragging rights over his “The Odyssey” co-star Lupita Nyong’o after England ended Mexico’s World Cup run.

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In the build-up to the clash, the pair delighted fans during a promotional photo call for Nolan’s much-anticipated film, with Nyong’o backing Mexico with a green jersey while Holland proudly held up England’s shirt.

Holland’s English roots are well known, while Nyong’o was born in Mexico City to Kenyan parents and has long identified as Kenyan-Mexican.

On the pitch, England backed up Holland’s pick by beating Mexico 3-2 in a dramatic knockout clash at the Azteca Stadium. Real Madrid midfielder Jude Bellingham struck twice in quick succession before Mexico pulled one back, and although England were reduced to 10 men after Jarell Quansah’s red card, Harry Kane’s penalty proved decisive as the Three Lions held on to end Mexico’s run.

Lupita Nyong’o’s Mexico Ties Run Deep

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Nyong’o has often spoken about Mexico as a core part of her identity, with Yale noting that she holds dual Kenyan and Mexican citizenship.

The future Academy Award winner was born in Mexico City in 1983 to Kenyan parents, Dorothy and Peter Anyang’ Nyong’o, while her family was living outside the East African nation. Her name also reflects that story, as “Lupita” is a Spanish diminutive of Guadalupe.

Although she was raised mainly in Kenya, Nyong’o later returned to Mexico as a teenager to study Spanish, spending several months there and strengthening a cultural link that has followed her throughout her career.

That background has also surfaced on screen, most notably in “Black Panther: Wakanda Forever,” where she spoke Spanish as Nakia and later described the moment as a meaningful gift tied to her Mexican heritage.

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Tom Holland And Lupita Nyong’o Were Attending ‘The Odyssey’ Photocall

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The England-Mexico jersey moment between Holland and Nyong’o unfolded in London, where the actors were attending a photocall for Christopher Nolan’s “The Odyssey.” For the event, the cast gathered at Savoy Place on July 5 as part of the film’s promotional rollout.

The event brought out several of the movie’s big names, including Tom Holland, Lupita Nyong’o, Zendaya, Anne Hathaway, Matt Damon, Robert Pattinson, Benny Safdie, John Leguizamo, Himesh Patel, Samantha Morton, Nolan, and producer Emma Thomas.

While the photocall was mainly designed to spotlight the upcoming Homer-inspired epic, it also took on a World Cup twist when two of its most prominent cast members posed in customized football shirts tied to their characters. Holland, who plays Telemachus, was seen with a No. 10 shirt bearing his character’s name, while Nyong’o, who plays Helen of Troy and Clytemnestra, held a No. 5 “Helen” jersey.

Elon Musk Mocked Nyong’o’s Casting In ‘The Odyssey’

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Elon Musk was one of the loudest critics of Nyong’o’s casting in Christopher Nolan’s “The Odyssey,” taking issue with her role as Helen of Troy.

Musk claimed Nolan had “lost his integrity” by casting the Oscar-winning actress. The Independent reported that his comments had sparked accusations of racism after he questioned Nyong’o’s suitability for the role of the mythological beauty.

The tech mogul’s criticism was part of a wider online backlash against Nolan’s diverse casting choices, with many objecting to Nyong’o’s portrayals of Helen and Clytemnestra in the classic Greek epic.

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Lupita Nyong’o Has No Time For Her ‘Odyssey’ Critics

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Nyong’o is not spending her time crafting a defense against critics of her casting in “The Odyssey,” however.

After the criticism that followed the announcement that she would play Helen of Troy and her half-sister, Clytemnestra, the actress appeared to brush off the backlash by reminding the naysayers that “this is a mythological story.”

In an interview with ELLE, she also defended Nolan’s broader vision for the film, saying she supports “Chris’s intention” and the version of the story he is telling.

Nyong’o made it clear she is not interested in debating those opposed to her casting, adding that “the criticism will exist whether I engage with it or not.” Instead, she described the project as part of “the epic narrative of our time.”

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By Chris Snellgrove
| Published 20 seconds ago

As a lifelong fan of Star Trek: The Next Generation, the weirdest thing about Picard was its insistence that the former Enterprise captain and his android subordinate, Data, were just the best of friends. In TNG, Data’s best friend was Geordi LaForge; Picard was somebody he played with on the holodeck when nobody else wanted to watch him play VR Shakespeare. Nonetheless, Picard presented its titular character as best buddies with his former synthetic homie. Maybe Jean-Luc just had dementia; after all, this is the same show where he’s suddenly cool with Starfleet using android slaves, something he helped make illegal decades earlier.

While Picard and Data got a bit closer in the TNG movies (close to a devil’s threesome with a bionic babe, even), they were never in danger of being best friends. Why am I so confident about this? Simple: The Next Generation presents Picard as a man of many hobbies, including literature, archeology, music, and more. Did you know that he tried his hand at art, too? No, you probably didn’t know that, and there’s a specific reason for that. Namely, the one time Picard tried to paint something, Data dunked on it so hard that the captain never picked up a paintbrush again!

Picard The Artist

This story begins with “A Matter of Perspective,” a Season 3 episode of Star Trek: The Next Generation. Inspired by Akira Kurosawa’s classic Rashomon, we get the same story from multiple perspectives. Basically, Riker is accused of some serious crimes, including assaulting a man’s wife before murdering the man. The Enterprise uses the holodeck to recreate very different scenarios as told by very different people. By the end, Riker is exonerated, and it’s revealed that the man he is accused of murdering actually tried to kill Riker, ultimately dying by his own hands due to a freak accident.

Once the episode gets down to business, there isn’t much time for Picard to engage in any of his hobbies. But in the cold open for “A Matter of Perspective,” the captain is doing something deliciously out of character: creating a painting of a woman who is posing nude for all of the artists in the room. Data arrives to deliver a report to Picard; afterward, he offers his artistic opinion on the work done by Lieutenant Wright, whom he claims “has effectively fused the incongruities of the surrealists with the irrationality of Dadaism.” When he looks at Picard’s own painting, his initial comment is just one word: “interesting.” 

Who Arted?

Picard then asks his subordinate the obvious question: “In what way?” With this cue, the android absolutely tears into his superior officer. “While suggesting the free treatment of form usually attributed to Fauvism, this quite inappropriately attempts to juxtapose the disparate cubistic styles of Picasso and Leger,” he said. “In addition, the use of color suggests a haphazard mélange of clashing styles. Furthermore, the unsettling overtones of proto-Vulcan influences–” Picard sarcastically thanks Data, and when the little art critic asks if he can offer any more help, the captain dismisses him.

In the context of “A Matter of Perspective,” this cold open is meant to offer some light humor before we settle into a rather dark and serious episode. But here’s the thing: after Data’s criticism, Picard literally never paints again. Why is that, you think? No need to guess: in a deleted scene, the captain throws red paint at his creation in shame over Data’s criticism. This is a guy who sustained his interest in literature, music, and even archeology for decades, but he gave up his new painting hobby immediately because he never wanted to hear that know-it-all android be rude about his art, ever again.

Data Makes Motel Art

You know the real gutpunch of a punchline? In Picard, one plot point revolves around a painting created by Data, and guess what: as a piece of artwork, it absolutely sucks. There’s no real tension, the symbolism is obvious, and the bland, boring sky takes up over half the image just to serve us warmed-over symbolism. This android destroyed a lifetime of artistic aspirations for Captain Picard only to use his advanced positronic brain to create a badly-lit painting featuring a woman practically floating off the canvas. Maybe I’m being a little too harsh about Data’s creative abilities, though, and I should really acknowledge his limitations.

After all, what were any of us really expecting from AI art?