Mark Wahlberg allegedly found an expensive way to get revenge on Harvey Weinstein after becoming upset over how the disgraced producer handled one of his early dramatic films. According to Hollywood agent Ari Emanuel, Wahlberg ordered several bottles of rare Petrus wine during the Cannes Film Festival and charged them to Weinstein’s account after his performance in “The Yards” was reportedly diminished in the editing room.

Mark Wahlberg Had ‘High Hopes’ For ‘The Yards’

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According to Page Six, Emanuel shared the story in his new memoir, “Roll the Calls,” which was released on September 17. Wahlberg has not publicly confirmed the account, while Weinstein’s representative said the former producer does not remember the alleged incident.

He recalled securing Wahlberg a role in the 2000 crime drama “The Yards” while the “Boogie Nights” star was still trying to establish himself as a serious actor. The James Gray-directed movie also featured Joaquin Phoenix, Charlize Theron, and the late James Caan. According to Emanuel, everyone involved had “high hopes” for the project, “especially Wahlberg, who’s still looking to break through.”

However, the agent claimed Weinstein began interfering with the movie during post-production. The producer was “a d-ck,” Emanuel wrote. “You never know what kind of sh-t this guy might pull. And sure enough, he starts showing up in the editing room, butting in where he doesn’t belong…This producer, of course, is Harvey.”

“The Yards” was eventually selected to compete at the Cannes Film Festival. However, its reception was not what Wahlberg and his team had hoped for. Emanuel claimed the film was criticized after its festival screening and that Wahlberg was devastated to discover that much of his “gutsy performance” had been removed.

The Actor Allegedly Ordered Bottles Of Rare Wine

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Toward the end of the festival, Wahlberg reportedly had dinner with Emanuel in his hotel suite and ordered red wine. It was not an ordinary bottle. “Not just any red, one of the most expensive in the world,” Emanuel wrote. “Petrus. I don’t know anything about wine, and I know this is the sh-t.”

The agent emphasized how expensive the selection allegedly was. “The average age of a Petrus vine is older than my grandfather. Each bottle goes for somewhere in the neighborhood of $10,000.”

Wahlberg reportedly ordered multiple bottles and charged them to Weinstein’s account. “Revenge,” the actor allegedly said as he raised his glass. It remains unclear exactly how many bottles were ordered or what the final charge amounted to.

Harvey Weinstein Was Reportedly Furious Over The Bill

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Emanuel claimed the expensive order did not go unnoticed. During a large party on the final night of the Cannes Film Festival, Weinstein allegedly approached the agent in a rage over the wine bill. “Your client has crossed the line, Ari!” Emanuel recalled Weinstein shouting. “Petrus? PETRUS? That sh-t cost a f-cking fortune!”

Emanuel wrote that he attempted to remain composed despite Weinstein’s reputation for having a volatile temper. The agent claimed Weinstein then poked him in the chest with a finger that “looks like a baby carrot dipped in motor oil.” “I tell Harvey to step off,” Emanuel recalled. “And I promise that if he ever lays one of his filthy little digits on me again, I’m going to snap them off one by one.”

The confrontation allegedly ended without becoming physical.

Weinstein’s Representative Questioned The Story

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Weinstein’s spokesperson responded to Emanuel’s account by saying that the former producer could not independently confirm a dispute over the wine.

“Harvey remembers having disagreements over films and expenses for most projects, but whether Mark Wahlberg ordered expensive wine at Cannes and put it on Harvey’s bill more than 25 years ago isn’t something he recalls or can independently reconstruct,” the representative told Page Six.

However, Weinstein’s camp offered a positive assessment of Wahlberg’s work in the movie. “‘The Yards’ is one of Harvey’s favorite movies and Mark Wahlberg did an amazing performance, and the film was accepted at Cannes,” the spokesperson added.

Ari Emanuel’s Memoir Revisits His Hollywood Career

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“Roll the Calls” includes stories from Emanuel’s decades working as one of Hollywood’s most powerful talent agents. The 65-year-old businessman is the chief executive of Endeavor and has represented or worked alongside some of the entertainment industry’s biggest names.

At the time, Weinstein was one of the film industry’s most influential figures through Miramax, the company he co-founded with his brother, Bob Weinstein. In addition to Wahlberg and Weinstein, the memoir reportedly contains behind-the-scenes stories involving Elon Musk, Larry David and Donald Trump.

Harvey Weinstein Remains In Custody

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Weinstein’s Hollywood career collapsed after numerous women publicly accused him of sexual misconduct beginning in 2017. His current legal status involves separate criminal cases in New York and California.

Weinstein was convicted in New York in 2020, but the state’s highest court overturned that conviction in 2024 after finding that the trial judge improperly allowed testimony concerning allegations that were not part of the charges being tried.

A 2025 retrial resulted in Weinstein being convicted of a first-degree criminal sexual act involving former production assistant Miriam Haley. The Manhattan District Attorney’s Office confirmed that verdict in June 2025. The same jury acquitted him of a separate charge and was unable to reach a verdict on a rape allegation involving Jessica Mann.

Prosecutors tried the Mann charge again in 2026, but that proceeding also ended in a mistrial. The charge was later dismissed after Mann said she could not endure testifying for a fourth time.

Weinstein also stands convicted of rape and sexual assault in California. An appeals court upheld that conviction in June 2026 but ordered that he be resentenced because the original judge had considered the now-overturned New York convictions when determining his punishment.

He has denied engaging in nonconsensual sexual activity and continues to challenge his convictions.

For more than two decades, “Survivor” has tested the castaways’ ability to outlast the competition. Since its debut in 2000, the reality show has evolved with new twists and challenges, but the million-dollar cash prize has stayed the same for most of the series. Ahead of the Season 51 premiere, host Jeff Probst unveiled a surprising prize shake-up that could affect future seasons of the long-running show.

Jeff Probst Shares Major Prize Twist For ‘Survivor 51’

“Survivor 51” is scheduled to premiere on September 23, and host and executive producer Jeff Probst revealed some interesting information about the long-standing competition series.

The new season brings together 21 new castaways competing for the title of the Sole Survivor and the $1 million prize. It follows the milestone 50th season, which featured a cast made up entirely of returning players.

Ahead of the new season, Probst teased what’s in store for the New Era of “Survivor” and revealed a twist that “blew [the players] minds in the best way.”

In a recent interview, Probst said they had been playing with old ideas and adding new spins to deliver something fresh for the fans and contestants. One of these was the coin flip introduced in Season 50, which was conceptualised by YouTube sensation Mr. Beast.

The ‘Survivor’ Coin Flip Returns With A Game-Changing Element

In Season 50, celebrity fans, including Billy Eilish, Jimmy Fallon, Zac Brown, and Mr. Beast added special twists to the game.

Mr. Beast’s involved doubling the prize money, but it came with a risk. One player had to flip a coin to decide whether they would be eliminated or double the prize.

The million-dollar coin flip is back, but an added element could affect future seasons of “Survivor.”

“So in Survivor 51, at some point, a player’s going to flip a coin for a million dollars. If they land it, the prize pool will be $2 million for 51. If they don’t land it, that million dollars will go into ‘Survivor 52’ and somebody will flip a $2 million coin making the prize money $3 million,” Probst told The Hollywood Reporter.

Simply put, the prize money would continue increasing by $1 million each season until a player successfully wins the coin flip.

The High-Stakes ‘Survivor 50’ Coin Flip Paid Out

The Season 50 coin flip happened when 10 players remained in the game. After the mechanics were revealed, Rick Devens, who felt he was at the bottom of the tribe and would be voted off, immediately volunteered to toss the coin.

He had a 50/50 shot at an extra $1 million, but losing meant elimination. Devens called heads and the risk paid off. He secured immunity and doubled the prize, leaving the other castaways in disbelief and awe.

The ‘Survivor’ Prize Money Has Only Been Doubled Twice

There’s a good chance you’ve seen something Max Winkler has worked on. His television directing resume is long, including everything from Ryan Murphy shows like American Horror Story, Feud: Capote vs. The Swans, and Monster to comedies like New Girl, Fresh Off the Boat, and Crazy Ex-Girlfriend. His list of film credits is smaller but just as impressive, including the underrated, irreverent dramedy Flower, which was nominated for Best U.S. Narrative Feature at Tribeca in 2017, and sports drama Jungleland.

Winkler once again reunited with Murphy and Ian Brennan to direct Monster: The Lizzie Borden Story, which follows a young woman (Ella Beatty) who was accused (and later acquitted) of killing her parents with an axe in Fall River, Massachusetts, in 1892. Those who have watched the previous installments of Monster might be surprised to know that this season takes on a more overly comedic tone, though that humor is, admittedly, extremely dark. The show has a unique visual language to match its zany dialogue, making for a fun and stylish watch.

Collider got the chance to speak to Winkler about crafting the series’ look and feel. During the conversation, he discussed the references he drew inspiration from, filming that wild vomiting scene, why he views the show as a love story at its core, and more.

‘Monster: The Lizzie Borden Story’s Director Breaks Down the Show’s Unique Visuals

“The rules were kind of like, ‘Let’s be on acid.’”

COLLIDER: First of all, I just want to say I love Flower. It’s one of my favorite movies.

MAX WINKLER: They’re kind of companion pieces.

They really kind of are, in a way! I am so obsessed with the aesthetic of the show and some of the shots: with the soup, the flash pan where she hits her in the face. How did you develop the visual language for this, and what were some of the inspirations for it?

WINKLER: I love these directors, Powell and Pressburger. They did The Red Shoes and Black Narcissus, and their stuff is very theatrical. It’s lit in a very specific English way with very hot lights. Michael Bauman is the cinematographer. He’s a genius. He was nominated for an Oscar this year, and we did Ed Gein together, and we just wanted it to be kind of berserk and crazy. We had rules, but the rules were kind of like, “Let’s be on acid.” That was why we had the iris thing and why the camera moves so crazy.

I was in film school at USC, and Joe Wright brought Pride & Prejudice to our class. I was really inspired by it because he’s dyslexic, and I’ve always been very, very dyslexic. I loved watching a period piece where you could actually feel the makeup peeling off. I loved that you could feel the sweat, the hair wasn’t perfect, and the furniture was falling apart. And then he did Atonement after that, and the camera moved super deliberately. I thought about Atonement a lot, Age of Innocence, South Park. And then something that was important to me was Noises Off, which is a play and a movie where people are constantly walking in and out of rooms, slamming doors, coming back, and I loved the rhythm of it all.

I feel like that really shines through. Is there a certain shot that you are proudest of?

WINKLER: No, I don’t care about the shots. I try really hard to make them great, and I love the opening, but I’m proudest of the actors. I think the ensemble is so, so good. I love Nancy O’Neill smoking a cigarette, pissing in a chamber pot, and putting in her fake teeth. I love everything Rebecca Hall does. I love Vicky cleaning the couch. I love Ella standing with the tea like a freak. I love Charlie smoking his cigar and getting his feet rubbed. There are so many things I love in it. I wanted the actors to feel really free, and I wanted to protect them so they could do weird stuff and we could just experiment because the scripts are so good. I wanted it to have energy, excitement, and immediacy.

‘Monster: The Lizzie Borden Story’s Director Says the Show Is a Love Story

“When you have an actor who is doing that and surprising you, you want to shoot it.”

I’m so glad you mentioned the couch scene because I love the sort of sexy moments you find in things that are not traditionally sexy. We have that and the cherry bath, which is a little bit bizarre. I’m curious if you can talk about finding the sensuality in these really interesting moments.

WINKLER: I think of the show as a love story between Bridget and Lizzie. That was very much my North Star when we were making it with Ryan and Ian and what we talked about. I could feel their chemistry so strongly. And Vicky is like Greta Garbo. She can just make anything interesting. I didn’t even know that those were the socks that Vicky was gonna wear. Vicky chose those socks and stirrups without telling anybody. That was just her idea, so I’m seeing that for the first time, and then, when you have an actor who is doing that and surprising you, you want to shoot it. That’s what makes it sexy — when she lifts it up and you see that sock. I always knew that I wanted the couch cleaning to have dissolves and to be this very romantic, sexual moment, because we’re in such a repressed time where nobody says what they’re feeling. I wanted Vicky to be the inciting incident — to be the crack in the paint that kind of unlocks the whole thing.

‘Monster: The Lizzie Borden Story’s Director Talks Shooting That Vomit Scene Practically

“It was like preparing for Omaha Beach in Saving Private Ryan.”

Image via Netflix

I also have to ask about the projectile vomiting.

WINKLER: People are very into that.

I’m just curious how you approach that logistically.

WINKLER: That was difficult. Our best people were on it. It took so long. It was so hard. I was so scared. It was all practical. The editing of it was a beast. Jack Price, our editor, is a genius. Greg Pawlik, our AD, was a genius. Louise Shore, our producer, figured out how we could do as many tests as possible. Ante, our special effects guy, did tests. Rebecca’s terrified of things in her mouth, having to vomit, and being around people who vomit, so that was horrible. Charlie actually ate one of those oysters for me. The diarrhea I’m very proud of because we do a crash zoom on Charlie’s pants in that moment. Ian wrote, “It’s the cardamom,” so when you have an amazing line like that, it all totally makes sense. But it was like preparing for Omaha Beach in Saving Private Ryan. It was so hard, and it was about getting the consistency right — doing it without the vomit, then doing it with the vomit. How far can the vomit go before we lose them? Ryan and I talked about, very early on, that we wanted it to feel like when you go to the Bellagio, and you hear the Andrea Bocelli song and that it was like a symphony, so I hope we did it.

Oh, you absolutely did. Very memorable. This is obviously not the first time you’ve worked on the Monster anthology. Is there a story that you think is ripe for getting the Monster treatment?

WINKLER: I don’t know. I’m always blown away at what Ryan and Ian come up with. I think they’re geniuses and so sensitive and curious that my favorite part of the process is being surprised by them. They were originally going to write about something else, and they were hitting some roadblocks in their creative process. They couldn’t figure out what the way through was. Getting that phone call, I was editing Ed Gein and a day away from starting Love Story. Charlie and Ryan called me, and he said, “What do you know about Lizzie Borden?” I said, “Very little except that I made a movie with Charlie and Jess Barden in Fall River, Massachusetts.” And he said, “Will you read some of these pages for me?” And I said, “I thought you were making a show about so and so.” He said, “Just read it and tell me what you think.” The tone and the deliciousness of it were there. It was perfect in the way that Ian writes and the dramaturgy that comes from Ryan’s brain. That is my favorite part — them saying, “Will you read this?” and getting to be shocked and surprised.

Monster: The Lizzie Borden Story is streaming on Netflix.

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Release Date

2026 – 2026-00-00

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Netflix

Directors

Max Winkler, Sarah Adina Smith

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Writers

Ian Brennan

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Cast

• 

  Vicky Krieps

  Bridget Sullivan

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  Ella Beatty

  Lizzie Borden

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Blair Underwood is officially back on Doc but his character will go through a surprise change — and there’s a reason for that shift.

During the season 3 premiere, which aired on Tuesday, September 22, Ben (Underwood) returned to Westside Hospital with a different look after opting for a more fresh-faced look on his first day. Underwood, however, exclusively told Us that shaving his facial hair wasn’t actually a reflection of the story.

“I didn’t want to show a different side of [him through his appearance],” Underwood, 63, clarified. “I am actually doing a different project that I can’t speak to right now. But it was mandatory that I had to be clean shaven for that.”

Underwood thanked production for leaning into the change for Ben, adding, “Doc was so open to it. Their production company, all of them and the producers said, ‘You know what? We love that you’re doing that so we’ll work around it.’”

Ben was originally introduced at the end of season 2 as someone from Amy’s (Molly Parker) past. While Amy didn’t have much of a recollection of their time together, the viewers got a glimpse at a moment that confirmed Ben and Amy’s past romance.

“I would say Ben and Amy’s relationship in the early days in the past was very hot and very spicy,” Underwood teased. “She’s in the clear, which is important to know. It’s after her divorce and it is before she has a connection with Jake.”

He continued: “I can say that they would spend weekends together sometimes, and it was sporadic, but it was something they both enjoyed and were both drawn to keep repeating their time together.”

Underwood also noted that Ben “was there first” before Amy found love with Jake. After joining the show, Underwood recalled being clued in to the fact that he would be part of a new love triangle.

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“I just really don’t think much about it, to be honest with you,” he told Us about his approach. “Coming into an established show, I trust the writers and the producers. They know what they’re doing. So I just kind of play my part, hit my mark, say my lines and bring what I bring to it. But in terms of everything else, that’s so far out of my hands.”

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Underwood, who hasn’t even filmed half of the episodes from season 3 yet, is excited for what comes next.

“I got the majority of the secrets. We talked about the overall general arc of the character,” he recalled. “And the specifics in terms of all the secrets … I don’t know. There’s a long way to go.”

Doc airs Tuesdays on Fox at 9 p.m. ET.

The Real Housewives of New York City newbie Hailey Glassman opened up about the downsides to life in the spotlight while reflecting on her relationship with Jon Gosselin.

During the Tuesday, September 22, episode of the Bravo series, Hailey, 39, recalled the origins of her “unconventional marriage” to husband Rubin. (Hailey noted she goes out with other women, but she insisted the couple aren’t polyamorous.)

“When we got married, there was a lot going on. I was in the tabloids,” she explained, reflecting on her history with Jon, 49. “I just wanted to be safe.”

According to Hailey, Jon “was best friends with my mom before Jon & Kate Plus 8 ever existed.” (The Gosselins’ show originally aired from 2007 to 2009 on TLC before returning as Kate Plus 8.)

Related: Which of Jon Gosselin‘s Exes Just Joined ‘RHONY‘ Season 16?

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“[Kate] had six kids at once and wanted a tummy tuck,” Hailey told costar Jessel Taank. “So my dad did the tummy tuck and my mom recovered her at the house and stuff, and from there, they became family friends.”

Hailey claimed that Jon asked her parents if he could stay with them for a while because he and Kate, 51, were “separated” but “couldn’t tell the public.”

“I come home from college, [it’s] 2009,” she continued. “I was 22, and at that point, they were already separated and not together. But the public didn’t know. So a friendship turned into more.”

Hailey recalled being photographed with Jon while on her dad’s boat. “And then it was on TMZ and they were like, ‘Jon with mystery woman.’ … So it became, like, this whole, ‘Homewrecking Hailey, she ruined a family of eight,’ and that was never the story,” she said about the headlines, calling out the “salacious lies” that were allegedly spread about the pair’s relationship.

Hailey and Jon were together for less than six months in 2009. “We broke up because when you’re in the media and you’re in tabloids, it’s awful. And I was just so beaten down,” she admitted.

The new Bravo star shed more light on her past in a confessional, claiming that she felt destroyed by the public’s perception of her connection with Jon.

“At 22, you don’t know who you are,” she said. “It’s almost like, if you could rewind your life in time and pinpoint that one moment where a piece of you died, but there was no funeral for you. That whole ordeal ruined my life.”

Despite the challenges she faced, Hailey pointed out that the ups and downs led her to finding her husband. She reconnected with the businessman, who she had known “since he was 12,” following her fling with Jon.

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“The whole Jon Gosselin situation, if that never happened, my life would be completely different today. … I would have never married Rubin. I would have never chosen a life based on safety and survival,” she told the cameras. “I didn’t choose a life that I wanted for myself, I chose a life to be safe. I needed to protect myself and my soul.”

Jon was married to Kate, with whom he shares eight children, from 1999 to 2009. He exchanged vows with wife Stephanie in 2025.

The Real Housewives of New York City airs on Bravo Tuesdays at 8 p.m. ET.

Few friendships in Hollywood are more enviable than that of Matthew McConaughey and Woody Harrelson. The two sons of Texas started in comedy before branching out into dramatic roles, and have been close friends since the 1990s. They first appeared together in the forgettable 1999 Truman Show imitator EDtv, but their most triumphant moment came with the first season of True Detective, playing an odd pairing of lawmen in one of the finest single seasons of television ever made. The similarities between the two have been widely discussed, with even the actors themselves suggesting they may be brothers. Their new Apple TV comedy asks: What if that were really the case?

What Is Apple TV’s ‘Brothers’ About?

The premise for Brothers, as the opening title acknowledges, is based on “a true rumor,” in which Harrelson revealed that McConaughey’s mother claimed to have known his father intimately, leading to speculation that they might actually be half-brothers. The Apple TV sitcom centers its story around a fictionalized version of the two stars’ lives in which “Ma Mac” (Holland Taylor) drunkenly tells Harrelson the same story before dismissing it the following day. After fleeing to McConaughey’s house, Harrelson imposes himself on his friend’s life, causing one catastrophe after another as the Oscar winner attempts to run for political office.

Determined to find out the truth about his origins, Harrelson investigates his father’s past while surreptitiously attempting to collect McConaughey’s DNA. Along the way, the pair fall out, get into adventures, and realize that regardless of any blood ties, their bond still runs deep. McConaughey and Harrelson are credited as creators on Brothers alongside David West Reed (Schitt’s Creek) and Lee Eisenberg (Jury Duty), who also serves as showrunner. Natalie Martinez and Brittany Ishibashi play the two stars’ long-suffering wives, while Lisa Gilroy appears as McConaughey’s emotionally detached, ruthless campaign manager.

‘Brothers’ Borrows the Blueprint of Older Sitcoms

IMAGE: Apple TV

From the start, it’s very clear that Brothers is anchored by the charm of its two leads, with everyone else’s job to make a show out of it. For the most part, it works, but considering that the last time these two shared the screen resulted in television history, this easy, breezy comedy can’t help but feel a little thin by comparison. Brothers borrows the blueprint of almost every sitcom that came before it — one character invades the life of another, turning his ordered world upside down with hijinks and hilarity. Whether it’s hunting trips, a new dog, or one drink that turns into a disaster, Harrelson is the catalyst for chaos, with McConaughey having to clear up the mess.

The series’ humor works, coming off like a mix of My Name is Earl and Two and a Half Men, but it never really stretches for something new, instead relying on familiar sitcom tropes and low-hanging fruit for easy laughs. At eight episodes of about half an hour each, Brothers works as a light antidote to more serious streaming fare, although the supporting characters are never really developed enough to result in memorable B-plots. Instead, we’re simply waiting for the next interaction between the titular brothers, enjoying our time with them while the show’s overarching mystery is slowly explored.

Holland Taylor Is the Biggest Surprise of ‘Brothers’

Image via Apple TV

Taylor is the exception when it comes to Brothers‘ supporting cast, delivering a performance that is one of the show’s secret weapons — hard-drinking, foul-mouthed, gun-toting, and absolutely delightful in every moment. She may be best known to sitcom fans for a similarly pitched role as the mother of the brothers in Two and a Half Men, but Ma Mac is entirely Taylor’s own creation. Sporting a frightful suntan, she cradles a drink in every scene while issuing withering put-downs. She and Harrelson make a great duo, with the latter’s befuddled nature repeatedly playing the fall guy to her scheming. She’s the closest thing Brothers has to an antagonist, but like everything in the series, her plotting shouldn’t be taken too seriously.

Brothers‘ remaining ensemble mainly exists to reflect the show’s leads. Harrelson’s children balk at the discipline that the McConaughey brood are subjected to but also lash out to earn the attention of a father who prefers a hands-off approach to parenting. It’s a shame there isn’t more time devoted to defining these characters, as they mostly blend into one during the course of the season. Gilroy is fun to watch as the campaign manager who seems to have little respect for McConaughey, with some wickedly caustic lines about his achievements. The show wisely doesn’t try to satirize show business too much, but her character injects a welcome dose of Hollywood cynicism.

Matthew McConaughey and Woody Harrelson Are the Heart and Soul of ‘Brothers’

Of course, no one’s really here for groundbreaking comedy or the second coming of True Detective. Brothers is sold on the charisma of the two real-life besties, and in that sense it delivers. There is something genuinely lovely about seeing Harrelson and McConaughey together again, with a chemistry that can’t be faked and the kind of tempestuous relationship that makes you really believe they may be related.

The most fun comes from the scenes where the actors lean into their public perception. The fictionalized Harrelson is a hippie who lives in a van with a mural that includes Greta Thunberg, kicks up a fuss when the Uber driver uses air conditioning, and is never far away from a joint. Meanwhile, McConaughey is presented as living his folksy lifestyle 24/7, quoting commercials to his son and acting, in Harrelson’s words, “like a belt buckle come to life.” The self-awareness with which the two approach their performances is everything fans want, and as close as most of us will get to hanging out with two of Hollywood’s most unique personalities. One suspects their off-screen adventures are much wilder, and perhaps there’ll be some version of them in a potential Season 2.

To borrow the Dallas Buyers Club star’s own phrase, Brothers is content to “just keep on livin’.” It’s far from the television event of the year, but it’s an easygoing binge that flies by, leaving you with the sense that the two actors are exactly who you hoped they would be. Any continuation would need more thoughtful plotting, but taken on its own merits, the show is alright, alright, alright.

Brothers premieres September 23 on Apple TV.

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Release Date

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September 23, 2026

Network

Apple TV

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Directors

Trent O’Donnell, Jason Winer

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Pros & Cons

• McConaughey and Harrelson are a joy to watch together.
• Holland Taylor is great fun as Ma Mac.
• The show’s episodes make for a quick, easygoing binge.

• Brothers relies pretty heavily on classic sitcom tropes.
• The supporting characters are thinly written.

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Hilary Duff is officially having a Reebok moment. The singer, actress and longtime Reebok fan was recently named the brand’s newest ambassador, making her debut in the “Unfiltered & Unstoppable” campaign. And if her go-to sneakers are any indication, the appeal is all about shoes that can handle a workout without looking like they belong exclusively at the gym.

Duff has singled out the Reebok Club C 85 Vintage as her “all-time favorite,” shared with Us via e-mail. The mother of four also wears performance-focused styles like the Nano X5 and FloatZig 2. Her campaign and recent style picks make a strong case for sneakers that can pull double duty — whether you’re heading to a workout, running errands or putting together an off-duty outfit.

13 Reebok Sneakers That Go Beyond the Gym

1. Our Favorite: This is the pair to reach for when you want one stylish sneaker to cover workouts, errands and everything in between. Its sporty construction keeps it practical for active days, while the streamlined shape makes it easy to wear with jeans, leggings or casual dresses.

2. Runner-up: For shoppers who want workout-ready support without sacrificing everyday style, this pair strikes an easy balance. The versatile silhouette can transition from the gym to coffee runs without requiring a full outfit change.

3. Celeb-Approved: Take a cue from Duff with this classic Reebok pick that works well beyond your fitness routine. It has the kind of timeless sneaker shape that looks just as natural with relaxed denim as it does with activewear.

4. Designer-Looking: This pair brings a more polished feel to the classic sneaker, making it an easy choice when basic athletic shoes feel too sporty. Wear it with trousers, straight-leg jeans or a casual skirt for a dressed-up take on everyday sneakers.

5. Everyday Essential: If you’re constantly looking for a comfortable shoe to throw on before leaving the house, this is the practical pick. Its easygoing design works with the casual pieces you already own, from leggings and joggers to denim and oversized tees.

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6. Retro Pick: Lean into Reebok’s throwback side with a retro-inspired sneaker that adds instant personality to simple outfits. It’s an especially easy way to make leggings and a sweatshirt look more intentional.

7. Walking-Friendly: For days when your step count starts climbing, this pair offers a more movement-focused option without looking overly technical. It’s the kind of sneaker you can wear for a long day out and still keep in rotation afterward.

8. Low-Key Classic: Minimalists will appreciate this understated silhouette, which can blend seamlessly into an everyday wardrobe. Pair it with neutral basics when you want your sneakers to complement an outfit rather than dominate it.

9. Workout Pick: Trust the Ladder ambassador for a workout shoe that won’t look out of place once the workout ends. Its athletic design makes sense for active days while remaining easy to style with casual clothes.

10. Street-Style Favorite: Give your off-duty wardrobe a sporty update with this streetwear-friendly silhouette. It can add a cool contrast to feminine pieces or make a simple jeans-and-tee outfit feel more current.

11. Comfort First: When comfort is nonnegotiable, this pair is an easy addition to your sneaker rotation. It’s suited to shoppers who want something practical enough for everyday movement but polished enough to wear outside the gym.

12. Throwback: A vintage-inspired sneaker can make even the simplest outfit feel styled, and this one brings that nostalgic Reebok look into your current wardrobe. Try it with relaxed denim, leggings or other casual fall staples.

13. Versatile Pick: For anyone who hates having separate shoes for every part of the day, this is the multitasker to consider. The combination of an athletic feel and everyday-friendly design makes it an easy candidate for everything from morning workouts to afternoon errands.

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Post-apocalyptic films, despite the global scale of their premise, work best as introspective reflections on humanity, exploring all the strengths and flaws that come with the mortal experience. While many sci-fi stories explore the adventurous aspects of surviving the end of the world — rugged survivalism, mutated creatures, and abandoned cityscapes, the most compelling stories in this genre are centered around the question of what it truly means to continue living in a world that is desolate, unforgiving, and lonely. This is a critical distinction that separates apocalyptic and post-apocalyptic movies, separating the Roland Emmerich-style disaster movies from the slower burn of other films.

Z for Zachariah is one such example of a character-driven drama set in the end-of-days. The film delves headfirst into this question of human survival and coexistence as it explores the lives of three unlikely survivors of a nuclear apocalypse, forced to navigate life within the confines of a miraculous safe haven. Based on a novel from 1974, the underrated sci-fi picture is one of the most personal post-apocalyptic stories out there, featuring a starkly minimal cast of just three actors — but when that cast includes Margot Robbie, Chris Pine, and Chiwetel Ejiofor, there’s still an overabundance of talent and depth present throughout the film.

Directed by Craig Zobel, the indie sci-fi thriller still has plenty of post-apocalyptic intrigue, but in a dead world, the most compelling stories are about the scarce few that remain. Despite the star power in the film, Z for Zachariah only received a limited release and minimal media attention. However, a retrsopective look back at the picture proves that it’s an underrated and important addition to each of these actor’s respective filmographies.

‘Z for Zachariah’ Takes a Personal Approach to the Post-Apocalyptic Genre

Image by Lionsgate

Z for Zachariah is set in a dying world rendered uninhabitable by a nuclear apocalypse. However, within an isolated valley in the Southern United States, a young woman named Ann Burden (Robbie) lives a miraculous life shielded from the radiation outside her humble homestead. Surviving thanks to the miraculous microclimate in the valley, Ann and her dog Faro keep a simple and steady life as they plant and harvest in preparation for the impending winter, motivated by the ever-dimming hope that her family will return from their expedition outside. But Ann’s loneliness is poised to come to an end when John Loomis (Ejiofor), an engineer and researcher, finds his way into the valley. Upon discovering that the valley was spared from excessive radiation, Loomis rushes to bathe in a seemingly crystal-clear lake. However, Ann discovers him and warns him that the water is irradiated because it comes from outside the valley. Without second thought, Ann swiftly takes the stranger into her home and nurses him back to health.

Once Loomis regains his strength, he and Ann continuously grow closer to one another as they steadily build a life in the valley, supplementing each other’s survival despite the secrets that keep a degree of distance between the pair. John’s engineering background proves to be an immeasurable asset as he begins undertaking projects around the farm, improving the scarce living conditions with practical and hands-on solutions that make survival significantly more comfortable. But just as a shade of normalcy begins to form for the pair, a stranger arrives in the valley and shakes up the already tenuous balance. Caleb (Pine), a miner who survived the apocalyptic fallout by remaining underground for months, arrives with rumors of a town of survivors further south. Similar to her earliest interactions with Loomis, Ann proves to be trusting and earnest upon meeting another living person, eager to give help to a fellow survivor. In contrast, Loomis feels suspicious and skeptical of Caleb, initially planning to ask him to leave before being dissuaded by Ann. The initial meeting and following days after Caleb’s arrival are marked by a cold tone, one that dances between Loomis’ suspicion and the group’s dependence on each other for continued survival, adding significant tension to the film with the sole addition of one new character.

That focus on character interactions and tension is what makes this movie stand out from others in the genre. Despite being a sci-fi film, Z for Zachariah takes a far more grounded approach than others in the genre. Most of the science in the film is relatively small-scale and realistic, focused on realistic survival strategies such as fixing a water wheel to generate power, even with the dramatic background of nuclear fallout just outside the valley. And despite the differing professional backgrounds of each character, it’s quickly affirmed that each of them brings a set of skills that are essential for their survival. Loomis uses his engineering background to manually pull fuel from an abandoned gas station, Ann’s farming knowledge keeps them fed, and Caleb’s hands-on mechanical experience proves a welcome addition. While the fiction part of science-fiction in the film is mostly in the background, the destruction of the nuclear apocalypse still serves as the overarching catalyst for the central conflict: the tension between the survivors.

The Survivors Navigate Love, Trust, and Jealousy During the End of Days

The small-scale perspective of this post-apocalyptic film means that John, Caleb, and Ann won’t be solving the problem of saving the entire world — in fact, because of the safe haven of their miraculous valley, their immediate survival isn’t a pressing concern as it would be for other characters in the same genre. The valley is one of the most hospitable settings of a film set after nuclear fallout, which allows the central narrative to truly sit with the characters and their interpersonal relationships. Even though there are fewer than a handful of characters, it’s Margot Robbie’s portrayal of Ann that serves as the central foundation for the entire film. It’s her stalwart care of the farm before Caleb and John arrive that provides such a safe haven for them to arrive at, and it’s her earnestly friendly personality that enables coexistence in such a tense environment. Ann is a kindhearted and steady Southern belle, faithful and optimistic even after suffering immeasurable loss. While Robbie’s Southern accent wavers at times, her performance is nonetheless endearing and heartfelt, maintaining an irrefutable charm despite the melancholic tone of the story. One of the keys to Robbie’s performance is her measured restraint. Despite her character’s innocence and naïveté, she’s not an easily manipulated farm girl but a young woman driven by her staunch hope and values.

The other characters then play important juxtapositions to Ann’s character. In contrast to Ann’s steady faithfulness, Ejiofor’s Loomis is a stoic and troubled figure. Despite his reliable nature and incredibly useful expertise, Loomis carries a haunted past on his shoulders, a burden and distance expertly portrayed by Ejiofor’s performance. While Ann holds onto hope due to her religious upbringing, Loomis continues to push forward because of his own resilient dependence on science. But though he doesn’t hold the same religious faith as Ann, Loomis does remain respectful of the source of her unwavering conviction. Loomis relies on his scientific background as the foundation for his continued perseverance, but intellectual knowledge alone soon proves lacking for sufficient survival. Despite being the most tangibly useful member of the group, Loomis also harbors the most insecurity and guilt about his past — shortcomings that prevent him from truly connecting with Ann and Caleb. Though his presence proves vital for improving the physical conditions of their home, his detachment keeps their living situation cold and the tensions hot throughout the film.

While John and Ann serve as the foundational relationship in the story, Caleb is the wildcard that disrupts whatever shade of stability they are forming. A religious person like Ann, Caleb retains his southern charm and manners that make him easy for the young woman to connect to. Even with her trusting nature, Ann’s trust in Caleb is formed through their shared beliefs and backgrounds, which serve as nostalgic remembrances of life before the apocalypse. However, Caleb isn’t introduced as a straightforward charming gentleman, but as someone who carries an air of danger around him. For once, Pine’s striking eyes aren’t painted as the charming baby blues of a romantic lead, but like the ice-cold stare of a wolf, indicating a strong defiance and confidence. Just as John and Ann’s relationship begins to deteriorate over concerns about issues of trust and affection, Caleb and John enter a Cold War over their third companion’s attention. It’s a cold and passive-aggressive war, one that cannot be fought outright, but remains a nagging tension throughout all their interactions. Each moment between the two is thrilling, as the audience is unsure what they are going to say, or even worse, what they are going to do.

At first, the quietly brewing love triangle between Ann, Caleb, and John may feel out of place, considering the more pressing concern about survival in such an inhospitable environment. However, its inclusion in the film instead makes these characters feel all the more human; it makes their unexpected coexistence in the valley feel like the random shuffle of existence, rather than an intentionally written narrative. There is something viscerally human about John’s jealousy over Caleb. Despite his mechanical expertise and knowledge, his inner emotional turmoil ultimately supersedes his own rational thinking. Caleb, on the other hand, is painted in a more intentionally antagonistic lens, lording arrogantly over the other man at any given opportunity. However, even with this initial framing, both characters are multidimensional and can be seen from the other lens. John is still fallible and deserving of criticism and Caleb, despite his air of mystery, likewise deserves a chance to prove himself trustworthy. Ultimately, the two men are forced to remain cordial, forced to work with one another, and forced to believe that everything will be okay.

At the center of it all is Ann, whose guarded optimism about the world serves as the guiding beacon of hope in Z for Zachariah. Though her companions often underestimate her because of her youth, Ann is equally as complex a character as her male counterparts. While she remains optimistic and hopeful, she demonstrates an acute understanding of the reality of the situation. Although her hope for the future is often misinterpreted, she is not naive — though she is still flawed. Similarly to the other two characters, Ann’s approach to processing complex emotions suffered from her time in isolation, making her susceptible to emotionally charged and unsteady decisions. While audiences might get frustrated at moments when the characters act irrationally, it’s these moments that make them feel more human and relatable. So even when they’re all trying their best, the small contingent of survivors still have to contend with their internal turmoil, just as much as they have to deal with the harsh external world.

The Film Is Slow and Contemplative With its Characters

Image via Lionsgate

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Audiences shouldn’t watch Z for Zachariah with expectations of an adrenaline-pumping sci-fi thriller, despite the genre it falls under. The film is slow, contemplative, and brutally realistic about the interpersonal struggle between flawed people; John’s jealousy, Ann’s uncertainty, and Caleb’s arrogance all seep into every minute action that they have. Their actions and words are layered with subtext and complex motivations which leave audiences in a constant state of uncertainty. That ever-present discomfort feels right at home in a post-apocalyptic setting, where each moment isn’t guaranteed. While it’s not the central focus of the movie, questions about race, science, and religion all permeate throughout the narrative. There’s no denying that John’s identity as a black man contrasts with both Ann and Caleb, who are not only both white, but were raised in similar communities. Even after society has collapsed, the characters are unable to completely separate from the world they once knew, forcing them to contend with the remnants of their old lives as they endeavor to build a new one.

Where other post-apocalyptic movies like Mad Max focus on emotions like rage in their exploration of humanity, Z for Zachariah carries an overarching tone of sadness and melancholy that permeates throughout the entire film. Even with a runtime of just over an hour and a half, the movie feels like it lasts much longer because of the deliberate pace of each passing day. For every minor victory that the characters earn, there is still the void of society and community that dwarfs whatever happiness is attained. Robbie, Ejiofor, and Pine all deliver some of the most subtle yet emotional performances of their career, embodying characters that are not typical in their resumes with notable depth and contemplation. If you’re a fan of any of these actors, Z for Zachariah is certainly worth viewing. In this brief glimpse of a potential haven, it truly feels like these characters are the last survivors of the end of the world — there’s no hope of rescue, and maybe no reason at all to even continue living. Even within the safe haven they were seemingly blessed with, the characters in Z for Zachariah live with uncertainty in every breath, questioning what it means to live, alone, in a dead world.

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Release Date

August 21, 2015

Writers

Nissar Modi

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While 2003’s Master and Commander: The Far Side of the World may not have won the same big awards as Russell Crowe’s 2000 vehicle Gladiator, it has since developed a reputation as one of the best period epic war movies of all time. Coming from Truman Show director Peter Weir and based on the historical novels of Patrick O’Brian, the movie follows a skirmish between ships of the French and British navies during the Napoleonic Wars (where “oceans are now battlefields”, as the movie’s iconic opening title says). Master and Commander’s great strength is its balance of massive war scenes with an immersive and realistic procedural sensibility, placing you directly on a British man-of-war alongside clashing personalities and grisly violence. Rather than a simple action movie, it is also a story of the complex relationship between Captain Aubrey (Crowe) and the ship surgeon Maturin (Paul Bettany).

The two men debate methods, collaborate with no small amount of tension, and play music together, with Weir consciously (but not overtly) weaving in the subtext of the class differences between the leaders of the ship and the lower-class elements. After an early ambush, the ship undergoes repairs and eventually makes landfall in the Galápagos Islands, where Maturin’s desire to study the wildlife puts him at odds with the captain. Weir’s direction creates a tense, tactile, and epic environment that was unique for blockbusters then and is especially hard to find now. Compare it with the same year’s Pirates of the Caribbean: Curse of the Black Pearl, and while the sense of scale is similar, the tone could not be more different. The thematic depth, personality, and epic spectacle make it a modern classic — as well as a massive hit on Apple TV, where it has been among the top 10 most-watched films for over a month.

Russell Crowe Is a Swashbuckling Action Hero in ‘Master and Commander’

Master and Commander begins with a clear task: the British HMS Surprise must apprehend the significantly faster French privateer Acheron. But they are attacked first, in a scene of 19th century naval warfare that is maybe the most intense and tactile of its kind. Cannonballs, smoke, and confusion defy any conventional sense of heroism, with Weir lingering on the human cost of the violence in between all the splintering wood. It calls to mind the opening scene of Martin Scorsese’s 2002 film Gangs of New York (albeit without the slow-mo and Peter Gabriel music). But it also immediately establishes the philosophical and dramatic differences between Aubrey and Maturin, with the captain’s almost swashbuckling quest for the Acheron, a ship seemingly always on the distant horizon, clashing with Maturin’s more sensible ambivalence and curiosity.

As “Lucky Jack” Aubrey, Russell Crowe works well within the tradition of Errol Flynn’s swashbucklers, like 1935’s Captain Blood or 1941’s The Sea Hawk. His ability to withstand the pressures of the Acheron’s pursuit suggests a psychological fortitude, and Crowe, hanging off the ropes during a stormy battle, gets to be cool and charismatic. Tasked with maintaining ship morale in the uneven chase, he must be pragmatic and honest about the ship’s survival chances while still responding to the call of duty. Maturin, meanwhile, has his doubts, and for all the movie’s massive and terrifying naval battle scenes, it’s never better than when Aubrey and Maturin are privately discussing matters in candlelight. Among the elites of his crew, Aubrey must be confident, singing songs and drinking, but Maturin can bring out his more philosophical side.

‘Master and Commander’ Was One of Peter Weir’s Final Films — and His Best

While Russell Crowe and Paul Bettany are both great in Master and Commander, with Aubrey and Maturin each having one personality that they play up for the crew and a separate one revealed only around each other, Crowe was said to have created difficulties on set for director Peter Weir. Ethan Hawke, the star of Weir’s classic coming-of-age drama Dead Poets Society, cited Crowe to IndieWire as a reason for the director’s retirement shortly after the creation of Master and Commander, a charge Weir admitted to finding “puzzling” to the Sydney Morning Herald. But it’s not difficult to imagine the movie’s making being a tense situation. Filming on old man-of-war ships and shooting off the Galápagos Islands might have given the movie a beautiful sense of realism (unlike Gladiator), but it also presented numerous challenges.

Master and Commander is an old-world story of duty, what it means to project an image of strength, and the slow end of centuries of European imperial systems. While Aubrey is committed to the centuries-old imperial directive, Maturin is ultimately more progressive and curious, a dynamic best explored in a flogging scene that markedly keeps its perspective away from the wounds of the victim. When Maturin explains that he “understands” what might cause a mutiny, Aubrey can barely bear to look at him, but the movie’s exploration of these two ideals makes it one of the greatest films of both Crowe and Weir’s careers.

Since the late 1990s, HBO has been producing quality shows, including miniseries. They are often heavy, sometimes dark, and also thought-provoking. While not every show has aged well, many HBO miniseries have aged like fine wine.

This is because they focus on issues and topics that are still relevant today. It’s a lens into how much progress we both have and haven’t made as a society. Some of these series, ranging from ones released decades ago to some that came out only five or so years ago, still resonate today as much as they did back then. In every case, it’s for different reasons. But with some of these shows, it’s because the conflict they address is still very much existent in present times. Here are eight HBO miniseries that have aged excellently.

1

‘Chernobyl’ (2019)

Image via HBO

It took decades for a show to be made about this 1986 nuclear disaster, diving into the real stories of what happened in the aftermath. Yes, creative liberties were taken in Chernobyl, and some people criticized the historical inaccuracies. But the historical drama is also accurately reflective of the time and setting, and a deeply emotional look at a harrowing story.

These types of things sadly happen all the time, and there’s never going to be a moment when we forget Chernobyl and the lives that were impacted. The show remains one of the best of its kind, bringing emotion and education to the story in a way that many of us hadn’t seen. It’s just as impactful today as it was seven years ago and a perfect weekend binge.

2

‘Band of Brothers’ (2001)

Image via HBO

The tragedy and complexities of war remain as relevant today as they were 25 years ago when the series Band of Brothers premiered. The war drama is based on the Stephen E. Ambrose non-fiction book and is heavily inspired by Saving Private Ryan, with both Steven Spielberg and Tom Hanks serving as executive producers.

Set during World War II, Band of Brothers follows one group through their harrowing journey fighting for their country. What’s so compelling about the series is that the events, though dramatized for TV, are taken from interviews with the real veterans of Easy Company. It doesn’t get more real and emotionally impactful than that.

3

‘The Night Of’ (2016)

Image via HBO

Criticisms of the justice system, the public being quick to judgment, and racism are sadly still as relevant topics of discussion today as they were a decade ago when this crime drama premiered. In The Night Of, Riz Ahmed is Nasir “Naz” Khan, a Pakistani American college student whose thrilling one-night stand goes horribly wrong when he wakes up next to the woman’s dead body. Naz is certain he did nothing to this woman, but the judgmental eyes and the situation that makes him look guilty cause him to question his own reality.

The near-perfect HBO miniseries follows Naz’s court case, led by his lawyer John Stone (John Turturro). The way the series both points out serious flaws in the justice system and shows what can happen to a promising young man when he’s caught in a bad situation will break your heart. Sadly, it’s a situation we could, and do, see in real life all the time. The message is powerful and the delivery even more so. The show is bound to inspire dialogue and debate.

4

‘Empire Falls’ (2005)

Image via HBO

One of those 20-year-old HBO miniseries many of us forgot about, Empire Falls is about a small, decaying town in Maine and the residents who are simply trying to get by. Sound familiar? The situation is one that many face in similar towns today as costs rise, systems change, and it becomes tough to keep your head above water.

In the story, which is based on the Richard Russo novel, local factories have closed, and the community is struggling to survive amidst a class divide and troubles that resurface from the past. At the center is Miles Roby (Ed Harris), a manager at a local restaurant who is deeply entrenched in his blue-collar roots. Empire Falls was nominated for 10 Emmy Awards and four Golden Globes. It’s as realistic a depiction of middle-class life now as it was two decades ago.

5

‘Show Me a Hero’ (2015)

Image via HBO

Another forgotten HBO miniseries, Show Me a Hero debuted a decade ago and chronicles the fight of the white middle-class community in Yonkers, New York, against federally mandated public housing developments in their area. Based on the nonfiction book by Lisa Belkin, a writer for The New York Times, Show Me a Hero touches on tensions that still exist today in similar communities.

The conflict involving a class divide and pushback against affordable housing is one that endures. The idea is to provide housing for those in need who would otherwise remain unhoused, but residents fear it would devalue their property. Plus, they don’t want an influx of lower-class citizens in their hometown. The series stars Oscar Isaac as Nick Wasicski, a former police officer running for mayor of Yonkers, along with Jim Belushi, Alfred Molina, and Winona Ryder. Show Me a Hero takes this very political topic and helps to humanize the players in the fight. Note that it’s created by David Simon, the same man behind another politically and socially charged series, The Wire.

6

‘Mrs. Fletcher’ (2019)

Image via HBO

It doesn’t matter what decade or era it is — the idea of a woman coming of age during midlife at the same time as her child is coming of age as a teenager transcends time and location. It’s something every female parent goes through, especially if they have had children at a certain age. Women having children later and later in life is becoming more and more common nowadays, which makes Mrs. Fletcher even more topical.

The comedy miniseries dives into this dynamic with Eve Fletcher (Kathryn Hahn) as a divorced mom in her 40s raising her son Brendan (Jackson White), who has just gone off to college. As Fletcher rediscovers her body and her sexuality, her son is coming to terms with his own sexual life and journey to adulthood. The series isn’t just fitting today — it will be just as so another 20 years from now, too.

7

‘Angels in America’ (2003)

Image via HBO

One of those passion projects by A-list actors, Angels in America is set during the Ronald Reagan era of the 1980s, when the AIDS epidemic was in full swing. While times have changed a lot since then, the core premise of the show remains topical today. It centers on struggles with sexuality, feelings of loneliness and abandonment, and the pressures of conservative beliefs in finding one’s truth. At the heart of the story is Prior Walter (Justin Kirk), a gay man with AIDS who is visited by an angel as he grapples with his loneliness.

As a made-for-cable project, Angels in America is one of the most essential HBO miniseries. It swept every major Emmy award category, an accomplishment that has only recently been tied by The Crown and Schitt’s Creek. The exploration of topics like sexuality, religion, and conservative politics will still resonate today. Plus, the A-list cast is impressive, including Al Pacino, Meryl Streep, Patrick Wilson, Mary-Louise Parker, Emma Thompson, and Jeffrey Wright. This show not only has a powerful message but also tremendous star power to deliver it effectively.

8

‘I May Destroy You’ (2020)

Image via HBO

The #MeToo Movement went global in 2017, and I May Destroy You was released right in the midst of public talk and controversial cases about the subject. Michaela Coel stars as Arabella Essiedu, a young novelist enjoying her success. She goes out with friends to celebrate before writing her next book, but the night doesn’t turn out the way she hoped. She awakens to horror, unable to remember what happened, and eventually realizes that she was raped.

The topic of sexual violence against women, the impact it has on victims, the trauma they carry with them afterward, and the treatment and viewpoints of others all come into the conversation in the series. I May Destroy You uses dark humor to explore Arabella’s journey as she reaches out to friends to try and piece together the night, then works her way through the trauma that she’ll carry forever. The HBO masterpiece is an honest look at the raw and real journey to healing. As a spotlight is shined more and more on sexual assault, victim-blaming, and accountability, I May Destroy You fits just as well today as it did six years ago.