HBO’s “Euphoria” is back, but instead of just storyline buzz, the spotlight is once again landing on rumored off-screen drama between its biggest stars. And now, an actress from the hit show is setting the record straight amid ongoing speculation about tension between Sydney Sweeney and Zendaya.

Jessica Blair Herman, who appears in the series as a neighbor to Sweeney and Jacob Elordi’s characters, pushed back on the rumors during a recent interview. “They really did,” she said of the cast getting along. “And I’m not just saying that.”

Herman doubled down, insisting there was “no drama” behind the scenes, adding, “Really, they’ve created this beautiful working relationship, and everyone wants to do the work, to come in and do the job.”

According to Herman, one major factor fueling the rumors is simply how the show is structured. “To be fair, when I was there, they’re not sharing scenes,” she explained. “Their storylines are very separate, you’re shooting on different days and stuff.” That separation has likely contributed to fan speculation, especially as viewers continue to analyze every public interaction between the two actresses.

‘Euphoria’ Actress Insists Zendaya And Sydney Sweeney Have ‘No Drama’

Rumors reignited earlier this month at the Season 3 premiere, where social media users claimed Sweeney and Zendaya appeared to avoid each other on the red carpet. Clips quickly circulated online, with fans dissecting body language and interactions, including moments where Zendaya was seen chatting with Hunter Schafer while seemingly not engaging with Sweeney.

The chatter only intensified after Sweeney was noticeably missing from a Season 3 cast photo, though a source later claimed she was filming at the time. Still, the moment added fuel to years-long whispers of tension, which have also been linked to rumors involving Zendaya’s boyfriend, Tom Holland.

Sydney Sweeney Slams ‘MAGA Barbie’ Label

Beyond feud speculation, Sweeney has also faced online scrutiny over her perceived political stance, with some critics labeling her “MAGA Barbie.”

Earlier this year, she addressed the controversy, pushing back against how she’s been portrayed. “I’ve never been here to talk about politics. I’ve always been here to make art, so this is just not a conversation I want to be at the forefront of…” she said. “I think because of that, people want to take it even further and use me as their own pawn.”

Sweeney also admitted the situation has been frustrating to navigate. “I haven’t figured it out. I’m not a hateful person. If I say: ‘That’s not true,’ they’ll come at me like: ‘You’re just saying that to look better.’ There’s no winning. There’s never any winning,” she said. “I just have to continue being who I am, because I know who I am. I can’t make everyone love me. I know what I stand for.”

Zendaya has also been vocal about her views in the past, including a 2020 Instagram post on voting rights where she wrote, “Vote this MF out.”

‘Euphoria’ Season 3 Sparks Backlash Over Sydney Sweeney’s Controversial Cassie Scene

The off-screen chatter isn’t the only thing stirring debate. “Euphoria” has already faced backlash, which started just one episode into Season 3. Fans quickly sounded off online over a controversial scene involving Sydney Sweeney’s character, Cassie, with many criticizing the moment as over-the-top and uncomfortable.

In the episode, Cassie is seen dressed as a dog while creating content for her followers, later telling Jacob Elordi’s Nate that she wants to start an OnlyFans account to fund their wedding, a plot point that immediately sparked debate.

‘Euphoria’ Creator Sam Levinson Defends Controversial Scene

Show creator Sam Levinson addressed the controversy, explaining the scene was intentionally designed to feel jarring. “[Cassie] has got her dog house and her little dog ears and the nose, and that has its own humor, but what makes the scene is the fact that her housekeeper is the one filming it,” he told The Hollywood Reporter. “What we wanted to always find is the other layer of absurdity that we’re able to tie into it so that we’re not too inside of her fantasy or illusion. The gag is to jump out, to break the wall.”

Levinson added that the moment was meant to underscore just how disconnected Cassie has become from reality, with the creative team, including cinematographer Marcell Rév, carefully crafting the setting to amplify that unsettling tone.

With nearly a hundred books to his name, Stephen King is one of the most prolific and celebrated authors of our time, widely acknowledged as the master of horror. From haunted hotels and ghostly supermarkets to possessed prisoners and mysterious shopkeepers, King’s work has covered every shade of terror, both supernatural and psychological, and his works have been adapted for the screen numerous times over the years. But the problem with being so prolific and having so many adaptations of your work is that some are better than others.

Netflix has a sizable collection of titles adapted from Stephen King novels and novellas in its catalog, including shows and movies based on some of his most gripping, chilling, and thrilling works. So if you’re a fan of the King of Horror, there’s a lot to choose from on the streaming platform, but if you’re looking for the best of the best, we’ve got you covered. Here’s our ranked guide to the best Stephen King movies and shows you can watch right now on Netflix.

7

‘Firestarter’ (2022)

Image via Blumhouse Productions

Directed by Keith Thomas, Firestarter is a sci-fi horror thriller based on King’s 1980 novel and a remake of the novel’s 1984 film adaptation by Mark Lester. The film tells the story of Charlene “Charlie” McGee (Ryan Kiera Armstrong), a troubled little girl with anger issues and dangerous pyrokinetic abilities who is hunted down by a secret government agency that seeks to control her. The film also stars Zac Efron, Sydney Lemmon, Kurtwood Smith, Michael Greyeyes, Gloria Reuben, and John Beasley in his final film role.

2022’s Firestarter received much tougher criticisms than the 1984 adaptation, with critics panning the film for its uninspired narrative and lack of thrills. With a Rotten Tomatoes score of 10%, it is definitely not one of the better screen adaptations of Stephen King’s stories, nor is it one of Blumhouse’s best productions. That being said, the film’s campy quality might find its audience in genre fans seeking a totally escapist streaming movie.

6

‘In the Tall Grass’ (2019)

Image via Netflix

A Canadian supernatural horror thriller written and directed by Vincenzo Natali, In the Tall Grass is an adaptation of the eponymous novella written by Stephen King and his son, Joe Hill. The story follows a pregnant young woman and her brother on the drive to San Diego, who are drawn into a field of grass by a little boy’s cry for help and soon find themselves lost in a primal horror. The film stars Harrison Gilbertson, Laysla De Oliveira, Avery Whitted, Will Buie Jr., Rachel Wilson, and Patrick Wilson.

Combining themes of the paranormal, philosophical, and mystical, In the Tall Grass is both engaging and terrifying. The film thrives mostly in the claustrophobic atmosphere of the never-ending maze of towering grass and the cosmic horror narrative. On its release, the movie earned a mixed response, with critics praising the film’s faithfulness to the original story and the way it successfully translates the source material’s atmosphere to the screen, and it also earned positive reviews for Patrick Wilson’s compelling performance.

5

‘Mr. Harrigan’s Phone’ (2022)

Image via Netflix

Written and directed by John Lee Hancock, Mr. Harrigan’s Phone is an adaptation of King’s novella from the collection If It Bleeds. The film follows Craig, a teenage boy who befriends the titular billionaire, but after Mr. Harrigan dies, Craig discovers that he can communicate with his friend from the beyond. Donald Sutherland stars as John Harrigan, Jaeden Martell as Craig, with Joe Tippett, Kirby Howell-Baptiste, and Cyrus Arnold in supporting roles.

Mr. Harrigan’s Phone is part supernatural horror story and part coming-of-age drama, exploring grief, technology addiction, and revenge in a grounded, emotional narrative. Unlike generic horror films whose core purpose is to incite fear of an impending doom, the Netflix film is more character-driven, diving into Harrigan and Craig’s particular character arcs and their dynamics. While the film had mixed reviews on its Netflix premiere, Mr. Harrigan’s Phone was deemed “brilliant” by King, and it is a well-made horror film that the author’s fans are sure to enjoy.

4

‘11.22.63’ (2016)

Image via Hulu

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Based on Stephen King’s 2011 novel, 11.22.63 is a sci-fi thriller miniseries developed by Bridget Carpenter and produced by J.J. Abrams. James Franco stars as Jake Epping, a divorced English teacher who travels back in time to the 1960s to prevent the assassination of President John F. Kennedy. But when he starts getting attached to his new life in the past, it puts his mission and history itself in danger. The show also features Chris Cooper, Sarah Gadon, Lucy Fry, George MacKay, and Daniel Webber in key roles.

11.22.63 is a well-crafted alternate history series that successfully blends history, conspiracy theory, drama, sci-fi, and time travel into a thrilling narrative. The eight-part series is anchored by James Franco’s outstanding performance as a man torn between past and present, with critics comparing his acting style to Old Hollywood stars. Interesting and intriguing in every episode, the Hulu original series is easily one of the most well-made and well-performed screen adaptations of King’s work.

3

‘1922’ (2017)

Image via Netflix

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Written and directed by Zak Hilditch, 1922 is a horror film based on Stephen King’s novella of the same name, published in his 2010 collection, Full Dark, No Stars. Set in Nebraska in the early 20th century, 1922 follows a farmer named Wilfred “Wilf” James, who murders his wife with the help of his teenage son and becomes tormented by guilt and shame as they slowly lose everything they held dear. Thomas Jane leads the cast as Wilf, with Dylan Schmid, Molly Parker, Kaitlyn Bernard, Bob Frazer, Brian d’Arcy James, and Neal McDonough in key roles.

Often considered one of Netflix’s best original thrillers, 1922 has been well praised by critics for its justice to the theme, tone, and essence of the original story. The narrative steers clear of any dramatic moments or clichéd horror motifs, but plays more on the slowly corroding life and psychological decay of its protagonists. The well-paced storytelling and strong performances make 1922 one of the better adaptations of King’s stories ever to hit screens, even if it’s a relatively underrated one.

2

‘Castle Rock’ (2018–2019)

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Created by Sam Shaw and Dustin Thomason, Castle Rock is a unique screen adaptation of Stephen King’s work, in that it’s not based on any specific novel or short story but the eponymous fictional town that appears as a frequent setting for the author’s stories. The anthology series consists of two separate stories, each following a diverse set of characters who are linked to the titular town through unpredictable, mysterious events. Each season of Castle Rock stars an ensemble cast, with Bill Skarsgård, André Holland, Melanie Lynskey, Lizzy Caplan, and Tim Robbins playing notable roles.

Castle Rock intelligently combines supernatural horror, mystery, and psychological thriller into an intimate, intense drama that does justice to King’s world-building. Despite strong allusions to various popular works, the show’s characters and storylines remain distinctive to the show, elevated by chilling performances by Skarsgård in Season 1 and Caplan in Season 2. A dark, character-focused, and atmospheric horror series, Castle Rock is easily one of the best TV renditions of Stephen King’s literary canon.

1

‘Gerald’s Game’ (2017)

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Directed and co-written by Mike Flanagan and adapted from King’s 1992 novel, Gerald’s Game is a chilling psychological thriller that follows Jessie and Gerald, a couple who go to an isolated lake house for a romantic getaway. While exploring a sexual fantasy, Gerald handcuffs Jessie to the bed, but dies of a heart attack, leaving her trapped with no way to escape or get help. Bruce Greenwood stars as Gerald and Carla Gugino as Jessie, with Carel Struycken, Henry Thomas, and Kate Siegel in supporting roles.

King’s novel was long considered unfilmable because of its deeply internal narrative, until Flanagan came along and masterfully translated it into an atmospheric horror that largely takes place in Jessie’s mind. Although slow and deliberate, its pace never feels stagnant, creating constant tension through Jessie’s physical and mental struggles, which Carla Gugino brings to life with a phenomenal performance. Gerald’s Game has been critically acclaimed for its direction, acting, and treatment of the novel, and it’s easily one of the greatest Stephen King adaptations of all time.

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Release Date

September 29, 2017

Runtime

104 minutes

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Producers

D. Scott Lumpkin, Matt Levin, Trevor Macy

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Justin Baldoni and Blake Lively’s attorneys are attempting to hash out key pretrial issues, including possible damages caused by the It Ends With Us legal drama.

During a Tuesday, April 28, pretrial conference in New York City, Lively’s lawyers argued that the actress missed out on the opportunity to make up to $35 million for a sequel to It Ends With Us as a result of her former costar and director’s alleged actions and subsequent legal battle.

“Baldoni had suggested at one point that Ms. Lively would direct the sequel, and the lead actress would be compensated more,” an attorney for Lively, 38, shared during the hearing, per NBC News.

Baldoni’s attorneys, however, called the amount surrounding a potential sequel speculative. They also disagreed over Lively’s claim that she lost $39 million to $143 million after the film was released, saying any losses cannot be pinned on Baldoni, 42.

Related: Justin Baldoni‘s Team Reacts After Judge Dismisses 10 Blake Lively Claims

Justin Baldoni‘s team has reacted to their partial legal victory in his ongoing lawsuit against Blake Lively. “We’re very pleased the Court dismissed all sexual harassment claims and every claim brought against the individual defendants: Justin Baldoni, Jamey Heath, Steve Sarowitz, Melissa Nathan, and Jennifer Abel,” attorneys for the Wayfarer defendants said in a statement to […]

“Ms. Lively has a track record of brands that have not succeeded,” an attorney for Baldoni claimed on Tuesday, per NBC News. “She is seeking pie-in-the-sky damages here.”

Us Weekly has reached out to Lively and Baldoni’s legal teams for comment regarding Tuesday’s conference.

According to court documents obtained by Us on Tuesday, Lively’s team argued that “negative PR has created heightened scrutiny from buyers who are showing less goodwill.”

Court documents also suggested that Lively’s liquor brand, Betty Buzz, faced a rise in negative comments on social media after the It Ends With Us legal drama made headlines.

During Tuesday’s pretrial conference, which neither Lively nor Baldoni attended, both legal teams debated expert witness testimony. Each side also predicted that they’d need roughly three weeks to present their cases fully while in the presence of a jury.

According to NBC News, U.S. District Judge Lewis J. Liman didn’t finalize timing or narrow the witness list. Instead, he asked both Lively and Baldoni’s teams to look into the availability of some of the expert witnesses they plan to call to the witness stand during the trial in order to participate in a pretrial hearing.

Lively and Baldoni’s legal drama began in December 2024, when the actress accused her It Ends With Us costar and director of sexual harassment, creating a hostile work environment and purposefully creating a smear campaign against her.

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Related: A Complete Timeline of Blake Lively vs. Justin Baldoni‘s Lawsuit and Trial

Blake Lively’s alleged feud with director and costar Justin Baldoni on the set of It Ends With Us exploded into multiple lawsuits in 2025. The former Gossip Girl star kicked off the legal battle by filing a complaint with the California Civil Rights Department and subsequently sued Baldoni over sexual harassment allegations. Baldoni’s lawyer Bryan […]

Lively decided to sue Baldoni, his publicity team and a series of other defendants, alleging that she was retaliated against for the sexual harassment allegations.

Baldoni strongly denied the allegations and counter-sued Lively. In June 2025, a judge dismissed his lawsuit against the actress.

While Liman previously recommended that Lively and Baldoni consider settling before trial, both parties continue to prepare for an upcoming trial, with jury expected to begin on Monday, May 18.

Justin Baldoni’s legal team has rejected claims that he caused Blake Lively’s alleged financial losses, arguing her challenges stem from pre-existing reputation issues.

As their dispute over “It Ends With Us” heads to trial, both sides are clashing over claims of reputational harm and projected earnings.

Justin Baldoni’s lawyers also dispute the scale of Blake Lively’s losses, calling them unrealistic, while the actress’s team maintains she suffered significant career and financial damage.

Baldoni’s lawyers are pushing back against claims that he is responsible for Lively’s reported financial setbacks, arguing instead that her challenges stem from a pre-existing public image and business track record.

At a recent pre-trial hearing, Baldoni’s lawyers pointed to Lively’s past public behavior, including her criticism of Kate Middleton, as evidence that any reputational damage did not originate from events surrounding “It Ends with Us.”

According to the Daily Mail, they argued that her actions during the March 2024 photo-editing controversy contributed to public backlash well before the film’s release.

Lively had responded to the incident with a satirical, heavily edited image of her own, which drew criticism. She later issued an apology after Kate revealed a cancer diagnosis.

The Director’s Lawyers Slammed Blake Lively’s Claims Of Hefty Financial Losses

Baldoni’s side also challenged Lively’s claims of major financial losses, dismissing estimates from her team as exaggerated.

The actress’s attorneys have suggested she lost tens of millions in endorsements and potentially hundreds of millions in projected earnings.

However, Baldoni’s lawyer, Amir Kaltgrad, described these figures as “pie in the sky,” describing what he called “unrealistic assumptions” about Lively’s future workload and income.

According to court arguments, Lively earned about $21 million from four film projects over eight years before the movie’s release.

In contrast, projections from her expert suggested she could have earned over $140 million in the following five years, a jump Baldoni’s team characterized as implausible, citing what they described as “scattered work history.”

Blake Lively’s Financial Claims Under Scrutiny As The Former Co-Stars’ Trial Looms

Amid claims of financial losses, Baldoni’s legal team pointed to Lively’s business ventures, particularly her beverage brand Betty Buzz, as evidence that her issues were not tied to any alleged smear campaign.

Court filings indicated that concerns about the brand’s long-term profitability existed independently, with internal discussions suggesting challenges in sustaining growth in the U.S. market.

As a result, more focus was reportedly placed on expanding her alcoholic line, Betty Booze, as the “anchor product.”

The dispute is part of a broader legal battle between the former co-stars, with a trial scheduled for May 18.

Both sides are expected to argue over claims of reputational harm and financial damages tied to the fallout from their film collaboration, while the court also considers whether to release currently sealed evidence and set limits on the trial’s duration.

Justin Baldoni’s Side Disputes Online Narrative As The Bring Up ‘Bully’ Allegations Against The Actress

Baldoni’s legal team continues to challenge Lively’s claims, with another of his attorneys, Fabien Manohar Thayamballi, arguing that negative online comments labeling her a “bully” were not purely the result of any coordinated digital interference.

He pointed to Lively’s own past actions, including her 2024 remarks about Kate during the edited photo controversy, suggesting that public perception of her behavior had already been shaped before the current dispute.

Meanwhile, speaking outside the courtroom, Lively’s lawyer, Sigrid McCawley, downplayed the chances of a last-minute settlement. She emphasized that Lively is focused on having her side of the story heard in court.

McCawley confirmed that the actress is prepared to testify and expects to take the stand. According to her, Lively has been anticipating this moment and is ready to present her account, expressing confidence as the trial approaches.

“She’s feeling really good… she’s finally at a point where she will be able to tell her side,” she said, per the Daily Mail.

Hollywood Reportedly Keeps Its Distance As Blake Lively Faces Fallout From ‘It Ends With Us’ Dispute

Meanwhile, industry reaction appears to be shifting. As the legal fight continues, Lively is said to be facing an increasing distance from parts of Hollywood.

Much of the conversation has moved beyond the courtroom to what this situation means for her career standing. Sources suggest studios are proceeding cautiously, wary of the controversy surrounding alleged on-set issues, with one insider describing her current position as that of a “persona non grata.”

Despite that characterization, there has been no formal effort to blacklist her. As reported by The Blast, NewsNation journalist Paula Froelich shared that the label reflects industry sentiment rather than any official action.

She notes a growing reluctance among agents and executives to get involved while the case remains unresolved, with many opting to keep their distance from the actress for now.

By Robert Scucci
| Published 24 seconds ago

Confession time: ever since Mad Max: Fury Road came out in 2015, the fantasy of getting beaten up by Charlize Theron was born. Just two years later, Atomic Blonde hit theaters, and all bets were off. While I’ve always appreciated Theron’s dramatic range, with 2003’s Monster showing her menace and 2011’s Young Adult showing how brilliantly she could portray a woman’s ongoing mental health crisis and alcoholism, I will check out any action thriller she ever stars in because, like Keanu Reeves with the John Wick films, she’s clearly put in the work to be a total badass on screen.

Which brings us to her latest outing, a Netflix Original action thriller that dropped April 24, 2026, called Apex. After watching, the fantasy still stands. I would love to get into a fistfight with Charlize Theron and lose. I’m not a masochist, and this isn’t normal territory for me, but if I found out I only had six months to live, I’d make it a bucket list item and go out on my own terms by encouraging her to fight me on top of a skyscraper or a moving train.

You may say that I’m a dreamer, but I’m not the only one.

As for the movie itself, Apex is solid. It’s a chase thriller. It’s The Most Dangerous Game for a modern audience. Charlize Theron plays a grieving widow who is hunted for sport in the Australian wilderness by a total psycho with a home-field advantage, and she has to rely on grit and intuition to survive. If you’ve seen one of these movies, you’ve basically seen them all, but the performances here cannot be overstated.

Like The Ice-T Movie, But In The Forest 

One of my favorite “hunting humans for sport” plots can be found in 1994’s Surviving the Game, starring Ice-T, Rutger Hauer, and Gary Busey. In this film, Ice-T’s Jack Mason is hunted by a group of wealthy men who regularly get together to let a human loose on their sprawling property designed for exactly this kind of activity. They give him a head start, then roll out on their ATVs, armed to the teeth and ready to kill.

It’s an inherently ridiculous premise, but it’s totally unhinged and worth your time because everybody knows the assignment.

Apex takes a more grounded approach while still exploring that same familiar territory. Context is everything, though, and it plays out as a much more serious film. Here, Sasha (Charlize Theron) takes a solo trip to the Grand Isle Narrows just months after her husband Tommy (Eric Bana) fell to his death during a climbing expedition in Norway.

During her travels, she has an unwholesome run-in with a couple of hunters, as well as a kindly stranger named Ben (Taron Egerton). While briefly talking shop at a petrol station, Ben tells her to start her trip at Blackwater Bay if she really wants to experience next-level hiking and kayaking. She takes his advice, but quickly learns she shouldn’t have when she crosses paths with him again the following day. This happens after she’s harassed by the same hunters from earlier and has her supplies stolen while sleeping in her tent.

At first, Ben is hospitable. He offers her warmth by the fire, food, and water. Sasha quickly realizes he’s the one who stole her bag, and his demeanor shifts immediately. He pulls out a crossbow and a boombox and tells her that her head start will only last as long as the song he’s currently playing. From here on out, the chase is on. Ben is the hunter, and Sasha has to move fast if she wants to avoid getting executed in the middle of nowhere by somebody who’s clearly engaged in this kind of activity before.

Far From Original, But Beyond Adequate 

Apex does not offer anything new in this subgenre, but it’s still worth your time if you like movies with this setup. Plot-wise, there’s not much to it. You get some drama leading up to the hunt, and from that point forward it’s Sasha versus nature versus Ben. The real tension comes from the fact that Ben knows the terrain and Sasha doesn’t, while the fun comes from watching Sasha adapt and prove she knows how to survive in harsh environments.

The third act tension is palpable when things stop going according to plan for either of them, forcing a fragile truce when options run out. It’s a small twist on a tired setup that I appreciated. Add in some beautiful nature shots, and you almost forget this is a Netflix Original because the lighting actually holds up.

If you’re a fan of the tried-and-true chase thriller formula, you’ll likely find Apex satisfying. It’s in and out in 95 minutes, establishes its conflict quickly, and doesn’t overstay its welcome. Charlize Theron and Taron Egerton have strong chemistry as things escalate toward the inevitable breaking point.

Truth be told, if you’ve seen one movie like this, you’ve seen them all. But that applies to most subgenres that are this hyperspecific. If you know what you like and this is your lane, Apex should be your next Netflix watch, and you won’t be disappointed.

By Chris Snellgrove
| Published 24 seconds ago

Buffy the Vampire Slayer fans are still reeling from the bad news that Hulu canceled the reboot of this iconic ‘90s show. The streamer had ordered a pilot, and things seemed to be going well: not only was Sarah Michelle Gellar returning to star in the new series, but the showrunner was going to be Oscar-winning director Chloe Zhao. The fandom had visions of Buffy returning as a prestige TV show, but Hulu’s cancellation put a stake through those dreams, leaving us only with dust.

As usual, battle lines were quickly drawn when it came to discourse about this show’s failure. Some (including Gellar herself) thought this was just a matter of out-of-touch executives not getting what Buffy was all about. Hulu, meanwhile, reportedly claimed the problem was that the show was too small, too focused on younger audiences, and (perhaps most importantly) didn’t have enough Gellar in it. Personally, I tend to believe Hulu, as they wouldn’t throw away a golden IP for no reason. With respect to Zhao (who has done some excellent work), the cancellation of the Buffy reboot clearly proves why Oscar-winning directors should stay in their own lane.

High “Stakes” Drama

What was the Buffy reboot about? While official details are relatively minimal, the show was reportedly going to focus primarily on a new Slayer played by Ryan Kiera Armstrong. She was going to have to deal with a new vampire menace that popped up in a very familiar location: Sunnydale. Like Buffy, this new Slayer named Nova was going to have a hard time learning the ins and outs of dusting vamps. Fortunately, Buffy herself was going to serve as this young warrior’s mentor, helping her keep the forces of darkness at bay. 

Hulu didn’t like the initial pilot, believing that it was too small for an IP this big and that it had too much kiddie stuff and not enough Sarah Michelle Gellar. They demanded reshoots, but those weren’t enough to save this ambitious reboot. The streamer ended up canceling the new Buffy show, which Gellar ultimately blamed on an unnamed executive. As she told People, this exec “was not only not a fan of the original, but was proud to constantly remind us that he had never seen the entirety of the series and how it wasn’t for him.”

Getting The Bad News

Part of why Gellar is so upset with the cancellation is that she had worked with director Chloe Zhao for years to develop this reboot. To the Buffy actor, bringing the show back was a real no-brainer. One of the most beloved IPs of all time getting rebooted by an Oscar-winning director; what could go wrong? However, Hulu’s cancellation of the series (and, make no mistake, they wouldn’t cancel the show if they thought it would make money) reveals a simple truth: like most Oscar winners, Zhao is good at making a particular type of film, and her skills don’t necessarily transfer to the small screen.

Chloe Zhao is an excellent director of such films as The Rider, Nomadland (which won Oscars for Best Picture and Best Director), and Hamnet (which was nominated for a whopping eight Oscars, including Best Picture and Best Director). But Zhao is best when making indie films that focus on relatively unknown actors (Hamnet turned rising star Jessie Buckley into a Best Actress Oscar winner). But she seems to struggle when it comes to creating bigger films with more mainstream actors. This is most evident in The Eternals, her Marvel movie that ended up being a wall-to-wall snooze fest.

Eternals Was Our Warning

Obviously, hindsight is 20/20, but it seems like the failure of The Eternals effectively foretold the failure of the Buffy the Vampire Slayer reboot. Audiences hated this film because it lacked the mainstream appeal of the MCU. The pace was slow instead of brisk, the writing was serious instead of funny, and the villains were abstract rather than clearly defined. It just didn’t feel like a superhero movie for most of its runtime. Instead, it felt like a typical Chloe Zhao joint: an introspective indie film that just didn’t fly with fans of tights-and-flights films.

The exact same thing happened with the Buffy reboot on Hulu. Executives reportedly thought the show wasn’t “mainstream enough” for the audience. Those same execs worried the new show was trying to chase too much of a youth demographic compared to the original Buffy the Vampire Slayer, which appealed to both children and adults. Finally, they worried about the relative lack of Sarah Michelle Gellar, who reportedly had only one line of dialogue in the original pilot.

Letting The Past Die

To sum it up, the show was going to be a Buffy reboot that had hardly any Buffy in it. No other legacy cast members were in the pilot, so fans weren’t going to get to see any reunions between the Slayer and fan-favorite characters like Willow or Spike. That means most of the show would focus on the new Slayer and her new Scoobies, which is (let’s be honest) a bit like making an entire show out of Dawn’s Season 7 adventures with her forgettable Sunnydale High clique.

Left to her own devices, Chloe Zhao creates breathtaking works of cinematic art, the kind of awesome indies that remind you why you fell in love with movies in the first place. But she is clearly a poor choice when it comes to genre entertainment. The Eternals was dead on arrival, and the Buffy reboot died before it streamed a single episode. Ironically, Zhao found out the reboot was canceled on the same weekend that she attended the Oscars to see how many awards Hamnet would take home. It’s a juxtaposition that drives home a simple, stake-like point: this Oscar winner should stay in her own indie darling lane and stop dabbling in genre entertainment she clearly doesn’t understand.

Ted Lasso is making a return to the small screen.

The hit series, which premiered in 2020, centers around American football coach Ted (Jason Sudeikis), who moves across the pond to coach a British soccer team.

After helping AFC Richmond nearly win the Premier League, Ted returns to the U.S. and Coach Beard (Brendan Hunt), Roy Kent (Brett Goldstein) and Nathan Shelley (Nick Mohammed) take over the team’s coaching duties. Rebecca Welton (Hannah Waddingham) and Keeley Jones (Juno Temple), meanwhile, consider the idea of launching an AFC Richmond women’s team.

After season 3 wrapped in 2023, Sudeikis initially claimed that the beloved “story is done.” He confirmed two years later that a season 4 was actually already in the works.

“Ted’s coaching a women’s team. So there, that’s [happening],” Sudeikis teased during a 2025 episode of the “New Heights” podcast.

Scroll down to learn more about Ted Lasso season 4:

What Is ‘Ted Lasso’ Season 4 About?

Sudeikis teased that season 4 would revolve around Ted coaching a women’s team, which was confirmed in an official press release.

“In season four, Ted returns to Richmond, taking on his biggest challenge yet: coaching a second division women’s football team,” a synopsis reads. “Throughout the course of the season, Ted and the team learn to leap before they look, taking chances they never thought they would.”

Has There Been a 1st Look of ‘Ted Lasso’ Season 4?

Apple TV released a first look at Ted Lasso season 4 in January 2026, showing Sudeikis back in his signature outfit as he coaches a group of women alongside Coach Beard and a new assistant coach, played by Tanya Reynolds.

In one image, Ted hands off his familiar pink box of homemade biscuits to Rebecca beside an aircraft, while another shot captures Ted seated at the Crown & Anchor pub.

Has There Been a Teaser of ‘Ted Lasso’ Season 4?

AppleTV dropped a teaser for Ted Lasso season 4 in April 2026, featuring Ted returning to the pitch amid a warm welcome. At the end of the clip, Ted shares his new abbreviation, “ASAP PP,” which he calls “as soon as possible, pretty please.”

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Who Is Returning for ‘Ted Lasso’ Season 4?

Deadline reported in August 2024 that Warner Bros. Television renewed contracts for Sudeikis, Waddingham, Goldstein, Hunt, Temple and Jeremy Swift.

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By Jennifer Asencio
| Published 30 seconds ago

Basketball season is winding down and at the time of this writing is in the first round of its playoff tournament. Before that could begin, there was also a play-in tournament meant to fill out the rest of the playoff brackets through one-game matches whose winners would continue to the next round. The games have been frenetic, with most of them decided in the last minutes.  Basically, basketball is hurtling down the canyon, about to drop the torpedo into the Death Star.

Imagine you are watching Luke Skywalker just about to use the force to make his shot, when all of a sudden the streaming service you are watching it on interrupts the action for “technical difficulties.” That is exactly what happened to basketball fans on not one but two streaming services.

Peacock and Amazon Prime are splitting the duty of airing the NBA postseason. Amazon Prime aired the play-in tournament, while the two networks are swapping the playoff games back and forth. During three different games, both within the final minute of very close matches, both streamers suffered technical difficulties that interrupted the broadcast.

Technical Interruptions Interfere With Gameplay

On April 14, 2026, the Orlando Magic and Charlotte Hornets were in a match-up for all the marbles. The winner would go on to the next round of the play-in tournament, while the loser went home. With 30 seconds left in the game, the score was 123-120, which, if you know basketball, means the Hornets only needed one shot from the right part of the court to tie the game, and they had the ball. Suddenly, Prime, which aired that game, put up a “technical difficulties” card, during which the Hornets did score another basket, making the score 123-122 while no one could see on television. The contentious game ended with the Magic winning, 127-126, but fans only got to see it because the teams called a time-out while Prime fixed its issue.

A week later, on April 20, 2026, the New York Knicks played the Atlanta Hawks on Peacock. The game ended with the Knicks losing 107-106, but once again, the final minute was interrupted by a “technical difficulties” card. This time, the difficulties were offset by a time out and viewers didn’t miss any of the action, but the Knicks-Hawks game wasn’t the only difficulty Peacock had that night.

Also playing that night after the Knicks-Hawks game were the Denver Nuggets and the Minnesota Timberwolves. For most of the game, the teams traded the lead, ending halftime tied. But in the last quarter (12 minutes of active game time), the ‘Wolves started a major comeback. In the final minute, it was anyone’s game, with both teams bringing their best play to the match … and then technical difficulties struck again.

To the credit of the NBA teams playing these games, all three called time-outs when the technical difficulties overtook the broadcast. Often, interruptions like this cause viewers to miss the action, and the broadcast usually just resumes when it is fixed rather than showing viewers what they missed. The rules of basketball serendipitously offset this with time-outs and frequent breaks for players who are literally running at full speed for minutes at a time, but a lot of live broadcasts do not have breaks like that.

The Streaming Blob Absorption Conundrum

Paramount+ also suffers issues with its streaming services often lagging, and the live TV function on that service is also often inaccessible. Survivor 50 fans lost 15 minutes of the premiere episode because the live TV feature was frozen for many viewers as numerous people tried to watch the show. MLB.TV bills itself as the home of all things baseball, but it also lags and freezes during live broadcasts of games.

With more live broadcasts getting absorbed by the streaming blob, interruptions like this mark an infuriating turn. It is bad enough that many services have interruptions to movies or demand high prices to eliminate commercials from their content. As streaming services become ubiquitous, they are also demonstrating that they can’t handle the load brought on by live television events.

The Balkanization of streaming services has made subscribing to them similar to subscribing to each cable channel individually (can you imagine having to pay separately for CNN, TNT, AMC, USA, and TBS, on top of premium channels like ESPN, HBO or Showtime?). As it is, to watch post-season basketball out of market requires two different premium streaming services (the Peacock games are also aired on NBC, but only regionally). Watching the NFL postseason this past winter required four. Watching the Oscars is going to require a YouTube subscription starting in 2028.

Past Is Prologue, But We Still Haven’t Learned

Interruptions in the middle of live events are so unpardonable from any channel that it was made official policy to show the entirety of a game and preempt the shows following after the infamous “Heidi Bowl” incident in 1968. During this New York Jets NFL home game, the then-Oakland Raiders were dominating the field of play, so the network decided to switch to a made-for-TV version of the German folk story “Heidi.” The Jets came back to win the game in an exciting upset that only fans in the stadium got to see. While this was a bad network decision and not a technical difficulty, it set a precedent for live broadcasting that existed all the way until the Prime-Peacock NBA postseason broadcasts.

What streaming customers are getting isn’t as consistent as what we got from comparable cable channels. The more broadcasting, live or not, that moves over to streaming, the more the services are going to have to address these problems. Streaming was supposed to be a superior alternative to television. Instead, as the NBA playoffs debacle has demonstrated, they are becoming more of a monster than cable and can’t even provide the same level of service.

Here’s a rundown of Us Weekly‘s top stories making headlines in celebrity news, sports and entertainment on April 28, 2026. Here are key takeaways:

• Taylor Frankie Paul reconnects with Doug Mason: The Secret Lives of Mormon Wives star is “trying to make it work” with Bachelorette contestant Doug Mason, sources told Us Weekly. The pair reconnected after her season of the dating show was pulled by ABC following an alleged February domestic violence dispute with ex Dakota Mortensen.

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• Steven McBee Jr. and Allie Eklund discussed engagement before split: The McBee Dynasty star and Eklund had talked about getting engaged this year before McBee publicly accused her of cheating at the Stagecoach Festival on April 27. Eklund denied the allegations and shared screenshots of messages in which McBee allegedly called her a “hooker.”

• Taylor Swift wears Travis Kelce’s birthstone: Swift stepped out in New York City on April 27 wearing opal jewelry honoring her fiancé Kelce. Opal is Kelce’s birthstone and inspired her Life of a Showgirl song “Opalite.”

Edited by Samantha Benitz. Story produced with AI assistance