Hulu is expanding The Handmaid’s Tale universe with The Testaments spinoff — but will Elisabeth Moss reprise her role as June?

Moss, 43, was asked about the possibility of returning to Gilead during the Thursday, March 19, episode of The View, to which she replied, “I couldn’t tell you if I was! It’s been really cool. [Producing the show] means I didn’t have to say goodbye to the world, which I was very happy about.”

The actress also praised Chase Infiniti, who plays her onscreen daughter.

“Obviously, getting to be part of anything Chase is part of is so exciting and such an honor. It’s cool,” Moss said while calling The Testaments a show “for people who love the show and love Handmaid’s, but it’s also for people who’ve never seen Handmaid’s. No offense taken, it’s just a little bit different.”

Related: Chase Infiniti Says ‘Handmaid’s Tale’ Spinoff Has a ‘Beautiful Darkness’

Hulu Hulu’s highly anticipated The Handmaid’s Tale spinoff The Testaments is in the works — but what is there to know about the show so far? Margaret Atwood’s dystopian universe was initially brought to life with The Handmaid’s Tale, which is based on the novel of the same name about a future where low fertility […]

Based on Margaret Atwood’s novel of the same name, Hulu’s The Handmaid’s Tale took place in a dystopian future where low fertility rates led women to be assigned to men for bearing children. The series aired from 2017 to 2025.

The Testaments, which premieres April 8, is set three to four years later. Ann Dowd‘s Aunt Lydia serves as the narrator as viewers are thrust back into the dystopian future. Agnes and Daisy pose as “Pearl Girls” to infiltrate Canada in an attempt to smuggle incriminating information about Gilead’s regime, while Aunt Lydia acts as a covert source within Gilead.

In addition to Infiniti, 25, and Dowd, The Testaments stars Eva Foote, Rowan Blanchard, Kira Guloien, Amy Seimetz and Brad Alexander. Birva Pandya, Zarrin Darnell-Martin, Mattea Conforti, Shechinah Mpumlwana, Mabel Li and Isolde Ardies make up the rest of the cast.

Creator Bruce Miller previously opened up about how closely the series would follow Atwood’s book The Testaments, hinting that “it’s not going to track precisely” to the novel.

“Margaret writes these absolutely deliciously specific characters,” he told TVLine in 2022. “We had to go away from that in Handmaid’s, and we’re going to have to go away from that in Testaments. Testaments is certainly going to be a sequel to the show.”

More recently, Infiniti, 25, revealed she didn’t meet Moss until she was nearly done filming The Testaments.

“I actually didn’t get to meet Elisabeth Moss really until the end [of filming],” Infiniti told People in January.

Infiniti recalled Moss’ advice to her, adding, “But she kind of immediately after I met her, wrapped me into a big hug and was kind of like, ‘You got this. You got this. OK? You got it.’”

The Testaments premieres on Hulu April 8.

Happy New Music Friday! The weekend is here, which means more streaming, new playlists and the best that music has to offer — and ET has you covered for everything in between.

The wait is over — BTS has released their highly anticipated fifth album, ARIRANG. After approximately three years and nine months, the band is back with a new album and tour. Their new album reflects the culmination of their journey to date and defines the group on their own terms. The album has 14 tracks and was driven by each members’ honest introspection. The lead single, “SWIM,” centers on the resolve to keep moving forward through life’s waves and Lili Reinhart stars in the music video that was filmed on an actual ship in Lisbon. BTS will kick off their world tour on April 25. The band sat down with Apple Music’s Zane Lowe and shared how it felt natural to come back together as a group and how proud they are of where they came from and supporting each other. 

The first performers for the 61st Academy of Country Music Awards have been announced. Cody Johnson, Lainey Wilson and Riley Green will take the stage live at MGM Grand Garden Arena in Las Vegas. The awards will stream on May 17 on Prime Video.

iHeartMedia announced that Taylor Swift will be making a special appearance at the 2026 iHeartRadio Music Awards. She is this year’s most nominated artist with nine nominations. John Mellencamp will perform and be honored with the 2026 iHeartRadio Icon Award. Kehlani will also perform and there will be special appearances by Alysa Liu, Ne-Yo, Nicole Scherzinger, Nikki Glaser, somber, Weezer and more. The iHeartRadio Music Awards will air live on March 26 on FOX.

The Country Music Association announced Paul Overstreet, The Stanley Brothers and Tim McGraw as the 2026 inductees into the Country Music Hall of Fame. Overstreet will be inducted into the Songwriter category, The Stanley Brothers will be inducted into the Veterans Era Artist category and McGraw will be inducted into the Modern Era Artist category. Tim shared, “Everything good in my life has come from Country Music. From my best memories as a kid, to meeting my wife, to this music community, to the friendships I’ve made along the way. To represent Country Music at the highest level is the greatest honor anyone could bestow on me.”

Death Cab for Cutie announced their 11th studio album, I Built You A Tower will be out on June 5. The album was assembled in three weeks of sessions, recorded at Animal Rites in Los Angeles, as well as the band members’ homes in Seattle, Bellingham, Los Angeles and Portland. Ben Gibbard shared in a conversation with Yasi Salek last week that this new record is reminiscent of earlier Death Cab for Cutie music. He wanted a record to show what he loved about writing and is thrilled at where the band is today and how their music has meant so much to people. Look out for “Trap Door,” which he says is his favorite song on the album. Alongside the album announcement, the band released the first single “Riptides” which is about the challenge of dealing with personal struggles as the world experiences tragedy and loss.”

Plus, new music from Niall Horan, Lizzo, Luke Combs, Foo Fighters, Muse, Latto, Ella Langley, Coco Jones, Nick Carter, Alessia Cara, Dionne Warwick, Maluma and more.

ARIRANG – BTS

Stream it now: Apple / Spotify

“Dinner Party” – Niall Horan

Stream it now: Apple / Spotify
 

“Don’t Make Me Love U” – Lizzo

Stream it now: Apple / Spotify

The Way I Am – Luke Combs

Stream it now: Apple / Spotify

“Caught In The Echo” – Foo Fighters

Stream it now: Apple / Spotify
 

“Business & Personal (Intro)” – Latto

Stream it now: Apple / Spotify
 

“Be With You” – Muse

Stream it now: Apple / Spotify
 

“Riptides” – Death Cab for Cutie

Stream it now: Apple / Spotify

“Loving Life Again” – Ella Langley

Stream it now: Apple / Spotify
 

“LUVAGIRL” – Coco Jones

Stream it now: Apple / Spotify
 

“BOTERO”– Maluma feat Arcángel, NTG

Stream it now: Apple / Spotify

“Click Clack Symphony” – RAYE feat Hans Zimmer

Stream it now: Apple / Spotify

“Pinterest (Spanish)” – Anitta

Stream it now: Apple / Spotify

“Love Life Tragedy” – Nick Carter

Stream it now: Apple / Spotify

Love Or Lack Thereof – Alessia Cara

Stream it now: Apple / Spotify
 

“Lighter” (FIFA World Cup 2026) – Carín León & Jelly Roll

Stream it now: Apple / Spotify
 

“Let King Tonka Talk” – Yeat feat King Kylie

Stream it now: Apple / Spotify
 

“Wild Ride” – Durand Bernarr feat James Fauntleroy

Stream it now: Apple / Spotify

Steel Town – Morgan Evans

Stream it now: Apple / Spotify
 

“Move” – Tank and the Bangas feat Lucky Daye

Stream it now: Apple / Spotify

“Leak It” – FLO

Stream it now: Apple / Spotify
 

R3SET – Mike WiLL Made-It

Stream it now: Apple / Spotify
 

“Loving One” – People I’ve Met

Stream it now: Apple / Spotify
 

“Heaven on Earth” – Pentatonix

Stream it now: Apple / Spotify
 

“Dive Into Me” – ALOK & Khalid

Stream it now: Apple / Spotify
 

“Bird Flu” – 6LACK

Stream it now: Apple / Spotify
 

“In The Pines” – Renée Fleming & Béla Fleck feat Dolly Parton

Stream it now: Apple / Spotify
 

When Lagos Sleeps – SPINALL

Stream it now: Apple / Spotify
 

Art of Letting Go – Atlus

Stream it now: Apple / Spotify

“Go Home With A Stranger” – Don Diablo feat Wiz Khalifa & Chri$tian Gate$

Stream it now: Apple / Spotify
 

“Miyazaki” – Paris Paloma

Stream it now: Apple / Spotify
 

“Honest” – Ebony Riley

Stream it now: Apple / Spotify
 

“Alone” – Carly Hann

Stream it now: Apple / Spotify
 

“Ocean In The Desert”– Dionne Warwick & Cynthia Erivo

Stream it now: Apple / Spotify
 

Even top stars appreciate low-maintenance, high-performing beauty routines — just look at Lisa Vanderpump. The Vanderpump Villa, Vanderpump Rules and Real Housewives of Beverly Hills star revealed her go-to tool for effortlessly blow-dried curls: Shark’s FlexStyle Air Styling and Drying System, which is currently $100 off on Amazon ahead of the Big Spring Sale.

While chatting with Bethany Blair on IPSY’s “Hitting Pan” beauty podcast, Vanderpump shared that the Shark tool is a “lifechanger” for its efficiency and versatility — including adaptable plugs when she travels to England and France.

“Anybody that says they’ve tried it, and they’re not into it? They haven’t tried it properly,” she said. “Because all that holding your hair and trying to blow dry it is impossible. With that thing, you just do it.”

Get the Shark FlexStyle Air Styling & Drying System for $300 (originally $400) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

In fact, the star even revealed it takes less than 20 minutes to dry her hair with Shark’s FlexStyle system. “You can just dry your hair in 15 minutes,” Vanderpump said. “Things that make my life easier, I’m all about that.”

Still, the Shark FlexStyle Air Styling & Drying System is far more than just a hair dryer. In addition to drying, the tool features styling attachments for curling, smoothing, and volumizing all hair textures. Plus, the system reduces the amount of heat on your hair, avoiding damaging effects like dryness and breakage.

Related: Kate Middleton’s Hairstylist Praises the Dyson Airwrap Styling System (On Sale!)

Anyone who does Kate Middleton‘s hair has some serious prestige. Enter stylist Richard Ward, who literally can’t move any higher on the expertise ladder. When it comes to frizz-free blowouts, Ward recommends the bestselling Dyson styling system, usually a splurge, but on sale for $170 off right now. The Dyson Airwrap Multi-Styler is the ultimate do-it-all tool, […]

It’s not just Vanderpump that’s a fan of Shark’s hairstyling system. The tool has found fans in over 7,000 shoppers on Amazon for its high quality and time-saving features.

“The curling tool is phenomenal,” one customer shared. “It leaves the prettiest, smooth soft curls. I love that the cool setting button is easily accessible. When I set my curls with the cool touch, they last so much longer.”

“What really sets it apart is the targeted and purposeful drying,” she said. “Unlike a traditional blow dryer that creates a full-on wind tunnel, this one allows you to focus on specific sections of your hair without blasting everything else. With regular blow dryers, I always struggled to control my hair — it would fly everywhere and dry with frizz and unwanted waves. The FlexStyle dries powerfully yet calmly, and my hair stays mostly in place instead of whipping around.”

It’s clear that the Shark FlexStyle Air Styling & Drying System is a top choice for stars and beauty fans alike for a multitude of reasons. With its range of styling attachments, quick-drying time, and safe temperature settings, the tool has become an effective, versatile must-have. Pick up your own for effortless hair you’ll love all year long!

Get the Shark FlexStyle Air Styling & Drying System for $300 (originally $400) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Don’t forget to check out all of Amazon’s Daily Deals for more great finds!

Related: Bethenny Frankel Said This Viral Mask Made Her Hair Feel ‘Brand New‘

Bethenny Frankel is always testing the latest beauty finds, but every once in a while, a product actually makes her stop and rave. Recently, she revealed that one particular hair treatment left her strands feeling “brand new”: the viral K18 Leave-In Molecular Repair Hair Mask, a cult-favorite formula that’s gained a massive following for its […]

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By Chris Snellgrove
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Recently, Buffy the Vampire Slayer fans received devastating news: Hulu killed the upcoming reboot of the popular supernatural series. The fandom reaction to this news has generally been very grim, and many are sharpening their stakes and wondering who to blame. Buffy legend Sarah Michelle Gellar helped aim their ire at one unnamed executive, someone who never cared for the original show and allegedly took great delight in killing the reboot.

However, news of the cancellation made me let out a breath I didn’t even realize I was holding. The blunt truth is that we’ve gotten tons of awful television revivals in recent years, including The X-Files, Charmed, and Star Trek: Picard. Buffy’s own reboot getting canceled means our memories of a nearly perfect television show will remain unstained by what looked to be an awful revival. Plus, the cancellation means fans won’t have to face a very sobering truth: a reboot would be nothing without the involvement of canceled Buffy creator Joss Whedon.

Another One Bites The Dust

A year ago, the future seemed uncharacteristically sunny for Buffy the Vampire Slayer. Hulu had ordered a pilot for a revival with the name Buffy: New Sunnydale, and it had some serious talent behind it. The script came courtesy of Nora and Lilla Zuckerman, who are best known for writing episodes of Poker Face, one of the greatest female-led series in modern television. The pilot was directed by Best Picture Oscar winner Chloé Zhao. Most importantly, original Buffy star Sarah Michelle Gellar was returning to reprise her iconic role.

While Hulu ordered some changes to the pilot, everyone involved was generally confident that the show would proceed, resulting in an order for a full season. At the eleventh hour, the streamer canceled the show, and Gellar later blamed an unnamed executive for this decision. The executive seems to be Disney Television Group President Craig Erwich, a man who oversees the Hulu Originals division. Right now, Buffy fans want to drive a stake into his heart. But I can’t help but feel that Erwich just helped all of us dodge a bullet (or maybe it was a crossbow bolt).

Not Getting The Gang Back Together

The first reason I think a Buffy the Vampire Slayer reboot was doomed to failure is that Sarah Michelle Gellar was the only member of the original cast to return for the pilot. That might have changed if the show had gotten ordered to series, but right now, she was the only connection to the original show. The connection also wasn’t very strong: reportedly, one of the changes Hulu requested for the pilot is giving Sarah Michelle Gellar a beefier role.

As great as Gellar is, the original Buffy succeeded because it was an ensemble show, and any genuine attempt to revive the original series would need to revive most (ideally, all) of the ensemble. Otherwise, you’re just watching a single popular actor going through the motions in a completely different television show. Weirdly enough, I think the best analog for how bad a Buffy reboot would be is the short-lived Frasier revival at Paramount. It brought back Kelsey Grammar, but he was surrounded by new characters, a new setting, a new job, etc. The network learned the hard way that fans want the whole ensemble back, not just the title character.

Personally, I wouldn’t want a Buffy reboot that is comprised almost entirely of new characters. It’s really the worst of both worlds. There would be a bunch of new people that old fans don’t really care about because they want to see more of Xander, Willow, and Giles. Meanwhile, the reboot would dangle Sarah Michelle Gellar in front of us without giving her much in the way of purpose or even screentime.

Hulu Was Right: The Buffy Reboot Was Really, Really Bad

According to the leaked script reviewed by Variety, the Buffy reboot pilot originally only had Sarah Michelle Gellar get a one-line cameo at the very end. After rewrites, she got more screentime, but her role will definitely upset the fandom. You see, Buffy now works for a major insurance company, and she has to return to Sunnydale because of a sudden high number of claims. On one hand, this new job proves that the Slayer was able to move on and finally live a normal life. On the other hand, it’s kind of depressing imagining the woman who repeatedly saved the world ending up as just another cubicle drone.

Most of the pilot focused on the new character Nova, a recently called Slayer who has to fight vampires with the help of her own Scooby Gang. She lives in Sunnydale, and modern residents know about the city’s shady supernatural history. But that knowledge won’t protect anyone because all the vampires Buffy seemingly defeated in the series finale have been reawakened, and they have all come back hungry.

Personally, I think this pilot sounds like a very lame retread of the Buffy the Vampire Slayer concept. Specifically, it sounds like a retread of Season 7, which teased that Dawn would be getting her own Scoobies before dropping that plotline like a hot potato. Speaking of Season 7, this pilot picks up decades later, but it does so in the worst possible way. There seems to be no solid explanation for why the vampires are back, nor is there any explanation for where all the other Slayers are since Buffy awakened them. In this way, the reboot makes all of Buffy’s actions and sacrifices in her own series finale completely meaningless!

Lost Without Joss

We’ve established most of the reasons why the Buffy the Vampire Slayer reboot would have sucked: a major lack of Buffy, a complete absence of other cast members, and a plot that ruins the earlier show’s lore. However, the reboot was also doomed for a reason that most fans aren’t really ready to admit. Namely, the new show was being made without controversial Buffy creator Joss Whedon. Without his unique voice, the reboot was doomed from the very beginning.

Whedon isn’t involved with the reboot because he got canceled, seemingly for very good reasons. Ray Fisher claimed that Whedon was verbally abusive on the Justice League set, and costar Gal Gadot alleges that Whedon threatened her career so she would comply with his demands. Buffy and Angel star Charisma Carpenter also claimed Whedon was abusive, saying that her pregnancy made her fat and callously asking if she planned on keeping the baby. Her statements were supported by other Buffy actors who agreed that Whedon created a hostile work environment, including David Boreanaz, Amber Benson, James Marsters, and Eliza Dushku.

Hovering over all of this was the bombshell revelation from Joss Whedon’s ex-wife (Kai Cole) that, despite Whedon being such an avowed feminist, he had cheated on her with multiple women, including fans and Hollywood colleagues. He even had at least one affair with an unnamed actor on Buffy the Vampire Slayer. Cole’s letter came out amid the #MeToo movement, which went a long way towards canceling Whedon. His cancellation was complete once Ray Fisher and Gal Gadot made their allegations, and even though no charges were ever formally filed, his career had a stake driven right into its heart.

All of this is to say that Joss Whedon was exposed as a hypocrite, and even though it took decades, it was rewarding to see him face justice for his alleged actions. However, nobody can deny that Whedon’s quirky humor and particular style of writing were the secret sauce that transformed Buffy the Vampire Slayer into such a cultural phenomenon. The reboot ultimately found itself in a terrible position: if they brought Whedon back, Hulu would be accused of condoning his alleged abuse. But by refusing to bring him on board, the streamer ended up with a script that fell so far short of the original show they killed the reboot altogether.

Here Lies Buffy Summers

The Buffy the Vampire Slayer reboot is dead, and that’s a good thing. Instead of getting another crappy reboot, this franchise will remain an artifact of the late ‘90s and early aughts. We can enjoy streaming old episodes, dusting off our DVDs (remember those cool menu animations?), or even reading the surprisingly great comic books. In this way, Buffy will live as long as fans have nostalgia for its powerful pop culture impact.

Sarah Michelle Gellar and others are hoping to shop this reboot pilot around to other networks or streamers, but I’m hoping this thing stays dusted. Everything we know about the reboot makes it look like it would have been a sloppy, shoddy parody of everything fans loved about the original show. Plus, if there’s anything we’ve learned about Buffy the Vampire Slayer, it’s that nothing good happens when something comes back from the dead!

Netflix CEO Ted Sarandos has sparked fresh speculation surrounding Meghan Markle after quietly making a move that did not go unnoticed.

The streaming boss recently unfollowed the Duchess of Sussex and her lifestyle brand on Instagram, raising questions about the current state of their relationship as behind-the-scenes tensions and conflicting narratives continue to surface.

Ted Sarandos Quietly Unfollows Meghan Markle And Her Brand

The latest buzz began when it emerged that Ted Sarandos had quietly unfollowed Meghan Markle and her lifestyle venture, As Ever, on Instagram.

The decision reportedly happened around the same time Netflix distanced itself from the brand, fueling curiosity about whether the two events were connected.

Sarandos had previously been among the high-profile figures who followed Meghan when she returned to social media in early 2025. He also followed her business account, which initially launched as American Riviera Orchard before rebranding as As Ever.

However, both Meghan and the brand have now disappeared from his following list. Netflix’s Chief Content Officer Bela Bajaria is also said to have done the same, adding to speculation that something may have shifted internally.

Interestingly, Sarandos’ wife, Nicole Avant, still follows Meghan on Instagram, though she no longer follows the brand.

A Netflix source told the Daily Mail, “Nicole and Meghan are still friends.”

Meghan’s Netflix Relationship Faces Scrutiny

While the unfollowing alone raised eyebrows, it comes amid growing chatter about a possible cooling of relations between Netflix and the Sussexes.

In the past, Sarandos had openly praised Meghan, even referring to her as “the rock star” during a public appearance last year.

That admiration appeared tied to the success of the couple’s 2022 documentary, “Harry & Meghan,” which reportedly drove massive interest, with even small details featured in the show quickly selling out.

However, according to a Daily Mail report, the atmosphere behind the scenes may have shifted significantly.

The outlet reported that Meghan and her brand seemed to have been removed with “Stalinist thoroughness” by Netflix leadership, suggesting a deeper disconnect.

Sources also indicated that Sarandos and Bajaria had made private remarks about the couple that were “not complimentary,” though specifics were not disclosed.

Meghan Markle Brand Exit Raises Questions

Complicating matters further is the fate of Meghan’s lifestyle brand. Netflix had invested in the venture, but it ultimately failed to gain the traction expected, leading to its official end on March 6.

One insider summed up the disappointment, stating, “There was just all this jam. We had thought that there would be more to it.”

Meanwhile, those close to Meghan reportedly felt that Netflix had taken an overly cautious approach to the brand’s rollout, limiting its potential growth.

The disconnect between expectations and execution appears to have played a role in the decision to part ways, though neither side has publicly framed it as a fallout.

Conflicting Claims About Meghan And Netflix Tensions

As speculation intensified, reports surfaced claiming Sarandos had grown frustrated with Meghan Markle and Prince Harry.

One widely circulated claim suggested he would not engage in a call with Meghan “unless a lawyer was present on the line.”

Netflix quickly pushed back, calling the report “absolutely inaccurate.” Meghan and Harry’s attorney, Michael J. Kump, also strongly denied the claim, describing it as “blatantly false.”

According to Kump, Meghan remains in regular contact with Sarandos, noting that she has “been to his home, sans lawyers,” and continues to communicate with him directly.

At the same time, other insider accounts painted a more strained picture. One source told Variety, “The mood in the building is ‘We’re done’,” suggesting frustration within Netflix’s ranks.

There were also claims that Meghan had been difficult to work with at times, including allegations that she would leave Zoom calls mid-meeting or speak over Prince Harry.

Her legal team dismissed those claims, insisting she stepped away only to care for her children.

Meghan Markle’s Future With Netflix Remains Unclear

Despite the swirling rumors, Netflix executives have maintained that the partnership with Meghan and Harry is still intact.

At the “Next on Netflix” event on March 18, Bela Bajaria addressed the speculation directly, emphasizing that not everything reported should be taken at face value.

As The Blast reported, she reiterated that the relationship between the streaming giant and the Sussexes remains positive.

Bajaria also pointed to ongoing discussions around future projects, including potential film developments involving the couple. Reflecting on the nature of such partnerships, she added, “Deals come and go all the time. There are deals that are deals we don’t renew.”

Her comments suggest that while some collaborations may end, it does not necessarily signal a complete breakdown in relations.

Still, the timing of Sarandos’ social media move, combined with the recent developments surrounding Meghan’s brand and the mixed messaging from insiders, continues to fuel speculation.

For now, the situation remains layered, with public statements insisting everything is fine while subtle signals hint at a more complicated reality behind the scenes.

At one point in his career, Nathan Fillion may have only been known for his role as Richard Castle, but he’s branched out with so many projects that it’s tough to identify what he’s most famous for. Firefly, the 2002 space sci-fi series that’s being rebooted through animation, is certainly up there, as is The Rookie, the long-running ABC procedural where he recurs as John Nolan. Fillion has also teamed up with James Gunn in both Marvel and DC films, and he’s set to return in HBO’s Lanterns, which will be released this summer.

Today, Collider is thrilled to partner with Dark Horse Comics to exclusively preview a new cover from Fillion’s new comic series, Witness Point, which will arrive in shops everywhere this July. Co-written with author Heath Corson and illustrated by Soo Lee, the comic is set against the backdrop of a friendly town in Baraboo, Wisconsin, a mostly quiet little hangout until the discovery of a dismembered body reveals it’s actually the dumping ground for the Witness Protection Program. This forces the long-suffering local sheriff, Carter Calhoon, and his contentious deputy, Priya Khabrani, to team up and solve the murder before the town’s beloved Harvest Festival. We’re also happy to exclusively reveal Fillion’s thoughts on the project. He said:

“Heath pulled me into this world with Witness Point, and I immediately knew this was a story that would lend itself to a comic series. I’m excited to be collaborating with the incredibly talented and celebrated artist, Soo Lee, whose recent work on ThunderCats: Cheetara, The Wizard of Oz, and Disney Villains: Maleficent, is nothing short of extraordinary. Working with Soo, alongside my partners at Collision33 — Michelle Chapman and Josh Levy — and the team at Dark Horse Entertainment to bring this engaging story to life has been a thrill. I love this project and can’t wait for readers to experience it.”

Heath Corso also said this of the project, “Nathan is an intuitive storyteller who imbues every medium he works in with his quick wit, iconic character, and bottomless humanity. I feel like we’ve managed to siphon a decent amount of it into Witness Point.” Illustrator Soo Lee also added, “Witness Point isn’t your typical crime story that you think it is, so I wanted it to reflect that in the art as well. The setting is unusual with unusual suspects and characters, in all senses of the world, so I wanted the colors and visuals to match that.”

Nathan Fillion Makes His Long-Awaited DCU Return This Summer

Fillion will return to his new signature role of Guy Gardner, aka Green Lantern, this summer in the new HBO series, Lanterns. Led by Kyle Chandler and Aaron Pierre, who star as Hal Jordan and John Stewart, Lanterns is the DCU’s take on True Detective, centering around two space heroes solving a mystery on Earth. The series has been confirmed to release this August, but it’s still lacking an official launch date.

Check out the new covers for Witness Point above and stay tuned to Collider for more updates and coverage of Fillion’s future projects.

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Release Date

October 16, 2018

Showrunner

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Alexi Hawley

Directors

Tori Garrett, Chi-Yoon Chung, Michael Goi, Sylvain White, Lisa Demaine, Lanre Olabisi, Bill Johnson, David McWhirter, Liz Friedlander, Daniel Willis, Toa Fraser, Anne Renton, Jon Huertas, Cherie Nowlan, TK Shom, Rob Seidenglanz, Valerie Weiss, Barbara Brown, Charissa Sanjarernsuithikul, SJ Main Muñoz, Nelson McCormick, Marcus Stokes, Adam Davidson, Anna Mastro

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Writers

Corey Miller, Bill Rinier, Zoe Cheng, Mary Trahan, Ally Seibert, Liz Alper, Nick Hurwitz, Racheal Seymour, Madeleine Coghlan, David Radcliff

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Vampires of the Velvet Lounge feels distinctly like a made-for-TV movie that would have aired on the Sci-Fi Channel in the middle of the night in the late ’90s. It’s the kind of campy vampire horror that might’ve once faded into distant memory, bleeding into the fever-dream era of Blood Ties or Forever Knight — the kind of titles only revisited while falling down an IMDb rabbit hole of long-forgotten titles.

While that era of filmmaking may have had its fair share of questionable scripts, they never felt like they were engineered for the moment your attention drifts. Vampires of the Velvet Lounge is perhaps one of the most egregious examples of preemptively preparing for second-screen viewing. Even Netflix’s intentionally “dumbed down” scripts aren’t as hamfisted and lazy with their dialogue. Despite knowing each other for — quite literally — centuries, the aforementioned vampires of the Velvet Lounge take a moment to detail what type of blood they prefer, how long they’ve been vampires, and what their individual modus operandi is upon their first introduction on screen.

‘Vampires of the Velvet Lounge’ Rehashes Familiar Tropes

The first twenty minutes are dedicated almost entirely to establishing the film’s lore. Through a series of intertitles, writer-director Adam Sherman reworks Countess Elizabeth Báthory’s alleged crimes as the origin story for his vampire mythology. It’s a familiar hook, and one that never quite evolves beyond its surface-level appeal. The opening credits — which are shockingly long — aim to evoke the glory days of television, something akin to Buffy the Vampire Slayer’s iconic, never-skip intro. The difference is that Buffy gave you a reason to care. Vampires of the Velvet Lounge offers a parade of blood-soaked imagery without any emotional investment to anchor it.

Here, Elizabeth (Mena Suvari) and her coven have relocated to Savannah, Georgia, where they operate a back-alley absinthe bar. Alongside Joan (India Eisley), a grizzled, blood-covered enforcer (Mark Boone Junior), and a sultry accomplice (Sarah Dumont), they lure unsuspecting victims via webcam dating schemes. It’s a genuinely fun premise — one that should lean into camp and absurdity, but it somehow lands flat. Even with scene-stealing supporting players like Timothy V. Murphy, Stephen Dorff, and

Tyrese Gibson, the execution never quite matches the potential.

Naturally, a coven needs opposition. Enter Cora (Dichen Lachman), a former assassin turned gun-for-hire who’s been attempting to lure Elizabeth into a trap through an online romance. Lachman’s performance leans toward a Sin City-style stoicism, but it reads as flat more than hardened. The script does her no favors. Despite her character’s narrative importance, Cora is largely sidelined, appearing briefly to bookend a midpoint that collapses under the weight of the film’s disastrously bad mid-point. For an actor coming off the critical acclaim of Severance, it’s a frustratingly underwritten role.

‘Vampires of the Velvet Lounge’ Fails Its Cast of Characters

Sherman leans heavily into the aesthetics of the genres that inspired him, but often misses what made them work. There are flashes of visual appeal, particularly in the production design of Elizabeth’s bar and Cora’s apartment. But Sherman undercuts himself by being all Tarantino and no Rodriguez. The film’s female characters lack personalities beyond being man-eating vampires that look like demonic green fairies (a poor attempt to riff on the iconography of absinthe). Cora’s roommate (Rosa Salazar) fares even worse. She’s inexplicably staged in a constant state of undress, pacing the apartment in her underwear while discussing her dating life, lifting weights, and bending directly into the camera’s distinctly male gaze. It all feels voyeuristic for the sake of voyeurism, lacking any narrative or stylistic justification. It’s not even provocative.

Lachman brings her usual screen presence, but the script gives her little to work with beyond surface-level traits, leaving her performance feeling one-note through no fault of her own. It’s a missed opportunity, especially in a film that could have benefited from more dynamic character interplay. The potential queerness of her character — particularly where allusions to a deeper interest in her roommate and something more than just a farce with Elizabeth — are nothing more than implications, rather than anything actually character-impacting.

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Within all of this, there are flashes of something better. Most notably in India Eisley’s performance. Eisley stands out immediately, bringing a level of emotional commitment that the rest of the film struggles to match. It helps that her character is the only one with internal conflict and something resembling a fully trackable narrative arc. While the script gives her the same exposition-heavy material as everyone else, she manages to ground it, finding moments of genuine feeling in scenes that might otherwise fall flat. There’s a sense that she’s working through the limitations of the writing rather than being supported by it, and the result is a performance that feels like it belongs to a more cohesive, more intentional version of this movie.

It’s not that Eisley transforms the film (there’s only so much one performance can do), but she does provide a glimpse of what Vampires of the Velvet Lounge could have been with stronger character work and a clearer sense of direction.

‘Vampires of the Velvet Lounge’ a Future Cult Classic?

Even for vampire B-movie connoisseurs who are used to turning off their brains to enjoy a visually appealing and well-acted movie, Vampires of the Velvet Lounge may be a stretch. The plot makes no sense, and the visuals — particularly when Elizabeth and Joan (Eisley) go for a joy ride through Savannah — are grotesquely bad. The horror is also a non-starter, and largely blood and gore for the sake of blood and gore, with illogical deaths and questionable visual effects.

From a storytelling perspective, Vampires of the Velvet Lounge is so aggressively reliant on exposition that it’s almost unbearable. Characters don’t reveal themselves through action or subtext; they explain themselves, repeatedly. Motivations are spelled out, then restated, then reiterated again, as if the script is constantly checking to make sure viewers are still loosely following along. It’s not just “tell with no show,” it’s tell, then tell again for good measure.

While Vampires of the Velvet Lounge is undeniably a mess that is plagued by clunky dialogue, uneven performances, and distractingly bad visual effects, it’s also oddly watchable. In the same way that you can’t quite help but look back as you drive past a car accident. The film desperately wants to be seen as a grindhouse-inspired vampire romp that gestures towards camp and pulp, and the hazy glory days of sexy vampires lurking in neon-bathed nightclubs, but it settles into something more modern: background noise cinema. As it stands, Vampires of the Velvet Lounge is exactly what it seems to be: a messy, mildly entertaining vampire movie that works best when you’re only half watching it.

Vampires of the Velvet Lounge is now playing in theaters.

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Vampires of the Velvet Lounge

A wannabe grindhouse vampire horror that has been completely defanged.

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Release Date

March 20, 2026

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Runtime

105 Minutes

Director

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Adam Sherman

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Cast

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Pros & Cons

• India Eisley delivers a grounded, emotionally compelling performance throughout the film.
• Vampires of the Velvet Lounge’s campy, pulpy premise has moments of fun despite the film?s many flaws.

• Repetitive, exposition-heavy dialogue constantly explains instead of showing why audiences should care about the film’s cast of characters.
• Vampires of the Velvet Lounge features a nonsensical, poorly structured plot with little payoff or coherence.
• Male gaze-heavy framing feels gratuitous and adds nothing to the story and takes away the potential of the female cast of characters.
• Dichen Lachman is severely underutilized in a flat, underwritten role, which is a shame because she’s a brilliant actress.

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