Savannah Chrisley is ready to step back into the reality TV spotlight with an all-new series — but it’s not for USA Network.

“There’s a new reality show in the works for Amazon,” sources exclusively tell Us Weekly. “It’s like Eat, Pray, Love.”

The upcoming series is “basically a spin on Bravo’s Girls Trip franchise,” insiders tease, referring to Bravo’s Ultimate Girls Trip series, which follows Real Housewives as they jet off to a vacation destination with cameras in tow.

Multiple sources tell Us that the show is “starting to film soon.”

A source adds that Chrisley, 28, is “on board.”

In addition to the Chrisley Knows Best alum, insiders share that “former Housewives will be joining” the cast, but names have not been publicly released.

“The cast will be living together in a house in the Dominican Republic,” sources add.

Us Weekly has reached out to Amazon and a representative for Chrisley for comment.

Savannah gained fame alongside her parents, Todd Chrisley and Julie Chrisley, and her siblings when USA Network’s Chrisley Knows Best premiered in 2014.

The show gave life to spinoff Growing Up Chrisley in 2019, which followed Savannah and brother Chase Chrisley’s life out in Los Angeles. While the sister and brother soon returned home to the south, the show ran four seasons before ending in 2022. (The family lived in Georgia before moving to Tennessee.)

Related: Todd Chrisley Explains Why He Was ‘Hesitant’ About Savannah on ‘The View’

Todd Chrisley revealed that he had reservations about his daughter Savannah Chrisley’s TV appearance, but he still tuned in. “My daughter was so pretty today on The View,” Todd, 56, proudly shared while chatting with wife Julie Chrisley on the Wednesday, March 4, episode of the “Chrisley Confessions 2.0” podcast. “I was very hesitant about […]

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Chrisley Knows Best came to an end in March 2023 after 10 seasons. The series’ finale aired two months after Todd, 56, and Julie, 53, reported to prison after being found guilty on charges of tax evasion, bank and wire fraud and conspiracy.

Julie was sentenced to seven years for her alleged involvement, while Todd was sentenced to 12 years. It was later announced that their sentences were each reduced by nearly two years as Savannah continued to push for her parents to be pardoned.

In May 2025, Savannah and her family’s efforts were rewarded and President Donald Trump pardoned Todd and Julie. The couple were subsequently released from their respective prisons and returned home to Tennessee.

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The emotional reunion was captured by Lifetime for the family’s docuseries The Chrisleys: Back to Reality, which premiered that September.

In addition to stepping back in front of the camera for the docuseries, Savannah has recently competed on both Special Forces: World’s Toughest Test and The Masked Singer in 2023 and 2024, respectively.

Savannah, who hosts her own podcast, “Unlocked With Savannah Chrisley,” also served as a temporary cohost on The View for several February episodes amid Alyssa Farah Griffin’s maternity leave.

In his long filmography, Steven Spielberg has given us some amazing movies. From Jaws, Schindler’s List, ET, Indiana Jones franchise, Saving Private Ryan, and the list goes on. But none of these movies has entertained audiences like the Jurassic Park franchise. First released in 1993, the original movies changed how cinema defined both spectacle and horror. Since the original trilogy, the franchise has been among the longest-running, with many directors presenting their own iterations revolving around the prehistoric beasts.

Last year, director Gareth Edwards’ Jurassic World Rebirth breathed new life into the franchise as an exciting new installment for fans. Led by Scarlett Johansson, the film marks the seventh film in the decades-long franchise and brilliantly connects to the previous two trilogies. Despite garnering mixed reviews, the movie went on to become one of the biggest box office grossers, earning $869 million worldwide against a production budget of $180 million.

After proving its dominion over the box office, the movie is now dominating streaming charts. Jurassic World Rebirth is getting a top spot on both Netflix charts and HBO Max charts. The 2025 film reached #1 globally on both platforms this past week. As of this writing, Rebirth has been overtaken by Alien: Romulus and now ranks #2 worldwide. While its global Netflix ranking has dipped more significantly, it is still holding firm at #2 in the U.S. The movie is a testament to fans’ love for well-made creature features that balance spectacle with a humane story. Rebirth follows a team on a mission to extract DNA samples from the three most colossal creatures to create a cure for heart disease. The film divided its audience upon its release, with critics giving it a 50% Rotten Tomatoes score while the audience gave it a 70%.

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Will There Be a Sequel to ‘Jurassic World Rebirth’?

Yes, it was previously reported that Edwards is in talks for a sequel to one of the biggest sci-fi films of 2025. Furthermore, Universal is keen on bringing back Johansson, Mahershala Ali, and Jonathan Bailey to reprise their roles. Producer Frank Marshall previously teased Collider, “All I’ll say to that is, I think we left the door quite open.” When pressed for further details, he added, “As a filmmaker, I won the lottery getting to do this movie, and so I’m very happy where I am. I’ve been saying to everyone, and it’s 100% true, we’ve not had a single conversation about another film at all. I don’t know if it’s superstition or what, but I’ve not done it, Frank’s not done it, David’s not done it, the studio’s not done it. And I’m gonna keep it that way tonight if that’s alright. We’ll just see how the world reacts when it comes out.”

Meanwhile, check out Jurassic World Rebirth on Netflix or HBO Max. Stay tuned to Collider for more updates.

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Release Date

July 2, 2025

Runtime

134 minutes

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Director

Gareth Edwards

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Writers

David Koepp

Producers

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Frank Marshall, Patrick Crowley

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Last week’s episode of High Potential left off with the major cliffhanger reveal that the man (John Pyper-Ferguson) who’s been following Arthur (Mekhi Phifer) was the person who abducted Roman 16 years ago. In this episode, it’s revealed that his name is Eric Hayworth, and that he was previously in Special Forces for the military. Not much else is revealed about Hayworth yet, except that he was hired to abduct Roman by an extremely dangerous woman named Willa Quinn. Meanwhile, this episode sees the return of Dottie (Michael Hyatt), Morgan’s (Kaitlin Olson) instructor from the training academy. The episode starts with a murder attempt being made on Dottie’s life, and Major Crimes working to solve the case while she’s unconscious in the hospital.

This episode, titled “If You Come For the Queen,” focuses primarily on Dottie’s case, which later connects to another case that Major Crimes is investigating. Daphne (Javicia Leslie) finally gets her first solo storyline this episode, as it’s revealed that Dottie was her training officer, and they used to be very close. Daphne takes the lead on Dottie’s case in what is an excellent, character-centered episode with a number of powerful storylines.

In ‘High Potential’ Season 2, Episode 14, Major Crimes Investigates an Attempt on Dottie’s Life

Image via ABC

Daphne and Morgan are assigned to Dottie’s case, while Karadec (Daniel Sunjata) and Oz (Deniz Akdeniz) investigate a murder. While working on Dottie’s case, Daphne tells Morgan that she and Dottie were very close during the five years they worked together, even after Daphne made detective and Dottie became a full-time instructor at the academy. Dottie pushed Daphne to take the sergeant’s exam and move forward in her career, but Daphne was hesitant to try to get a promotion after watching the discrimination that Selena (Judy Reyes) and Dottie have had to deal with for years as women of color in the police force. Daphne and Dottie got into an awful fight over this, and they haven’t spoken since.

Dottie was getting a massage at her regular spa during the attempt on her life, so Morgan and Daphne check out the spa and ask around. This takes them to Dottie’s classroom, where Morgan and Daphne catch their first suspect: one of Dottie’s students, Officer Hoff. Hoff broke into Dottie’s classroom to keep her from reporting him for a mistake, but he didn’t hurt her. Dottie wakes up, and she starts consulting with Morgan and Daphne on the case. Morgan looks at Karadec and Oz’s case, and she figures out that their victim, Luke Knight, went to the same spa as Dottie. Dottie checks herself out of the hospital early, and she joins Major Crimes to work on her and Luke’s cases.

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Daphne and Dottie go to the spa to ask around, while Karadec and Oz question people from Luke’s gym. Karadec speaks with Luke’s boss, Phyllis, who tells them that Luke was new, but that he had already landed some major clients. Karadec and Oz suspect Luke’s work rival, Voz, from whom Luke poached a high-profile client. Daphne and Dottie speak to Kirk Hartwood, the owner of the spa, who tells them that Luke has never been a guest at the spa – and that everyone working at the spa has an alibi placing them there during Luke’s death. Dottie collapses and has to go back to the hospital, where she and Daphne finally talk things through. They’re still at a standstill, though, because Dottie has a lot of hope for Daphne’s future, and Daphne thinks that there’s no point in taking the exam after Selena was unfairly passed over for her promotion.

Later, Morgan realizes that both Dottie and Luke’s cases are connected through a Strangers on a Train-type murder. Two people got together and agreed to kill the target that the other wanted dead, so it couldn’t be traced back to them. The Major Crimes team suspects that Voz was on one end of the pact, and that he got someone at the spa to kill Luke. As it turns out, Kirk has been using a black market supplier for the IVs to save money, and he has been giving them spa sensors in return. The supplier is Phyllis, who made a murder pact with Voz: Phyllis would kill Luke for stealing Voz’s client, and Luke would kill Dottie for Phyllis. Dottie reveals that she joined a sorority in college, and Phyllis was supposed to be her Big Sister. Phyllis went overboard on the hazing, so Dottie turned her in. Phyllis was charged with a felony, and her whole life fell apart after that. As a Black woman, she never got a second chance, and she blames Dottie for reporting her back then.

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Recently, Phyllis was turned down when trying to remove her felony record, reminding her of everything she lost. Phyllis is already on the run by the time Major Crimes realizes that she put the hit out on Dottie, but the Major Crimes team finds her. Daphne talks to Phyllis one-on-one, and she empathizes with her, saying she knows what it’s like to always have to prove herself. She encourages Phyllis to accept her arrest, and she does. Later, Daphne and Dottie have a touching conversation at the station. Dottie tells Daphne that she pushed her to keep her from letting outside pressure get her down, and Daphne tells her that she understands.

‘High Potential’ Season 2, Episode 14 Parallels Daphne and Ava’s Storylines

At the start of the episode, Ava (Amirah J) tells Morgan that she got into the design class that she applied to. Ava is very excited, until she sees a post online from a classmate that says she only got it because of her race. Morgan supports Ava as best as she can, but she acknowledges that she can’t fully understand what Ava is going through. Later, Ava goes to the station to talk to Daphne. They get derailed by Dottie’s collapse, but at the hospital, Ava tells Daphne what happened. Daphne empathizes with Ava and relates to her, and when Ava asks whether she should stick with the class, Daphne tells her to follow her heart.

Daphne doesn’t feel content with the advice that she gave Ava. Later, after solving Dottie’s case, she talks to Ava again from a new perspective. Daphne had been feeling disheartened since watching Selena get passed over for a promotion that she deserved, which only further convinced her not to even bother taking the sergeant’s exam, even though Dottie wanted her to. After reconciling with Dottie, though, Daphne decides that she wants to lean more into Dottie’s advice. Daphne tells Ava that they can’t control what other people say about them, and that she needs to do what feels right for her, no matter what people think. This encourages Ava, making it seem like she will likely continue with the class. It also bodes well for the possibility of Daphne taking the sergeant’s Exam in the remainder of Season 2.

High Potential airs Tuesdays at 9:00 p.m. ET on ABC.

In a way, Fringe is still enjoying the last laugh. Never a ratings flop for FOX but still criminally underrated during its five seasons, the 2008 drama’s visionary pedigree, innovative substance, eccentric humor, and one-in-a-million cast have secured its cult classic longevity. Showrunners Jeff Pinkner and J. H. Wyman reinforce their intricate mythology about parallel dimensions and doppelgängers with weighty thematic equivalents — identity, family, responsibility, love’s manifold consequences — while their nigh-seamless narrative framework keeps the most earnest sentiments from dissolving into saccharine triteness.

Fringe had already been solidifying its unique procedural-turned-serialized sensibilities by Season 2’s midway point. The second season’s sixteenth episode, “Peter,” marks a defining moment as figuratively seismic as the planet’s tectonic plates shifting under viewers’ rattling feet. For the first time, Fringe flourishes into one of televised sci-fi’s crowning achievements — in no small part because the episode’s driving crux exemplifies the genre’s enduring fusion of imaginative scope and achingly resonant heart.

‘Fringe’s “Peter” Episode Is the Sci-Fi Show’s Finest Hour

“Peter” deviates from Fringe‘s established format by unfolding as a flashback set within the contemporary framing device of Walter Bishop (John Noble) confessing his sins — specifically, the truth about his son Peter’s (Joshua Jackson) origins — to Olivia Dunham (Anna Torv). Even for a show increasingly comfortable with experimentation, the episode all but thrums with the sharpened texture and potent intentionality this freedom affords. Several long-standing mysteries receive rewarding payoffs, and the same newfound context informs future chain reactions.

“Peter” turns this half-culmination, half-prelude into an experience as disarmingly arresting as a blow to the solar plexus. Fringe‘s looming war emerges from the perfectly imperfect reality of human reaction; a grieving father tears asunder reality’s supposedly immutable boundaries. The kind of cosmic-level cost one would attribute to a supervillain’s experimental hubris — risking an entire universe — instead hails from a ruined, heartbroken man incapable of outmaneuvering his son’s fatal illness.

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What’s more, the Walter of 1985 doesn’t hatch some malevolent plan to kidnap “Walternate’s” son as if the two Peters are interchangeable replacements. That motivation is too simplistic for a series concerned with the mosaic of ways trauma, death, and isolation shape our already multidimensional psychologies. Rather, Walter intervenes as a compassionate, desperate, and completely irrational last resort, unable to witness the same irreversible tragedy befalling the only other Peter Bishop in existence.

Make no mistake — he weighs billions of innocent lives against one child. With all the simultaneous authority of a bereaved parent who can’t perceive a way forward and a scientist with a god complex, he chooses the latter’s survival, rejecting his colleagues’ warnings and all the detached tenets of his trade. And once he’s staring at the embodiment of an open wound, he also negates his white-knight promise to return Peter-2 to his loving home. Walter surrenders to temptation after temptation while trying to soothe his unbearable devastation. Interpreting an unconscionable act into something understandable — even sympathetic — is one of fiction’s strongest magic tricks in action.

John Noble’s Brilliant Performance in “Peter” Brings ‘Fringe’s Theoretical Ideas To Aching Life

One can’t wax rhapsodic about “Peter” without casting every known superlative in Noble’s direction. One might even risk hyperbole and call the actor’s entire Fringe run as faultlessly captivating. In this pivotal instance, his staggering performance shoulders the emotional core of what’s essentially a solo piece, a character study, and the axis upon which Fringe‘s future rests, with all the precise layering of pathos, intimacy, and restraint befitting such a Herculean task.

Even in Fringe-land, “Peter” provides a rare opportunity to compare the rhythms of present-day Walter with the past’s pre-quasi-lobotomized incarnation. The former is endearingly kooky to the point of almost harmless yet eternally guilt-ridden, longing for forgiveness while convinced he’s too irredeemable to deserve such mercy; the latter’s haunted by both the repercussions of his selfishness and, in his mind, failing to protect his child. No matter which timeline or dimension, all Walter Bishops contain the same capacity for active good, blithe negligence, disturbing arrogance, fragile vulnerability, and delayed clarity. It’s a suitably tragic irony that Walter inflicts similar heartbreak upon his parallel self, launches an interdimensional war, and ensures Peter’s fate as the multiverse’s sacrificial linchpin.

In the grand scheme of Fringe‘s one hundred episodes, “Peter” remains the series’ breakthrough masterstroke. If that wasn’t enough, this singular installment encapsulates the soaring power of sci-fi at its height by hewing to the genre’s unspoken rule of making the theoretical personal. Science function houses infinite ideas, but even the most ingenious concepts become a dime a dozen when they fail to root themselves in the familiar breadth and overwhelming gravitas of human experience. Fringe‘s dystopian universe-hopping is inseparable from the fact that Walter’s choice — one few people could summon enough strength to resist — emerges from raw familial love.

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Fringe

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Release Date

2008 – 2013-00-00

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Showrunner

Jeff Pinkner

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Directors

Jeff Pinkner

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If you’re looking for the best thriller on Netflix right now, you really should stop scrolling past Bodyguard. The six-episode BBC series from 2018 is leaner, meaner, and more emotionally compelling than anything the algorithm is currently pushing at you (The Night Agent, Reacher, take your pick). Richard Madden won a Golden Globe for it, but despite that, a second season didn’t materialize — and, it turns out, that might’ve been the best thing that ever happened to it.

What Is ‘Bodyguard’ About?

Created by Jed Mercurio – a man who has made a career out of turning institutional paranoia into compulsive television with shows like Line of Duty – Bodyguard follows David Budd (Madden), a decorated war veteran turned police protection officer assigned to guard Julia Montague (Keeley Hawes), the UK’s ambitious, polarizing Home Secretary. The catch: he fundamentally disagrees with everything she stands for. Hawes makes Montague formidable, injecting an unknowable quality to her that keeps the audience second-guessing itself, and the slow-burn tension between the two leads gives the show its stakes long before the assassination attempts and political conspiracies kick in. What starts as a procedural quickly escalates into something harder to pin down; a show that’s part psychological thriller, part conspiracy drama, and wholly gripping.

A heart-racing opening train sequence doubles as Bodyguard’s thesis statement. It’s both a warning and a promise: this show is all gas, no brakes. A bomb threat, handled in near real-time, with no swelling score guiding your nerves and no shorthand to reassure you that everything will be fine. Budd scrambles through the cars with the urgency of someone who has witnessed the unthinkable and is terrified of seeing it again. With one crisis thwarted (but plenty more on the way), the show builds on all that dread and adrenaline by thrusting its hero into yet another uncomfortable situation. He is assigned to Montague’s protection detail as a reward for his heroism, and the friction is obvious from the first scene they share. He thinks her policies got soldiers killed; she has no particular interest in his opinion. The professional dynamic is taut and watchable on its own terms, but Mercurio keeps complicating it. By the end of the first episode, you’ve already started quietly revising your read on at least one character, which is exactly what the show wants you to be doing.

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The show is built around a web of overlapping conspiracies. There’s a political power play involving Montague’s sweeping new surveillance legislation, which earns her plenty of dangerous enemies in high places. There are people within her own political orbit who want her humiliated. There are people further out who want her dead. And there’s at least one person in Budd’s immediate circle whose loyalties are not what they appear to be. For first-time viewers: go in knowing as little as possible beyond the basic setup. The shock and awe are more than worth it.

Netflix’s ‘Bodyguard’ Works Better as a One-Season Thriller

There’s enough action across Bodyguard’s six episodes to earn its genre placement, but the real draw of this story is Madden and how he plays what should be a conventional hero with an ambiguity just slight enough to make you hesitate labeling him the “good guy.” He’s a man running on fumes – anxious, post-traumatic, completely out of his depth in this shady government-run labyrinth populated by MI5 agents and crime lords. Budd’s good at his job, but it costs him something every time he’s out in the field, and Madden makes sure to remind us of that with physical tics and exasperated expressions that give the impression this guy is just a few seconds shy of a mental breakdown at all times.

It all ends with a setup, a suicide vest, and a tense standoff that feels doomed to end badly for the characters you’ve come to care about, but the important takeaway here is that it ends. Modern storytelling has largely abandoned the complete ending in favor of the strategic pause. Streaming series like to leave threads dangling, questions unanswered, and all signs pointed toward a follow-up that may or may not ever arrive. Bodyguard‘s finale untangles the conspiracy in a way that’s logical rather than convenient, bringing Budd’s arc to a conclusion that lands emotionally because the show has done the work to earn it. It’s a tidy piece of television, another nod that makes it unique among its peers. It’s also why those unrealized promises of Season 2 feel less frustrating. When Bodyguard hit, a follow-up seemed inevitable. The ratings were there, and Netflix seemed interested, too. Even Mercurio entertained the possibility. But years passed, and nothing happened.

Thrillers are notoriously difficult to stretch out. Their energy depends on unresolved tension, and once the central mystery is solved, the show has to manufacture new stakes from scratch. A lot of times, that process cheapens whatever made the original work. But that doesn’t happen here. Bodyguard tells one story, completely, without overstaying its welcome or softening its edges to leave room for expansion. The result is something increasingly hard: a thriller with a beginning, a middle, and an actual end. It’s the complete binge-watching package, and still better than anything trending at the moment.

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