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Published
February 24, 2026
12:05 AM PST

In a post-Tell Me Lies world, every relationship should be analyzed for red flags. The same month that the high-anxiety relationship drama ended on Hulu, Prime Video released its own take on the subject. In February, an adaptation of Catherine Ryan Howard’s book, 56 Days, hit the platform. Though the series veers quite substantially from the source material, the heart of the story is still there.

56 Days follows two people who embark on a romance after a chance meeting in a grocery store. Oliver (Avan Jogia) comes from generational wealth while also working at an architecture firm in Boston. Ciara (Dove Cameron), who is new to town, has a working-class background, but the two hit it off immediately after connecting on the subject of outer space. They rush into a sexual relationship, ignoring all the questions they have about each other. Oliver immediately seems suspicious as he takes intense private phone calls that hint at a dark, ulterior motive. Ciara, however, isn’t as innocent as she seems, and eventually it becomes clear that Oliver isn’t the only one harboring secrets.

‘56 Days’ Delivers All the Twists in Its Limited Run

56 Days’ addictive romance is only one part of this compelling thriller. The 56 days in question measure the time that Oliver and Ciara are together before a horrific crime rocks the apartment that they share. Flashforwards show that only a couple of months after the lovers get together, a body is discovered in the apartment. Authorities are shocked to find a partially dissolved body in the bathtub, and work to piece together the timeline that brought the characters to this point.

The flashbacks offer further tension as fans form their own conclusions about the identity of the body in the bathtub. As Ciara and Oliver’s relationship heats up, signs point to one of them being the victim. That being said, 56 Days offers many surprises to keep viewers engaged over the course of eight episodes.

The best part of the series is the increasing feeling of dread as Oliver and Ciara’s relationship progresses. It soon becomes clear that their first meeting was not by chance at all, but something else, darker and more nefarious. It almost becomes a cat-and-mouse game of who can be the most unsettling in this fast-paced relationship. Within minutes of meeting each other, Oliver offers to take Ciara out on a date that escalates quickly. He seemingly lies about their plans and then leads her into a dark alley. Though he does nothing to harm her, this is exceedingly worrying behavior, and Ciara somehow doesn’t seem concerned by it.

Somehow, the audience is encouraged to ignore these warning signs as well and fall under the spell of the narrative. Avan Jogia is captivating as Oliver, who is equal parts charming and disturbing. Jogia walks the line between these two traits well, leaving no question as to what attracts Ciara to Oliver in the first place. His dark allure becomes erratic at times, but ultimately, the vulnerability of the character shines through. This allows fans to suspend their disbelief when it comes to some of the more dramatic portions of the story.

Oliver and Ciara quickly consummate their physical relationship, which leads them to become even more codependent. There is a reason their fast-paced relationship leads to death, but that reason doesn’t become clear until the very end. 56 Days is the type of thriller that is easy to consume and leaves viewers guessing until the last possible moment.

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Release Date

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2026 – 2026-00-00

Network

Prime Video

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Directors

Alethea Jones

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Writers

Lisa Zwerling, Karyn Usher, Catherine Ryan Howard

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Kelly Clarkson is already in love with one of her newest contestants from The Voice.

During the Monday, February 23, season premiere of The Voice: Battle of Champions, viewers at home were introduced to New York singer Jonah Mayor.

“I’m known in the band as the sexy, muscular, long-haired, sensitive but determined boy band member,” Mayor, 31, said before performing in Italian. “I’m taking a big risk with my blind audition.”

Quickly after Mayor began his rendition of “Il Mondo,” Clarkson, 43, immediately turned her red chair.

Related: ‘The Voice‘ Winners Through the Years: Where Are They Now?

The Voice has been stunning viewers for years with amazing talent from across the United States, crowning 28 winners since it premiered in 2011. During season 19 of the NBC singing competition series, New York native Carter Rubin blew audiences away with his singing abilities and saw coach Gwen Stefani secure her first win. Just […]

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“Can I have a hug? You are my favorite performance thus far,” she said. “You are so incredible. What a gift! Oh my God! That was so sexy!”

Although fellow coach Adam Levine acknowledged it was going to be hard to persuade Mayor to pick his team, he did his best to praise the New Yorker.

“Jonah, I think you’re super awesome, and I think you are going to do great things. I think what you do is so singular, and there isn’t going to be anyone like you,” the Maroon 5 frontman, 46, shared. “You absolutely are the complete package in terms of performer and singer. There’s so much power in your voice. There’s a lot of presence in you.”

Although John Legend didn’t turn his chair for Mayor, he described the contestant as a “charismatic, super-gifted person.”

“It was gorgeous, flawless, beautiful,” Legend, 47, added of the audition. “I was thoroughly impressed by what you did.”

Before Mayor could officially pick which coach he wanted to be part of for season 29, he heard one final convincing argument from Clarkson.

“You sang, I think, three syllables and I was like, ‘Choose me, pick me, love me,’” she said while comparing Mayor to Josh Groban and Andrea Bocelli. “I’m down for the ride. I have won the most.”

After careful consideration, Mayor picked Clarkson, leading the former American Idol winner to profess her admiration even more.

“I love you. I’m so in love with you,” she said. “I want to help you so much just so everyone can hear that beautiful gift in all the languages.”

In a confessional interview, Clarkson added, “I love Jonah. I do love people that can sing opera. I love people that just have those full-body voices, just a nice glass of wine, a good red. This season, I’m really adamant about finding people in different genres and he is literally perfect for my team. I was so afraid I was going to lose him to Adam. I would have cried.”

During the season premiere, viewers also learned about The Voice’s new triple turn competition. During the blind auditions, the coach with the most artists on their team who received three-chair turns will earn a special advantage to use later in the competition.

“It really just depends on what artists are coming out and who they’re inspired by and want to work with,” Clarkson said on the show.

Watch the competition unfold when The Voice airs on NBC Mondays at 9 p.m. ET. Stream new episodes the next day on Peacock.

What most shows considered jumping the shark was just another day at the office for 24. The renowned FOX spy thriller series created by Joel Surnow and Robert Cochran set in real time never wavered in delivering shocking twists and turns, leaving audiences in awe every week with a traumatic death, climactic escalation of events, and jaw-dropping set piece.

In Season 3 — or rather, in 24 parlance, Day 3 — counterterrorist agent and borderline superspy Jack Bauer (Kiefer Sutherland) undergoes an excruciating shift at CTU. Kicking off the day with a prison riot and concluding with the severance of his future son-in-law’s hand, Jack was left in tears by the end of Episode 24. Things were already chaotic with the control of a deadly virus swapping hands and the return of Jack’s mortal enemy, Nina Myers (Sarah Clarke), but the inflection point of Day 3 came with the execution of bureau head Ryan Chappelle (Paul Schulze), a moment that altered the fabric of 24 forever.

’24’s Darkest Moment Tested the Morality of Jack Bauer and CTU

CTU was on its heels when possession of the virus landed in the hands of Stephen Saunders (Paul Blackthorne), a disgruntled MI6 agent looking to exact revenge on America through eco-terrorism. Having lost control of the situation, the agency was forced to commit the ultimate sin of 24: negotiate with the terrorists. Saunders had such leverage that he was directly making demands to President David Palmer (Dennis Haysbert), who was placed in the cruelest dilemma in Episode 18, “Day 3: 6:00 am. to 7:00 a.m.,” of this nightmarish day. Continuing his reign of terror, Saunders demands the killing of Ryan Chappelle, a high-ranking federal officer brought in to carry CTU’s workload after Tony Almeida (Carlos Bernard) is incapacitated, or else he’ll release the virus to the open air.

Throughout the episode, audiences expect that Jack and company will locate Saunders and/or the distributor of the virus, as, even for 24 standards, Chappelle’s premeditated execution would be too stark a line to cross. After Chase Edmunds (James Badge Dale) and his field unit fail to capture Saunders before the deadline, Jack, under authorization of the President, is left with no choice but to take Chappelle to an abandoned train station and put a bullet through his head. Major characters have died in 24, notably Jack’s wife, Teri (Leslie Hope), which closed Day 1, but these deaths were tragic costs of victory against the forces of evil. Here, Chappelle’s death is a sheer act of capitulation and failure. The series caught on in the 2000s as America was reeling from September 11th, but this pivotal moment in 24 reminded us all that the bad guys do occasionally come out on top.

Ryan Chappelle’s Death in ’24’ Rattled the Spy Series

This critical turning point in 24‘s DNA on Day 3, Episode 18, was an extraordinary feat of garnering audience sympathy for Chappelle, the stereotypical punctilious boss in a suit who viewers are designed to loath. Brought in from the parent division of CTU, Chappelle is strict with protocol, constantly barking commands and stubbornly interfering with Jack’s rogue procedures. Upon learning that he is the newest pawn in Saunders’ negotiating scheme, he becomes the symbolic figure of the season’s tragic stakes. In mere minutes, Chappelle is taken down a peg, proving that all parties working in counterterrorism are vulnerable.

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We can’t look away.

You know things are serious when a 24 episode’s climax doesn’t feature its signature multi-panel screens of ongoing storylines. The final minutes of the episode force you to sit with Ryan Chappelle on his knees, trembling as he’s unable to pull the trigger on himself. “God forgive me,” Jack says before coldly executing this esteemed federal agent to buy time with a virus-wielding terrorist. If this moment wasn’t chilling enough, the ticking clock that ends every hour is silenced, mourning our fallen hero. As horrifying as his ordeal is, Chappelle knows that he could never live with Saunders’ threat coming to fruition, where millions of Americans die by not sacrificing himself. The most heartbreaking moment of this scene is when Jack asks him if there’s any loved one he’d like to call for one final goodbye. For Chappelle, a man driven by his profession, he has no one important enough to bid farewell to.

“I feel as though I’m crossing a line I will never be able to step back from,” President Palmer solemnly states after authorizing Ryan Chappelle’s grave sacrifice. 24 fans knew instantly that there was no turning back from this moment. The series underwent a narrative reset following Season 3, with new faces beginning to populate CTU, Palmer resigning from office, and Jack Bauer working a desk job. Chappelle’s death shaded the morality of not just Jack, but also the cost of justice.

It’s a long way from Minnesota to New York’s Greenwich Village. Armed with nothing but his 1940s Gibson J-50 guitar and a handful of songs, Bob Dylan set out for the Big Apple in 1961, hoping to have his music heard. By 1963, Dylan had become the talk of the village thanks to what would become his most famous song, “Blowin’ in the Wind.” A reflection on the effects of war and racism around him, the song offered a glimpse of his talent for social commentary.

Over the years, Dylan continued writing lyrics that questioned authority and the status quo. While not always overtly critical, his approach wasn’t always welcomed in an industry eager to present optimism during the sensitive postwar period. Whether through the anti-militarism of “Masters of War,” or the borderline sacrilegious tone of “God on Our Side,” controversy followed. Even in the earliest days of his career, one song foreshadowed Dylan’s future clashes with censorship — and it happened all the way in the United Kingdom.

The BBC Refused to Play “Baby, Let Me Follow You Down” From Bob Dylan’s Debut Album

In the 1960s, the BBC had a strict approach to what could and couldn’t be played on the radio. Even cultural giants weren’t spared. The Beatles famously landed in hot water over a single line, “A Day in the Life,” prompting a personal letter from a BBC executive to their label, EMI. This time around, however, the artist was Dylan. The controversy had nothing to do with drug references or hidden meanings. Oddly enough, it wasn’t even his song to begin with.

In Dylan’s 1962 debut album Bob Dylan, the singer released a cover of “Baby, Let Me Follow You Down,” a blue-folk love song made popular through an adaptation by 1950s blues musician Eric Von Schmidt. Like much of the traditional blues repertoire, the song had already strayed far from its original roots. It was first recorded in 1935 as “Don’t Tear My Clothes” by the State Street Boys, then later adapted as “Let Your Linen Hang Low” by Rosetta Howard and “Mama Let Me Lay It On You” by Blind Boy Fuller. Von Schmidt’s version eventually gained wider recognition and made its way to Dylan’s debut album — a debt Dylan openly acknowledges at the start of the track: “I first heard this from Ric von Schmidt. He lives in Cambridge. / Ric is a blues guitar player. I met him one day on / the green pastures of Harvard University.”

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“Baby, Let Me Follow You Down” Broke Religious Broadcast Standards Because of One Word

Lyrically, “Baby, Let Me Follow You Down” is simple and sincere, far removed from the social provocation Dylan was known for. Yet the BBC took issue with one, tiny detail: Dylan repeats the word “godalmighty” four times. The mere mention of the Lord, even when used in a non-religious context, was deemed a violation of the broadcaster’s rules against taking God’s name in vain. A similar incident had occurred in 1953 with Don Cornell‘s “Hold My Hand.” Although the only scandalous part of the song was the idea of a blissful kiss, the BBC didn’t take too lightly to phrases such as “the kingdom of heavens.”

The BBC wasn’t the only broadcaster to clash with Dylan. In 1963, a year after the release of “Baby, Let Me Follow You Down,” the singer encountered trouble in the United States with CBS. Having gained some level of popularity, Dylan was invited to perform on The Ed Sullivan Show. Initially, the singer wanted to perform “Talkin’ John Birch Paranoid Blues” from his second album, The Freewheelin’ Bob Dylan. Based on the real-life controversial John Birch Society, the song is meant to criticize the severe anti-communist agenda that both the group and society were obsessed with. However, CBS executives pressured Dylan to change the song or alter its lyrics. Rather than compromise, he politely declined to appear on the show.

Bob Dylan Performed an Electrified “Baby, Let Me Follow You Down” at The Band’s ‘The Last Waltz’

Despite breaking into the folk scene professionally in 1962, it wasn’t until 1965 that Dylan truly sent his fans into a frenzy. That year, he drew widespread attention for ditching his acoustic image in favor of a rock and roll set at the Newport Folk Festival. The move from folk to Fender was widely seen as — no pun intended — blasphemy. Dylan took plenty of heat for the performance. Critics branded him a sellout and accused him of giving in to the commercialization taking over rock music at the time. Still, Dylan didn’t back down and continued pursuing his electric sound.

In 1978, Dylan reworked “Baby, Let Me Follow You Down” into an electric performance for The Last Waltz. Directed by Martin Scorsese, the concert documentary served as The Band‘s farewell show, with Dylan appearing as one of their guest performers. Unlike the gentle folk version, Dylan’s updated rendition featured twangy solos, punchy guitar riffs, and the singer’s scratchy, loud vocals — to which the audience applauded with great enthusiasm at the end.

Tyra Banks
Demanding $50,000 in Court …
Over ‘Celebrity Shakedown’

Published
February 24, 2026
1:00 AM PST

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