Strange Planet had almost everything needed to become a standout adult animated sci-fi comedy. Nathan W. Pyle’s bizarrely wholesome world of blue beings, literal language, and everyday existential problems was already a proven concept, and bringing it to Apple TV gave the webcomic room to become something bigger.

Pyle also had Rick and Morty and Community creator Dan Harmon helping translate his work for television, along with a stacked voice cast led by Tunde Adebimpe, Demi Adejuyigbe, Lori Tan Chinn, Danny Pudi and Hannah Einbinder. The problem is that Strange Planet’s greatest strength was also its biggest weakness: There is only so much mileage in the joke.

‘Strange Planet’ Turns Everyday Life Into Alien Anthropology

Image via Apple TV+

The beings of Strange Planet live on a world that looks a lot like ours, but they describe everything with unnervingly literal language. Coffee becomes “jitter liquid,” a cat is a “vibrating creature,” teeth are “mouth stones,” socks are “foot tubes,” and kissing is “mouth pushing.” By stripping ordinary experiences of the language we take for granted, Pyle makes familiar routines suddenly look ridiculous.

That works because humans are nothing if not creatures of habit. We rarely stop to question why we do things the way we do them, and Strange Planet gets its laughs by forcing its characters to approach those conventions as if they were encountering them for the first time. The joke is that their clinical descriptions expose how strange our own behavior sounds when you take away years of cultural conditioning.

The animated series preserves that quality remarkably well. Its blue, pink, and purple visual palette looks like Pyle’s comics brought to life, while its characters remain deliberately sexless and largely anonymous. That anonymity gives the series an unusual universality. These are stories about friendships falling apart, parents struggling with their children, romantic relationships changing, and people wondering what they’re supposed to do with their lives.

The Webcomic’s Biggest Strength Doesn’t Translate to TV

Image via Apple TV+

Unfortunately, what makes a four-panel comic clever doesn’t necessarily make a 25-minute television episode compelling. Pyle’s original comics work because they deliver a joke, an observation, or a small emotional truth almost instantly. The reader encounters a familiar situation, watches the beings describe it with their strange vocabulary, and gets the joke. Then the strip ends, and there’s no need for a larger narrative arc, recurring character development, or escalating conflict.

A television series doesn’t have that luxury. Strange Planet has to fill 10 episodes, each running roughly half an hour, which means its simple observations need to support substantially more story. The series tries to accomplish this through multiple interconnected vignettes, recurring characters, and increasingly elaborate plots. Sometimes that expansion works, as frequent shifts in tone in the series are quite similar to stretching a joke beyond its original capacity.

Over time, the show’s humor becomes less effective, especially when it tries to contrast its subtle humor with more grandiose, cartoonish antics. Events like power generation, tunnels on the cliffside, and talent shows look absurd when shown alongside deeper discussions of love, loneliness, and mortality. A poignant observation about honesty or impermanence can lose some of its impact when it’s buried inside a plot that feels considerably more conventional.

The recurring characters help, particularly the Manager of the cliffside restaurant Careful Now and her shy potential love interest, but even they remain intentionally vague; the Manager is still simply “The Manager.” Most beings don’t have names, and their appearances are distinguished largely by clothing, accessories, and occupation. That approach works well in the comics, where the characters exist primarily to deliver a particular observation. On television, it can make it difficult to become deeply invested in who these people are.

‘Strange Planet’ Is Better in Small Doses

Image via Apple TV+

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Strange Planet‘s warmth is one of the show’s most appealing qualities, particularly in an adult animation landscape that often leans toward cynicism, vulgarity, or outright bleakness. This show finds humor in awkwardness rather than cruelty and repeatedly returns to the idea that life is strange, temporary, and worth appreciating anyway.

The voice cast also does a tremendous amount of work. Adebimpe, Pudi, Chinn, Adejuyigbe and Einbinder bring personality to characters who are intentionally designed to look and sound somewhat interchangeable. Their performances help give the otherwise minimalist world some texture.

Critics largely responded positively to the series, with Strange Planet earning an 83% approval rating on Rotten Tomatoes. Yet even favorable reviews repeatedly circled the same problem: The show’s observations are clever, but the gimmick can start to feel thin when expanded across an entire season.

Strange Planet feels like a missed opportunity rather than a failure. The series had a genuinely distinctive premise, a beautiful visual identity, and a creative team capable of turning its gentle observations into something meaningful. What it never quite solved was the fundamental question of how to make a four-panel idea breathe for 10 television episodes.

The best version of Strange Planet might not have needed to become bigger at all. It simply needed to stay small. Sometimes a joke works precisely because it ends before you have time to get tired of it.

Widow’s Bay scratched an itch a lot of us didn’t even know we had. A strange little town hiding all kinds of secrets, with each episode focusing on a different horror subgenre, and one big mystery slowly pulling everything together? Fantastic. And somehow, it also found time to be genuinely funny. One minute you’re watching Patricia (Kate O’Flynn) dance around like an absolute maniac. Then you catch a glimpse of the mirror and realize everyone around her is frozen in place with gaping, unnaturally widened mouths. The entire mood changes in an instant.

Widow’s Bay obviously proved just how well horror and comedy can work together when they’re done right. But it’s far from the first series to mix big laughs with genuine scares. If anything, it just gave the genre a fresh coat of paint. So, if you already burned through the season and are already craving more, here are five shows that do the horror comedy thing just as well, if not better.

1

‘Chucky’ (2021–2024)

Image via SYFY

Don Mancini took a killer doll franchise that had already survived seven movies and somehow found a way to make it feel new again. The series begins when teenager Jake (Zackary Arthur) picks up a vintage Good Guy doll at a suburban yard sale, and soon after, people around the doll start turning up dead in gruesome ways. But this time, Chucky isn’t just running around killing people. He also takes Jake under his wing and tries to manipulate him into becoming a killer, too.

Of course, Chucky has always been one of horror’s funniest villains, and the show fully embraces that side of the character. Pretty much every scene with him is comedy gold. He’s constantly delivering unhinged one-liners like, “Hey kid, I’m gonna go kill your sister. Wanna come?” And each season gets even more ridiculous than the last. At one point, Chucky starts losing his immortality and slowly turns into a grumpy old doll with his hair falling out. In that very same season, he also ends up inside the White House terrorizing the First Family. It sounds completely insane on paper, but the show somehow pulls it off. In fact, that very season earned a perfect 100% critic score on Rotten Tomatoes!

2

‘What We Do in the Shadows’ (2019–2024)

Image via FX

Based on the Jemaine Clement and Taika Waititi film of the same name, this mockumentary follows four vampire roommates living on Staten Island. There’s Nandor (Kayvan Novak), a once fearsome warlord who can’t figure out modern technology; Laszlo (Matt Berry) and Nadja (Natasia Demetriou), a centuries-old married couple who constantly fight and bicker; and Colin (Mark Proksch), an energy vampire who feeds off people through endless rambling, pointless office chatter, bad jokes, or starting petty arguments. Guillermo (Harvey Guillén) is Nandor’s human familiar who’s been promised he’ll become a vampire one day. Until then, he’s stuck cleaning up the endless messes the vampires leave behind.

The horror is baked into the premise since these are, after all, undead bloodsuckers. But the show mines almost all of its comedy from how mundane immortality actually is. One of the best episodes has Laszlo running away from Jim the Vampire (Mark Hamill), an old adversary who’s been tracking Laszlo down over a century-old unpaid rent debt. Laszlo hides under the alias Jackie Daytona, a small town bartender whose entire disguise is a toothpick in his mouth, and it somehow fools everyone. In another episode, Nandor joins a bizarre vampiric cult to help vampires transition back to being human with activities like hula-hooping and tax-filing lessons.

3

‘The Curse’ (2023)

Image via Showtime

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Nathan Fielder and Benny Safdie‘s Showtime series follows Whitney (Emma Stone) and Asher Siegel (Fielder), a newlywed couple trying to launch an HGTV show about the eco-friendly, mirror-walled homes they’re building in Española, New Mexico. While filming a segment meant to make Asher look charitable, he hands a $100 bill to a young girl selling soda in a parking lot, then snatches it back the second the cameras stop rolling. The girl looks him dead in the eye and bluntly says, “I curse you.” From there, everything in Asher and Whitney’s lives starts going wrong.

It’s got all the social cringe comedy Fielder is famous for, but it also builds a genuinely compelling mystery, because the show never gives you a straight answer on whether the curse is real or if it’s all just an unlucky string of coincidences. That is, until the final episode. It’s one of the best finales of any show in recent memory, and it delivers that same gut-punch comedy-to-horror shift that Widow’s Bay fans loved, except it lands even harder here because the series spends nine episodes building up to it.

4

‘Twin Peaks’ (1990–1991)

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Before any of the shows on this list existed, David Lynch and Mark Frost were already mixing horror and absurdist comedy in ways nobody on network television had tried. The show starts as a murder mystery focused on the death of homecoming queen Laura Palmer (Sheryl Lee). But from there, it quickly spirals into something much stranger involving demonic entities, alternate timelines, and extradimensional realities.

The series constantly swings between genuine dread and flat-out silliness, sometimes in the same scene. The Log Lady (Catherine E. Coulson) introduces herself by insisting her log witnessed the murder, and it’s played completely straight. Laura’s funeral turns into slapstick when the machine lowering her coffin malfunctions and sends it bouncing up and down above the grave, and it still doesn’t undercut the tragedy at all. This show was the exact blueprint for what worked so well in Widow’s Bay.

5

‘Shining Vale’ (2022–2023)

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The opening title cards of Shining Vale point out that women are twice as likely as men to suffer from depression, that women are twice as likely to be possessed by a demon, and that the symptoms for both conditions are the same. That idea becomes the core of the series going forward. Courteney Cox stars as Pat Phelps, a once bestselling author stuck in a serious slump who moves her family into a haunted suburban house. Almost immediately, she starts seeing the ghost of Rosemary (Mira Sorvino), a 1950s housewife who murdered her own family in that same home, and who may or may not be trying to take over Pat’s body.

In Widow’s Bay, all the townspeople except for Mayor Loftis (Matthew Rhys) believe that the town is filled with supernatural occurrences. In Shining Vale, Pat is the only one who believes anything paranormal is happening, and she’s the one trying to convince others. Everyone around her assumes she’s just depressed. And for the horror fans, the show is packed with clever nods to classics like The Exorcist, Rosemary’s Baby, The Shining, Sinister, and more.

Seann William Scott is making a major move in the Los Angeles real estate market, putting one of his most valuable properties up for grabs. The actor stands to make a hefty profit if the sprawling California retreat sells anywhere near its asking price.

Scott has spent years shaping the residence to his tastes, blending contemporary finishes with the property’s laid-back, nature-focused aesthetic.

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“American Pie” star Seann William Scott has put his longtime Malibu estate on the market for $17.5 million, more than two decades after purchasing the property. The actor, also known for his roles in “The Righteous Gemstones” and “Shifting Gears,” bought the home for just under $4 million in 2004.

The Balinese-inspired property, known as The Vanaya House, sits on 1.45 acres above Zuma Beach.

According to the listing, the 4,176-square-foot residence features five bedrooms and five bathrooms, with Pacific Ocean views throughout the grounds. The estate also boasts a resort-style swimming pool, full-size tennis court, lily ponds, mature gardens and a gated motor court.

Inside, timber ceilings and exposed wood beams run throughout much of the home, while expansive windows offer views of the surrounding greenery and ocean. The primary suite comes with a private terrace overlooking the Pacific.

Scott has not revealed why he is selling the Malibu property.

Scott Added His Own Touches Over The Years

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Scott’s lengthy stay at the Malibu property gave him plenty of time to put his stamp on the residence.

The home’s interiors now lean heavily into California’s indoor-outdoor style, with organic materials helping soften its contemporary design. Stone flooring complements the extensive wood detailing, while glass walls allow natural light to pour in and connect the rooms to the surrounding landscape.

The open-plan layout keeps the main living spaces connected. There is also a roof deck and terrace, giving the home even more room to unwind outdoors.

Landscaped lawns and covered patios create additional outdoor living areas, with a pond adding to the property’s secluded feel. However, available reports do not detail exactly when the individual upgrades were made or how much Scott spent on them during his ownership.

Seann William Scott’s Venice Property Has Its Own Story

Scott’s Malibu home isn’t the only California property he has tried to unload in recent years. The “American Pie” star bought a 5,148-square-foot lot in Venice for about $2.2 million in 2017 with plans to renovate and flip it within a year. Instead, the project became a six-year labor of love.

The compound came with a small wooden bungalow and a vastly different three-story glass-and-concrete structure. Scott rebuilt the bungalow while preserving its footprint, later describing it as essentially a new building.

He then teamed up with his then-wife, interior designer Olivia Korenberg, to tackle the larger residence. Their goal was to soften its industrial feel and create more cohesion between the two structures.

By 2024, the finished compound offered roughly 4,600 square feet of combined living space, with five bedrooms and six bathrooms. Scott finally listed the property for just under $5 million that year, although he admitted he wondered whether selling it was a mistake.

Scott Faced A Legal Fight Over A Separate Malibu Property

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Scott’s California real estate dealings also became a source of tension with his ex-wife, Olivia Korenberg.

In 2025, Korenberg accused the actor of trying to force her and their daughter out of a separate Malibu home he purchased for $3.5 million in 2024, per Us Weekly. Their divorce agreement allowed her to live there for one year, but she claimed Scott’s actions suggested the arrangement would last longer.

Korenberg alleged that things changed after she asked Scott to meet her new boyfriend. Weeks later, she said she was “blindsided” by a letter instructing her to vacate the property by June.

Seann William Scott Denied Retaliating Against His Ex

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Scott denied that the decision was retaliatory. He maintained that Korenberg was never promised permanent use of the home and said he decided to sell after consulting his financial adviser.

A judge later found Scott had the legal right to require Korenberg to leave and to sell the residence. However, the court criticized the way the news was communicated and ordered both exes to attend co-parenting classes.

Chris Brown fell down on stage during his performance in Toronto, Canada, during ‘The R&B Tour.’ The singer is currently on tour with Usher, and the artists performed a two-night gig in the city beginning on Tuesday, August 11.

RELATED: Whew! Chris Brown Heats Up Canada With Another Spicy On-Stage Fan Performance & It’s Droppin’ Jaws

Chris Brown Falls Down During Toronto Show

Footage of ‘Loyal’ singer Chris Brown falling down on stage while performing in ‘The R&B Tour’ in Toronto this week is going viral. In a video shared by Live Bitez, Brown falls hard on stage while performing.

The singer is seen performing in a white T-shirt and a red baseball hat when he suddenly falls onto his back. However, his recovery is so fast in the clip that his fans are impressed nonetheless.

Brown was barely on the ground for a second before he flipped himself back up and kept performing. As he did, his hat flew into the air, and the show continued.

Fan Reactions Ensue Following Brown’s Fall

Fans were impressed by how quickly Brown recovered, and several even thought his fall and gymnastics recovery were part of the show.

User @babycurlsbeauty wrote, “🔥🔥 jumped back up like it was a flip 😍😍.”

@raeshxn added, “Smoove ass goat move lol😂.”

@hisidity_chick agreed, “Smooth af.”

User @nickjr.tgf wrote, “He really the last airbender 😂😂.”

@dolllife___ joked, “He did a pop up 😂😫.”

User @empresspiper noted, “A true professional 👏👏.”

@___bbop added, “I thought the hat went back on his head Im like whaaat😂.”

@chefnicolecatering added, “Never missed a move or the note 🔥.”

Mario Also Took A Spill During ‘The R&B Tour’

‘Let Me Love You’ singer Mario was performing in ‘The R&B Tour’ in St. Louis last month when he fell on stage.

The artist was walking across the stage when all of a sudden he slipped, hard. Not only that, as Mario tried to stand up, he fell again.

After he finally made it to his feet, Mario made sure he was steady, then continued the performance like a true professional.

RELATED: Wayment! Chris Brown Reacts After Lionel Richie Takes Jab At Him & Usher Over Their ‘R&B Tour'(VIDEO)

Sometimes there’s nothing better than a one-off. A limited series, or miniseries, can tell a complete story without worrying about setting up another season, and HBO’s Mare of Easttown is one of the best examples of just how effective that approach can be. Led by Kate Winslet as Detective Mare Sheehan, the seven-episode crime drama takes what initially looks like a small-town murder mystery and slowly reveals something much more complicated underneath. The series is also newly relevant again, with Julianne Nicholson set to reprise her role as Lori Ross in Season 2 of Task, confirming that both Brad Ingelsby dramas share the same world.

Cailee Spaeny is the centerpiece of the series’ tragic plot as Erin McMenamin, a young, struggling teen mom who becomes the subject of Mare’s latest investigation when she’s found dead, alone in the woods. In seven gripping episodes, Mare of Easttown throws tragedy upon tragedy at its small Pennsylvania community, where everyone knows each other, to both their benefit and exhausting detriment. Also starring Jean Smart, Julianne Nicholson, Angourie Rice, Guy Pearce, and Evan Peters, Mare of Easttown uses its murder investigation to dig into grief, motherhood, family, and the damage that can ripple through a community long after a crime has been committed. Five years later, it’s still a crime masterclass that’s incredibly difficult to top.

What Is ‘Mare of Easttown’ About?

Marianne “Mare” Sheehan (Winslet) is a renowned local figure in Easttown, largely due to winning a high school basketball game over two decades prior. Excitement of that sort comes few and far between in Easttown. She’s a skilled and devoted police detective, but her status in that regard has come into question recently, as the case of a missing girl has gone unsolved for a year. Mare lost her son to suicide, and she’s since divorced from her husband, Frank (David Denman). Her daughter, Siobhan (Rice), grows distant, and her mother, Helen (Smart) is always critical.

To make things worse, Erin McMenamin (Spaeny) turns up dead, and she’s no stranger to Mare’s small circle, causing further strife. Erin’s father, Kenny (Patrick Murney), is the cousin of John Ross (Joe Tippett), who is the husband of Mare’s closest friend, Lori (Nicholson). Easttown is a small, tightly-knit place. When things seemingly couldn’t be worse, the county sends Detective Colin Zabel (Evan Peters) to aid in Erin’s murder investigation, despite Mare’s protests.

Cailee Spaeny Is the Emotional Core of ‘Mare of Easttown’

Image via HBO

Even with limited screentime, Spaeny leaves her mark on the series, affecting everyone through the ripples of tragedy. It’s not just because she’s the victim of a murder, either. That kind of horror is terrible no matter the victim, but Erin contrasts the rest so starkly that losing her leaves a glaring, unmendable hole. Spaeny’s performance makes the impact even greater. Her eyes somehow tell several stories simultaneously, at a level so convincing you think Erin must be someone you’ve known.

Winslet’s Mare is a hardened single mother, burdened by the weight of loss and the unshakable sense that further loss is inevitable. Her daughter grows more distant every day, her career is becoming increasingly scrutinized, and the troubled mother of her grandson is actively attempting to reenter the picture, threatening to take another child from Mare. Spaeny’s Erin sits at the opposite end of the spectrum. Similarly, she’s a single mother, but hope and perseverance haven’t left her, despite consistent abuse from her father and ex-boyfriend — two debilitating factors among more awful circumstances than any child should endure.

The unsolved case of Katie Bailey (Caitlin Houlahan), a young girl who went missing a year ago, has loomed over Mare, and she’s reminded of her failure every time she encounters Katie’s persistent mother, Dawn (Enid Graham). The senseless loss of Erin (and, with her, another piece of Easttown’s innocence) seems to spur Mare into action, undeniably through more than a mere sense of duty as a detective. Mare surely sees her daughter in Erin, but she sees a version of herself, too — a version of Mare before the miseries of life in Easttown piled higher, year after year.

‘Mare of Easttown’ Mixes Family Drama With a Detective Mystery

One of Mare of Easttown‘s most skillfully played hands is the ever-shifting suspicion it places from one character to the next. You’ll consistently think you’ve figured it out, with Mare’s intuition running alongside you, only for the entire case to crumble at the next turn. It teeters on the edge of True Detective‘s style but never strays too far from being a family drama at its core. Following the horror to which several young girls in Easttown are subjected always comes alongside witnessing the effect it has on the victim’s loved ones. The interpersonal drama would rival the most far-fetched of novellas, but Mare of Easttown never feels unreal. If anything, you feel like you’re encroaching on a town that could be your own. It’s the type of nerve-wracking character study HBO does best, and it’s in excellent hands with Winslet and Spaeny at the helm.

Mare of Easttown is streaming on Max in the U.S.

Jesse Lee Soffer has not been on Chicago P.D. as a series regular for close to four years now. The actor was one of the original cast members in the NBC procedural, but he left the show in 2022 after playing Jay Halstead for ten seasons. Halstead left Chicago at the beginning of Season 10, but the actor has been back on set several times, mostly as a director. Still, viewers have always missed Halstead and have wished for his return. His latest on-screen appearance was in the 2026 One Chicago crossover that also brought back his ex-wife, Hailey Upton (Tracy Spiridakos).

After his exit from P.D., Lee Soffer joined the CBS procedural, FBI: International, playing Supervisory Agent Wesley Mitchell. The actor played the character for one season before the show was canceled. The cancellation opened the door for him to return to Chicago P.D., but during the crossover, it was revealed that he was still working in the Army and was okay leaving everything in the past. A recent casting development dashes the hopes of Halstead returning to Chicago P.D. even more.

Deadline recently reported that Jesse Lee Soffer has been cast in the lead role in CBS’ new series Strike Force, which is now in development. He’s played a CPD cop, an FBI agent, and now Lee Soffer is tackling a DEA agent. The show reunites him with Chicago P.D. co-creator and FBI: International showrunner Matt Olmstead, who is writing and executive producing the new series. Strike Force follows Lee Soffer’s character, who returns home to Kansas City to “lead a multi-agency strike force targeting the violent criminals now trying to exploit America’s heartland.” The actor also serves as an executive producer alongside Jerry Bruckheimer and KristieAnne Reed. The series is still in the early stages, with the network opening a development room before committing to a full series order.

What’s Going On with ‘Chicago P.D.’?

Chicago P.D. is still ongoing, with the fifteenth season set to premiere this fall. Since Lee Soffer’s departure, the Intelligence Unit has undergone significant changes, with some cast members departing and others joining between seasons. With another longtime cast member, LaRoyce Hawkins, leaving in the upcoming season, the unit now comprises Hank Voight (Jason Beghe), Adam Ruzek (Patrick John Flueger), Kim Burgess (Marina Squerciati), Eva Imani (Arienne Mandi), Dante Torres (Benjamin Levy Aguilar), and Trudy Platt (Amy Morton).

Stream Chicago P.D. on Peacock in the US and stay tuned to Collider for more updates about Strike Force.

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Release Date

January 8, 2014

Showrunner

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Derek Haas

Directors

Nick Gomez, Eriq La Salle, Carl Seaton, Fred Berner, Vincent Misiano, Bethany Rooney, Rohn Schmidt, Sanford Bookstaver, John Hyams, Nicole Rubio, Terry Miller, Takashi Doscher, Brenna Malloy, Lisa Robinson, Marc Roskin, Charles S. Carroll, David Rodriguez, Holly Dale, John Polson, Lin Oeding, Mykelti Williamson, Paul McCrane, Alik Sakharov, Charlotte Brändström

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Writers

Craig Gore, Tim Walsh, Timothy J. Sexton, Mike Weiss, Mo Masi, Tiller Russell, Eduardo Javier Canto, Jamie Pachino, Mike Batistick, Cole Maliska, John Dove, Tiffany Bratcher, David Hoselton, Maisha Closson, Kim Rome, Katherine Visconti, Daniel Arkin, Todd Robinson, David Rambo, Denitria Harris-Lawrence, Mick Betancourt, Bryan Gracia

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• 
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  Marina Squerciati

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  Kim Burgess

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When CBS ordered a new Yellowstone spin-off focused on Luke Grimes‘ character, Kayce Dutton, only a handful of characters from the mothership returned. Tate (Brecken Merril), Rainwater (Gil Birmingham), and Mo (Mo Brings Plenty) are with Kayce in the next chapter of his journey, which leads him into law enforcement. He’s also reunited with a former friend, Pete Calvin (Logan Marshall-Green), who is leading a U.S. Marshal task force. The team also includes Andrea (Ash Santos), Belle (Arielle Kebbel), and Miles (Tatanka Means). Kayce and the rest of the team got to know each other a bit more intimately, and some secrets came to light.

It is revealed that Pete is a father, but his relationship with his daughter is almost non-existent. Viewers met Maddie (Morgan Lindholm), Pete’s estranged daughter, who works at the bar they had been frequenting after a case. Due to the nature of his job, Cal has never been a consistent presence in his daughter’s life, and they don’t have the best of relationships. Meanwhile, Maddie has also begun a relationship with Miles. However, the character still remains a mystery, only appearing for a few scenes per episode.

Deadline recently reported that it is about to change in the upcoming season of the Taylor Sheridan spin-off. As production for the second season continues, Lindholm’s role in the series has been expanded, leading to more scenes for her character. This means that viewers will see more of her in the show, and she could play a significant role in the events of the second season. It isn’t clear what her arc looks like in the season premiering this fall, but given how closely entangled she is with the rest of the team, it could have huge emotional consequences. The report also reveals that Marque Richardson will recur as Assistant U.S. Attorney Patrick Burns.

‘Marshals’ Is Back with Vengeance

Kayce has been trying to escape the Dutton chaos that leads to violence at every turn. He had almost succeeded until greedy people started circling his property and Broken Rock. Maybe violence is sometimes warranted, and with his son in danger, there has never been a better time than now. CBS released a short teaser (at the top) that shows Kayce and the team jumping into action, and he shows the bad guys what a Dutton can really do with the right motivation — not the stories they have heard. CBS is not making viewers wait too long, with the show securing a Sunday timeslot in the upcoming television season.

Catch up on Marshals Season 1 on Paramount+ and stay tuned to Collider for more updates.

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Release Date

2026 – 2026-00-00

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Showrunner

Spencer Hudnut

Writers

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Spencer Hudnut, Tom Mularz, Dana Greenblatt

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Venerable toymaker Mattel is having a big year. Masters of the Universe hit theaters earlier this summer, and is currently dominating the streaming charts, while Matchbox: The Movie, based on their toy car line, is speeding on to Apple TV this fall. Now, the El Segundo-based company is launching a new initiative that will bring their universe of brands to life like never before.

Mattel was founded in 1945 by businessman Harold “Matt” Mattson and husband-and-wife duo Elliot and Ruth Handler; Mattel is a portmanteau of “Mattson” and “Elliot.” The company launched its signature brand in 1959 when Ruth invented Barbie. Elliot, wanting to find a product that would appeal to boys the same way Barbie appealed to girls, invented Hot Wheels in 1968. The company has since acquired other toymakers, including Fisher-Price and Tyco, and still thrives to this day. It has recently acquired the licence to make action figures based on Teenage Mutant Ninja Turtles and DC Comics.

Mattel’s latest venture is Mattel Game Studios, which will develop and create video games based on Mattel’s vast stores of intellectual property. The new company will employ nearly 300 artists, designers, engineers, live operations specialists, and producers in Los Angeles and Hangzhou, China. The company launched earlier this year with Skeletor: Until Next Time, an endless runner mobile game based around the iconic Masters of the Universe villain. Next up is UNO Wild, a game based on the iconic (and often infuriating) card game, while a Hot Wheels game is in development. Mattel Games Studios is under the aegis of Mattel Digital Studios, which also handles the games Mattel licenses out to other publishers; upcoming games on their slate include Barbie Rewind, Hot Wheels Infinite Rush, and Masters of the Universe: Dragon Pearl of Destruction.

What Mattel Movies Are in Development?

With Matchbox headed to Apple TV in October, Mattel’s other iconic miniature car brand, Hot Wheels, has a movie in the works as well: Jon M. Chu (Wicked) is slated to direct, with J.J. Abrams producing. Illumination, the animation studio behind Minions and Super Mario, is developing an animated Barbie movie; meanwhile, a live-action sequel to the 2023 megahit Barbie remains on the drawing board, as well. A whole toy box of other Mattel properties have movies in the works, including Polly Pocket, Major Matt Mason, American Girl, and Monster High.

Stay tuned to Collider for future updates.

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Release Date

July 21, 2023

Runtime

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114 minutes

Producers

David Heyman, Robbie Brenner, Margot Robbie, Tom Ackerley

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Back in 2007, nobody knew just how much Netflix’s foray into video on demand would change the industry and the viewer’s content consumption. In the last decade, streaming platforms incubated, peaked, and had the “streaming wars,” and now are consolidating from all sides. From a mail-in DVD rental service to the sprawling king of streaming today, Netflix has ushered in a new era of how we watch television and movies, especially with its original content like House of Cards, Orange Is the New Black, and Stranger Things, which established that streaming can produce award-winning prestige TV.

As binge-watching increased, so did the number of platforms, with Amazon Prime, Disney+, HBO MAX, and Peacock all joining the new ecosystem and spoiling fans for choices. The pandemic era greatly helped giants like Disney and NBC lure in a large number of subscribers with their vast content libraries. However, over the past two or three years, the ecosystem has changed with shifting customer preferences and slowing subscriber growth; more and more platforms are now adding ad tiers or cross-company bundles to keep customers on their platforms. Free Ad-Supported Streaming TV has also emerged with platforms like Pluto TV and Roku TV. Now there’s another accessible platform that has added a plethora of free content for viewers.

Google TV Adds 10,000 New Titles to Free Streaming

Audiences can now watch thousands of movies and shows for free on Google TV Freeplay, per CBR. Fans will be able to access 10,000 titles, including content from studios like A24 and Lionsgate. The list also includes Oscar-winning films like Lady Bird and cult classics like Seventeen Again, Point Break, Begin Again, Labyrinth, and more. Google promised to update the library “all year long.” Google TV will not only feature films and shows but also sports, documentaries, and several live TV channels like BBC Earth, BBC Food, Classic Doctor Who, Top Gear, Murder She Wrote, and more without a subscription. Further, with the new update, the streamer also introduced ad-supported video-on-demand with instant access to free entertainment; however, Google TV doesn’t require a subscription.

Google is not the only platform trying to lure customers in with free content; it was recently reported that Disney is considering a free ad-supported tier to lure in new subscribers. With a constantly changing streaming landscape and consumer preferences changing even faster than that, many industry shifts are coming, with multiple platforms consolidating to keep the business going, like Hulu merging with Disney+, Warner Bros. and Paramount trying to merge, among others.

Check out Google TV’s new library and stay tuned to Collider for more such updates.

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Release Date

2024 – 2025-00-00

Network

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BBC One

Directors

Alex Pillai, Peter Hoar, Ben Chessell, Julie Anne Robinson, Jamie Donoughue, Amanda Brotchie, Dylan Holmes Williams

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Writers

Steven Moffat, Pete McTighe, Kate Herron, Inua Ellams, Juno Dawson

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Franchise(s)

Doctor Who / Whoniverse

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