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Netflix Officially Reunites With Oscar Isaac for Martin Scorsese’s New Crime Thriller Series

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Netflix is doubling down on Oscar Isaac. The Moon Knight star is returning to the streamer as the lead in one of their highest-profile upcoming series. The series will explore the seamier side of Las Vegas, a subject that the show’s executive producer is no stranger to.

Isaac has signed on to star in an as-yet untitled Las Vegas-set series as Robert “Bobby Red” Redman. Bobby Red is the president of the hottest casino in town, but he’s beset on all sides by foes who want to drag him back down into the neon-lit streets of the desert metropolis. The series is a rare foray into television for Martin Scorsese, who will executive produce the series; he previously took on the history of Las Vegas in his 1995 epic crime drama Casino, and executive produced Boardwalk Empire, another prestige TV series about a different gambling mecca. The series is the brainchild of Brian Koppelman and David Levien, the creators of Billions; they’re likewise well-versed in the world of high-stakes gambling, having penned the films Rounders and Ocean’s Thirteen. The duo will write, showrun, and executive produce; also executive producing are Julie Yorn and Rick Yorn for Expanded Media, Paul Schiff, Beth Schacter, Isaac, while Kerry Orent will co-executive produce. J.C. Chandor, who previously directed Isaac in Triple Frontier and A Most Violent Year, will executive produce and direct the first two episodes.













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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
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Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

🐦Birdman

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🪙No Country for Old Men

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01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





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02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





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03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





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04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





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05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





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06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





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07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





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08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





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09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





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10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





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The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

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Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

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Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

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Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

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Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

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No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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What Other Netflix Projects Has Oscar Isaac Worked On?

Isaac has had a long and fruitful relationship with the streaming giant. His first Netflix project was the Ben Affleck action thriller Triple Frontier back in 2019. Last year, he starred as Dr. Victor Frankenstein in Guillermo del Toro‘s Frankenstein; the film was well-received by critics and audiences, and Isaac was nominated for a Golden Globe for his performance. He’s currently starring in, and executive producing, the second season of the anthology black comedy series Beef, alongside frequent collaborator Carey Mulligan.

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This won’t be the first collaboration between Isaac and Scorsese; Isaac starred in Paul Schrader‘s Atlantic City drama The Card Counter, which Scorsese executive produced. They’re also set to appear on-screen together in the upcoming historical drama In the Hand of Dante; Isaac will play the great Italian poet Dante Alighieri, while Scorsese, in a rare on-screen acting role, will play his mentor.

Oscar Isaac will star in Netflix’s new untitled Las Vegas series; no release date has yet been announced. Stay tuned to Collider for future updates.

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