Since launching its original programming, Netflix has been home to some of the biggest science fiction shows in modern pop culture. Most people will point to breakout hit Stranger Things as Netflix’s best sci-fi show, or the dark, thought-provoking Black Mirror. The series that’s managed to stand out, both in terms of concept and critical reception, is Love, Death + Robots. Created by Tim Miller and David Fincher, Love, Death + Robots pushes the envelope both in terms of storytelling and visuals, making it one of the strongest series in Netflix’s stable.

Ironically, Love, Death + Robots almost started life as a reboot of the popular Heavy Metal series, as Miller and Fincher attempted to gather filmmakers, including James Cameron and Zack Snyder, to produce segments for it. Their Heavy Metal project never came to fruition, but it was the success of Deadpool that eventually led to Love, Death + Robots in its current form, per an interview with Miller:

“Deadpool had just come out… so what does David [Fincher] do? David calls and says, ‘OK, so we’re going to use your newfound popularity to get our anthology movie made,’ and then literally like two weeks after that, he said, ‘F*** the movie stuff, let’s just take it to Netflix, because they’ll let us do whatever we want.’”

The gambit paid off, as Love, Death + Robots is one of Netflix’s most critically acclaimed shows; Seasons 3 and 4 earned a rare 100% on Rotten Tomatoes, while reviews praised the series’ constantly evolving storytelling. Anyone who watches Love, Death + Robots would agree, as it delivers plenty of stories that aren’t just visually stunning but sit with you long after the credits roll.

‘Love, Death + Robots’ Is a Visually Stunning, & Often Disturbing, Watch

Image via Netflix

No two segments of Love, Death + Robots look alike, thanks to Tim Miller’s Blur Studio gathering together a series of animation studios, including Polygon Pictures (Your Friendly Neighborhood Spider-Man) and Titmouse (The Legend of Vox Machina). Some segments look extremely photorealistic, like Season 1’s “Three Robots” and its Season 3 sequel, “Three Robots: Exit Strategies”. Others hew closer to traditional animation, such as the Season 3 segment “Kill Team Kill,” which pits a team of Green Berets against a cybernetically enhanced grizzly bear. The variety on display is incredible and shows why animation deserves more respect.

What Love, Death + Robots is best known for, other than its beautiful animation, is the sheer nightmare fuel packed into some of its segments. Take the segment “Bad Travelling,” directed by David Fincher himself; it features a massive crab-like creature menacing the crew of a sailing ship and even using a dead man’s corpse as a macabre puppet. “In Vaulted Halls Entombed” pits a squadron of soldiers against a Lovecraftian entity, revealing how its very presence drives them to madness and murder. But the Love, Death + Robots segment that will truly terrify viewers is Season 2’s “All Through The House,” featuring a version of Santa Claus that will immediately make you want to board up your chimney. Once again, the depth of animation is on full display as these twisted visions could only come to life through this specific medium.

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A ‘Love, Death + Robots’ Creator Brought Another Sci-Fi Anthology to Life

Tim Miller wasn’t content to rest on his laurels after Love, Death + Robots, as he created another animated anthology in the form of Secret Level. While Love, Death + Robots fully embraced science fiction, Secret Level gets its name from adapting video games into animation, though it keeps the former’s approach of putting a unique twist on said games. Pac-Man is transformed into a dark fantasy full of horror and blood, while Keanu Reeves lends his talents to a somber take on the Armored Core video games. Secret Level was renewed for a second season, meaning that Miller and his crew have the chance to bring more video games into the world of animation.

Love, Death + Robots is a standout in Netflix’s catalog because it showcases the depths to which animation can go while pushing the boundaries of science fiction. It’s more than worth a weekend binge.

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Release Date

March 15, 2019

Network

Netflix

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Directors

Víctor Maldonado, Patrick Osborne, Robert Valley, Alfredo Torres Martínez, Jerome Chen, Emily Dean, Rémi Kozyra, Léon Bérelle, Dominique Boidin, Alberto Mielgo, Maxime Luère, Andy Lyon, Robert Bisi, Dave Wilson, David Nicolas, Simon Otto, Damian Nenow, Laurent Nicolas, Kevin Van Der Meiren, Vitaliy Shushko, Owen Sullivan, István Zorkóczy, Javier Recio Gracia, Oliver Thomas

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Jenna Ortega‘s Wednesday is returning for a third season but not every cast member is confirmed to reprise their role.

Wednesday, which premiered in November 2022, is based on the character originally introduced in The Addams Family cartoons. The concept later was adapted into a TV series, several feature films and a live musical adaption.

Christina Ricci previously played Wednesday Addams in 1991’s The Addams Family and its subsequent sequel, Addams Family Values, before joining the Netflix series in a new role. She shared scenes with Ortega, who has since brought her own version of Wednesday Addams to life.

The first season followed Wednesday’s attempts to master her psychic powers at Nevermore Academy while dealing with a killing spree at the hands of a mysterious monster. Season 2 followed Wednesday returning to school after becoming the savior of Nevermore. She then prepared to save the day again after getting visions of Enid’s impending death.

Season 3, which is currently in production, is expected to follow Wednesday as she digs further into the Addams and Frump lore.

Keep scrolling to see which cast members are — and aren’t — coming back when the show returns for season 3:

Jenna Ortega

There would be no Wednesday without the titular character, so Jenna Ortega is front and center when the show comes back for season 3.

Hunter Doohan

Tyler quickly became a fan-favorite character who is confirmed for season 3.

Gwendoline Christie

Gwendoline Christie’s Principal Larissa Weems went from main cast to recurring and her future on the show hasn’t been confirmed.

Jamie McShane

Following his onscreen death, Tyler’s dad isn’t expected in season 3.

Percy Hynes White

Season 1 introduced Percy Hynes White as Xavier but the actor was ultimately written off following an offscreen scandal.

Emma Myers

The friendship between Wednesday and Enid will remain an important part of the series in season 3.

Joy Sunday

Similar to Enid, Joy Sunday’s Bianca is a major part of the show.

Georgie Farmer

Ajax is still part of season 3 after Georgie Farmer’s character was introduced in the show’s first season.

Naomi J. Ogawa

After Naomi J. Ogawa exited the show ahead of season 1, Yoko has yet to appear on the show.

Moosa Mostafa

Eugene has been confirmed as part of season 3 — with Moosa Mostafa returning to set.

Christina Ricci

While Christina Ricci’s Laurel was killed off in season 2, it remains to be seen if the show is truly not planning to bring the actress back again.

Victor Dorobantu

Thing has become a scene stealing character as Victor Dorobantu’s role has been expanded.

Isaac Ordonez

After being promoted to main cast, Isaac Ordonez returns for season 3.

Luis Guzmán

Luis Guzmán’s Gomez is credited as a main cast member for season 3.

Catherine Zeta-Jones

The Addams family lore will continue to be at the center of the show as Catherine Zeta-Jones returns in season 3.

Steve Buscemi

Principal Barry Dort appears to be a one-off role with Steve Buscemi not returning for season 3.

Owen Painter

While Slurp a.k.a Isaac was a key presence in season 2, Owen Painter wasn’t announced as part of the next chapter of the show.

Billie Piper

Isadora’s story will keep being expanded when Billie Piper returns for season 3.

Noah B. Taylor

Following his short-lived romance with Enid, Taylor’s Bruno is exiting the series.

Evie Templeton

Agnes will keep playing an important role in season 3 of Wednesday.

Winona Ryder

The Stranger Things alum has joined Tim Burton’s Wednesday in a mysterious role in season 3.

Joanna Lumley

After being a recurring cast member in season 2, Joanna Lumley is returning in a larger capacity as Grandmama Hester Frump.

Eva Green

Ophelia Frump will be introduced in season 3 with Eva Green taking on the role.

By Robert Scucci
| Published 2 seconds ago

I hate to admit that I rarely talk publicly about my appreciation of David Foster Wallace’s fiction and essays because, for reasons I’ll never fully understand, his name is associated with pretentiousness. On one hand, I get it. Infinite Jest is not only an intimidating read, but you could also throw it in your backpack before a hike if you want to maximize your workouts because it’s such a heavy piece of work, literally and figuratively.

The End of the Tour, a movie about David Foster Wallace based on the 2010 memoir Although of Course You End Up Becoming Yourself by David Lipsky, unpacks whatever preconceived notions of pretension you may have about Wallace, his work, his anxieties, and his battle with depression that eventually claimed his life in 2008.

Based on Lipsky’s (portrayed by Jesse Eisenberg) multiple-day interview with Wallace (portrayed by Jason Segel) as the author made his final press rounds to promote Infinite Jest in 1996, The End of the Tour humanizes the author in a way that could make anybody who thinks he’s just a holier-than-thou blowhard reconsider their stance. Through Eisenberg and Segel’s powerhouse performances, we catch a fleeting glimpse at what happens when an intimidating amount of intellect intersects with the kind of personality that feels so trapped inside his own mind that he simply doesn’t know how to operate like a regular person.

Wallace’s work is startlingly verbose, and through that verbosity, he doesn’t mince words about his fears of living in a post-modern, post-ironic world. His essays “E Unibus Pluram: Television and U.S. Fiction,” “Getting Away from Already Being Pretty Much Away from It All,” and “A Supposedly Fun Thing I’ll Never Do Again” illustrate how much thought went into every single interaction he had and how those thoughts paralyzed him.

You don’t need to read Infinite Jest to appreciate Wallace’s insights on modern and post-modern American life. Look up any interview, and it’s written all over his face. Jason Segel, in what I consider to be the best role of his career, captures that energy flawlessly in The End of the Tour. So much so that even if you never crack open a Wallace tome, you’ll still come to appreciate him as a human being who felt so lost in this world that he decided to leave it on his own terms.

The End Of The Tour

The premise for The End of the Tour is simple. Struggling author and Rolling Stone writer David Lipsky doesn’t believe a literary work like Infinite Jest, a 1,079-page novel about post-modern American life, could become such a massive success. At his girlfriend Sarah’s (Anna Chlumsky) urging, he reads the book and becomes obsessed with David Foster Wallace, asking his editor to give him a chance to interview him as he wraps up his book tour. Once he gets the green light, he travels to Bloomington-Normal, Illinois, where Wallace lives and teaches.

Their relationship is adversarial at first. Wallace is guarded in how he answers questions while Lipsky’s tape recorder is running, and he requests that anything he wants struck from the record can’t go into the final published interview. Lipsky honors that request, and a more trusting rapport eventually forms as they buy copious amounts of junk food from the convenience store, where Wallace loads up his arms with treats the second he learns about his interviewer’s expense account.

These interactions are the bread and butter of The End of the Tour. As Wallace lets his guard down, he tells Lipsky how he thinks, and what’s most astonishing about these conversations is how much Wallace wants to be a regular guy with a private life, despite the fact that it’s clear he’s also the kind of guy who writes books like Infinite Jest. You can tell he wanted the notoriety as a literary force to be reckoned with, then realized he didn’t want the celebrity that comes with it.

Wallace admits that out of all the celebrities out there, he’d probably want to meet Alanis Morissette because she seems like the only person who would occasionally enjoy a bologna sandwich. When they take a final stop on his book tour in Minneapolis, Minnesota, Wallace refuses to stop at the statue depicting Mary Tyler Moore tossing her tam in the air, something he talks about at length in “E Unibus Pluram: Television and U.S. Fiction” while unpacking how network syndication added horrifying layers of irony to The Mary Tyler Moore Show, which is way too dense to unpack here.

The Fight Against Post-Modern Loneliness

The End of the Tour illuminates how guarded Wallace is when answering questions, always assuming that a journalist like Lipsky will spin the narrative however he wants. But when asked why he doesn’t have a TV, the floodgates open.

While you can find several interviews with the real David Foster Wallace where he talks about the remote control changing the way we consume entertainment, Segel delivers what I believe is the warning Wallace was trying to leave us with, in the author’s words: “And it’s gonna get easier and easier, and more and more convenient, and more and more pleasurable, to be alone with images on a screen, given to us by people who do not love us but want our money.” He goes on to say that when it gets to that point, he’ll want to leave the planet. 

As somebody who writes movie reviews for an entertainment news site, I’m fully aware of the irony here, as I’m telling you all to go watch a movie. One of the reasons I don’t hang out on social media is that what Wallace is describing, even though he didn’t live long enough to see it, is basically the current state of the internet. He didn’t have a TV in his house because he knew it would be his undoing. His restraint didn’t come from a holier-than-thou stance, but from being self-aware enough to recognize his own addictive behavior and how easily he’d become a slave to his devices instead of being productive.

Listen, I’m not telling anybody to go pick up a copy of Infinite Jest. Watching The End of the Tour, on the other hand, is a great idea because the dialogue is pulled from recorded conversations between Lipsky and Wallace. While their talking points are still deep and cerebral, they also function as a conversational counterpart to his more verbose writing, all of which carries the same underlying message.

As of this writing, The End of the Tour is available for rental or purchase through Fandango at Home, YouTube, Apple TV+, and Amazon Prime Video.

Rest in peace, David Foster Wallace. You would have absolutely hated Instagram Reels.

By Jennifer Asencio
| Published 6 seconds ago

Robert Carradine, famous for playing Louis Skolnick in Revenge of the Nerds and Sam McGuire in Disney’s Lizzie McGuire franchise, has died. Tragically, the actor succumbed to bipolar disorder and committed suicide on February 23, 2026.

A statement from the prolific Carradine family remembered Robert as a “beacon of light” and acknowledged the actor’s decades-long struggle with bipolar disorder, an illness marked by mood swings on a spectrum between excitable mania and severe depression. Brother Keith, speaking for the family, referred to Robert’s “valiant struggle” with the illness, saying, “There is no shame in it. It is an illness that got the best of him.”

Robert’s battle with bipolar disorder began after he was distraught about the death of Kung Fu star David Carradine, his brother and mentor, who encouraged him to audition for his first role in 1972. Traumatic events like the loss of a loved one have been known to trigger bipolar disorder, as well as clinical depression and severe anxiety. Genetic factors may establish a propensity to develop bipolar disorder, but environmental factors can cause major disruption, even to people who are being treated. Other episodes in Robert’s life, such as a car accident in 2015, were caused by psychotic episodes connected to the illness.

The youngest son of Golden Age actor John Carradine, Robert was born into a family dynasty that includes his actor brothers David and Keith, animator Christopher, and niece Martha Plimpton. Encouraged to join his famous family’s business, he debuted in the John Wayne classic The Cowboys, about a cattle driver forced to recruit a group of misfit teens to run the herd. This resulted in several years of steady work in small parts on television and the big screen.  He also appeared in Mean Streets, Cannonball!, and Coming Home during this time, paving the way for stardom. His next major boon would come in 1980, with the dual release of The Long Riders, a western in which he starred with his brothers, and The Big Red One, a World War II film.

His breakout role was as Lewis, the leader of the Adams College chapter of Lambda Lambda Lambda and the nerds that comprise its membership. Four Revenge of the Nerds movies included Robert Carradine’s iconic character and distinctive “nerd laugh” as he leads and inspires the nerds in college hijinks against the jockish Alpha Beta fraternity. The original 1984 film was a cult classic that is still beloved despite a controversial prank played by the protagonists. Robert would later appear in numerous podcasts and guest appearances as an expert in all things nerdy, thanks to this franchise.

His other major role was on the Disney teen sitcom Lizzie McGuire, about the tribulations of the titular character as she navigates the world of middle school and coming of age. The show was marked by an animated version of Lizzie, whose fourth-wall-breaking comments reflected the character’s inner world. Robert Carradine played her oft-perplexed father, Sam, introducing his comedic acting to a new generation of fans. He also appeared in the 2019 proposed revival of the show, but filmed only two episodes before the project was canceled.

Robert has 150 credits to his name, with numerous television guest appearances on shows like NYPD Blue, Lois and Clark, and Nash Bridges. He appeared with David Carradine on two episodes of Kung Fu: The Legend Continues and with fellow “Tri-Lamb” nerd Anthony Edwards on E.R. Movie roles included Escape from L.A., Ghosts of Mars, and Django Unchained.

Tragically, he leaves behind some films that will be released posthumously, including a horror movie called Skate to Hell that is currently in limited release as of this writing, and an upcoming remake of Night of the Living Dead. Audiences will get to pay tribute to this celebrated actor for just a little longer as these films find their way to audiences.

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Jerry O’Connell admitted to getting “emotional” as Nick Reiner faces murder charges in connection with the deaths of his parents, movie director Rob Reiner and Michele Singer Reiner.

O’Connell, 52, got his big break in Rob’s 1986 hit movie, Stand by Me, costarring Wil Wheaton, Corey Feldman and the late River Phoenix, and previously described Rob as being like a “father to me.”

On the Tuesday, February 24, episode of Fox 5’s Good Day New York, the actor and talk show host weighed in on the news that Nick, 32, had pleaded not guilty to two counts of first-degree murder with special circumstances during an arraignment the day before.

“Those who may not know, I am an actor, and I was in Stand by Me. It was my first job,” O’Connell explained his connection to the story. “Rob Reiner was the director of Stand by Me. This is very emotional for me to hear about.”

Related: Inside Rob, Michele Reiner’s Final Days Before Son’s Arrest for Their Deaths

Rob and Michele Singer Reiner made numerous public appearances — and plans with several celebrity friends — in the days leading up to their murders. Us Weekly confirmed on Monday, December 15 that Rob, 78, and Michele, 68, died from “apparent stab wounds,” according to the Los Angeles police. Their shocking deaths came as a […]

The Sliders actor added, “It’s going to be very difficult going through this whole trial process. I’m going to be watching it closely in the hopes that it doesn’t become one of these circuses that sometimes happens around these murder trials.”

“It’s very emotional and chilling. It’s churning up a lot of emotions,” O’Connell said.

Nick, 32, pleaded not guilty in a Los Angeles courtroom on Monday, February 23, and waived his right to a speedy trial in connection with his parents’ deaths. His next court hearing will be held on April 29.

Rob, who was 78, and Michele, who was 70, were found dead inside their Brentwood, California, home on December 14, 2025. The couple, who wed in 1989, shared sons Nick and Jake, 36, and daughter Romy, 28. (Rob was also adoptive father to Tracy Reiner, 61, whom he shared with first wife Penny Marshall.)

Los Angeles County District Attorney Nathan J. Hochman announced formal charges against Nick on December 16. Nick was charged with two counts of murder with the special circumstance allegation of multiple murders. He also faces a special allegation that he used a knife. Nick could receive life in prison without parole or the death penalty if convicted.

“Prosecuting cases involving family violence are some of the most challenging and heart-wrenching we face because of the intimate and often brutal nature of the crimes,” Hochman said at the time. “Rob Reiner was one of the greatest filmmakers of his generation. His murder and his wife of more than 35 years, Michele Singer Reiner’s murder, are shocking and tragic. We owe it to their memory to pursue justice and accountability for the lives that were taken.”

Rob and Michele’s children, Jake and Romy, broke their silence on their parents’ deaths and their brother’s arrest in a December 17 statement.

“Words cannot even begin to describe the unimaginable pain we are experiencing every moment of the day. The horrific and devastating loss of our parents, Rob and Michele Reiner, is something that no one should ever experience,” the siblings said. “They weren’t just our parents; they were our best friends.”

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February 25, 2026
7:11 AM PST