<p><a href="https://www.radiotimes.com/programme/b-2rzvop/slow-horses-season-5/"><em>Add season five of <strong>Slow Horses</strong> to your watchlist</em></a></p>
Fans have blasted Wheel of Fortune after a contestant lost out on $71,000 in the Bonus Round. They claim the puzzle in the round did not match up with the category, making it too hard.
Teryce Walters, from Bolingbrook, Illinois, played against Dawn McMahon, from Galena, Ohio, and Nick Oswald, from Ankeny, Iowa, on Thursday, September 18. Walters, a fourth-grade teacher, solved the second Toss Up for $2,000. McMahon, a high school science teacher, solved the first.
Walters maintained the lead with $5,600 when she solved “Global Positioning System.” She landed on the $10,000 in the Crossword puzzle. The category was “Corn,” and she solved “Bread,” “Ball,” “Dogs,” and “Flakes” for $17,800.
Walters solved the Prize Puzzle — “Beautiful Day Advisory!” — and won a trip to the Dominican Republic, putting $27,560 in her bank. She added $4,000 to her total by solving two of the three Triple Toss Ups. Oswald, a choir teacher, finally got on the board when he solved the other.
Oswald walked away with $11,600 after solving the final puzzle — “Pomp and Circumstance.” “Wow!” Oswald exclaimed. McMahon went home with $1,000. The big winner of the night was Walters with $31,560.
She chose “Event” for her category and brought her husband, Horace, with her. Walters was given R,S,T,L,N, and E.” She chose “M,D,F, and A.”
Only getting one extra letter, the puzzle looked like “_ _ _ER _ _TA_E.” “That’s it,” host Ryan Seacrest said.
The game show contestant didn’t guess it in time, saying “Cover,” “Baker,” “Exhale.” The puzzle was revealed to be “Power Outage.” She lost out on taking home an additional $40,000, which would have given her a total of $71,560.
Fans blasted the show for having “Power Outage” in the “Events” category. “Great player, but no way to get that bonus round puzzle. I would say a power outage is more of a ‘thing’ than an ‘event’,” a YouTube user wrote.
“How is a power outage an ‘event’? That’s more of a thing than an event,” another said.
“A power outage is not an event,” a third said.
“The puzzle looked difficult to solve,” one last fan said.
Wheel of Fortune, weekdays, check local listings, stream next day on Hulu and Peacock
Jordan Peele‘s Monkeypaw Productions has become known for making some of the most visually and narratively adventurous studio horror films of the last 10 years, from Peele’s own “Us” and “Nope” to movies the company has shepherded by other directors like Nia DaCosta’s “Candyman.”
Their latest offering, the hallucinatory football freakout “Him,” is one of Monkeypaw’s boldest offerings to date thanks to director Justin Tipping’s audacious merging of sports iconography and horror tropes; his story of a traumatized young athlete whose second chance at greatness turns into a nightmare combines the jittery energy of Gatorade ads with the creeping unease of a Stanley Kubrick or David Lynch film.
The cinematographer tasked with translating Tipping’s concepts into vivid imagery is Kira Kelly, an Emmy-nominated (for Ava DuVernay’s documentary “13th”) director of photography whose work here is her best to date and puts “Him” alongside “Sinners” and “One Battle After Another” as one of 2025’s great visual achievements. By finding inspiration in wildly varied reference points ranging from Alejandro Jodorowsky’s “The Holy Mountain” to Nike commercials, Kelly has created a distinctive cinematic language for “Him” that powerfully conveys its young hero’s mental and physical breakdown.
“Early on, it was clear that Justin wanted to do something really different,” Kelly told IndieWire. “When we were shooting, there were scenes where I would look at him and be like, ‘Is this too much?’ And he would be like, ‘No, more.’ He really pushed us.” The key for Kelly was finding a visual language that would put the audience directly in the consciousness of Cameron Cade (Tyriq Withers), the rising football star who starts to wonder if he’s at the mercy of evil supernatural forces when he arrives at fading pro Isaiah White’s (Marlon Wayans) compound for a highly unorthodox training session.
“We really tried to play with the idea of levels,” Kelly said, explaining that the lighting and production design were intended to express Cameron’s literal and metaphorical descent once he gets to Isaiah’s compound, a place that seems to spiral down into the ground. “He just keeps going deeper and deeper into this maddening place, and the lighting is very integrated into the location.” Kelly begins Cameron’s journey on the football field with dynamic camerawork and bright lighting, but as he spends more time at the compound, the compositions become more static and oppressive, with locked frames and more chiaroscuro lighting.
“We were going with a lot of graphic frames, a lot of center punching,” Kelly said. “I think I drove my camera operator Scott Dropkin crazy asking him, ‘Okay, are we totally centered?’” Kelly also relied heavily on top light in the film’s early scenes to give the movie an almost religious feeling; then, as Cameron plunges into hell, the halo gives way to more shadows and color combinations — like a beautiful but eerie juxtaposition of greens and blues in a hyperbaric chamber where Cam is confined — that subliminally evoke a sense of unease and danger.
Finding a new cinematic language meant finding new cinematic tools, and Kelly credits collaborators like key grip Rudy Covarrubias and lens technician Dan Sasaki with inventing ingenious solutions to the movie’s myriad technical challenges. For scenes in which Kelly wanted to create a visceral sense of Cam’s energy on the field, for example, the crew created a rig designed to capture the speed of the sports action in an atypical way. “We could have the camera moving as fast as the ball,” Kelly said. “40 miles an hour or something like that.”
Tipping’s desire to see the action from the point of view of the ball led to the creation of the “boomerang” rig. “It was just this crazy amount of truss where we underslung the camera and then used this winch system that let the camera loose so it would fly to the other end,” Kelly said. The camera department also attached RED Komodo cameras to Withers to capture his perspective during intense sports scenes, and at other moments simply attached a football helmet to the lens and had Wayans yell into it to replicate Cam’s point of view.
In terms of lenses, Kelly worked closely with Panavision’s Dan Sasaki, who customized T-series anamorphics to give the cinematographer the unique look she imagined. “He figured out a way to have the lens flares take on the color of whatever light source hit them,” Kelly said. “Historically, with anamorphic, you get a blue flare, and he was able to change the color of that flare.” Sasaki also modified lenses to make the most of Kelly and Tipping’s decision to rely heavily on centered and symmetrical compositions for their emotional effects.
“He created a beautiful fall-off on the sides of the lenses that really lent itself to that center-punching,” Kelly said, adding that the most extreme example of this was a lens Sasaki created that came to be known as the “ghost” lens. “It’s an old D portrait lens that’s 50mm where the center is resolved, but at the sides the bokeh smears in this crazy way.”
That lens is used extensively in a party scene after Cam takes a drink that is most likely spiked and feels his already tenuous grip on reality completely slipping away, one of many sequences in the movie where lenses and lighting are used to put the audience in a state of psychological terror. There’s also a recurring image in the film of Cameron being hit and the camera presenting an impressionistic view of the inside of his head as he suffers a concussion — it’s one of the most horrifying and unique motifs in the movie, and another one that required an unusual technical approach.
“Jordan and Hoyte van Hoytema had just done all of their stereoscope day for night footage in ‘Nope,’ so there was a conversation about whether or not there was a way we could shoot that footage with both a thermal camera and the Alexa 35,” Kelly said. Covarrubias built a rig where a FLIR thermal camera was mounted directly on top of the Alexa, allowing the filmmakers to capture a thermal image that could be seamlessly cut into at moments of impact to show Cam’s concussions.
“It took two ACs, one pulling focus on the FLIR and one pulling focus on the Alexa,” Kelly said. “Our first AC Megan Noche 3D printed a focus ring to hot glue onto it, it was the craziest homemade setup. But once we started seeing how it was all working, it was really exciting.” Kelly experimented with various forms of ice and heat to get varying looks on screen, and in visual effects, more imagery was added — “brains sloshing and all that stuff” — to finalize the harrowing depiction of Cameron’s physical trauma.
“There was a lot of just trying to figure out how to make these images happen,” Kelly said. “Justin created an environment that inspired a lot of out-of-the-box visual storytelling. That made the project really gratifying, especially given what we ended up pulling off with the amount of time we had and the budget. It’s really exciting.”
Universal Pictures will release “Him” in theaters on Friday, September 19.
Jimmy Kimmel isn’t the first late-night host to get caught on the media griddle.
Kimmel is the latest in a short line of wee-hours personalities to spark controversies with jokes that offended as many as they tickled — perhaps more. On Monday night, the ABC personality walked a tightrope with a joke tied to Charlie Kirk, the conservative activist whose September 10 assassination has spurred a wave of “cancel culture” moves by the right.
Undaunted, Kimmel poked fun at President Trump’s odd reaction to being asked how he was holding up after the death of an ally (Trump pivoted to talking about his new White house ballroom). And Kimmel provoked conservative watchdogs by saying that “the MAGA gang” was “trying to characterize this kid who killed Charlie Kirk as anything other than one of them.”
Now the host — and Walt Disney Co., owner of ABC — find themselves in an impossible position. After FCC Chair Brendan Carr told a conservative podcaster that “We can do this the easy way or the hard way. These companies can find ways to take action on Kimmel, or there is going to be additional work for the FCC ahead,” two prominent owners of TV stations, Nexstar Media and Sinclair Broadcasting, said they would pre-empt ABC’s “Jimmy Kimmel Live” for the foreseeable future. Their decision leaves ABC struggling to beam Kimmel’s show to a good chunk of the nation — though, presumably, Disney could use its Hulu and Disney+ streaming services to get around the station owners’ blockade. Disney said earlier this week it was taking “Jimmy Kimmel Live” off the air indefinitely.
Johnny Carson rarely had to deal with such stuff, but his progeny have grappled with it with increasing frequency. Chalk the dynamic up to the fact that TV has in recent years fielded a wider number of late-night hosts, each of them eager to not only win TV ratings, but also viral pass-along on social media. Nabbing that last prize requires more hot talk, sharply pointed commentary and treading territory Carson usually avoided.
Kimmel does have a way back. In most cases — not all — sounding a note of apology helped.
David Letterman found himself under scrutiny in 2009 after making a joke about the daughter of former Alaska Governor Sarah Palin: “One awkward moment for Sarah Palin at the Yankee game, during the seventh inning, her daughter was knocked up by Alex Rodriguez.” The line was a reference to Bristol, who at the time was an unwed mother. But a younger daughter, Willow, had attended a Yankee game in New York with Palin and her husband. The incident became a public-relations hot potato for Letterman, then hosting “The Late Show” for CBS.
Eventually, Letterman acknowledged the riposte was not his best work. ““I told a bad joke,” he said during a 2009 broadcast. “I told a joke that was beyond flawed, and my intent is completely meaningless compared to the perception. And since it was a joke I told, I feel that I need to do the right thing here and apologize for having told that joke. So I would like to apologize, especially to the two daughters involved, Bristol and Willow, and also to the governor and her family and everybody else who was outraged by the joke. I’m sorry about it and I’ll try to do better in the future.”
Bill Maher in 2017 used a racial slur on live TV during a telecast of HBO’s “Real Time” during a conversation with Ben Sasse, then a U.S. Senator from Nebraska. Within hours, the comedian faced backlash from viewers and became the subject of very difficult conversations among senior executives at HBO’s then-owner, Time Warner. One day following the show’s Friday-night telecast, Maher apologized. “Last night was a particularly long night as I regret the word I used in the banter of a live moment. The word was offensive, and I regret saying it and am very sorry.”
But there was more to come. On his next broadcast, Maher convened guests like Ice Cube and Michael Eric Dyson to call him to task for using the epithet and to explore the issues about its us. Joy Reid, in 2018 a weekend host for MSNBC, relied on a similar concept after coming under fire following the discovery of old blog posts authored by her that contained homophobic remarks. Reid apologized and suggested the old pieces of digital content had been manipulated without her knowledge. On her program, “A.M. Joy,” she engaged in conversation with then-columnist Jonathan Capehart and Zeke Stokes, vice president of programs for GLAAD, to discuss the issues around the remarks.
Reid was able to remain at MSNBC until earlier this year and was promoted to a weekday host in a coveted early-evening slot.
Maher, of course, has been through similar stuff. He once held down a late-night host job on ABC, at the helm of a roundtable program called “Politically Incorrect. In September of 2001, in the aftermath of the 9/11 terrorist attacks, that America had been “cowardly” in dealing with the rest of the world, unlike the criminals who flew airplanes into the World Trade Center.
“We have been the cowards lobbing cruise missiles from 2,000 miles away,” he said. “That’s cowardly.” Two large advertisers, Sears and FedEx, pulled commercials from the show.
Within a day, Maher apologized. His view, he said, “should have been expressed differently.” He added: “In no way was I intending to say, nor have I ever thought, that the men and women who defend our nation in uniform are anything but courageous and valiant, and I offer my apologies to anyone who took it wrong,” ABC kept the show on the air, but advertisers continued to balk. “Politically Incorrect” was cancelled in June 2002.
Samantha Bee, who launched a critically acclaimed program called “Full Frontal” on Warner’s TBS in 2016, sparked controversy after she used a charged epithet that refers to a part of the female anatomy to insult President Donald Trump’s daughter, Ivanka. The result? After Bee delivered the remark in a 2018 broadcast, TBS lost ads from most sponsors, except movie studios, and had to fill the space with promos for its own properties. Bee offered an apology. “I crossed the line. I regret it and I do apologize for that,” she s said, noting: “The problem is, that many of women have heard that word at the worst moments in their lives. A lot of women don’t want to reclaim that word. They want it gone, and I don’t blame them. I don’t want to inflict more pain on them.” “Full Frontal” continued to run until 2022.
In some cases, the producers of late-night programs manage to return a response to self-generated controversy to a new reason to watch their shows. During an appearance on the “Weekend Update” segment of “Saturday Night Live” in 2018, cast member Pete Davidson spurred backlash by mocking Dan Crenshaw, then a congressional candidate in Texas, who had lost his right eye while serving as a Navy SEAL. “You may be surprised to hear he’s a congressional candidate from Texas, and not a hit man in a porno movie,” Davidson said on the program. “I’m sorry, I know he lost his eye in war, or whatever. Whatever.”
Davidson apologized to an in-person Crenshaw on the next episode of the program. The “SNL” comedian acknowledged his joke represented “a poor choice of words.” Crenshaw made fun of Davidson’s gawky stature and then called for respect for all veterans as well as first responders in the 9/11 attacks — one of whom was Davidson’s father.
Kimmel may not feel a need to apologize. His audience knows to expect such stuff from him on a regular basis, and surely ABC executives had time after his Monday taping to confer on the suitability of his monologue for that evening. As other people who have walked in similar shoes can attest, however, apologizing can help a situation — and more people remember the hosts for the shows they created then the glitches that may have occurred along the way.
UPDATE: The man who died following a roller coaster ride at Universal’s Epic Universe amusement park in Orlando had suffered multiple blunt impact injuries, according to Orlando medical examiner Joshua Stephany.
Stephany ruled the death of Kevin Rodriguez Zavala, 32, of Kissimmee, Florida, an accident after performing an autopsy. No additional details on the death were disclosed. Local Orlando news outlets report that Orange County (Florida) fire officials have indicated that Zavala hadn’t fallen from the roller coaster.
In a statement obtained by Deadline, Stephany said that Zavala “was found unresponsive on the Stardust Racers roller coaster at Universal Epic Universe and transported to the hospital. The cause of death is multiple blunt impact injuries. The manner of death is accident.”
Zavala, who used a wheelchair, was taken to a hospital Wednesday evening after being found unresponsive following the ride on the Stardust Racers coaster. A GoFundMe page set up by Zavala’s family states, “It is with heavy hearts that we share the passing of our beloved brother, son, uncle, and friend, Kevin Rodriguez Zavala, who tragically lost his life in an unexpected accident.”
PREVIOUS, Sept. 18: A man said to be in his 30s died last night after becoming unresponsive following a ride on a roller coaster at Universal’s recently opened Epic Universe amusement park in Orlando, Florida.
The man, identified by Florida’s Orange County Sheriff’s Office as Kevin Rodriguez Zavala, was found unresponsive after riding the Stardust Racers roller coaster. He was transported to a hospital where he was pronounced dead.
The “dual-launch,” two-train coaster at the Epic Universe, the $7 billion amusement park which opened in May, reaches a height of 133 feet and speeds of 62 miles per hour, according to the park’s website.
Universal is cooperating with the sheriff’s office investigation into the death. In a statement to press, Universal said, “We are devastated by this event and extend our sincerest sympathies to the guest’s loved ones.”
Epic Universe – the first major theme park to open in the United States in more than two decades – includes more than 50 attractions at five of what park officials call “immersive worlds”: Celestial Park (where Stardust Racers is located); The Wizarding World of Harry Potter – Ministry of Magic; Super Nintendo World; and How to Train Your Dragon – Isle of Berk and Dark Universe.
While Epic Universe was open today, the Stardust Racers attraction was closed.
Last month, NBC aired a special about the new park called Inside the Worlds of Epic Universe, and in a Universal Orlando Resort YouTube video Bowen Yang and Matt Rogers ride the Stardust Racers:
Stephen Colbert pulled out all the stops in defending his late-night competitor and friend Jimmy Kimmel on Thursday. That included pulling out his old Comedy Central character: Stephen Colbert the political pundit and host of The Colbert Report.
Cue the bald eagle screech.
“Hello, nation,” Colbert said in character. “Daddy’s home.”
The faux Colbert jumped right back into his signature segment, “The Word,” which puts the conservative words coming out of his Republican mouth at odds with contradictory text in a side-chyron. To get us out of this “free-speech crisis,” Colbert suggests we all just…don’t say anything. And certainly not aloud.
Regarding the First Amendment, Colbert said, ”You can have your rights just as long as you don’t use them.” (Chyron: “Like a gym membership.”)
“Give up, America. Just give up and stop saying anything that might upset the president,” Colbert concluded. “If you think that’s a terrible idea, no you don’t.”
Watch the segment below.
Jimmy Kimmel Live! was suspended after mocking MAGA Republicans for scrambling to distance their own ideologies from those of Charlie Kirk’s alleged murderer, Tyler Robinson. Both sides of the aisle have been playing a game of hot potato with Robinson’s perceived political affiliations.
“We hit some new lows over the weekend with the MAGA gang desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it,” Kimmel said.
The joke cost Kimmel at least a few nights of ABC’s airtime — discussions about whether and when Jimmy Kimmel Live! would and could return are still ongoing at the highest levels within The Walt Disney Company, which owns ABC. Read the inside story on how Kimmel’s Disney suspension was handed down here.
Colbert still has a talk show — until next May at least. His guests on Thursday’s show were CNN’s Jake Tapper and The New Yorker editor David Remnick. Both heavily criticized Trump for meddling and Disney for, as Tapper put it, “acquiescing” to power.
In the old days, The Colbert Report’s lead-in was The Daily Show. Well, Jon Stewart is back in that chair — sometimes — read here to see how he tackled the Kimmel crisis. Over on NBC, Jimmy Fallon had something to say about this whole mess — as did Seth Meyers.
The strength of their children’s feelings is very much echoed in the dynamic between Tom and Beth, who feel an “immediate” connection that spirals into an adulterous relationship, which they attempt to hide from their respective partners.
Shelley Conn (Bridgerton) and Matthew McNulty (The Jetty) co-star as Tom’s wife, Hannah, and Beth’s husband, Neil, respectively, who become the victims of their affair.
The synopsis for ITV’s Adultery teases a “scandalous” and “provocative love story” that “raises questions about class, grief and the effects of social media, as it takes the viewer on a rollercoaster story of passion, parenthood and peril”.
“Tom and Beth embark upon a passionate and intense love affair that threatens to uproot their whole lives,” it continues. “Adultery is naturally authentic and bristling with passion as it focuses upon two ordinary families and messy complications.”
Screenwriter Danny Brocklehurst commented: “It’s a wonderful privilege to assemble such an amazing cast for Adultery.
“The characters in our show have complex emotional lives and we needed the very best acting talent to bring them to the screen. I couldn’t be more thrilled.”
The supporting cast is completed by Andrew Knott (Gavin & Stacey) as Dave, the ex-husband of Beth’s recently deceased best friend, plus James Murray (The Crown) and Charley Webb (The Long Shadow) as Tom’s brother and sister-in-law.
Producer Ben Stephenson added: “I am thrilled that we have assembled such a high calibre cast for Danny’s wonderful scripts.
“Dominic and Romola are two remarkable actors at the peak of their careers and it’s hugely exciting to see what they bring to this juicy gripping and complex show alongside their amazing co-leads Matthew and Shelley.”
Adultery will consist of six hour-long episodes, directed in two blocks by Vera’s Will Sinclair (episodes 1-3) and Stay Close’s Daniel O’Hara (episodes 4-6), with a premiere date to be announced in due course on ITV1 and ITVX.
Adultery is coming soon to ITV and STV.
Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Add Adultery to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more.
Jon Stewart headlined a special episode of The Daily Show on Thursday (September 18) night and, as expected, the 25-time Emmy winner reacted to the news that ABC suspended fellow late-night host Jimmy Kimmel Live! in the midst of pressure from the Federal Communications Commission chair. Only, instead of addressing the issue head-on with a directly scathing monologue or thoughtful speech on censorship, Stewart took his uniquely satirical approach to the matter.
In the opening act of the episode (embedded above), Stewart spent 23 straight minutes cosplaying as a North Korea-style media sycophant of Donald Trump, shivering with unbridled enthusiasm for the president and finding kind words to say about every possible situation involving Trump.
Dubbing himself a “patriotically obedient host,” Stewart reacted to all of the highlights of Trump’s overseas visit to the United Kingdom — especially the most awkward moments of his state dinner with Great Britain’s royal family — with utter adulation.
“Father has been gracing England with his legendary warmth and radiance. Gaze upon him with a gait even more majestic than that of the royal horses that pranced before him, he wowed the English with charm, intelligence, and an undeniable sexual charisma that filled their air like a pheromone-packed London fog,” Stewart joked of Trump’s appearance. “And as part of this historic trip, the perfectly-tinted Trump dazzled his hosts at dinner with a demonstration of his unmatched oratory skill.”
Stewart continued the schtick of lavishing praise upon Trump for the next few minutes, pretending to be sheepishly afraid that he, too, might face the wrath of the administration’s FCC chair, before touching on the Kimmel situation directly… er, indirectly, as the case may be.
“Now the visit to England couldn’t have gone better for our president. Finally, a country affording our great leader the respect and deference that any sun god would command,” he said, before introducing a clip of a British journalist asking, “We saw the dismissal of a very well-known chat show host in America last night, Mr. Kimmel. Is free speech more under attack in Britain or America?” To that, Stewart responded with feigned outrage, “How dare you, sir?! How dare you, sir?! What outfit are you with, sir, the Antifa Herald Tribune? Why I wouldn’t even line my parrot’s cage with your rag. There’s a very reasonable explanation for what befell this scallywag, Kimmel.”
Stewart then played a clip of Trump reacting to the news himself to say, “Well, Jimmy Kimmel was fired because he had bad ratings more than anything else, and he said a horrible thing about a great gentleman known as Charlie Kirk. And Jimmy Kimmel is not a talented person. He had very bad ratings, and they should have fired him a long time ago. So you know, you can call that free speech or not.”
After momentarily dropping the guise and yelling at Trump’s still image to “shut the f**k up,” Stewart resumed his subservient character performance to say, “You may call it free speech in jolly old England, but in America, we have little something called the First Amendment. And let me tell you how it works. It’s a completely scientific instrument that is kept on the president’s desk, and it tells the president when a performer’s TQ talent portion, measured mostly by niceness to the president, goes below a certain level, at which point the FCC must be notified to threaten the acquisition prospects for billion-dollar mergers of network affiliates. These affiliates are then asked to give ultimatums to the even larger mega corporation that controls the flow of state-approved content, or the FCC can just threaten those licenses directly. It’s basic science.”
Watch the above-embedded clip for Jon Stewart’s full opening segment on Thursday’s The Daily Show edition.
Fall TV is in full swing already and is only picking up momentum by October. “Huluween” is still very much celebrated among TV fans, and Disney+ will get in on the action with new “Wizards of Waverly Place” and “Vampirina: Teenage Vampire.” Plenty of new Hulu originals will make their way to the streamer, including the star-studded “Murdaugh: Death in the Family,” the Korean drama “Tempest,” and the final season of “Solar Opposites.”
And if you’ve paused or not yet started either subscription, new network TV is the perfect excuse to do so (“Abbott Elementary” returns October 2!) — as well as plenty of other films and movies coming to both Hulu and Disney+ in October.
Top Pick: “Murdaugh: Death in the Family” (Hulu)
Maggie (Patricia Arquette) and Alex Murdaugh (Jason Clarke) are the couple at the head of an esteemed South Carolina family whose life is turned upside down when their son Paul (Johnny Berchtold) dies in a boat crash. As the investigation continues into Paul’s death and others, the Murdaugh family’s name comes into question, with the fate of their legacy hanging in the balance. The series comes from Erin Lee Carr and co-creator/ showrunner Michael D. Fuller and is based on the popular “Murdaugh Murders Podcast,” featuring Will Harrison, Brittany Snow, J. Smith-Cameron, Gerald McRaney, and Noah Emmerich in the cast.
Here’s everything else coming to Disney+ and Hulu in October 2025.
Disney+
Wednesday, October 1
- “SuperKitties” (Season 3) – Premiere
Thursday, October 2
- “Mickey & Minnie’s Holiday Songs: Halloween”
Friday, October 3
- “The Balloonist” – Premiere
- “Marvel’s Spidey and His Amazing Friends” (Season 4) – New Halloween Episode
- “Something Wicked This Way Comes”
Saturday, October 4
- “Halloween Wars” (Three Seasons)
Sunday, October 5
- “Kiff” (Season 2) – New Halloween Episode
- “Traveling with Snow Man” (Disney+ Original) – New Episode
Tuesday, October 7
- “Dancing With the Stars” (Season 34) – New Episode (Live at 8/7c)
Wednesday, October 8
- “Wizards Beyond Waverly Place” (Season 2) – All Episodes Streaming
Saturday, October 11
- “Halloween Baking Championship” (Three Seasons)
Tuesday, October 14
- “Dancing With the Stars” (Season 34) – New Episode
Wednesday, October 15
- “Electric Bloom” – New Episodes
- “Vampirina: Teenage Vampire” – All Episodes Streaming
Friday, October 17
- “Marvel’s Spidey and Iron Man: Avengers Team-Up!” – Premiere
Saturday, October 18
- “Brittany Murphy: An ID Mystery”
Sunday, October 19
- “Traveling with Snow Man” – New Episode
Tuesday, October 21
- “Dancing With the Stars” (Season 34) – New Episode
Friday, October 24
- “LEGO Frozen: Operations Puffins” – Premiere
Tuesday, October 28
- “Dancing With the Stars” (Season 34) – New Episode
Wednesday, October 29
- “Star Wars: Visions” (Volume 3) – All Episodes Streaming
- “Disney Twisted Wonderland: The Animation” – Premiere
Hulu
Wednesday, October 1
- “Tempest” (Hulu Original) – New Episodes
Thursday, October 2
- “Abbott Elementary” (Season 5, ABC) – Premiere
- “Shifting Gears” (Season 2, ABC) – Premiere
Friday, October 3
- “The Murky Stream” (Hulu Original) – New Episodes
Saturday, October 4
- “My Hero Academia” (Season 8, Subbed) – Premiere
- “Spy x Family” (Season 3, Subbed) – Premiere
Sunday, October 5
- “Digimon Beatbreak” (Subbed) – Premiere
Monday, October 6
- “Gintama” (Seasons 2–3, Dubbed)
Friday, October 10
- “Frankie Quiñones: Damn That’s Crazy” (Hulu Original) – Premiere
- “Grey’s Anatomy” (Season 22) – Premiere
- “9-1-1” (Season 9, ABC) – Premiere
- “9-1-1: Nashville” (ABC) – Premiere
- “The Murky Stream” (Hulu Original) – New Episodes
Wednesday, October 8
- “Fate” (Hulu Original) – Premiere
- “Stay” (Hulu Original) – Premiere
Sunday, October 12
- “One-Punch Man” (Season 3, Subbed) – Premiere
Monday, October 13
- “Solar Opposites” (Final Season, Hulu Original) – Premiere
Tuesday, October 14
- “Obituary” (Season 2) – Premiere
Wednesday, October 15
- “Murdaugh: Death in the Family” (Hulu Original) – Premiere
Thursday, October 16
- “Duck Dynasty: The Revival” (A&E)
Friday, October 17
- “40 Acres” (2024)
- “The Murky Stream” (Hulu Original) – New Episodes
Monday, October 20
- “Anyone But You” (2023)
- “9-1-1: Lone Star” (Season 5, Fox)
Wednesday, October 22
- “The Hand That Rocks the Cradle” (Hulu Original) – Premiere
Given how few first-person videogames make a successful transition to the big screen, it’s surprising how easy Genki Kawamura‘s “Exit 8” makes it look. But perhaps the key to not losing much in translation is not having much to lose in the first place. The concept of popular walking game “The Exit 8,” from developers Kotake Create, is so spartan as to be practically monastic. You are lost in a labyrinthine, overlit, Japanese metro tunnel, and the only way to find your way out of its Escher-like infinity-loop construction is to spot its “anomalies” — tiny, deliberate deviations from the previously established norm.
While comparisons to cult sci-fi “Cube” are inevitable, “Exit 8” is simpler, cleaner and less bothered by reasoning out the premise. Instead, the trick here is that, absent the first-person dimension, Kawamura and co-writer Kentaro Hirase add a psychological component to the third-person storytelling. Here, the protagonist’s predicament is cued by his being at a turning point in his life, or rather, because this is “Exit 8,” a turning and turning and turning again point.
Our hero, only ever referred to as the Lost Man (J-pop star Kazunari Ninomiya in a nicely judged rumpled-everyman performance), is on the train when he witnesses an overbearing businessman harassing a young mother about her crying baby and fails to intervene. Soon after, he alights and takes a call from his ex, who is pregnant and awaiting his thoughts on what to do about it. So he’s plunged into worry, and it takes him a while to notice that suddenly he’s alone in a rectilinear nightmare of white-tiled underground passageways, courtesy of Ryo Sugimoto’s sadistically sharp production design, and that following the bland yellow signage toward the exit will eventually always end him up back where he began.
Actually, Lost Man is not quite alone; a slender man carrying a briefcase (Yamato Kochi) walks impassively by him at the same moment each time he arrives in one of the corridors. And later, other wanderers also appear, but his interactions with them are stilted, as though they are non-playing characters (NPCs). As in the game, the only active choice the Lost Man can make, therefore, is to move forward or double back, and soon a poster appears telling him how to exercise that limited free will. Whenever he spots an anomaly, he should reverse course. If nothing’s amiss, he should continue, and this way he will successfully navigate the eight levels and make it to an actual exit. Get it wrong, however, and it resets back to the start and all his progress is undone.
Operating on the same catchy principle that drives a thousand hidden-object or spot-the-difference games, now we, along with the Lost Man, start to obsessively parse each frame for potential deviations. Were the subway posters in that same order last time? Did that door always sit between two air vents? Why is Walking Man suddenly Standing Man, and when did he start wearing that ghastly smile?
There is a matter-of-factness to DP Keisuke Imamura’s flat, bright images that creates a hyperreal eeriness all the more uneasy for being the polar opposite of a horror movie’s usual dark corners and shadowy depths. And editor Sakura Seya does a briskly efficient job of making the metro-corridor Moebius strip feel not only plausible, but solidly real, with only some later developments allowing for any variation in shot style or rhythm.
But at just the point when we might be starting to get a little restless with Lost Man’s erratic progress, Kawamura makes his most daring narrative leap by suddenly switching protagonists — perhaps all those NPCs were not actually NPCs at all, but other “players” trapped in the same psychological and physical limbo for different, uniquely personal reasons. All those reasons, however, have a moral or ethical dimension, which in some cases leads to quite touching developments that in their way further illuminate Lost Man’s own quandary.
That’s not to overstate the depth or emotive nature of a fun little ride that uses broad-brush psychology as an excuse for an elegant puzzle-box that, once solved, does not require further thought. Like the game, which is popular as kind of a one-off without much replayability, “Exit 8” is designed to divert for a short time and does so enjoyably, with Kawamura proving a most judicious assessor of just how little backstory, plot explanation and character development he can get away with and still keep us engaged. But while it doesn’t pretend to some grand philosophy, the movie’s sparseness does give it some mileage as an allegory for how changing things up is the only way to break a cycle of destructive, circular thinking. In a time of increasingly inescapable groupthink and conformity, “Exit 8” wants you to embrace the anomaly.