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Hero Fiennes Tiffin, Natascha McElhone, Dónal Finn in Young Sherlock
TV & Streaming

Streaming Ratings March 2-8, 2026

by jummy84 April 2, 2026
written by jummy84

The first week of March was a big one for streaming shows set in 19th century England.

Prime Video’s Young Sherlock got off to a solid start in its premiere week, recording 678 million minutes of watch time in Nielsen’s streaming ratings for March 2-8. The series, which follows Sherlock Holmes (Hero Fiennes Tiffin) as a college student and budding detective, was the top series debut of the week.

Bridgerton, meanwhile, spent a second week as the overall No. 1 title, coming in at 1.99 billion minutes of viewing. It was one of three series to score more than a billion viewing minutes, along with The Night Agent (1.12 billion) and The Pitt (1.11 billion), neither of which are set in 1800s England.

Two other shows also made their first appearances in the original series top 10: Netflix’s Steven Spielberg-produced nature series The Dinosaurs drew 612 million minutes of viewing, and Apple TV’s Monarch: Legacy of Monsters had 467 million a week into its second season.

Hulu’s Paradise accumulated 694 million minutes of watch time for the week — down from a series high of 950 million minutes the previous week but still well above all but the finale week of its first season last year.

Netflix’s action film War Machine, starring Alan Ritchson, also had a big opening week, leading the movie chart with 1.1 billion viewing minutes. All four Jurassic World movies also made the rankings, led by 2025’s Rebirth with 741 million minutes.

Nielsen’s streaming ratings cover viewing on TV sets only and don’t include minutes watched on computers or mobile devices. The ratings only measure U.S. audiences. The top streaming titles for March 2-8, 2026, are below.

April 2, 2026 0 comments
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House of the Dragon, The Pitt, and I Love LA
TV & Streaming

Inside HBO Max Rebrand and Plan for Streaming Service with Casey Bloys

by jummy84 November 23, 2025
written by jummy84

A funny thing happened over the course of the streaming wars: As the end goal of the tech and media companies became global TV domination, the niches and specialities of many companies faded away (even Disney and ESPN with their strong consumer brands have been joined at the streaming hip to Hulu).

That was certainly true at Warner Bros. Discovery, which inherited HBO and HBO Max, and rejiggered them into Max. Why? Well as WBD streaming chief JB Perrette said at the time: “While [HBO Max and Discovery+] offered something for some people, Max will have a broad array of quality choices for everybody.”

The result was that HBO, the most premium of premium TV companies, became absorbed into something that was meant to be a Netflix-killer.

As HBO Max CEO Casey Bloys told reporters Nov. 20 in the company’s Hudson Yards offices, that ended up being a fool’s errand: “To Netflix’s credit, as the first mover, they have become a utility for consumers,” Bloys said. “In retrospect, we can all see that the streaming industry’s race for volume, years ago, found many brands losing their identity.”

In a world where Netflix and YouTube are the video utilities, media companies need something else to stand on. So Bloys has been undertaking an effort to make Max HBO again. That started, of course, with the surprise announcement in May that the company was rebranding.

“I know you’re all shocked, but the good news is I have a drawer full of stationery from the last time around,” Bloys quipped at the time.

But the jokes underscored a meaningful strategic shift. No longer was WBD trying to compete with Netflix for global domination, they were playing to be the premium layer sitting above it.

“[Netflix] is the basic cable of today, and in today’s world, consumers still want to add to their entertainment portfolio with must-have truly unique programming that only we can deliver,” Bloys told the audience of journalists Thursday. “We looked at all the research and came back to what they want are HBO originals, pay-one movies, the Warner Bros. TV library, the procedurals, for lack of a better word, but the elevated network [programming] that we’re working on, documentaries, comedy specials. We just came back from trying to offer too much, so we are trying to be very specific in what people value from us, and want from us.”

Casey Bloys during Warner Bros. Discovery’s 2025 Upfront Presentation at The Theater at Madison Square Garden on May 14, 2025 in New York City.

Dimitrios Kambouris/Getty Images

There are signs that it is working. HBO Max has been growing at a time when other streamers are stagnating. HBO, it turns out, still means something to a lot of media consumers.

But the new HBO isn’t quite the same as the old HBO. Back in the heyday of the brand, original adult dramas and comedies lived alongside a vast library of the biggest movies on the planet. But streaming has changed the movie business, not only tweaking the types of projects that get made, and how many get released, but with companies like Disney, NBCUniversal and Paramount now hoarding their projects for their own platforms.

The TV business has changed too. Broadcast TV, once the home for a seemingly endless supply of procedurals, has been cutting back on scripted entertainment in favor of more unscripted shows and live sports. Cheaper content, or must-watch content, with scripted often the odd man out.

So Bloys has embarked on a mission to figure out how to HBO-ify those missing pieces, to find a suitable replacement for the licensed blockbuster films that once dominated HBO’s lineup, and to find a way to take the humble network show and make it HBO-worthy.

The result has been two-fold: IP tentpole fare led by Game of Thrones, DC Studios, and Harry Potter and other Warner Bros. library content, which is meant to offset the loss of many films (Warner Bros. and A24 output deals notwithstanding): “That affinity and immediate awareness paired with HBO’s singular approach to storytelling has proven very valuable to filling that theatrical void,” Bloys said, announcing renewals for House of the Dragon and A Knight of the Seven Kingdoms, which will keep GoT programming on a yearly cadence through at least 2028.

And then there’s the Max Originals. Bloys acknowledges that it took a little time for them to figure out what a Max Original really is in relation to an HBO Original (“Until recently, a Max Original may have been a bit nebulous for you, you’ve probably asked me about it, a bit nebulous for you, a bit nebulous for me,” he quipped). But, he says, they’ve cracked it.

“I can say now that Max Originals serve a very specific purpose: We are leaning into more cost-efficient, yet elevated and high quality series with a greater number of episodes that can return each year,” Bloys said, with The Pitt being the quintessential example. “These originals are designed to attract audiences that are adjacent to the typical HBO fans, while also feeding our strategy to deliver 52 weeks of new programming a year.”

Bloys added that having elevated broadcast fare, from procedurals like The Pitt and some upcoming projects in development like a police drama, a family drama and the Big Bang Theory spinoff Stuart Fails to Save the Universe, provides a reliable cadence to consumers who have grown frustrated with years-long gaps between other high-profile shows.

“That kind of habitual viewing, not only week to week, but on an annual basis, is really important in terms of setting habits,” Bloys noted.

The Pitt

Warrick Page/HBO Max

And having seasons that expand beyond the 8-10 episodes that have become common in streaming could ultimately generate not only richer universes of characters and IP, but could prove to be training grounds for the next generation of creative talent.

“As an industry, we’ve gotten away from television, which when I started, it was 26 episodes, then the standard kind of whittled down to 22 episodes,” Bloys said. “But you really have to kind of set that up from the beginning to give yourself worlds that generate, in [The Pitt’s] case, 15 hours of story. It’s why hospital shows were a staple, because a new story — or several — walk in the door every time. You know you have to set up first, a world that generates the story, and you also have to work with people who know how to do that, who’ve worked on it for years. It is a different skill, I would say, generating 15 episodes of compelling stories, as opposed to crafting eight to 10.”

But the heart of HBO is still the HBO Original shows, and Bloys and his team are still executing on those, full steam ahead. Curb Your Enthusiasm might have ended, but Larry David is back (with the Obamas!) for a new comedy series. Entourage and Girls are in the past, but I Love LA is helping to fill that void with a voice that is uniquely Rachel Sennot’s, while Euphoria returns with a cast that jumpstarted multiple movie careers.

“What we’re usually looking for is a point of view,” Bloys said. “We’ve got a long history, going back to Gary Shandling, Larry David, Lena [Dunham], Issa Ray, Danny McBride, we’ve got a long history of writer performers, especially in comedy, it’s a really good combination to give you a specific tone and point of view.”

The adult dramas and dramedies that helped define the cable channel are still a cornerstone, from The White Lotus and Task to the forthcoming DTF St. Louis.

Jason Isaacs and Parker Posey in ‘The White Lotus’ season three finale.

Fabio Lovino/HBO

The result is a mix of programming that serves multiple audiences but carries with it a compelling throughline: Whether it’s House of the Dragon, The White Lotus, The Pitt, or I Love LA, an HBO show is a good show. Not every show will be for every HBO Max subscriber, but every HBO Max subscriber knows that every show has a level of quality that they respect.

“You have to start with, what’s a good show. What do we believe in? What is a good script?” Bloys said, adding that his team doesn’t set any guidelines on how many HBO Originals vs. Max Originals vs. IP-driven tentpoles get the green light. “The great thing about development is you just give yourself as many options as possible in all of the formats and genres that you saw [Thursday].”

HBO’s tagline, for years, was “It’s not TV, It’s HBO.” It was brand positioning that placed HBO above the vast array of channels at every consumer’s fingertips. HBO floated above the fray, and it made it into a culture-defining brand.

Bloys is once again leaning into that ethos. Streaming might be the delivery mechanism by which people get their fix, but they aren’t watching “streaming,” they are watching HBO Max.

November 23, 2025 0 comments
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Cable and Streaming – Hollywood Life
Hollywood

Cable and Streaming – Hollywood Life

by jummy84 November 22, 2025
written by jummy84

Image Credit: Getty Images

The 2025 Macy’s Thanksgiving Day Parade is fast approaching — airing live from New York City on Thursday, November 27. Hosting this year’s broadcast will be TODAY anchors Savannah Guthrie, Hoda Kotb, and Al Roker, who will once again guide viewers through the floats, balloons and performances.

Whether you’re watching live on TV or streaming from your couch, here’s everything you need to know about how to tune in to the 2025 Macy’s Thanksgiving Day Parade.

What Time Does the Macy’s Thanksgiving Day Parade Start?

The 2025 Macy’s Thanksgiving Day Parade begins at 8:30 a.m. ET on Thursday, November 27. This start time is now the parade’s standard, following NBC’s shift from the long-used 9 a.m. slot. The parade typically runs for about three hours, taking viewers from Central Park West through Midtown Manhattan before wrapping up in front of Macy’s Herald Square.

How to Watch the Macy’s Thanksgiving Day Parade Live on TV?

You can watch the 2025 parade live on NBC, which has been the parade’s official broadcast home for decades. NBC’s coverage begins exactly at 8:30 a.m. ET and is hosted by TODAY anchors Savannah Guthrie, Hoda Kotb (who left TODAY earlier this year but is still returning as a parade host), and Al Roker.

Can I Stream the Macy’s Thanksgiving Day Parade Live?

Yes — the parade will stream live on Peacock at the same 8:30 a.m. ET start time. Peacock is also offering an enhanced multiview option for Premium subscribers, letting viewers watch several parade feeds at once, including balloon coverage, performances, and crowd views.

“The Macy’s Thanksgiving Day Parade is the perfect moment for Multiview, allowing fans to catch never-before-seen viewpoints along the parade route, alongside the iconic floats and live performances,” said Matt Strauss, Chairman, NBCUniversal Media Group. “Finding ways to enhance how our audiences enjoy our beloved programming and deliver unique viewing experiences and features is central to how we continue to raise the bar for live streaming on Peacock.”

Cord-cutters can also stream NBC’s broadcast through live-TV streaming platforms that carry local NBC stations, such as Hulu + Live TV, YouTube TV, Sling Blue (in select markets), and Fubo.

November 22, 2025 0 comments
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Emmys BEST DRAMA SERIES
TV & Streaming

Streaming Ratings Oct. 13-19, 2025

by jummy84 November 14, 2025
written by jummy84

With the publicity machine behind Stranger Things starting to ramp up ahead of the final season, the show re-entered the Nielsen streaming charts in mid-October.

The series ranked eighth among original streaming shows for the week of Oct. 13-19, logging 393 million minutes of viewing time for the four currently available seasons. That week saw the reveal of running times for the final season’s first batch of episodes and a Time cover story that signaled the start of advance press for the series. Stranger Things hadn’t been on the Nielsen charts since late June, when it made the rankings for four weeks after Netflix announced the release schedule for season five.

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David Harbour and Millie Bobby Brown in 'Stranger Things' season five.

Monster: The Ed Gein Story held the No. 1 overall spot for a third straight week, though its 979 million minutes of viewing represented a 58 percent decline week to week. The former BBC/PBS series Poldark, which joined the Netflix catalog a week earlier, jumped into the rankings at second overall with 954 million minutes. Aidan Turner, who starred in Poldark, also plays a key role in season three of The Diplomat, which premiered Oct. 16 and came in fourth for the week with 911 million minutes.

Netflix’s coming-of-age drama Boots (798 million minutes) saw substantial growth in its second week, improving by 84 percent from the previous seven days. The streamer’s true-crime documentary The Perfect Neighbor also had 798 million viewing minutes, leading the movie rankings and (at least for this week) displacing KPop Demon Hunters from the top spot.

Nielsen’s streaming ratings cover viewing on TV sets only and don’t include minutes watched on computers or mobile devices. The ratings only measure U.S. audiences, not those in other countries. The top streaming titles for Oct. 13-19, 2025, are below.

November 14, 2025 0 comments
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Spotify, Max, Streaming Services Face Backlash for Anti-Immigrant Ads
Music

Spotify, Max, Streaming Services Face Backlash for Anti-Immigrant Ads

by jummy84 November 12, 2025
written by jummy84

If a dystopic voice asking you “to fulfill your mission” of rounding up undocumented immigrants has snuck its way onto your streaming airwaves, you’re far from the only one.

In the last two months, online users have reported seeing and hearing an increased amount of recruitment advertising from the Department of Homeland Security on streaming services such as Pandora, Spotify, and Max — and even during September’s MTV VMAs.

The new advertising push, which has faced online backlash, has followed the Trump administration’s investment of $30 billion to hire at least 10,000 more deportation officers by the end of the year, according to The Associated Press. “You took an oath to protect and serve, to keep your family, your city, safe,” the narrator says in some advertisements targeting local police officers. “But in sanctuary cities, you’re ordered to stand down while dangerous illegals walk free.”

In mid-October, specifically, music listeners on Spotify’s ad-supported free plan reported hearing similar advertising on the platform, with some choosing to end their membership due to the ads. When reached for comment, a rep for Spotify told Rolling Stone that the DHS commercials were part of a “broad campaign” from the government agency and that it did not violate any advertising policies on the platform.

But the recruitment ads have been running on numerous streaming platforms, with fans flagging concerns with the ads on Hulu, Max, YouTube, and Pandora, as early as April.

According to new data from Equis acquired by Rolling Stone, DHS spent a combined $2.8 million on English and Spanish-language ads on Meta’s Facebook and Instagram since March 1, and another half a million on ICE recruitment ads on the platform since August.

On Google and YouTube, DHS spent nearly $3 million on specifically Spanish-language advertising aimed at promoting self-deportation. While Equis is unable to track data for ad spends on Spotify, Pandora, and other platforms, an industry source told Rolling Stone that Spotify had received a mere $74,000 from DHS to run their advertisements. That figure represents less than three percent of what the government spent on Google and Meta.

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The new data shared on Nov. 11 follows advertisement tracking information from Equis and Priorities USA that confirmed that the Trump administration had spent upwards of $10 million on ad spending for DHS and ICE.

“We’re seeing that some of these campaigns have actively started during October, clearly after the shutdown started, which is key to this story,” Natalia Campos Vargas, the deputy research director for messaging at Equis, told Rolling Stone last week. “During the government shutdown, where employees are being furloughed, these government entities are still spending millions of dollars on advertising on TV and digital platforms.”

According to the memo, the government even increased ad spending during the shutdown. Specifically, DHS increased spending on YouTube ads, going up from $292,000 alone in September to $332,000 in just the first three weeks of October.

In a statement to Rolling Stone on Nov. 2, DHS Assistant Secretary Tricia McLaughlin confirmed that the funding came from this bill, and that “hiring law enforcement officers is mission critical in order to fix the crisis the Biden administration manufactured by letting millions of criminal illegal aliens come into the country… Nothing will slow us down from recruiting more officers.”

In a public Pandora community thread started in May 2025, a user who said they have been a Pandora user for more than 15 years shared that they were canceling their subscription due to an “overwhelming number” of DHS ads. The thread has received repeated comments from more users sharing their frustration with receiving similar advertisements.

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“This is not a random glitch. It is the result of ad targeting that equates music preference with immigration status,” read the user’s note. “Your platform appears to be allowing (or enabling) ads that racially and culturally profile users based on the language of the music they enjoy.”

In August, DHS confirmed to The Independent that it would be running advertisements on YouTube, Max, Amazon Prime Video, X, LinkedIn, and other internet platforms. Several Reddit threads discussed folks opting for VPNs to stream without receiving the ads, while others opted to cancel their subscriptions completely. “It isn’t just the fact that they’re advertising, it is how AWFUL the ads actually are,” wrote one user. “Forget the hateful bullshit, just the sheer stupidity of running that ad in Denver is fucking WILD,” added another.

Similarly, Spanish-language channels such as Univision and Telemundo have also run ads featuring Kristi Noem urging “illegal aliens” not to come into the country. “Join the mission to protect America with bonuses up to $50,000 and generous benefits. Apply now join.ice.gov and fulfill your mission,” says one ad.

When reached for comment, DHS Assistant Secretary Tricia McLaughlin told Rolling Stone that there was “nothing offensive or partisan” with removing what it called criminals from the United States. “The ICE recruitment campaign is a resounding success with more than 150,000 applications rolling in from patriotic Americans answering the call to defend the Homeland by helping arrest and remove the worst of the worst from our country,” McLaughlin said.

Earlier this month, the AP reported that ad-spends by DHS had topped $6.5 million, and that spots had been run in several major cities, including Seattle, Chicago, Washington, D.C, and Miami, aimed at recruiting local officers frustrated with their cities’ immigration enforcement policies.

HBO, Pandora, and Hulu did not immediately respond to Rolling Stone’s request for comment. YouTube had no comment.

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This story was updated on Nov. 11 at 6 p.m. ET to include new data on the ad spending made by DHS and ICE on Spotify, Meta, and Google.

November 12, 2025 0 comments
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The 1975 Remove Song From Streaming Because Matthew Healy Prefers the Album Without It
Music

The 1975 Remove Song From Streaming Because Matthew Healy Prefers the Album Without It

by jummy84 November 5, 2025
written by jummy84

Fans of the 1975 were left puzzled this week by the disappearance from streaming services of “Human Too,” an album track from 2022’s Being Funny in a Foreign Language. Now, Matthew Healy has taken to Reddit to explain its absence: “‘Human Too’ was removed from the album so the album is more how I want it to be,” he wrote. That clears that up, then. The remaining records are safe, Healy added, because he is “pretty happy with them”—with one exception: “What Should I Say” from Notes on a Conditional Form. “So that may also be removed who knows,” he concluded. Catch the latter while you can below.

While it is now commonplace for artists to tweak albums post-release—typically for reasons to do with sample clearance or perfectionism—retroactively wiping a song, three years after the fact, is more of a novelty. Healy notes in his comment, presumably for those unfamiliar with the mechanics of physical media, that “Human Too” still appears on prior physical releases of the album.

November 5, 2025 0 comments
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Australian Gov’t Approves Content Quotas For Streaming Video Platforms
Music

Australian Gov’t Approves Content Quotas For Streaming Video Platforms

by jummy84 November 5, 2025
written by jummy84

SYDNEY, Australia — More than three-and-a-half years after the siren sounded, the Australian government is activating local content quotas for popular streaming video on-demand platforms operating on these shores.

Confirmed Tuesday, Nov. 4, the new obligation will require those services with over 1 million domestic subscribers to invest 10% of total program expenditure here, or 7.5% of their total Australian revenue, to supporting local storytelling.

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Netflix, Disney, Amazon and other SVOD services will be compelled to comply by the legislation, which will be introduced to Parliament this week, the ABC reports.

Those quotas must pass that bar set by the Australian Content and Children’s Television Standard (ACCTS), meeting or exceeding the same requirements currently applied to commercial and subscription television services.

“We have Australian content requirements on free-to-air television and pay television, but until now, there has been no guarantee that we could see our own stories on streaming services,” minister for the arts Tony Burke remarked.

“Since their introduction in Australia, streaming services have created some extraordinary shows. This obligation will ensure that those stories — our stories — continue to be made.”

APRA AMCOS celebrated the announcement as an “incredible first step for Australia.” Whether the next step is a long-mooted content quotas for streaming music platforms, time will tell.

The Australian-made regulation, says Dean Ormston, CEO of APRA AMCOS, is a critical mechanism “within a global content market where extraordinary local stories and local music can be drowned out by content from major overseas markets.”

Critically, he adds, “the obligation includes requirements to spend on post-production in Australia, opening the door for Australian screen composers and local music to play a central role in telling our stories. This represents a significant new opportunity for Australia’s music creators.”

The Albanese government’s announcement follows the presentation last week of APRA AMCOS’s 2025 Screen Music Awards, and delivers on Canberra’s commitment in its national cultural policy, the five-year action plan dubbed Revive.

With its presentation in January 2023, the federal government mapped out a timeline for legislation that would enforce local content quotas on streaming platforms. “For video streaming,” federal minister of the arts Tony Burke said at the time, “the timeline is locked in.”

The new rules should’ve been implemented in 2024 but were delayed over concerns on how they might create a stumbling block for Australia’s trade agreement with the United States.

The champagne corks aren’t exactly flying, but the Australian creative community has cause to celebrate. The government’s commitment to investing in Australian storytelling comes on the heels of last week’s decision that there would be no exception for big tech in Australia’s copyright regime to allow for text and data mining.

“This announcement marks a landmark day for the Australian screen industry,” enthuses Screen Producers Australia CEO Matthew Deaner. “For too long, our local production sector has operated in an uneven environment where global streaming services could reap the benefits of doing business in Australia without contributing fairly to the creation of Australian stories.”

The commitment is “the result of years of advocacy,” he continues. “It recognizes that Australian stories matter, and that they deserve to be seen and heard on every platform.”

November 5, 2025 0 comments
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Dave Grohl of Foo Fighters performs during Amazon Music Live Season 4 at East End Studios on October 30, 2025, in Glendale, California. (Credit: Frazer Harrison/Getty Images for Amazon Music)
Music

Foo Fighters Go Full Circle During Amazon Music Live’s Streaming Series

by jummy84 November 5, 2025
written by jummy84

It’s been more than 30 years since Dave Grohl formed the Foo Fighters—his chart-topping rock group, which saw the drummer take front and center stage after Nirvana, proving his chops as a singer, songwriter, and guitarist. If there was any doubt that the band would continue after recent personal and line-up woes, he put them to rest last week, announcing the 12-date North American Take Cover stadium tour with Queens of the Stone Age. They also popped up recently via special small club shows in the U.S., including a recent surprise set in San Luis Obispo.

Nobody does big arena rock better than these two groups, but the Foos in-your-face energy is another beast altogether in an intimate setting. I’ve been lucky enough to see them play a couple of tiny venue shows in the past (including the Dragonfly in Hollywood and the now-shuttered Spaceland in Silver Lake) and they blended the blissfully communal experience of a big concert with a no-frills jam feel, not unlike watching your friend’s band at a backyard house party. 

On October 30, Grohl and bandmates Nate Mendel, Pat Smear, Chris Shiflett, llan Rubin, and Rami Jaffee (who actually is a long-time friend of mine), shared this vibe, performing inside a circle of fans and cameras for Amazon Music Live, the streamer’s post-Thursday Night Football concert series, livestreamed from a studio in Glendale, California. 

On the ground and in the round, the band whipped up hit after hit in a faithful fashion that nonetheless felt fresh and maybe more ferocious than ever thanks to the wildly invigorating rhythms of Rubin, who joined the band to replace Josh Freese this past summer. Rubin, 37, was inducted into the Rock and Roll Hall of Fame as a member of Nine Inch Nails, making him its youngest living inductee ever. Freese, who toured with FF after Taylor Hawkins died, took Rubin’s place in NIN, marking a curious musical swap. All three are/were the best beat busters in the business, but after seeing Rubin’s aggressive and giddy playing style in this up-close forum—which recalls Grohl’s Nirvana and QOTSA kit stylings—it all sort of made sense. Sometimes it’s all about chemistry, and the current line-up really has it. 

The band did not play the new single, “Asking for a Friend,” which was somewhat disappointing. It would’ve been cool to see it alongside the earlier material. It also kind of felt like Lenny Kravitz’s “Are You Gonna Go My Way” video, which Grohl remarked mid-set after looking around. We watched from a slightly elevated platform that encircled the band and definitely thought the same thing as we sang along to all their anthems, including “All My Life,” “Times Like These,” “My Hero,” “Learn to Fly,” “This Is a Call,” “No Son of Mine,” “The Pretender,” “Best of You,” and “Monkey Wrench.”

In addition to the tour, Grohl promised more surprise small gigs to come, too. “Anyone who wants to see us rip a three-hour long show in a sweaty little club, keep your eyes peeled and come out and see us,” he said, before thanking Amazon and his fans for their support the past three decades, echoing sentiments from his recent note on the band’s Substack, Foo Fighters Field Notes. “We never say goodbye…we’re a band that’s been around so long we can’t stop playing.”Watch the Foo Fighters Amazon Music Live show—filmed in atmospheric black and white—via rebroadcast here. Tickets for the Take Cover stadium tour are on sale now.

November 5, 2025 0 comments
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Best Movies Streaming November 2025: 'Fantastic Four,' 'Materialists'
TV & Streaming

Best Movies Streaming November 2025: ‘Fantastic Four,’ ‘Materialists’

by jummy84 November 1, 2025
written by jummy84

With the holiday season right around the corner, various streaming platforms are bringing in the big guns when it comes to launching Oscar contenders and/or blockbusters this month. Disney+ will premiere Marvel’s summer blockbuster “Fantastic Four: First Steps,” and it’s sure to be on a loop for comic book movie fans as there are no additional Marvel movies on the theatrical release calendar for the rest of the year. “Freakier Friday,” featuring the return of Lindsay Lohan and Jamie Lee Curtis 22 years after the first movie, is also debuting on Disney+ this month.

Netflix is keeping its Oscar season going this November with the streaming premieres of “Frankenstein,” Guillermo del Toro’s passion project that stars Oscar Isaac as the mad scientist and Jacob Elordi as the tormented monster, Richard Linklater’s French New Wave love letter “Nouvelle Vague” and “Train Dreams,” an understated indie drama that is quietly becoming one of Netflix’s strongest best picture contenders.

For the A24 crowd, the beloved indie studio’s continued partnership with HBO Max means two buzzy summer titles, “Materialists” and “Eddington,” will hit the Warner Bros. Discovery streamer this month ahead of Thanksgiving.

Check out a rundown below of the biggest movies new to streaming this November.

  • Fantastic Four: First Steps (Nov. 5 on Disney+)

    THE FANTASTIC FOUR: FIRST STEPS, (aka THE FANTASTIC FOUR), Pedro Pascal as Reed Richards / Mister Fantastic, 2025. © Marvel / © Walt Disney Studios Motion Pictures / Courtesy Everett Collection
    Image Credit: ©Walt Disney Co./Courtesy Everett Collection

    Marvel fans are sure to flock to Disney+ this month as “Fantastic Four: First Steps” makes its streaming debut after grossing $521 million in the theaters worldwide over the summer. Depicting the titular superhero family are Pedro Pascal as Reed Richards/Mr. Fantastic, Vanessa Kirby as Sue Storm/The Invisible Woman, Joseph Quinn as Johnny Storm/The Human Torch and Ebon Moss-Bachrach as Ben Grimm/The Thing. Julia Garner also stars as The Silver Surfer alongside Ralph Ineson as Galactus and Paul Walter Hauser as Harvey Elder/Mole Man.

  • Frankenstein (Nov. 7 on Netflix)

    FRANKENSTEIN, Jacob Elordi as The Monster, 2025. ph: Ken Woroner / © Netflix / courtesy Everett CollectionFRANKENSTEIN, Jacob Elordi as The Monster, 2025. ph: Ken Woroner / © Netflix / courtesy Everett Collection
    Image Credit: ©Netflix/Courtesy Everett Collection

    Guillermo del Toro’s “Frankenstein” arrives on Netflix with strong reviews and Oscar buzz. A passion project from the Oscar-winning filmmaker, del Toro adapts Mary Shelley’s iconic novel with Oscar Isaac as the eponymous mad scientist and Jacob Elordi as his misunderstood creature. At TIFF, the film came in as the runner-up for the fest’s coveted people’s choice award — an accolade that’s traditionally a key bellwether for the Oscar race. The supporting cast includes Mia Goth and Christoph Waltz. 

  • Materialists (Nov. 7 on HBO Max)

    MATERIALISTS, from left: Dakota Johnson, Pedro Pascal, 2025. ph: Atsushi Nishijima / © A24 / courtesy Everett CollectionMATERIALISTS, from left: Dakota Johnson, Pedro Pascal, 2025. ph: Atsushi Nishijima / © A24 / courtesy Everett Collection
    Image Credit: Courtesy Everett Collection

    A24 scored an indie box office hit with “Materialists,” Celine Song’s romance movie that crossed the $100 million mark at the worldwide box office over the summer. Headlined by Dakota Johnson, Chris Evans and Pedro Pascal, the film centers on a New York City matchmaker caught in a love triangle between her deadbeat ex-flame and a millionaire new guy. Variety gave the film a positive review, writing: “It’s a sharp and serious social romantic drama full of telling observations about the way we live now, and about how connected that is (or not) to the way we’ve always lived. And there’s a dark side to it. It’s ‘Sex and the City’ filtered through a sobering reality check.” 

  • Freakier Friday (Nov. 12 on Disney+)

    FREAKIER FRIDAY, from left: Jamie Lee Curtis, Lindsay Lohan, 2025. ph: Glen Wilson / © Walt Disney Studios Motion Pictures /Courtesy Everett CollectionFREAKIER FRIDAY, from left: Jamie Lee Curtis, Lindsay Lohan, 2025. ph: Glen Wilson / © Walt Disney Studios Motion Pictures /Courtesy Everett Collection
    Image Credit: ©Walt Disney Co./Courtesy Everett Collection

    Expect “Freakier Friday” to be a popular streaming choice on Disney+ all holiday season long. The sequel to the 2003 comedy classic once again stars Lindsay Lohan and Jamie Lee Curtis as a daughter and mother who swap places, but this time the women find themselves swapping with the daughter and soon-to-be daughter in law of Lohan’s character. “The movie winds up being rather touching,” wrote Variety‘s film critic Owen Gleiberman in his review. “It’s all about how Harper and Lily, in trying to break up their parents’ engagement, discover that they really do want to be sisters.”

  • Eddington (Nov. 14 on HBO Max)

    EDDINGTON, Joaquin Phoenix, 2025. ph: Richard Foreman /© A24 / Courtesy Everett CollectionEDDINGTON, Joaquin Phoenix, 2025. ph: Richard Foreman /© A24 / Courtesy Everett Collection
    Image Credit: Courtesy Everett Collection

    Ari Aster’s “Eddington” struggled at the box office with nearly $14 million worldwide, but the dark comedy is sure to gain more traction when it debuts on HBO Max this month. Starring Joaquin Phoenix, Pedro Pascal, Emma Stone and Austin Butler, the movie is set in a small New Mexico town come undone by politics, COVID and more. “Just when you think you’ve got ‘Eddington’ pinned down as a coherent and even conventional suspense tale, the movie wriggles out from under you and enters a terrain of stranger things,” writes Variety’s chief film critic Owen Gleiberman in his review. 

  • The Roses (Nov. 20 on Hulu)

    THE ROSES, from left: Olivia Colman, Benedict Cumberbatch, 2025. ph: Jaap Buitendijk / © Searchlight Pictures / Courtesy Everett CollectionTHE ROSES, from left: Olivia Colman, Benedict Cumberbatch, 2025. ph: Jaap Buitendijk / © Searchlight Pictures / Courtesy Everett Collection
    Image Credit: ©Searchlight Pictures/Courtesy Everett Collection

    Benedict Cumberbatch and Olivia Colman lead Jay Roach’s reimagining of the 1989 black comedy “The War of the Roses.” The film follows Ivy (Colman) and Theo (Cumberbatch), a seemingly perfect California couple with successful careers, great kids and a loving marriage. But when Theo’s career begins to nosedive as Ivy’s ambitions take off, their ideal life crumbles and the couple’s hidden resentments bubble to the surface.

  • Train Dreams (Nov. 21 on Netflix)

    TRAIN DREAMS, Joel Edgerton, 2025. © Netflix / Courtesy Everett CollectionTRAIN DREAMS, Joel Edgerton, 2025. © Netflix / Courtesy Everett Collection
    Image Credit: ©Netflix/Courtesy Everett Collection

    “Clint Bentley’s moving adaptation of Denis Johnson’s Pulitzer Prize finalist novella has steadily emerged as one of the most critically acclaimed films of the year — and a potential dark horse best picture contender,” Variety’s Clayton Davis recently wrote about the Netflix original “Train Dreams.” Set in the early 20th-century Pacific Northwest, the film stars Joel Edgerton as Robert Grainier, a solitary railroad worker navigating profound personal loss as the American frontier expands around him.

  • The History of Sound (Nov. 1 on Mubi)

    THE HISTORY OF SOUND, from left: Josh O'Connor, Paul Mescal, 2025. © Focus Features /Courtesy Everett CollectionTHE HISTORY OF SOUND, from left: Josh O'Connor, Paul Mescal, 2025. © Focus Features /Courtesy Everett Collection
    Image Credit: ©Focus Features/Courtesy Everett Collection

    Directed by Oliver Hermanus (“Living,” “Moffie”) and starring Paul Mescal and Josh O’Connor, “The History of Sound” follows two young men, Lionel (Mescal) and David (O’Connor), in the shadows of WWI who are determined to record the lives, voices and music of Americans. As they begin to log the events, the two fall in love. The film was penned by Ben Shattuck, adapted from his own award-winning short story. The movie also marks Mescal’s first project as an executive producer. 

  • Downton Abbey: The Grand Finale (Nov. 7 on Peacock)

    DOWNTON ABBEY: THE GRAND FINALE, (aka DOWNTON ABBEY 3), from left: Allen Leech, Michelle Dockery, 2025. ph: Rory Mulvey / © Focus Features / Courtesy Everett CollectionDOWNTON ABBEY: THE GRAND FINALE, (aka DOWNTON ABBEY 3), from left: Allen Leech, Michelle Dockery, 2025. ph: Rory Mulvey / © Focus Features / Courtesy Everett Collection
    Image Credit: ©Focus Features/Courtesy Everett Collection

    The “Downton Abbey” franchise comes to an end in “The Grand Finale,” which should delight fans on streaming ahead of Thanksgiving as it launches on Peacock. The synopsis reads: “The Crawley family and their staff enter the 1930s, where Mary finds herself at the center of a public scandal and the family faces financial trouble. The entire household is forced to grapple with the threat of social disgrace and must embrace change as the staff prepares for a new chapter with the next generation leading Downton Abbey into the future.”

  • Nobody 2 (Nov. 14 on Peacock)

    NOBODY 2, Bob Odenkirk, 2025. ph: Allen Fraser / © Universal Pictures /Courtesy Everett CollectionNOBODY 2, Bob Odenkirk, 2025. ph: Allen Fraser / © Universal Pictures /Courtesy Everett Collection
    Image Credit: ©Universal/Courtesy Everett Collection

    Bob Odenkirk returns as the overworked assassin Hutch in “Nobody 2,” a sequel to the 2021 action movie which also stars Connie Nelson, John Ortiz, Colin Hanks, RZA, Christopher Lloyd and Sharon Stone. After deciding to take his family to a tourist town for a vacation, Hutch unexpectedly finds himself dealing with a crime boss after encountering her local bullies. The movie grossed $41 million worldwide over the summer.

  • The Bad Guys 2 (Nov. 21 on Peacock)

    THE BAD GUYS 2, from left: Mr. Piranha (voice: Anthony Ramos), Mr. Snake (voice: Marc Maron), Mr. Shark (voice: Craig Robinson), Mr. Wolf (voice: Sam Rockwell), 2025. © DreamWorks Animation / © Universal Pictures /Courtesy Everett CollectionTHE BAD GUYS 2, from left: Mr. Piranha (voice: Anthony Ramos), Mr. Snake (voice: Marc Maron), Mr. Shark (voice: Craig Robinson), Mr. Wolf (voice: Sam Rockwell), 2025. © DreamWorks Animation / © Universal Pictures /Courtesy Everett Collection
    Image Credit: ©Universal/Courtesy Everett Collection

    DreamWorks Animation’s sequel “The Bad Guys 2” features the voices of Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne and more. The synopsis from Peacock reads: “Our now-reformed Bad Guys are trying (very, very hard) to be good, but instead find themselves hijacked into a high-stakes, globe-trotting heist, masterminded by a new team of criminals they never saw coming: The Bad Girls.”

  • Nouvelle Vague (Nov. 14 on Netflix)

    NOUVELLE VAGUE, Zoey Deutch as Jean Seberg, 2025. © Netflix / Courtesy Everett CollectionNOUVELLE VAGUE, Zoey Deutch as Jean Seberg, 2025. © Netflix / Courtesy Everett Collection
    Image Credit: ©Netflix/Courtesy Everett Collection

    Richard Linklater’s Cannes darling “Nouvelle Vague” is a valentine to the making of Jean-Luc Godard’s iconic 1959 “Breathless” and to the beginnings of the French new wave movement. Shot on 35mm film in black-and-white, the film stars Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as New Wave darling Jean Seberg. Linklater’s movie depicts the young Godard as a film critic, as a friend to other New Wave filmmakers such as Francois Truffaut and Jacques Rivette and as a director whose relationships with Seberg and Belmondo gave birth to one of cinema’s most iconic touchstones. 

  • In Your Dreams (Nov. 14 on Netflix)

    IN YOUR DREAMS, from left: Stevie (voice: Jolie Hoang-Rappaport), Baloney Tony (top, voice: Craig Robinson), Elliot (voice: Elias Janssen), 2025. © Netflix / Courtesy Everett CollectionIN YOUR DREAMS, from left: Stevie (voice: Jolie Hoang-Rappaport), Baloney Tony (top, voice: Craig Robinson), Elliot (voice: Elias Janssen), 2025. © Netflix / Courtesy Everett Collection
    Image Credit: ©Netflix/Courtesy Everett Collection

    The Netflix animated movie “In Your Dreams” features the voices of Craig Robinson, Simu Liu and Cristin Milioti. The official synopsis reads: “‘In Your Dreams’ is a comedy adventure about Stevie and her brother Elliot who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true…the perfect family”

  • One to One: John & Yoko (Nov. 14 on HBO Max)

    IMAGINE: JOHN LENNON, John Lennon, (photo from recording of 'Imagine' album, 1971), 1988. © Warner Bros. / Courtesy Everett CollectionIMAGINE: JOHN LENNON, John Lennon, (photo from recording of 'Imagine' album, 1971), 1988. © Warner Bros. / Courtesy Everett Collection
    Image Credit: ©Warner Bros/Courtesy Everett Collection

    On August 30, 1972, John Lennon performed at the “One to One” benefit concert at Madison Square Garden. It was his only full-length show after leaving The Beatles. This new HBO documentary includes restored footage from the concert and other never-before-seen material from its production. Per HBO: “The documentary takes that legendary musical event and uses it as the starting point to explore 18 defining months in the lives of John and Yoko.”

  • Left-Handed Girl (Nov. 28 on Netflix)

    Left-Handed GirlLeft-Handed Girl
    Image Credit: Netflix

    Shih-Ching Tsou’s “Left-Handed Girl” is Taiwan’s official Oscar entry this year and was picked up by Netflix earlier this year. Co-written and edited by “Anora” Oscar winner Sean Baker, the movie follows a single mother and her two daughters as they relocate to Taipei to open a night market stall. The cast includes Janel Tsai, Nina Ye, Teng-Hui Huang and Shih-Yuan Ma.

  • The Ugly Stepsister (Nov. 25 on Hulu)

    THE UGLY STEPSISTER, (aka DEN STYGGE STESOSTEREN), Lea Myren, 2025. ph: Marcel Zyskind /© Memento Films International / Courtesy Everett CollectionTHE UGLY STEPSISTER, (aka DEN STYGGE STESOSTEREN), Lea Myren, 2025. ph: Marcel Zyskind /© Memento Films International / Courtesy Everett Collection
    Image Credit: Courtesy Everett Collection

    “The Ugly Stepsister” freaked out the Sundance Film Festival at the start of the year and is now arriving on Hulu this month. From director Emilie Blichfeldt comes a body-horror reimagining of the classic Cinderella story. “The Ugly Stepsister” follows Elvira as she prepares to earn the prince’s affection at any cost. In a kingdom where beauty is a brutal business, Elvira will compete with the beautiful and enchanting Agnes to become the belle of the ball. Lea Myren, Thea Sofie Loch Naess and Ane Dahl Torp star.

  • Sovereign (Nov. 7 on Hulu)

    SOVEREIGN, from left: Nick Offerman, Jacob Tremblay, 2025. © Briarcliff Entertainment /Courtesy Everett CollectionSOVEREIGN, from left: Nick Offerman, Jacob Tremblay, 2025. © Briarcliff Entertainment /Courtesy Everett Collection
    Image Credit: Courtesy Everett Collection

    Nick Offerman gives a powerful dramatic performance in the crime thriller “Sovereign,” written and directed by Christian Swegal in his feature film debut. The movie follows an anti-government fanatic and his son who venture across the country while constantly finding themselves on the wrong side of the law. It’s loosely based on real-life events surrounding the West Memphis police shootings in 2020.

  • Armand (Nov. 18 on Hulu)

    ARMAND, Renate Reinsve (center), 2024. © IFC Films /Courtesy Everett CollectionARMAND, Renate Reinsve (center), 2024. © IFC Films /Courtesy Everett Collection
    Image Credit: ©IFC Films/Courtesy Everett Collection

    “The Worst Person in the World” star Renate Reinsve is a protective mother who comes under fire in Halfdan Ullmann Tøndel’s “Armand,” which was shortlisted for last year’s international Oscar race after winning the Caméra d’Or for best first feature at the 2024 Cannes Film Festival.  “Armand” centers on well-known actress Elisabeth, who is abruptly called into a parent-teacher meeting at her 6-year-old son’s school. Here she is presented with allegations that trigger a tangled web of accusations between parents and faculty.

  • Come See Me in the Good Light (Nov. 14 on Apple TV)

    COME SEE ME IN THE GOOD LIGHT, from left: Andrea Gibson, Megan Falley, 2025. © AppleTV+ / courtesy Everett CollectionCOME SEE ME IN THE GOOD LIGHT, from left: Andrea Gibson, Megan Falley, 2025. © AppleTV+ / courtesy Everett Collection
    Image Credit: ©Apple TV/Courtesy Everett Collection

    “Come See Me in the Good Light” won Sundance’s 2025 Festival Favorite award. The synopsis explains the movie is a “poignant and unexpectedly funny love story about poets Andrea Gibson and Megan Falley, who face an incurable cancer diagnosis with joy, wit, and an unshakable partnership. Through laughter and unwavering love, they transform pain into purpose, and mortality into a moving celebration of resilience.”

  • Bride Hard (Nov. 28 on Hulu)

    BRIDE HARD, from left: Rebel Wilson, Anna Camp, 2025. © Magenta Light Studios / Courtesy Everett CollectionBRIDE HARD, from left: Rebel Wilson, Anna Camp, 2025. © Magenta Light Studios / Courtesy Everett Collection
    Image Credit: Courtesy Everett Collection

    The Rebel Wilson-led action comedy “Bride Hard” begins streaming on Hulu this month. Wilson plays Sam, a maid of honor for her childhood best friend. Out of her comfort zone, and with fellow bridesmaids judging her every move, she struggles to maintain her cover. But when a team of mercenaries take the uber-wealthy guests hostage, it’s up to Sam to do what none of the other bridesmaids can – wage war on anyone who would ruin the most important day of her best friend’s life.

  • The Family Plan 2 (Nov. 21 on Apple TV)

    THE FAMILY PLAN 2, from left: Van Crosby, Peter Lindsey, Michelle Monaghan, Mark Wahlberg, Zoe Colletti, Reda Elazouar, 2026. ph: Christian Black / © Apple TV+ / Courtesy Everett CollectionTHE FAMILY PLAN 2, from left: Van Crosby, Peter Lindsey, Michelle Monaghan, Mark Wahlberg, Zoe Colletti, Reda Elazouar, 2026. ph: Christian Black / © Apple TV+ / Courtesy Everett Collection
    Image Credit: ©Apple TV/Courtesy Everett Collection

    Mark Whalberg returns for the Apple sequel “The Family Plan 2.” The synopsis reads: “It’s the holiday season and Dan (Wahlberg) has planned the perfect vacation for his wife Jessica (Michelle Monaghan) and their kids to celebrate overseas—until a mysterious figure from his past (Kit Harington) shows up with unfinished business. An international game of cat-and-mouse ensues as Dan and his family battle, bicker, and bond their way through a series of bank heists, holiday hijinks, and car chases amid scenic European terrain.”

  • The Cut (Nov. 1 on Paramount+)

    THE CUT, Orlando Bloom, 2024. © Republic Pictures / courtesy Everett CollectionTHE CUT, Orlando Bloom, 2024. © Republic Pictures / courtesy Everett Collection
    Image Credit: ©Republic Pictures Corp./Courtesy Everett Collection

    A ripped Orlando Bloom headlines “The Cut” opposite Caitríona Balfe and John Turturro. He plays a journeyman boxer struggling to make weight ahead of his final chance at winning the title. Variety praised Bloom for giving “an all-time great performance” in a rave review, adding: “What separates Bloom’s performance from the pack is the way he carries himself. The Boxer is always rankled and always on guard, with eyes that seem to dart and search for opportunity. He has a suppressed hunger within him, and tight facial muscles that speak to a rough upbringing.”

  • Fire And Water: Making The Avatar Films (Nov. 7 on Disney+)

    AVATAR: THE WAY OF WATER, Jake Sully (voice: Sam Worthington), 2022. © Walt Disney Studios Motion Pictures / Courtesy Everett CollectionAVATAR: THE WAY OF WATER, Jake Sully (voice: Sam Worthington), 2022. © Walt Disney Studios Motion Pictures / Courtesy Everett Collection
    Image Credit: ©Walt Disney Co./Courtesy Everett Collection

    “Fire and Water: Making the Avatar Films” will premiere Nov. 7 exclusively on the streaming service Disney+. The two-part documentary will offer a deep-dive into the making of 2022’s “Avatar: The Way of Water” as well as a glimpse at the upcoming “Avatar: Fire and Ash” with behind-the-scenes footage and interviews with cast and filmmakers. Some of the many names that appear in the film include Cameron, the late producer Jon Landau, and stars Sam Worthington, Zoe Saldaña and Kate Winslet.

  • A Very Jonas Christmas Movie (Nov. 14 on Disney+)

    A VERY JONAS CHRISTMAS MOVIE, from left: Joe Jonas, Nick Jonas, Kevin Jonas, 2025. ph: John Medland / © Disney+ / Courtesy Everett CollectionA VERY JONAS CHRISTMAS MOVIE, from left: Joe Jonas, Nick Jonas, Kevin Jonas, 2025. ph: John Medland / © Disney+ / Courtesy Everett Collection
    Image Credit: ©Disney+/Courtesy Everett Collection

    Joe, Nick and Kevin Jonas are giving Jonas Brothers fans the ultimate holiday gift with their new Disney+ movie “A Very Jonas Christmas,” which features cameos from Billie Lourd, Laverne Cox, KJ Apa, Andrew Barth Feldman, Andrea Martin, Kenny G, Justin Tranter, Randall Park and Jesse Tyler Ferguson. The plot synopsis reads: “Kevin, Joe and Nick Jonas face a series of escalating obstacles as they struggle to make it from London to New York in time to spend Christmas with their families.”

  • Champagne Problems (Nov. 19 on Netflix)

    Champagne ProblemsChampagne Problems
    Image Credit: Netflix

    Even with a handful of Oscar contenders launching on Netflix this month, from “Frankenstein” to “Train Dreams,” the streaming giant will probably lure in the most viewers with its original rom-com offerings like “Champagne Problems.” The official synopsis reads: “Sydney Price (Minka Kelly) is a determined executive who gets the chance to lead a major acquisition for Chateau Cassell, a beloved champagne house. She travels to France around Christmas as part of the negotiations and has a charming run-in with Henri Cassell (Tom Wozniczka), a stranger who turns one simple evening into something special. But her plans for a whirlwind romance are quickly upended when she discovers that this charming Parisian is the founder’s son of the very company she is hoping to acquire.”

  • Jingle Bell Heist (Nov. 26 on Netflix)

    Jingle Bell HeistJingle Bell Heist
    Image Credit: Netflix

    Expect another Netflix hit movie with “Jingle Bell Heist.” The synopsis reads: “Sophia (Olivia Holt), a sharp-witted retail worker, and Nick (Connor Swindells), a down-on-his-luck repairman, are small-time thieves with their eyes on the same Christmas Eve score: robbing London’s most notorious department store. Forced into an uneasy alliance, as secrets surface and feelings for each other deepen, Sophia and Nick put their relationship and the heist in jeopardy.”

  • Past Lives (Nov. 2 on HBO Max)

    PAST LIVES, from left: Teo YOO, Greta Lee, 2023. © A24 / courtesy Everett CollectionPAST LIVES, from left: Teo YOO, Greta Lee, 2023. © A24 / courtesy Everett Collection
    Image Credit: Courtesy Everett Collection

    With Celine Song’s “Materialists” making its streaming world premiere on HBO Max this month, it’s only fitting the streamer is also bringing Song’s rapturous debut “Past Lives” to its library for November viewing. Nominated for two Oscars (best picture and best original screenplay), “Past Lives” follows Greta Lee’s Nora as she reconnects with her childhood sweetheart (Teo Yoo), confronting what her life might have been. The drama was named the fourth best movie of 2023 by Variety film critic Peter Debruge.

  • Drop (Nov. 14 on Prime Video)

    DROP, Meghann Fahy, 2025. ph: Bernard Walsh / © Universal Pictures / courtesy Everett CollectionDROP, Meghann Fahy, 2025. ph: Bernard Walsh / © Universal Pictures / courtesy Everett Collection
    Image Credit: ©Universal/Courtesy Everett Collection

    The Blumhouse horror movie “Drop” arrives on Prime Video this month at no extra cost to subscribers after making its streaming debut on Peacock over the summer. Meghann Fahy stars as a widowed mother whose first date takes a nightmarish turn when she begins receiving threatening text messages. “Christopher Landon crafts a pulpy surveillance mystery that gives way to something giddy and exciting,” reads Variety’s review. “The film’s complicated setups are executed with a deft and capable hand.”

  • Mickey 17 (Nov. 26 on Prime Video)

    MICKEY 17, Robert Pattinson, 2025. © Warner Bros. / Courtesy Everett CollectionMICKEY 17, Robert Pattinson, 2025. © Warner Bros. / Courtesy Everett Collection
    Image Credit: ©Warner Bros/Courtesy Everett Collection

    Bong Joon Ho and Robert Pattinson’s “Mickey 17” becomes available on Prime Video at no extra cost to subscribers this month. Based on the 2022 novel “Mickey7” by Edward Ashton, “Mickey 17” stars Robert Pattinson as an “expendable,” a clone that is sent on fatal missions colonizing an ice planet and then “reprinted” with most of his memories intact every time he dies. The supporting cast includes Mark Ruffalo, Steven Yeun, Naomi Ackie and Toni Collette.

November 1, 2025 0 comments
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Emma Thompson Enters Streaming Era in Apple TV's 'Down Cemetery Road'
TV & Streaming

Emma Thompson Enters Streaming Era in Apple TV’s ‘Down Cemetery Road’

by jummy84 October 31, 2025
written by jummy84

Worried about suffering withdrawal symptoms from “Slow Horses”? Well, in a shrewd bit of scheduling, just as its fifth series concludes, Apple TV is premiering yet another Mick Herron adaptation centered around the bumbling inner workings of British government, starring an Oscar-winning national treasure to boot.

Commanding center stage in “Down Cemetery Road,” however, is Emma Thompson in a role which, like Gary Oldman’s slovenly antihero, has the potential to define her latter-day career. 

The Dame is, of course, no stranger to the small screen, having earned a BAFTA for ‘80s miniseries “Tutti Frutti” and “Fortunes of War.” And who can forget her Emmy-winning cameo in “Ellen,” triple duties in “Angels in America,” and scarily prescient turn as a right-wing politician in Russell T. Davies’ “Years and Years”?

Rachel Sennott in 'I Love LA,' the HBO series she created and stars in as Maia

But this engrossing eight-parter is the first time she’s led a show in the streaming age. And, judging from its first three episodes, she’s immediately struck gold.  

Thompson plays Zoë Boehm, a private investigator every bit as spiky as her pixie cut. Much of her derision is reserved for Joe (Adam Godley), her downtrodden husband and more pragmatic partner-in-crime. “Is it another desperate damsel in search of a knight in shining cardies,” she sneers about his new case, the first of several withering putdowns which instantly establishes who wears the trousers. “Sometimes I feel like your mum, picking you up from the f**k-up creche” is another.  

Art restorer Sarah (Ruth Wilson) also bears the brunt of Zoë’s acidic tongue when she shows up at her unkempt office looking for help. (“Let me guess, you’ve got a husband, he’s got a secretary, am I warm?”) Of course, having just survived a fireball that’s ripped through her suburban neighborhood, it’s arson rather than adultery she needs investigating. Well, that, and the small matter of a conspiracy involving the Ministry of Defense, a neighboring assassin, and a young girl who may or may not be dead.  

Indeed, ever since her painfully middle-class dinner party was interrupted by a nearby house explosion — depicted in the kind of slow-motion you’d expect from a Zack Snyder film — Sarah has become something of an amateur P.I. herself. Unwilling to buy the tragic accident narrative, she makes herself a nuisance at the police station and the hospital, spurred on by a mysterious newspaper photo which appears to have cropped out a child she witnessed being rescued from the scene.

But is all this in the imagination of a bored forty-something looking for distraction from her faltering marriage to a man obsessed about keeping up with the Joneses? Or, as suggested by the shadowy figures appearing to trail her every move, are there really more nefarious things at play? 

Of course, by this point, we already know the answer, confirmed by a series of secretive boardroom meetings between the cartoonishly domineering MoD head known as C (Darren Boyd) and weaselly underling Hamza (Adeel Akhtar). The former also gets his fair share of zingers, continually unleashing his disdain with the potty-mouthed zeal of “The Thick of It” favorite Malcolm Tucker.

‘Down Cemetery Road’Matt Towers

“I’d love a heads-up on what Wreck-it-F**king Ralph has got planned for an encore,” he scoffs on learning how a planned hush-hush operation has literally gone up in flames. And it’s safe to say his employee review of “You couldn’t protect him if he used you as a condom,” wouldn’t typically get past HR. It’s a double act which recalls the boss/servant dynamics of British classics like “Blackadder” and “Fawlty Towers.” A spinoff sitcom, should both parties make it to the end with their lives intact, that is, wouldn’t go amiss.  

Screenwriter Morwenna Banks — continuing the “Slow Horses” connection having previously penned four episodes — generously ensures each character is given the chance to shine. Sinead Matthews also provides plenty of comic relief as Wigwam, Sarah’s well-meaning but idealistic hippie neighbor whose domestic bliss unravels in the unlikeliest circumstances. And although fully aware of the personal and professional pecking order, Joe is occasionally allowed to bite back (“Now that Cruella’s gone to hunt for puppies, who’s for a coffee?”).  

Meanwhile, the ever-dependable Wilson, finally sharing the screen with Thompson having shown up separately in “Saving Mr. Banks,” makes Sarah’s outlandish situation feel believably grounded, the fact her valid concerns are routinely shrugged off indicative of a culture all too quick to dismiss the female voice. And while she’s very much the straight guy to Thompson’s livewire, she’s still afforded the opportunity to get her hands dirty, whether setting off fire alarms or wrestling with hired killers in her own immaculately decorated lounge.  

Nevertheless, “Down Cemetery Road” undoubtedly belongs to its biggest star name. Thompson can play the formidable, no-nonsense antiheroine in her sleep, but she’s on especially sparkling form here as a figure with a near-pathological aversion to manners and moral compass that’s dubious at best. She’s undoubtedly less disheveled, and presumably more fragrant, than Oldman’s Jackson Lamb, yet she’s arguably just as flawed, another example of Herron’s ability to make his female characters as complex and three-dimensional as his male.  

And while it’s never in any doubt that Zoë will forge a mismatched buddy duo with Sarah, it’s fun watching make her wait, advising her to scratch her armchair sleuth itch with board games and get back to focusing on her “bland scatter cushions.” Likewise, her sheer disdain for anyone who doesn’t fit her free-spirited mold. “Seriously, this is what you want to do with your life?” she asks an aspiring Twitch streamer who helps her clear up some valuable grainy CCTV. “F**k me.” 

It would certainly be a grave mistake if Apple TV didn’t also adapt the three further follow-up novels putting Zoë on the case. Alongside “Elsbeth,” “High Potential,” and “Poker Face,” “Down Cemetery Road” belongs to that refreshing new club of semi-comedic mysteries giving women the greatest sense of agency. And, in Thompson, it has the most compelling agent.  

“Down Cemetery Road” starts streaming on Apple TV on Wednesday, October 29 with two episodes.

October 31, 2025 0 comments
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