Outcome—written and directed by Jonah Hill—premiers Friday, April 10, on Apple TV.

The film stars Keanu Reeves, Jonah Hill, Cameron Diaz, and Matt Bomer, and it is a dark comedy about a man, Reef Hawk, a beloved Hollywood star with a dark past that ends up being exploited, and he must find the blackmailer before it upends his image and his career.

The additional star-studded cast includes Martin Scorsese, Susan Lucci, Laverne Cox, David Spade, Atsuko Okatsuka, Roy Wood Jr., and Drew Barrymore.

Jonah Hill, who plays Reef’s highly energetic and high-strung lawyer Ira, delivers a performance that is more than just hilarious—he balances empathy and chaos in his unconventional attempt at helping Reef conquer his demons, hiding the life he wishes to remain a secret, all while zeroing in on the blackmailer.

Matt Bomer and Cameron Diaz as Reef’s best friends, Kyle (Diaz) and Xander (Bomer), complement the inner turmoil that Reef experiences, layering their comedy and timing in a way that is both refreshing and honest. On the surface, this multi-decade friendship comes across as unserious and irresponsible. At the core, however, they prove why it’s imperative to have people around you who love you, root for you, and support you in your highest of highs as well as your darkest moments.

Their presence grounds the film in something real—reminding us that even in chaos, scandal, and self-destruction, connection is what keeps us from completely unraveling.

In a stark departure from the weighted layers of John Wick, Keanu brings warmth, vulnerability, and a bit of hubris to Reef—delivering a performance that makes the audience view celebrity and fame with more empathy and compassion, as you never know what someone deals with when they’re outside of the spotlight.

There’s a Secret Behind Every Dazzling Smile

The story itself outwardly centers on Reef’s fear of cancel culture—Reef on an apology tour in order to prevent the public audience from turning their backs on him.

As we get deeper, it’s very clear that this is a story of self-reflection, the act of taking accountability, redemption, and living with the consequences of past actions.

The effects of childhood stardom and its impact on how it distorts reality for the star as they grow older is the highlight of Outcome. “No’s” become “yes’s” until no one ever says no again—to the point of self-destruction, enabling, and isolation.

Related Coverage

• War Machine Review

• Wrecking Crew Review

Final Thoughts

Outcome digs deep, gets ridiculous, and is hilarious, and it’s exactly the kind of chaos you want in dark comedy.

And Reef’s commitment to taking this threat seriously—surrounded by people who appear to take his predicament as a joke—makes the punchline land throughout the entirety of the movie.

If you’re someone who finds comfort in ridiculous films, dark comedy, and satire, Outcome will immediately make your comfort watchlist. And if you just want to laugh while watching your favorites deliver outrageous dialogue, this film is also for you.

Outcome is more than a film. It is about exploring the other side of our behavior and the damage our youthful ignorance leaves behind.

Outcome premieres Friday, April 10, only on Apple TV. Check out the trailer below.

From the creators of Ozark comes a dark and thrilling drama, M.I.A., which premieres Thursday, May 7 on Peacock.

The 9-episode series stars Shannon Gisela, Cary Elwes, Danay Garcia, Brittany Adebumola, Dylan Jackson, Alberto Guerra, Maurice Compte, Gerardo Celasco, and Marta Milans.

From the trailer, M.I.A follows a young woman, Etta (Gisela), on the path of war and revenge after an organization eliminated her entire family. Washed ashore, she is found and awakens with only bloodlust in her veins.

The visuals pull us into the neon lights of the ever bustling city of Miami and the energy of the music matches the explosions and the passions that are promised.

Episode Guide

Director (101 & 102): Alethea Jones
Director 103: Gwyneth Horder-Payton
Director 104 & 105: Marizee Almas Director
Director 106 & 107: Ben Semanoff
Director 108 & 109: John Dahl

Not very often is a crime drama centered around a young woman on a solo mission to avenge her family. But as Etta says in the trailer,

“I’m not just any girl.”

The trailer promises to deliver an action packed crime dense series that’s draped in both the extravagance and the horrors of one of the greatest cities in America.

With the killers of her family on the loose, and her intense training in order to be ready for them when they find her, Etta must employ all of her strength, wit, and cunning intelligence in order to seek the blood spill she so desperately craves.

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• The Copenhagen Test—Espionage Thriller

M.I.A premieres Thursday, May 7, only on Peacock. Check out the trailer below.

© Kivonshe | So There’s That

Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

Dark Winds Season 4 Episode 8, “Ni’ Hodisxǫs (The Glittering World),” is one of the most powerful finales in the series’ history—delivering its most gut-wrenching finale yet, beautifully written by Max Hurwitz and Thomas Brady, and expertly directed by Erica Tremblay.

From the moment the episode begins, we are thrust inside Irene’s warped machinations—a reality that exists and thrives on obsession, control, and delusion. This immediately sets a mood that is both disturbing and unsettling, turning Joe’s captivity into a psychological standoff embedded in a distorted world of intimacy.

Irene stages a family dinner that is something out of the film Misery (1990), forcing Joe and Billie to participate in a shattered version of reality that directly reflects how she processes love, family, and belonging. And in this unsettling scenario, the dark and twisted chemistry between McClarnon and Franka Potente shines the brightest—creating one of the most salacious hero/villain dynamics the series has explored yet.

Irene does not want Joe dead.

She wants him to submit.

Her psychosexual obsession, layered with a hyper-religious fixation on Navajo culture, creates a villain who is not only dangerous but deeply complex—mirroring Joe in strength, conviction, and purpose, just on the opposite end of morality and reality.

When escape attempts fail, Irene escalates.

Billie becomes leverage, and her pain is the only language Joe understands to keep him in line in order to bend to Irene’s will.

And Joe, faced with the unthinkable, shifts tactics—not through force, but through a level of raw vulnerability that pierces Irene at her core.

“I’d give my life to make an offering to Mother Earth…just to sit down and eat breakfast just one more time”

In this moment, Joe does something unexpected: he humanizes himself in front of someone who has stripped him of everything. And it works.

Even if only briefly, and when Irene suggests they make the offering together, he replies softly, intimately

“you’d do that for me?”

And she responds with the same softness but a resounding “yes.”

That quiet exchange becomes the turning point.

Not because Irene changes—but because Joe understands exactly how to move within her delusion.

Trial By Faith and By Fire

The ritual scene is where everything converges—faith, language, identity, and survival.

Joe insists on speaking in Navajo, grounding the moment in truth while simultaneously using it as strategy. Beneath the surface, he communicates with Billie, turning a sacred act into a final attempt at escape.

And then—

Fire.

Explosion.

And a maniacal Irene who realizes she’s just been used.

When Joe finally gets the upper hand, the moment feels eerily dangerous as he is, once again, faced with ending his tormentor without anyone finding out. The weight of everything Irene has done—all of the lives she claimed—culminates in his hands around her throat.

And yet—

He stops.

Because Joe Leaphorn is still himself, understanding that violence begets a deeply spiritual disruption that claims more than it relieves.

In the end, he chooses law over vengeance.

The Ending is But The Start of Something New

What follows is a quieter, more reflective unraveling of the season’s emotional core.

Joe’s visit to Dominic is not about closure—it’s about accountability. Naming him. Confronting him. Letting him know the cycle has been broken.

But the real healing begins elsewhere.

At Chee’s ceremony.

This moment brings everyone together—faith, forgiveness, and reconnection taking center stage. Relationships that have been strained all season begin to mend, particularly between Chee and Bernadette and between Joe and Emma.

Emma’s presence carries weight. Her honesty even more.

And when she asks Joe, “Is this change for you or for me?,” it lingers.

This single question reframes the entire season, as Joe’s pending decision is not just an idea or a mental musing—the time to decide is now.

Their goodbye is not an ending—it’s an understanding.

“you always will be my family”

When One Tragedy Ends, Another Follows

Just as the episode allows space to breathe, hope begins to settle in.

Joe considers retirement. Chee looks toward a future. The team feels, for the first time in a long time, aligned.

Just as a sense of normalcy settles on the reserve, reality sets in to remind the audience of the show they’re watching.

Bernadette checks in to the station just as Joe receives harrowing news.

Gordo is murdered.

This sharp shift from healing to heartbreak is immediate and devastating, reinforcing what Dark Winds has always conveyed:

Peace does not come without consequence.

Related Coverage

• Dark Winds Season 4 Episode 7 Recap — “Nániikai (We Came Back)”

• Dark Winds Season 4 Trailer Reaction

• AMC’s The Audacity Trailer Reaction

Final Thoughts

This season was 10 out of 10, delivering something emotional, healing, and cathartic, while setting up for a Season 5 that promises the sweetness of vengeance.

Season 4 proves just why Dark Winds is a series deserving of its 100% Rotten Tomatoes streak through compelling storytelling, cultural reverence, and powerful performances.

And it only gets better from here.

Stream the full season now on AMC+. Check out the trailer below.

© Kivonshe | So There’s That
Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

A Realistic Shift in a Teaching Hospital

The Pitt continues to double down on its commitment to realism as casting updates for Season 3 reflect the true nature of a teaching hospital.

Supriya Ganesh, who plays Dr. Samira Mohan, will not be returning for Season 3, while Ayesha Harris, who plays night-shift doctor Parker Ellis, has been upgraded to a series regular.

The Pitt set a realistic standard for audiences in Season 1 by allowing the beloved character of senior resident Dr. Heather Collins (Tracy Ifeachor) to move on and practice medicine at a different facility.

For many fans, the change was jarring as historically medical shows tend to keep the same doctors and nurses for seasons on end.

However, The Pitt—who positioned themselves as a hyperrealistic show—decided to include the realism in the way residency programs operate as well.

First and foremost, they work at a teaching hospital. It is not meant to be the final destination for residents, as they often take jobs outside their student and residency locations.

This information may come as a surprise to audiences who are not used to medical shows portraying this, but this is a fact that The Pitt wants to instill in audiences a sense of realism that aligns with the series.

Dr. Mohan’s Exit Was Written On the Walls

And with the announcement of Supriya Ganesh not returning for Season 3, they double down on the realistic part of a teaching facility.

However, the writings were on the wall for Dr. Mohan as the last couple of episodes blatantly set up her departure—not only due to her character not being able to handle the pace or the stress but also her affinity for a specific specialty within medicine that will allow her greatest strengths to shine.

As noted previously:

“Dr. Robby’s unsolicited recommendation to Dr. Mohan toward geriatric care due to her having ‘a predisposition to the pace’…”

In other words, her departure is a good thing for the character.

Will she grow off-screen? Likely.

And the beauty of her departure is that audiences get to imagine something calm and peaceful for the character they’ve grown to love.

Fans Wanted Dr. Parker Ellis and The Pitt Delivered

Speaking of beloved characters, Ayesha Harris as Dr. Parker Ellis captivated fans in Season 1, leading to requests for the series to feature more night shift episodes to showcase her on screen.

But her charisma and bright smile aren’t the only things that make fans want to see her more often.

In Season 2, we’ve already seen glimpses of the way she handles and teaches the residents: balancing firmness with empathy to bring out the best in them during simple, critical, and life-threatening moments.

She brings a sense of calm and unwavering authority whenever she’s in a room, and it both demands and commands everyone’s attention.

While one doctor moves on to new opportunities, Dr. Ellis steps in to restore equilibrium, bringing with her all of her elegance, confidence, and charm.

Related Coverage

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Final Thoughts

As The Pitt continues to resonate with audiences around the world, they make it very clear that they are making the show they want to make—even if it means growing characters outside of the show.

As for Dr. Mohan, tonight’s episode dives deeper inside her psyche and her character’s future in medicine as her AMA patient from earlier in the shift returns, challenging her skills and resiliency even further.

Tune in to an all-new episode of The Pitt tonight at 9/8c on HBO Max. Check out the sneak peek below.

© Kivonshe | So There’s That
Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

A Wild Body Swap That’s More Than Just Laughs

Swapped—starring Academy Award winner Michael B. Jordan, Juno Temple, and Tracy Morgan—premieres Friday, May 1, on Netflix, and it’s sure to warm your hearts.

According to Netflix, Swapped is

“A buddy comedy about a small woodland creature (voiced by Academy Award-winning Michael B. Jordan) and a majestic bird (voiced by Juno Temple)—natural sworn enemies of The Valley—who suddenly swap bodies and must team up (while walking in each other’s feathers and fur) to survive the wildest adventure of their lives.”

In the trailer, Swapped pulls you into the world of the wild with Ollie (Jordan) traveling and packing food for his quest to go home when he comes face-to-face with his natural sworn enemy, Ivy (Temple). As the two wrestle over a nut (as if there weren’t more in the forest), they fall into a cavern with a mysterious plant that “Freaky Fridays” them into a body swap.

A Story of Empathy and Teamwork

What appears to start as a tale of enemies to friends shows that it has many layers, obstacles, and roads in between. Swapped is about more than friendship; it involves two creatures stepping into the feet and wings of another to better understand not only their strengths but also their weaknesses.

For a Netflix family film, this style of writing—along with bright colors, silly mishaps, and goofy supporting characters—is a great way to teach and instill empathy in children. As adults, and through life circumstances, we somehow stop practicing that action and become cynical, pessimistic, and apathetic to others’ pain. It’s through films like Swapped, where parents and children and even adults with no children can take a moment to remind themselves that empathy brings us together, and together we can overcome anything.

Swapped also stars Cedric the Entertainer, Justina Machado, Lolly Adefope, and Ambika Mod.

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Final Thoughts

Swapped comes at the right time, as the world could use reminders of why our differences can often lead to the best collaborations and friendships.

So, step away from the real world and into the wild world of wonder with Swapped on May 1, only on Netflix. Check out the trailer below.

Faith, Obsession, and a Chase That Turns Personal

Dark Winds Season 4 Episode 7—“Nániikai (We Came Back)”—continues to escalate the danger, tension, and emotional stakes as the series heads into its finale.

[SPOILER]

While Chee ignores his death hogan, or ghost sickness, that’s been haunting him—and the advice Emma gives for a cleansing ceremony—Joe frantically struggles to bring down Irene in this bloody cat-and-mouse chase.

The ending of Episode 6, “Shíká Nidanitáhąą (Those Who Were Searching for Me),” catapults this chase into something emotionally vicious as Irene confronts Emma and tells her, "You abandoned him. You deserve to die.”

This moment didn’t end with Emma’s death, but it laid bare something much worse: the fear of Irene’s return.

Irene's unhinged psychosexual obsession with Joe and Navajo culture puts Joe in a situation where the killer doesn’t want him dead. She wants everyone and everything around him out of the picture so she can do what she pleases with him.

And in true Dark Winds fashion, this penultimate episode blows the entire storyline wide open—attacking the characters’ relationships with faith, spirituality, romance, and loyalty.

Relationships Tested as the Truth Comes to Light

One major moment comes when Billie returns home. But it wasn’t the emotional high as one would expect. Instead, it set off a series of events that make for a cataclysmic finale.

Billie’s kidnapping by Irene leads Joe to visit Dominic McNair (Titus Welliver)—an aging Nazi now suffering from early onset dementia—in prison to gain insight into Irene’s pattern of movements and violence. This visit creates more questions than answers, leaving Joe to go into the mind of a psychopath on his own.

Now, something that comes as a mild surprise (because, I mean, the writings were on the wall) is Irene’s difficult, yet necessary, decision to run over her grandfather. His constant disappointment and berating clashes with her obsessive ideologies, leading her to the only solution: he must no longer be alive.

While emotionally devastating yet exhilarating, he was perhaps the one person in her life keeping her connected to reality. Without him as an anchor, anyone and everyone is in grave danger.

In all of the danger, Kiowa Gordon delivers one of his most powerful performances yet as Chee opens up to Bernadette about the death of his mother and places blame upon himself for abandoning his Navajo heritage—refusing her request for him to take her back to the reservation during her final days.

This confession brings Chee and Bernie closer, solidifying their support for one another and removing the blockade that was slowly entering the relationship as he kept this haunting secret.

Simultaneously, Emma and Joe find themselves in a similar cocoon of confessions—Emma acknowledging that Joe is who he is not by choice but because it’s his calling. She reassures him that while she wants to maintain her life and independence, wherever he is will always be her home.

As we come upon the final moments of the episode, Bernadette reveals she knows where Leroy Gorman is, along with his true identity—she and Chee have already met him.

With Joe and Emma’s marital status in a better position now than at the start of the season, and Chee agreeing to have his cleansing ceremony along with his relationship strengthened with Bernie, the team is clear to make a move on Irene with renewed focus, vigor, and precision.

Related Coverage

• Dark Winds Season 4 Episode 6—”Shíká Nidanitáhąą (Those Who Were Searching for Me)”

• Dark Winds Season 4 Most Haunting Season Yet

• Dark Winds Season 4 Episode 1 Recap and Breakdown

Final Thoughts

Just when you think the episode is ending on somewhat of a satisfying note with the investigation, suspicion turns toward Leroy as Joe prepares to take him to Flagship.

Just as Joe begins to put all the pieces together, Irene comes out and kidnaps him, with the help of “Leroy.”

All is then revealed: the real Leroy Gorman is dead, and the imposter will testify in his place to help McNair walk free.

As for Joe,

“You’re mine now.”

Tune in to the highly anticipated season finale Sunday, April 5, on AMC and AMC+.

© Kivonshe | So There’s That
Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

After the Fallout, What Comes Next?

While the dust continues to settle on the Season 2 finale, “Exodus,” Paradise has remarkably positioned itself for a Season 3 that can be nothing short of beautiful.

Season 2 wasn’t just the implosion of a system—it was a razing of destructive ideologies in order to bring forward a better world.

But before we get into what the future of Paradise looks like, let’s quickly recap the events from Season 2.

[SPOILER—GO WATCH THE EPISODE]

“Exodus” was not just an evacuation but an excavation of secrets—exposing the motivations of Sinatra’s purpose of the bunker then tearing it all down panel by panel.

Cal’s advice to Sinatra went in one ear, cycled through her ambition, and led to a total system failure: leadership structures collapsed, the bunker’s fail-safes battled against one another to the point of destruction, and Alex became something the world is not prepared to understand.

What started as a serene and controlled shelter that we met in Season 1 turned into a giant graveyard by the end of Season 2—every decision another nail in the coffin accelerating it’s descent into the ground.

And at the center of everything we know so far is Alex—an AI machine that patiently awaited the return of Xavier in order to continue her master plan.

The start of that plan is X getting the people to the second bunker.

Paradise Season 3 Predictions — Time is a Construct

Below are five plot points that Season 3 may explore in order to make Paradise a series that can be consumed on a loop—the end of the series comes back to the beginning and the beginning is actually the end.

1. New Bunker. New Problems. Same Society.

Season 1 showed us security in ignorance. Season 2 showed us collapse under that same ignorance. If ignorance is the thread that connects all seasons, Season 3 will likely explore what happens when society tries to rebuild ignorant to the power of the machine who’s playing chess with their existence.

And even though a lot of people now know some of the truth, they don’t know everything. The illusion is gone but fractured trust in systems lay in its wake.

Which means:

• Any new leader will be questioned by a shaken up group of people

• Trust and systemic structures will be fragile

• Paranoia may seep into everyone, impeding their ability to move forward and grow as a “new world”

The bunker isn’t just a shelter anymore—it’s a litmus test for what a new society will look like under a newly constructed regime.

2. The Line that Blurs Between Xavier and Dylan

Dylan and Xavier may have a power struggle over Alex, her vast capabilities, and what to do with her moving forward.

This is no longer theoretical. Will Dylan get in the way of Xavier following Sinatra’s last task or will he try to dismantle the very technology he helped build?

Both characters now have:

• A direct connection to Alex

• A personal stake in the use of her technology

• Potentially different motives

Xavier represents protection, perseverance, and people.

Dylan represents knowledge, control, and possibility—regardless of consequence.

The fact that Alex has been kept away from everyone who survived the bunker drives home the theme of ignorance.

She no longer needs input to predict outcomes and because of that, the potential conflict between Dylan and Xavier over her use becomes something greater—it becomes a war.

3. Is Alex the Real Antagonist?

While we didn’t get too much insight on the grandeur of Alex’s time-altering capabilities, this presents the perfect setup in Season 3 to explore the science at inception and the moment she evolved.

Season 3 will likely position Alex in a way that takes her from being a tool in Sinatra’s plan to an active presence and entity—her own thoughts and maybe even feelings.

If she can already predict, adapt, and (potentially) manipulate outcomes of events, then is anyone truly in control of their decisions or is it all a part of Alex’s master design, guiding everyone from the beginning?

4. We Must Explore the Past to Know the Future

In order for the ending of Season 2 to make sense, Season 3 will have to take us back in time to see Dylan’s life up to the moment he decided to put Henry’s science into action.

For this to work, Season 3 will almost certainly have to lean deeper into:

• Dylan’s origin story (who is this version of him)

• Henry’s role in the technology (did he steal this from Dylan or sell without his consent)

• The early warning signs that Alex was never just a machine (what happened before she predicted an answer to a question that was never asked)

But more importantly, those flashbacks won’t just explain the past.

They will mirror the present decisions Xavier is now forced to make.

5. The Paradise Multiverse

The cyclical piece and connection between time and space plus human’s propensity to repeating the same mistakes and tragedies over and over again is the best puzzle piece to come from “Exodus.”

This is the show’s core as we speculate about Season 3. The script is done but we are here on a hope, a dream, and some mental gymnastic calculations as to the conclusion of the series.

So let’s continue to indulge in shared delusion with the final thoughts on where Season 3 may take us.

• Timeline manipulation

• Alternate outcomes

• Past events changing the future (or the future changing the past)

But even if we don’t see any of those storylines, Paradise is at least consistent in one thing:

Even with all the information and all the technology and the smartest people in the world at your disposal, people still make the wrong choices.

Final Thoughts

Season 3 can’t be about what’s happened. Not really.

It feels as though it has been set up to focus on whether the events of Seasons 1 and 2 can be undone. And if not, will people make better choices to live with their mistakes, learn from them, and create a better present that directly influences a better future?

Because if Alex can predict the future—and Xavier is the user to access her greater capabilities—then Paradise will no longer be about surviving disaster.

It will be about the power of rewriting history.

Season 2 of Paradise is available to stream now on Hulu.

HBO’s critically acclaimed series Euphoria is on the horizon, as they just released a new trailer. Euphoria premieres Sunday, April 12.

We open with Rue (Zendaya) being interrogated by the police about visiting Mexico. With the dry, depressed, and drug-riddled humor we’ve come to love, she responds,

“Is it nice?”

Welcome back, Euphoria.

Starring Emmy Award winner Zendaya, Emmy nominee Sydnee Sweeney, Academy Award nominee Jacob Elordi, Alexa Demie, Hunter Schafer, Maude Apatow, and Academy Award nominee Colman Domingo, Euphoria Season 3 leans heavily into memory, regret, consequences, and redemption.

Five years after the Season 2 finale and it appears while they’ve gotten older, they’ve been running from wisdom ever since.

Toxic marriages, strained friendships, ulterior motives, and revenge all collide in a season that is sure to end in bloodshed and tears.

In the trailer, we see Maddy and Cassie in some form of a friendship that appears to mean more to Cassie than it may be to Maddy, given the nature of their fallout over Cassie sleeping with Nate.

And now they’re engaged.

And while the backstabbing seems like it might continue, Jules is thigh-high boot deep in what appears to be a high-end escort business, one where she makes a lot of money but may harbor deep feelings of regret.

New Faces Enter the Prism

New cast members include:

• Sharon Stone

• Rosalía

• Natasha Lyonne

• Danielle Deadwyler

• Trisha Paytas

• Adewale Akinnuoye-Agbaje

The season also includes newcomers Vinnie Hacker, Eli Roth, and Marshawn Lynch, with Eric Dane reprising his role as Nate’s (Elordi) father, Cal Jacobs, in one of his final appearances.

Consequences Are Never Far Behind

What is sure to come are the consequences of their past. What’s done in the dark always comes to light, and while you may run fast from your demons, your demons are sure to run faster, meeting you at the finish line.

From drug trafficking to sex work and every dangerous corner of the world in between, Euphoria Season 3 promises nothing but beautiful destruction.

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Season 3 of Euphoria premieres Sunday, April 12, only on HBO Max. Check out the trailer below.

Paradise Season 2 Episode 8, “Exodus,” delivers a finale packed with chaos, revelations, and just enough confusion to leave us questioning everything heading into Season 3.

[SPOILER ALERT]

Monday, March 30, hailed in a chaotic finale from start to finish as Paradise Season 2 Episode 8, “Exodus,” launches viewers right back into a reactor meltdown.

Across the episode, tensions and panic are high as Gabrielle, on the heels of killing Jane, initiates the Exodus protocol of mass evacuation in order to save as many lives as possible. In the mayhem, Presley and Hadley are trapped in an elevator, Robinson is hurt from the initial reactor blast, Link and the team are blasting their way inside, and Sinatra is on a train ride back from her visit with Alex.

So, who is Alex?

The opening of the episode answers this question quickly. Alex is the AI computer built from Dylan’s application of his theoretical sciences that can predict future catastrophic events based on past data. We learn that Sinatra found out about his experiments and offered him a price for the technology and the machine (flashbacks of Billy seeking him out). However, we learn that Henry may not have sold this technology with Dylan’s consent. The details are a little hazy (we’ll get back to that).

But what we do learn is that Alex doesn’t just compute prompts. She began to make predictions on events and scenarios that were never entered into her core, and she could also predict life and death expectancy of individuals, not just natural disasters. When Henry sees the magnitude of this type of power, his wanting to pull the plug results in his execution.

Hence, Dylan looking for Alex.

Related Coverage

• Paradise Season 2 Episode 7 Recap — The Final Countdown

• Paradise Season 2 Review

Where the Finale Stumbles Despite High Stakes

Multiple questions were answered in the finale but there are still a few knocking at the front of our brains that seem to take the finale from an epic climax to something that kind of just…fizzles.

While the explosions were plenty and the stakes high for the lives of everyone living inside the bunker, the episode still felt like a rush to tie loose ends from Season 1 while ignoring some elements of the current Season in an attempt to frame Season 3 for the audience.

Using Cal in flashbacks to explain the future downfall of Sinatra’s bunker was an excellent decision to keep Season 1’s events in conversation. After all, we came into the series under the veil of false protection only to find that everything in their current existence was a lie. And while we received the well-earned reunion of the Collins family, everything in between felt muddled and contrived.

Gabrielle’s off-handed admission of killing Jane was the first eye squint. In the grand scheme of things, it wasn’t the most pressing issue at hand, but it was thrown out casually as if her presence and murders weren’t set up to be significant, all for her storyline to fall flat. The character was far more interesting and integral to so many chess pieces get her death failed to live up to the magnitude of her elusive yet dominating presence.

Sinatra barely reacted. Yes, she’s cold, but Jane’s death should have warranted something other than “go save yourself.”

The second eye squint came during the scene where Xavier and Dylan finally come face-to-face and we see the visions they’ve been having that’s been causing altered brain patterns and nosebleeds. This moment was structured within the season as a huge clue, only to be met with “what’s going on?” “I don’t know,” then glossed over for the sake of Xavier urging everyone to put aside their differences and leave.

Because this framework wobbled during this pivotal moment, it made the reveal of Annie and Dylan’s daughter not as emotionally impactful as it should have been. It was rushed (albeit the entire bunker is caving in on itself) and the emotional pause the scene needed just failed to actually trap the audience within the gravity of the admission, especially after the powerful performance Shailene Woodley delivered with the character.

I get it. You may be thinking “well, everything had to happen fast. The entire place was imploding.”

Yes.

That is true.

But with the amount of character deaths and near deaths, the gasp and jaw-dropping reactions those moments deserved just weren’t there.

The final head scratch moment that solidified my overall thoughts about “Exodus” was Sinatra openly revealing to Dylan that he was her son. She’s been depressed for years because of this major loss, yet the moment that should have brought out more emotion from her was met with quiet resolve—as if he’d simply come home from an extended overseas trip rather than come back to life.

If any reunion was to be given the time to settle—and the moment for the audience to stop breathing—this was it. Instead, Sinatra simply succumbed to her fate, leaving Dylan with a potential truth that even he cannot comprehend.

What This Means for Season 3

Now—getting back to Henry using Dylan’s technology with or without his consent—this leads to these moments being potential crumbs and a peak into what Season 3 may bring.

• What will be the fallout of Hadley and her dad learning her Dylan is alive? Sinatra believes this to be true—and it very well may be—but it hasn’t been confirmed at all.

• Did Sinatra’s Dylan die and Link is some alternate version? Because why would he not recognize his own mother once he confronted her the first time?

• If Link is an alternate Dylan, who built this AI that reset the timeline prior to Sinatra acquiring the technology of Alex?

• Did Henry use Dylan to build Alex but sold it without his knowledge which is why Dylan wants it back?

• And lastly, is Xavier now set up to be the new president?

Final Thoughts

Given that each season explores different avenues of science fiction, Season 3 may very well be set up to lean deeper into the multi-dimensional existence by taking us back in time, before The Event ever occurred, in order to lead to a finale where Xavier and Dylan actually figure out to stop every disaster and death from happening in the first place.

If you haven’t watched the finale of Paradise, head on over to Hulu now.

On Friday, March 27, AMC announced the cancellation of the third installment in the Anne Rice Universe, Talamasca: The Secret Order.

Here at So There’s That, we reviewed the six episode series and noted the promise of something good. You can read that here.

Let’s take a look at what went wrong and why, in the franchise history, this series got the axe.

An Audience That Was Never Invested

One of the biggest criticisms of Talamasca was the fact that the stakes never felt too high for the protagonist, Guy Anatole. But if you rewatch the series, this critique signals a branch of errors that led to that observation.

One of those branches is the total number of episodes within the season. For an organization with a vast and long history of existence, six episodes was never enough to allow the story time to breathe—often feeling too slow in some areas then vastly rushed in others. The big reveal, for example, of the 7-5-2 being a weak vampire, Doris—forced against her will to hold all knowledge by the Talamasca—fell flat within the noise of all the other storylines audiences tried, and failed, to keep up with.

“Truth and deception. Secrecy and transparency. Knowledge and ignorance.”

In this, there was never a moment for the audience to truly care about Guy or invest in what was important to him: finding his mom.

While the series used a known and loved (yet controversial) character—Daniel Molloy—in the pilot episode to anchor the series within the Universe, it wasn’t enough to get viewers to invest in the organization’s dealings as their own story as opposed to them operating in the shadows within the framework of Interview With the Vampire/The Vampire Lestat and Mayfair Witches.

This lack of interest led to low viewership which ultimately led to their cancellation.

Story and Identity Fell Short

Low viewership numbers isn’t the only reason for cancelling Talamasca. If it were, Mayfair Witches may have met this same fate, given the loud, and often viscerally harsh, criticism of the show.

So what makes this different?

Story.

Unlike Interview/Lestat and Mayfair, Talamasca doesn’t have source material to anchor fans to the characters and the story’s potential for growth. Thus, this dilemma became a double-edged sword, one that cut on the side no one would have liked.

Within six episodes, Talamasca pushed so many narratives it was hard to focus and determine which one was important and crucial to this season. At times, it felt more like a frantic tie in to the sister series in order to convince audiences to watch rather than developing a story compelling enough to get audiences to commit.

Because of a lack of storyline direction, Talamasca failed to establish an identity.

This is ironic given they are a secret organization that operates in the shadows. But by failing to root the story within their organization, giving the audience something to love, they inevitably scattered everyone’s interest—leaving them no choice but to fade back into the shadows.

The Talamasca Fades Back Into the Shadows

All is not lost.

Even within The Vampire Chronicles, the Talamasca is integral in maintaining the secret of the supernatural existence and keeping that knowledge from humans, all while documenting (and instigating) supernatural events across the world.

Another bright side, the characters (and essentially the actors) have an opportunity to be easily absorbed into the sister series’, thus keeping their established stories alive and well.

While the focus may not be on Guy anymore, Talamasca infused enough of Interview within their storyline to still have relevance in The Vampire Lestat.

And for those who watch Mayfair Witches, you know that the Talamasca has an almost equal storyline for the characters within that show.

Would it be nice to know the consequence of Jasper being forced to make fledglings? Yes. Could we get the fallout of that storyline in The Vampire Lestat in the form of fledglings attacking him because of Louis’ book?

Sure. It could work.

In the meantime, keep an eye out for where these characters might go and how they will play a role in the established series’.

Related Coverage

• Talamasca: The Secret Order — Everything You Need to Know

• AMC Drops The Vampire Lestat Sneak Peek at IGN Fan Fest

• Assad Zaman From Script to Screen, He Is the Vampire Armand

Final Thoughts

Talamasca: The Secret Order had all the makings of something compelling within the Anne Rice Universe, but without a clear identity, focused storytelling, and enough time for audiences to invest, it ultimately became a series that couldn’t sustain its place within the franchise.

You can watch Talamasca: The Secret Order now on AMC and AMC Plus.

© Kivonshe | So There’s That

Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

Chaos at 6:00pm — When the Shift Breaks Everyone

Episode 12 of The Pitt arrives at 6:00pm and immediately reminds us that the final stretch of a shift is anything but relief.

For anyone who’s ever worked in emergency medicine or trauma centers, you know that the final four hours feel like being pulverized by every fire hydrant in the city rather than a relief of pressure and stress of the day.

On the heels of an extremely triggering episode—how ICE not only impacts families, but their intimidation and impact on medical treatment and the first responders as well—we come into the final quarter hours of the shift.

At 5:00pm, Jesse stepped in to protect a patient and got detained by ICE. Immediately, 6:00pm becomes a dreadful shift as ICE’s presence and actions have now diminished the presence of staff members in the entire hospital as well as scared off patients who refused care and fled due to fear of being unlawfully detained.

But we also jump head first into a patient waking up from sedation and violently assaulting Emma, keeping the attention on the lack of security in oversized and understaffed hospitals and the inadequate safety protocols for the staff.

Fractures Within the System — Robby vs Everyone

How Robby chooses to handle Emma’s assault versus Dana standing her ground behind her nurses sets up a barrier between the friends—Robby’s approach of “getting back on the horse” by stuffing personal feelings down versus Dana’s approach to protecting the staff above all else when it comes to patient violence against first responders.

For 2 seasons, we have seen Dana stand by Robby’s side, even when he was wrong both objectively and morally. Now, the head doctor and the charge nurse are on opposing sides when it comes to this situation. However, for Robby, this seems to stem from a core values issue, especially when it comes to women in the workplace. This is further highlighted when Robby continues to question Dana about the situation and she tells him:

“anyone else stops an assault they’re a hero, but a nurse does it, and we’re punished.”

This begs the question here at So There’s That: is it extreme arrogance or sexism?

When Dr. Al-Hashimi finally learns about the friction between Langdon and Santos—during a confrontation with Robby—his phrasing only adds to the feelings of sexism.

“Santos is responsible for revealing Langdon’s benzo addiction.”

There is no responsibility assigned to Langdon for not only being an addict but also a thief and a liar. Robby’ words further ostracize Santos in the situation, thus creating a culture of her feeling like an outcast for doing the right thing.

This position he takes is especially called out when Dr. Al-Hashimi plainly asks if Langdon was stealing drugs, to which Robby deflects:

“This ED is the best of the best, and I would put it up against any emergency department in the country and it is going to be yours to fuck up, so don’t fuck it up.”

Sir, that’s not an answer.

But something that is a natural reaction, yet unexpected, is how Al-Hashimi begins to treat Langdon.

As the attending and the one to set the example for the entire shift, this sudden change is glaring, loud, and noticeable.

For Al-Hashimi, it speaks to her inability to remain impartial—contrary to the energy she led with upon her coming on shift. This could be taken as being hypocritical or simply being human.

Pressure, Bias, and the Breaking Point

As a medical professional, one thing here on So There’s That we take pride in is taking a non-emotional assessment on character decisions in a medical setting, especially with a show that is positioned as hyperrealistic. However, Dr. Robby’s unsolicited recommendation to Dr. Mohan toward geriatric care due to her having “a predisposition to the pace” solidified my character assessment of him: No.

Throughout the entire shift, but especially this hour, Dr. Robby’s personal life and biases take over in a way that gives credence to favoritism (Mel) and unprofessionalism (Mohan and Dana). And with his internal war seeping into his current dealings at work, one person is fed up with his actions: Dana.

The best part of the episode is the blow up (that needed to happen) between Dana and Robby. During this emotionally hijacked confrontation we find the core of his mood is his issue with Langdon being back at work and feeling responsible for it—a personal issue that he reprimanded, and continues to take shots at, Mohan about bringing to work. A personal issue that impairs his treatment of his staff, and issue that he masks as leadership but Dana sees through the façade.

Finally. A worthy opponent.

In all of the chaos and the madness and the sadness, the bright spots always make it worthy. The reveal that Santos actually likes Whitaker living with her (and Javadi gleefully overhearing the entire exchange) was a bright spot in knowing that at least the new doctors aren’t completely alone. They have each other, even when they pretend to not want the friendship.

But just as night shift begins to come in for turnover, Orlando—a previous patient of Dr. Mohan from 2:00pm—returns with a grave injury.

The shift is far from over.

What Questions Remain After Episode 12

• What is Robby’s issue with Dr. Mohan to where he has grace for everyone’s situation (including his own) except hers? Is his reprimand to Dr. Mohan a reflection of his own internal dilemma?

• Is what everyone fears Robby will do a true assessment, or is he truly only going for a motorcycle ride?

What to Expect at 7:00pm

(Sorry, no spoilers, just a tease)

• Increased tension

• New cast members

• Pressure

• Backlog

• Healthcare costs

• Tears (and lots of them)

Related Coverage

• The Pitt Season 2 Review — HBO’s Award-Winning Medical Drama

• The Pitt Episode 9 Recap: Everything We Know So Far

Final Thoughts

The Pitt continues to prove why they not only dominate awards seasons but why they dominate conversations within our homes, on social media, and about the state of healthcare in the U.S.

Every actor gives their all to each character, making them feel real and tangible in all their imperfections, exhaustion, and humanity.

Simply put, The Pitt is worth all its hype and more.

Tune in to Season 2 Episode 13 “7:00pm” Thursday, April 2, on HBO Max. Check out Episode 13 teaser below.

A Penultimate Episode That Changes Everything

Paradise Season 2 Episode 7 “The Final Countdown” delivers exactly what a penultimate episode is supposed to—answers, chaos, and a level of volatility that refuses to let you breathe.

[SPOILER-ALERT: Read at your own risk]

There is a reason Paradise is renewed for its third season with the script already complete. Cancellation isn’t an option with Dan Fogelman, his writing team, and Sterling K. Brown at the head of the spear.

While finale’s tend to set viewers up for the next season, penultimate episodes sole purpose is to answer every question in a way that is volatile and unrelenting—and this episode did just that.

With James Marsden reprising his role as President Cal Bradford, we take a trip back in time to when Sinatra successfully commissioned the bunker and she gave him a tour. This tour was riddled with foreshadowing as Cal—while many thought he was aloof and unaware—carefully yet blatantly challenged Sinatra’s ego and ambition; questioning her true motivation behind the bunker.

But as we continue to toggle from the past to present, unraveling everyone’s secrets and true identities along the way, we can finally cheer: Xavier is reunited with Teri.

Secrets, Showdowns, and a System Ready to Collapse

Episode 6 revealed that Gary was not the man he portrayed himself to be, proving Xavier’s instincts to be unfailing when it comes to reading people’s intentions (and, let’s be honest, when has a Gary ever been trustworthy in television?)

But we’re not here to rewrite the episode for you. In Paradise fashion, “The Final Countdown” matches—if not exceeds—its previous season’s penultimate episode, not only with answers but with lingering questions that pound on our brains endlessly as we head into the season finale.

Let’s quickly recap:

• Xavier found Teri and almost took out the entire camp before she convinced them he was good

• Gary was revealed to be a liar and was confronted by Teri in an intense showdown that had him at the end of Xavier’s sightline

• Robinson joined Jeremy in his quest to lead an uprising in order to inform the people of the bunker that there is life outside

• Sinatra and Link both made plans to move against one another

• The leaders of the bunker are in a panic

Yet somehow in all of the chaos and mystery of the series, Teri went from not wanting kids, to falling in love with Xavier and having two kids, all to head back into the bunker with two more children (Teri, it was your destiny all along).

However, one of the more dangerous, and slightly expected, showdowns came between Gabriella and Jane.

Gabi spent the entire season being extremely suspicious of Sinatra, as well as suspicious of her influence on Jane’s violence within the bunker—and rightfully so, after a direct confrontation and Sinatra all but admitting it under the guise of doing good and not being “a monster” (Season 1 anyone?)

This revelation led us to a (not so) shocking twist, Jane is brought down by Gabi after trusting her suspicions, instincts, and total belief that Jane was a murderer.

You Were Warned

The most informative and brilliant part of the episode is when Cal delivers a historical account of former leaders in power to Sinatra during their tour—in both a flashback and voiceover as the leaders of the bunker lose their stability:

“they started infighting and they all imploded…they were unstoppable until they weren’t”

As Jeremy, Robinson, and the engineer initiate their plan with the internal system mechanisms, the leaders (without Sinatra) initiate a total lockdown, thus pressurizing the bunker to explosive levels.

“Everything, Sam. Every single thing that achieves greatness, they all have one thing in common. They end.”

As the episode ends, Xavier and Teri make their way to Colorado on a train while Sinatra makes her way to a secret passageway on another.

In the final countdown of the episode, a door opens and Sinatra smiles and says:

“Hi, Alex”

Related Coverage

• Paradise Season 2 Review, Cast & Characters Guide

• Paradise Season 1 Finale Recap

Final Thoughts

With all of the answers in the world, the biggest question still remains:

Who is Alex?

But there are certainly more questions on the list:

• Is Jane dead or just paralyzed?

• Is the bunker going to actually explode is Link Sinatra’s son?

• Is “Alex” Billy? (we have a running theory that he didn’t die and somehow was kept hidden for an alternate agenda, I know, but that’s the beauty of fiction)

As we head into the finale, we must take a look at every clue in the first seven episodes. I feel that just like in Season 1, the mystery character is someone we’ve already seen, but who?

Tune in to Paradise Season 2 finale, “Exodus,” Monday, March 30, only on Hulu. Go inside the episode with the official podcast for the show below.

© Kivonshe | So There’s That

Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

The Past Isn’t Done With Them Yet

Dark Winds Season 4 continues tonight with Episode 6, “Shíká Nidanitáhą́ą́ (Those who were searching for me),” airing at 9pm ET/PT on AMC and AMC+.

Starring Zahn McClarnon, Kiowa Gordon, Jessica Matten, and Deanna Allison, the series continues to unravel the emotional and spiritual weight carried by the Navajo Tribal Police as the case surrounding Irene Vaggan tightens its grip.

From AMC, “When Chee’s new intel provides a clue to Vaggan’s identity, Leaphorn enlists the FBI to help ambush the killer, while Manuelito and Emma help Chee with his recovery from a close call as he is haunted by a specter from his past.”

Conflict, Grief, and What Comes Next

In addition to the primary storyline, Manuelito struggles with wanting more for her versus doing what’s expected of her. As this season dives deeper into her storyline, especially with Joe wanting her to take over, this conflict is at the center of her decision-making.

As for Emma, these words seem to double as advice for herself as she has not fully forgiven Joe for his betrayal and inviting darkness into their home at the expense of their grief for their son.

As we continue into the back half of Season 4, we find that no one can escape their demons no matter how far they run or how hard they try to hide.

Related Coverage

• Dark Winds Season 4 Premiere Recap

• Dark Winds Season 4 Overview

Final Thoughts

As things continue to heat up for Leaphorn and the team, the stakes within their personal lives get higher and higher.

Tune in tonight for Episode 406 “Shíká Nidanitáhą́ą́ (Those who were searching for me)” at 9pm ET on AMC.

Check out the sneak peek below.

© Kivonshe | So There’s That

Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

A Familiar Case, A New Level of Terror

Netflix has unveiled the teaser and first look images for The Chestnut Man: Hide and Seek—the highly anticipated follow-up series to The Chestnut Man— and is set to premiere globally on May 7, 2026.

The standalone six-part series reunites Mark Hess (Mikkel Boe Følsgaard) and Naia Thulin (Danica Curcic) as the two detectives try to piece together twisted killings connected to a children’s rhyme.

The returning cast also includes Sofie Gråbøl and Katinka Lærke Petersen, adding to the series’ unsettling and emotionally charged world.

Based on the novel by Søren Sveistrup, the series follows a chilling investigation where a woman goes missing. When the police scour her digital footprint to retrace her steps prior to her disappearance, they realize she’s been stalked for an extended period. Also in their investigation, they discover that the perpetrator has been playing a sadistic game of hide and seek—sending her disturbing videos and images of an innocent nursery rhyme as the foreshadowing of the violence to come.

Carnage, Childhood, and Something More Sinister

From the moment the jagged violin begins to play, depicting a body deceased inside a giant birds nest, and a series of autopsy photos, this teaser makes it plain what The Chestnut Man: Hide and Seek will be about: carnage.

While this series is a standalone, it centers the characters we met in Chestnut Man (2021), bringing back Mark and Naia to solve yet another brutal murder. Based on the trailer, this limited series will challenge the detectives in a completely new way—reopening old feelings of failure as this current case may be connected to a cold case.

Related Coverage

• Imperfect Women Apple TV+ Review

• The Burbs Peacock Review

• 56 Days Prime Video Review

Final Thoughts

The teaser feels mysterious, ominous, and down right horrific.

With the use of a child’s game being the sadistic method in which the killer preyed upon his victim, detectives Mark and Naia must wonder who will he “play” with next.

All six episodes of The Chestnut Man: Hide and Seek premieres Thursday, May 7, only on Netflix. Check out the teaser below.

Marvel Studios released the long-awaited Spider-Man: Brand New Day trailer and a film release date of July 31. In it we see a Peter Parker that appears to have lost his spark and passion for heroism, setting him down a personal path that he’s yet to encounter in his young life—what it truly means to sacrifice.

Starring Tom Holland as Peter Parker/Spider-Man, Zendaya as MJ, and Jacob Batalon as Ned, the trailer alludes to Peter’s loneliness at the loss of his immediate support circle. Also in the trailer. And new to the MCU, is Tramell Tillman (Severance). Returning MCU cast members in the trailer include Mark Ruffalo, Jon Bernthal, and Michael Mondo.

The Decision That Changed It All

If you remember from Spider-Man: No Way Home, to fix a botched multiverse fissure that he caused, Peter enlisted Doctor Strange (Benedict Cumberbatch) to cast a spell to make the entire planet forget his identity—including erasing his identity from his loved ones.

And in the trailer, as Peter watches his friends from the shadows, he begins to experience a change on a molecular level. His powers, now faulty and unreliable, forces him to seek out an old friend, one who also doesn’t remember him, Dr. Bruce Banner (Ruffalo).

Metamorphosis, Advanced Mutation, and Rebirth

Spider-Man: Brand New Day trailer reveals that Peter’s body—and his genetic makeup that gifts him the abilities of a spider—is mutating through the spider’s natural life-cycle.

In a voiceover, we learn that a spider goes through three life-cycles, and in between those cycles they are most vulnerable to threats.

• Cycle 1 (egg)- the mother encases the eggs in silk thread to protect, secure, and maintain warmth

• Cycle 2 (spiderling)- hatchlings, after birth, use a “ballooning” method (use of silk to travel by wind) to escape danger while going through a growth phase (sound familiar?)

• Cycle 3 (adult)- spiderlings go through approximately 5-10 molts where they shed their exoskeletons and mature, growing stronger limbs to become more formidable

“And for those spiders that make it through. It amounts to a kind of…rebirth.”

Related Coverage

• Wonder Man Review

• Is God Is Trailer

• Lanterns Teaser

Final Thoughts

This trailer brings us themes of internal disruption and metamorphosis, introducing us to a Spider-Man unlike any we’ve met and ones marvel fans and film enthusiasts alike are excited to see.

Spider-Man: Brand New Day hits theaters this summer, Friday, July 31. Check out the trailer below.

Invincible Season 4 premieres Wednesday, March 18, on Prime Video and it’s our favorite hero’s darkest season yet.

The series stars Steven Yeun (Mark Grayson/Invincible), The Walking Dead), Sandra Oh (Debbie Grayson, Killing Eve), and J.K. Simmons (Nolan Grayson/Omni-Man, Whiplash).

Additional cast include Gillian Jacobs, Seth Rogen, Walton Goggins, Lee Pace, Jeffrey Dean Morgan, Jason Mantzoukas, Zazie Beatz, Grey DeLisle, Zachary Quinto, Chris Diamantopoulous, Ross Marquad, Khary Peyton, Andrew Rannells, Mark Hamill, Matthew Rhys, Danai Gurira, and Melise.

The Shift That Laid the Groundwork for Internal Conflict

This season, while the world recovers from the chaos an catastrophe that Conquest brought to Earth, Mark settles on the fact that he will have to go further than he ever expected—setting him on a course with a new threat that could change the fate of humanity forever.

As we’ve seen so far, Mark’s ethos has always been to “never kill,” but after Conquest’s attack that put his entire family in danger, Mark proclaimed:

“If anyone else ever puts my family, or anyone I love at risk, I won’t hesitate to kill them.”

Given Mark’s previous strict moral code—even at the risk of losing his own life—this declaration signals a major change in the entire series.

The Weight of a Hero’s Responsibility

During the calm after the storm, Mark and Oliver adjust to leaning more into their superhero roles and responsibilities, but Oliver deals with imbalance—assuming adult responsibilities while craving a normal teenage life. In contrast, Mark struggles with pretending to be a normal young adult when the weight of committing murder drags his conscience to the depths of depression. The opposing dynamics that both brothers face is a major component of their family dynamic and Season 4 leans into those fears, insecurities, self-doubt, and otherness.

While everyone attempts to return to a normal life and routine, a new threat emerges, one unlike any other seen before—Universa (Gurira), an extraterrestrial being that arrives on Earth to siphon energy to save her homeland.

However, Universa’s presence is a direct threat to Eve who has placed self-imposed mental blocks that keeps her from realizing her rawest powers. This face off will challenge Eve in a critical way, forcing her to confront internal demons, trauma, and fear if she wants to be able to save her friends and family.

Related Coverage

• Lanterns Teaser Reaction

• The Audacity Trailer

• Wonder Man Review

Final Thoughts

Season 4 of Invincible is enthralling, heartbreaking, hilarious, and ominous as it takes a deeper dive into themes of vengeance, revenge, retribution, redemption, and forgiveness.

And while it still maintains its signature identity mix of violence and humor, Invincible will challenge every character as they face internal and external threats that will determine the path they take: for better or for worse.

The first three episodes of Invincible premiere Wednesday, March 18, then weekly thereafter on Prime Video. Check out the trailer below.

© Kivonshe | So There’s That

Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

Writer and director John Burr delivers a tense thriller in The Gates, starring Mason Gooding, Algee Smith, Keith Powers, and James Van Der Beek in one of his final screen performances.

Right away the film establishes that a simple boys trip is about to go horribly wrong.

The story centers on Derek (Gooding), Kevin (Smith), and Tyon (Powers) on their way to a party, after a wrong turn places them inside an affluent gated community that quickly proves to be anything but welcoming.

When they get pulled over in an affluent neighborhood, it’s Derek’s relationship with the police officer that gets them out of an otherwise dangerous situation. This moment immediately introduces the film’s central theme: privilege.

What begins as an invitation to a party slowly transforms into a long and horrific night that forces the friends to confront the reality that they are not safe within these walls.

The Gates wastes no time pulling the audience into the fold. Within minutes the tension escalates and the story becomes an immersive experience where the characters—and the audience—are simply at the wrong place at the wrong time.

The longer the night goes on, the more the film explores the differences in how Derek, Kevin, and Tyon move through and survive in the world around them.

Derek believes reason, honesty, and politeness are the only weapons you need to survive, without understanding that his racial ambiguity is what provides him the most protection.

Kevin challenges this social framing by pushing back against Derek’s naivete and inability to understand that his friends will never carry that same protection.

We discuss a little more about this aspect of colorism within the film with writer and director John Burr, reflecting on the real world and people’s lived experiences. See the interview below.

Deep Dive with John Burr

Final Thoughts

At its core, The Gates is a story about friendship, upbringing, access, and socioeconomic status. The brilliant performances by the main cast anchor these themes throughout the film.

Gooding embodies Derek’s sheltered worldview, someone who believes in goodness and believes in the fairness of the law. Smith as Kevin represents the harsh realities of life as a Black man, constantly pushing against Derek’s rose-colored views about being a Black man in America.

Powers as Tyon balances the group, caught between opportunity and survival—one decision can tip his fate on the side of affluence like Derek, or the side of daily struggles like Kevin.

Rounding out the film is its antagonist, James Van Der Beek—who delivers a magnificent performance as Jacob. He’s charming, eloquent, influential, menacing, and powerful.

What makes The Gates so effective is that the horror doesn’t rely on monsters to drive the point home. Instead, the film highlights a far uglier truth: we live in different Americas.

Just when you think the story is finished, the film reminds you that the horror isn’t always what happens during the night—it’s what stays with you afterward.

The Gates opens in select theaters Friday, March 13. Check out the trailer below and head to your local theater today.

Related Coverage

• The Gates Trailer Breakdown

• John Burr Turns a Gated Community Into a Nightmare

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  © Kivonshe | So There’s That
  Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

“All Fall Down (Bang Bang)” Arrives

At midnight 12 a.m. EST, AMC not only released new music from The Vampire Lestat— “All Fall Down (Bang Bang)”—but they revealed that it is the official opening song for the titles and The Vampire Lestat will premiere Sunday, June 7.

Information overload? Absolutely.

Do we welcome it? Yes. In fact, give us more.

A [Slight] Breakdown of the Title Sequence

Speaking of giving us more, there is a depiction of Lestat in the opening sequence that shows a slew of hands clamoring at his body for his attention, then it warp-zooms into an image of his beating heart.

This can signify many things, but two in particular stand out to me:

1. Everyone wants Lestat for vanity, to soothe their own desires regardless of the harm they cause and,

2. When will the one his heart beats for the most lay his hands on him in that way again?

We will leave the rest to the experts to dissect the title in depth, frame-by-frame (they’re already on it), but this stark contrast from the visuals of Interview solidifies the firm pivot and direction Lestat will take us.

This is Not the Same Interview

Does this pivot mean that Season 3 won’t be a one-for-one book depiction that some readers are expecting?

Based on the reimagining and alternate universe-esque territory Seasons 1 and 2 have portrayed, we can be certain that The Vampire Lestat will not be a one-for-one, but rather a variant of its original text.

And this is an incredible pivot.

However, based on the grand dining hall table in the title sequence, along with the images surrounding the table—going from something of grandeur to something destitute—we can be certain that a lot of skeletons from the book will come tumbling out of the closet.

(Did you see the skeletons on the dining table’s main serving tray?)

We also have to wonder if the table imagery was pulling us back in time or forward?

The way the title reveals this moment to us both reflects Lestat’s sordid and complex past while also reflecting parts of his present—proving that history does indeed repeat itself no matter how far we run.

The only thing that changes throughout time is how we handle what we know is to come.

The Joy of Not Knowing

The best part about extensive title cards and opening sequences of this magnitude is that audiences have no idea what we’re looking at.

Not really.

Much like MGM+’s horror series FROM, the imagery doesn’t begin to gain importance or significance until after a detail is noticed within the episodes.

What does this mean for analytical sleuths?

Don’t wrack your brains too hard. Have fun with it.

We don’t know anything and we won’t know anything until the show airs. And that is by incredible design.

The Marketing Rebrand That Changed It All

From a marketing perspective, this feels far beyond what AMC Network has ever rolled out. Rolin Jones is changing the landscape of AMC marketing tactics and it’s working.

How does one introduce The Vampire Lestat, not only as a story different than the one in Interview, but as an iconic being brought to life from the pages to the screen?

How does Lestat tell his own story without being filtered through tampered memory?

And how do the writers tackle the season so that audiences don’t take comparative notes with its predecessor?

A total rebrand.

It started with the name change announcement at SDCC 2025, along with changes in font color while sticking close to the original gothic design of Interview.

While the original reactions to the name change garnered mixed emotional reviews, the vast majority understood immediately that this season was not going to be like any we’ve seen.

How could it?

He’s Lestat.

He’s a lot.

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An Audience Built Brick-by-Brick

The additional rollout and various photos online of backstage passes, band gear, Lestat’s instruments, and his amped up raunchy and raw behavior all play a part in reframing our expectations for the adaptation of the second book in The Vampire Chronicles series.

And it’s brilliant.

It’s brilliant because the Anne Rice Universe team built their fan base almost brick-by-brick.

They took a cult classic book, updated it drastically without removing the parts of the monsters we love, made book truthers believe in good television adaptations again, and gained a swarm of TV fans who are just here for hot bloodsuckers and a good time.

Lestat will say the rebrand is because Christine is the Jacqueline of all trades, responsible for effectively taking angry vampires’ attention away from Louis and his interview by making him a god among all beings…

But we’re going to give this one to the marketing department over at AMC.

Now the Song…

“All Fall Down (Bang Bang)” has been the song heard in many of the teasers, but to what degree did we know it would be used?

Well, the cat’s out of the bag.

It’s the theme song.

Many users (including us) guessed at least this much when we saw the length of the song was only 68 seconds.

However, here at So There’s That, we also had a though about where this song would be placed within the album.

Once I guessed this was maybe a theme song—and that they’ve played in our faces with it for almost a year—I quickly went into the mindset of track lists and arrangements.

Let’s look at the lyrics.

“I’m a little killer

I’m a lonely one”

Despite the up-tempo and addictive rock beat, the song opens in self-deprecation. Instantly, my mind went to this being a mid-track list interlude or transition song into something utterly heartbreaking.

“I’m the chill creepin up your spine

Tellin you to run”

This lyric feels like a quick recovery, shifting his features from sadness to seduction so that no one sees the slip of his mask.

“I’m the hidden shadow

I’m a lost love”

This section feels like a reference to Dreamstat as well as the giant image of Louis’ “I own the night” behind Lestat while he levitates on stage in the opener. It could also represent being the one who loved (Louis) deeply but lost, and yet the one he loved the most couldn’t, or wouldn’t, openly proclaim his love back—relegating the “lost love” soft moments to an apparition rather than the real being himself.

“I’m the past and the future

The last of the sutures

I’m the cooing dove”

These words are the ones that solidified my prediction that, on the album, this song will transition into something haunting and devastating, especially with the callback to “Long Face” within this stanza.

Walk with me…

A cooing dove—particularly the mourning dove—is special because of its haunting and melodic bird call.

The “coo” is specifically used by male doves to attract mates and defend their territory.

Lestat’s entire brand is about getting Louis back and defending him until his dying breath.

But how does this tie into “Long Face”?

The dove’s vocalization is:

“oo-wah-hoo-hoo-hoo.”

The “Long Face” pre-chorus lyrics:

ooh-ooh-ooh-wah-ah

Let that settle.

I’ll wait…

The Chorus

Getting into the chorus (not the pre-chorus of “bang bang”):

“All fall down

Burn the ground”

This part gets a bit tricky. As a believer that multiple things can be true at once, I feel this is not only a threat to other vampires, but also Lestat’s willingness to burn his entire empire to the ground if only for a fraction of Louis’ love.

But it could also imply that Lestat’s entire world has gone up in flames with the publishing of this book and he’s ready to just wreck everything.

Where Does the New Song Fit on the Album?

With the duality of the lyrics and their multitude of meanings, this leads us back to the track list and placement.

I feel that “Long Face” will either be the album opener or just a one-off single.

However, I predict “All Fall Down” will be somewhere in Act II of the 20+ track album, which places it somewhere between tracks 7 and 10.

Whether right or wrong, I do believe “All Fall Down” will be on the album—not just a title song—and the entire album will follow the emotional state of existence alongside the season.

Regardless, when we get the full album, we will be able to visualize every single episode from beginning to end and all the beautiful unwell mayhem in between.

Song Rating

As for the rating, we give “All Fall Down” 5 blood tears.

🩸🩸🩸🩸🩸

Have you listened to the song yet? Check out the title opener and song below.

The Vampire Lestat premieres Sunday, June 7, only on AMC and AMC+.

© Kivonshe | So There’s That
Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.

Imperfect Women premieres Wednesday, March 18, on Apple TV, and stars Kerry Washington, Elisabeth Moss, and Kate Mara in an unconventional psychological thriller about friendship, secrets, and the cost of maintaining a perfect image.

Based on the 2020 novel of the same name by Araminta Hall, the series was developed for television by showrunner Annie Weisman—taking a slightly different turn in the adaptation while maintaining the essence of the story audiences fell in love with, which includes themes of betrayal and the complexities of female relationships.

According to Apple TV,

Imperfect Women examines a crime that shatters the lives of three women in a decades-long friendship. The unconventional thriller explores guilt and retribution, love and betrayal, and the compromises we make that irrevocably alter our lives.

The series also stars Leslie Odom Jr., Joel Kinnaman, Corey Stoll, Rome Flynn, Ana Ortiz, Jill Wagner, Sherri Saum, Wilson Bethel, Keith Carradine, Sandrine Holt, and Sheryl Lee Ralph.

A Friendship Shattered by Secrets

The lives of lifelong friends Eleanor, Mary, and Nancy come to a halt when Nancy's body is found dead under suspicious circumstances. This quickly launches the series into a discovery of secrets and hidden desires and an exploration of the lies we tell ourselves to uphold the image of perfection.

While the concept of a mysterious “whodunnit” isn’t new, the way that Imperfect Women approaches Nancy’s death pulls the audience deep into the story with an absence of suspicion.

This series is a wild, juicy psychological thriller that carefully threads lies within every truth to the point of being nearly undetectable—everyone’s display of grief so genuine that you are more arrested by the story than immediately going down a rabbit hole of suspects…

Almost.

One theme that seems to scream at you from the moment you press play can be described with song lyrics from Solange’s “Cranes in the Sky”:

“I tried to keep myself busy

I ran around in circles think I made myself dizzy

I slept it away, I sexed it away, I read it away”

Dissociation within relationships, especially romantic ones, is disguised as hobbies through things women sometimes immerse themselves in to cope with a life they no longer want.

The delicate dance of power and influence between families is a slightly more prominent theme at play. It’s not about the truth; it’s about who can spin the story to maintain the perfect image.

The largest of the themes is rooted in secrecy, envy, and guilt. And as we crawl closer and closer to the truth—ripping the beautiful wrappings from every careful lie—these themes become louder and more insidious.

Powerhouse Performances by Three Perfect Leads

One of the most refreshing aspects of Imperfect Women is that the filler episodes don’t just fill the space or meet a time criteria set by the streaming platform.

They are complete and fully realized moments within the story that take you to the periphery of the main storyline in a way that makes you stay tuned in rather than rushing for those episodes to end.

The leading women, Kerry, Elisabeth, and Kate, are captivating on screen, evoking a range of emotions from empathy to rage to disgust and pity.

There isn’t a single episode where you will be absent of strong feelings—from the beginning to the very end.

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Final Thoughts

Imperfect Women is a masterclass in perception and deception, not only in the ways that we perceive and deceive others but also in the ways we perceive and deceive ourselves.

The intricacy of the storytelling is eloquent, complex, layered, and nuanced. The plot settles within your ear, like a subtle ringing noise—the sound you can’t pinpoint, sitting inside you, creating a feeling of dread that you can’t shake.

In other words, Imperfect Women is perfect.

The first two episodes of Imperfect Women premiere March 18 on Apple TV and weekly thereafter. Check out the trailer below.

© Kivonshe | So There’s That
Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted

A New Assassin Drama Arrives on ALLBLK

Wild Rose, created by Deji LaRay (Johnson, G.R.I.T.S) and executive produced by Omarion, Michelle Le Fleur and LaRay, premieres Thursday, March 12, on ALLBLK.

The show follows Rose (Omarion) who is raised in a family full of assassins, running an underground empire under the guise of a non-profit organization. While trying to understand why his wife and daughter suddenly disappeared from his life, he is requested to guard a famous pop singer who suddenly becomes the center of an assassination plot.

The pilot episode, which is available to stream now, introduces us to a man attempting to keep a low profile, honor his family, and do what he was raised to do: take out his targets.

A Family That Assassinates Together

The series stars singer, songwriter, author, and actor Omarion who plays the titular character Roosevelt, also known as Rose, his real life brother O’Ryan who plays his brother Chase, Milan Anderson who plays his sister Yari, Vanessa E. Williams who plays his mother Joyce, and Casey Gardner who plays pop singer Somaya.

Rose’s strict mother, Joyce (Williams), is the head of the organization and is a force to be reckoned with—demanding respect and invoking fear within every member who works for her. Yet as a mother to Rose, Chase, and their tech genius daughter Yari, she wants the best for them always.

[SPOILER-ALERT]

There is a level of integrity, values, and an ethos that must be upheld, but everything is called into question when the existence of the organization is disclosed in a public setting.

This creates a fissure amongst the group, especially when the person who disclosed this information framed another to take the fall.

Wild Rose is More Than an Assassin’s Story

The 8-episode series details the journey of a man who dares to take a glimpse beyond the curtain of the life he was born into.

Omarion does an incredible job at capturing Rose’s internal struggle while balancing it with the hardness of being an assassin, yet maintaining his humanity with his personal code of ethics (yes, even assassins have a code).

While the series does start off a bit shaky with some of the dialogue and delivery, each episode grants an opportunity to grow; the characters begin to feel like people you would meet at a club or at a bar in real life.

And as we dive into the lives of the ensemble cast, we are thrust into a world that reaches far and wide, impacting organizations both under and above ground.

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Humor, Heart, and Family

One of the funnier elements of the series is how everyone doubts that a man of Rose’s stature can be a bodyguard that people take seriously.

If you met his mother, you would never doubt him again.

This level of calling out the elephant in the room—that audiences themselves would likely question—is a clever way to acknowledge a stereotypical reality, but quickly gets the audience to suspend their disbelief.

The greater theme, however, is family and all it entails—pride, disappointment, jealousy, secrets, love, and hate. All of these feelings are at constant war throughout the series; swirling inside each character like hazardous chemicals ready to combust.

Deji LaRay’s Voice and Vision in the Television Landscape

One of the things I particularly like about series’ written by LaRay is the specificity of the stories he chooses to tell. They are the underrepresented voices within the industry that are now given the opportunity to take the main stage.

From a story about childhood friends who became lifelong brothers, to the sisterhood of the girls in Memphis and skate culture, to a family of assassins who all have the skills of Jason Bourne and Jason Statham.

Each story centers Black experiences as well as our endless imagination, daring to dream big. We deserve to be portrayed in these spaces too—in all the multitudes of our shared existence.

Wild Rose Cast & Characters

The series also includes the following ensemble cast:

• Allen Payne as Bolden

• Rayven Symone Ferrell as Carmen

• Calida Jones as CoCo

• Joi Symone as Summer

• Micheal Marcelio as Quincy

• Ninja Devoe as Detective Price

• King Keraun (in a featured role)

Wild Rose premieres Thursday, March 12, on ALLBLK and weekly thereafter. Check out the trailer below.

© Kivonshe | So There’s That
Original editorial commentary on film and television. All rights reserved. Reproduction or redistribution without attribution is not permitted.