Josh O’Connor and Lily LaTorre in ‘Rebuilding’ (Photo Credit: Bleecker Street)
Writer/director Max Walker-Silverman’s second feature film, Rebuilding, is a deeply moving and ultimately hopeful drama that turns a devastating tragedy into a beautiful testament to the power of community and the resilience of the human spirit. The story springs from a terrible loss: a wildfire that destroys a Colorado rancher’s home and livelihood. But it quickly turns into a warm, life-affirming tale of new life emerging after a loss.
Rancher Dusty (Josh O’Connor) is one of many who’ve lost their homes in a recent wildfire. It’s not just the acres of ranchland and the house that generations of Dusty’s family have made their home that have gone up in flames. It’s the very core of what Dusty believes is important that’s been wiped away in one horrifying day. His livelihood is gone, along with all his possessions.
The one-room, bare-bones trailer FEMA provides as temporary housing isn’t much, but it’s better than couch surfing or sleeping in his truck. The trailer gives him a place to spend time with his daughter, Callie-Rose, at the suggestion of his ex-wife, Ruby (the always fantastic Meghann Fahy, Sirens). And it’s that bond with his young daughter that keeps Dusty’s spirits up. That, and the fellow occupants of the small makeshift FEMA housing community. This ragtag group, who’ve been thrust together due to circumstances beyond their control, provide what’s truly missing from his life – fellowship and a sense of belonging.
The temporary campsite is full of kind-hearted people who allow each other space to recover from trauma and shoulders to lean on as they come to terms with all that they’ve lost. Through shared meals and quiet conversations, the temporary community members begin the healing process and turn tragedy to hope.
Among the occupants is single mother Mila (Kali Reis, True Detective: Night Country), who is not just picking up the pieces after the fire but mourning the death of her husband, who perished trying to protect their property. Mila’s determination to make the best of the situation gives Dusty the impetus to carry on.
Rebuilding is a beautiful illustration of the saying, “Home is where the heart is.” Dusty’s struggles are agonizingly relatable—a dispassionate banker telling him nothing will grow for a decade, the heartwrenching task of removing glow-in-the-dark stars that made his tiny trailer feel like home to Callie-Rose. These moments of hopelessness make the eventual turn toward community even more uplifting.
Max Walker-Silverman drew inspiration from his personal experience with loss to create this poignant portrayal of the bonds formed when individuals confront shared adversity. Rebuilding isn’t only about getting through tough times; it’s also about learning that sometimes the best things rise up out of the ashes.
Sydney Sweeney in ‘Christy’ (Photo Courtesy of Black Bear)
Christy delivers a solid, no-punches-pulled look at the turbulent rise of boxing phenomenon Christy Martin. The boxing biopic mixes the punishing world of professional fighting with an intensely personal drama unfolding outside the ring, with Sydney Sweeney’s transformative performance front and center.
Directed by David Michôd (Animal Kingdom), Christy begins by dropping us right into the emotional firestorm surrounding Christy’s life in small-town West Virginia. Her excitement over winning $300 is quickly eclipsed when her parents discover she has a girlfriend, Rosie, kicking off a major family crisis rooted in her sexual orientation. It’s this background of personal turmoil that pushes Christy toward an unlikely new career when a boxing promoter’s representative calls with a tempting offer: a $500 purse for a fight.
What follows is the familiar, yet mostly engaging, underdog narrative. Christy has an unorthodox style in the ring and a natural power that impresses promoter Larry Carrier. She quickly finds herself under the wing of trainer Jim Martin, a vile man who doesn’t respect female boxers and has a very rigid view of the world. Martin rules every aspect of Christy’s life, forcing her to demean herself for money. Under his thumb, Christy isn’t allowed to exhibit any signs of female solidarity. Their professional relationship—forged to keep Christy’s sexuality in the closet and out of any publicity—evolves into something much more disturbing and complex, driving the central conflict of the film.
Christy shines brightest in its depiction of the evolution of Christy’s fighting style and her personal sacrifices. Her climb from the unknown Coal Miner’s Daughter to a powerhouse champion fighting for Don King (Chad Coleman, The Orville) includes historic moments like being the first woman to fight on a Mike Tyson undercard and the first female boxer to grace a Sports Illustrated cover. The boxing sequences are remarkably effective and brutal, capturing the physical and emotional toll of the sport.
However, Christy moves at an uneven pace, covering significant ground quickly while occasionally lingering on less-developed subplots. Certain supporting characters, particularly her boxing team and opponents, are painted in broad strokes, in some cases so broad it’s difficult to tell who is who. Her controlling, chauvinistic trainer is slightly better developed; in large part, that’s due to Ben Foster’s performance.
Christy does not shy away from the dark side of success, including the abuse of power, jealousy, and financial exploitation that can plague the lives of star athletes. The film isn’t perfect but it is powerful.
Michôd’s first feature film since 2019’s The King is an intense examination of Christy Martin’s life and career, touching on difficult subjects including abuse, sexuality, and the struggle of women competing in male-dominated sports. (You could easily sub in basketball or soccer for boxing.) Sweeney’s riveting transformation into the trailblazing boxer helps the film over the rough spots. Even when the story lags, Sydney Sweeney’s performance keeps the audience engaged and invested.
GRADE: B-
Runtime: 135 minutes
Release Date: November 7, 2025
Rating: R for violence, bloody images, language, some drug use, and sexual material
Screenplay By: Mirrah Foulkes and David Michôd, story by Katherine Fugate
Distributor: Black Bear
Starring: Sydney Sweeney, Ben Foster, Chad Coleman, Katy O’Brian, and Merritt Wever
Billy Bob Thornton as Tommy Norris in ‘Landman’ season 2 (Photo Credit: Emerson Miller / Paramount+)
Oscar winner Billy Bob Thornton returns to star in season two of Paramount+’s Landman, premiering on November 16, 2025. The new season picks up the action in the aftermath of Monty’s (played by Jon Hamm) death. The dynamic between Thornton’s Tommy Norris and Demi Moore’s Cami Miller has shifted, Andy Garcia returns as Galino to cause Tommy problems, and Sam Elliott joins the cast as Tommy’s father.
Paramount+ recently hosted press conferences with the cast, and the following are highlights from the Q&A with Billy Bob Thornton. The Oscar winner doesn’t just give yes or no answers, so buckle up and prepare for a lengthy discussion of all things Landman.
On Taylor Sheridan’s writing and their working relationship:
Billy Bob Thornton: “Taylor and I have a very good working relationship, and he wrote this series for me. I mean, specifically for me. Because I had done that cameo for him in 1883 and he said, ‘I think I have your voice. I think I know how to write for you.’ And sure enough, when I read the first script of season one, I was like, ‘Yeah, you kind of got it down.’
But he’s very lenient with me. I mean, he will allow me to ad-lib if I feel it, which I do quite often. And if he likes it, he keeps it. And if he doesn’t, he dumps it, which is very fair. But his writing is pretty tight. And I think the reason his writing appeals to a broad audience … because initially, we thought probably the middle of the country would like it, but maybe not the coasts … maybe not internationally. We didn’t really know. But I think the reason it has an international appeal is because he writes characters who are unabashedly themselves. They say what they feel, you know?
I’ll put it to you this way. We were doing a Q&A in New York last year and there was this lady. When you go, just like reading your wife or whatever, you can also read audiences. And also, I grew up in the music business, so as soon as you come on stage to do a concert, it’s like, ‘There’s the jealous musician. There’s the husband who came because his wife wanted him to come, and he hates being there.’ And so, there was this lady on the front row, and I knew when I got there, she’s the one who’s going to ask the creepy question. And sure enough, when they opened up questions to the audience, she raised her hand, and they picked her first. She said, ‘How do you justify the morality of doing a show about the oil business?’
I was like, well, I’ll put it to you like this. If they figure out a way to run everything on earth using water, the oil guys will get into the water business. It’s a corporation, like the pharmaceutical companies or tech companies, anybody. They’re moneymakers. And so, this show just shows you a peek behind the curtain of the oil business. It’s not a political thing. It’s like he’s not saying ‘yay oil’ or ‘boo oil.’ He’s just saying, ‘Here’s how it works.’ And I think because of that, people respond to it. Because it’s just showing you how it is.
I mean, if you make a movie about a serial killer and everybody goes, ‘Oh my god, you know Actor X was amazing playing the guy that eats people or whatever,’ and then he gets the Academy Award for it and stuff. But then for some reason, you’re doing a show about oil, and it’s like, ‘Well, oil is like…’ Yep, so you like serial killers? I don’t quite understand that, because our job as artists is to portray whoever we’re portraying in an honest way. He allows us to do that, and he writes it that way.”
Billy Bob Thornton in ‘Landman’ season 2 (Photo Credit: Emerson Miller / Paramount+)
On the oil business and his takeaway on those who work the fields:
Billy Bob Thornton: “One of the things that I learned, and I learned this on the first season, is I learned a lot about the people who actually work in the oil fields. I mean, the business part of it, I knew a little bit about already because I know some oil attorneys in Texas and stuff that I just happened to meet over the years. So, the business part I get.
What surprised me was how many people work in this very dangerous business because they’re mainly people who would never be able to make that much money in another business. Let’s say you’re a poor person; maybe you’ve been in prison, you grew up in a rough way, whatever it is, you can’t really get a job in any other place, but they’ll take people out there because the job is so dangerous. It’s not easy to get everybody to come do it. They’re willing to risk their lives or their limbs or whatever it is to take care of their families because they can’t get jobs anyplace else.
I didn’t realize how many people work in the oil fields who had either a criminal past or just a rough upbringing, or they’re destitute, have nowhere else to go. Because, you know, some of these people, they make $180,000 a year working these things and they could never do that anywhere else. I mean, they’d probably be working at a fast-food place, but they can actually make money for themselves and their families in this very dangerous job and they’re willing to do it. So, that was one of the things I learned.”
On working with Ali Larter who plays Tommy’s wife, Angela:
Billy Bob Thornton: “She’s not a whole heck of a lot different with me off screen. […] I’ve gotten to know her pretty well and so when we do scenes together, it really mirrors our life off-screen. So, it’s pretty easy to read. And I love those scenes with her. I really do. The great thing, I think, about the dynamic between those two characters is the fact that you know they love each other, even though they’re at each other constantly because they’ve been together a long time and know each other very well. They know each other’s tricks.
[…] We didn’t know each other before season one, but somehow, we just had this thing.”
Billy Bob Thornton as Tommy Norris and Ali Larter as Angela Norris in ‘Landman’ season 2 (Photo Credit: Emerson Miller / Paramount+)
On finding the truth in scenes, even when the dialogue is difficult to deliver:
Billy Bob Thornton: “[…] There’s an episode coming up when I read the scene and I was like, ‘You gotta be kidding me.’ Somehow, we made it real and we made it funny and we made it emotional. And it’s always dangerous with Ali, […] you never know when she’s going to hit me in the face. So yeah, sometimes I do see things and I wonder. It’s like, ‘How do we do this?’ What you have to do is you have to find a way to make it honest.
The thing about this show, and I think it may be why this show in particular has been the most successful show for Taylor, is because some of his shows, like Lioness is action, Yellowstone was drama. Landman has humor, it has absurdity, it has heavy drama, emotion, danger, all these different things. So, it kind of covers everything. And that’s the way the old movies were. You know, when we watched the movies of the ‘30s, ‘40s, ‘50s, ‘60s, they always had all of that stuff. I think that’s why people respond to it.
I think one of the charming things about these characters, all of them, is that they say exactly what they say. There’s no holding back. And at the end of the day, isn’t that what art is really supposed to be? Isn’t it supposed to be, there are no rules. There are no fences here. You know, Taylor writes something because that’s what he feels. He made this relationship with Ali and myself, and that’s how they are with each other.
So yes, he says those things to her. Would I say that to my wife? No. My wife is half Mexican, half Irish. I never piss her off. [Laughing] Well, no, I can’t say I never do. I try not to.”
On the reaction of the real oil community and how Landman plays in Texas:
Billy Bob Thornton: “We haven’t really seen this since, remember the movie Giant with Rock Hudson and Elizabeth Taylor and James Dean? I mean, since Giant, we haven’t really had a real look at the oil business. They had the show Dallas but that was a nighttime soap. I think this is the first thing since Giant that actually did show a look at it. And I’m always interested to see another world. I mean, it doesn’t matter what it is.
Sometimes if they beat it to death, you get kind of sick of it, you know? I mean, how many more horror movies are we going to have where the daughter suddenly becomes possessed in some house they buy in Vermont? You see her down the hallway and she has a white face and makeup dripping down or whatever. But, you know, this oil industry is an interesting thing to look at. It doesn’t matter if you like it or don’t like it. It’s just, this is the way it is, and here’s a look at it. Here’s a look at what happens to the people involved, the people on the periphery of it.
The oil people are very fond of it. I mean, every now and then you get somebody who comes up to you and they say, ‘Well, you would have never used that X14 wrench. You would have used an E32.’ And it’s like, ‘Dude, I don’t write the stuff. I just say it.’
And obviously, when you do anything, you have to take artistic license and maybe heighten the reality of it some way for audiences. You know what I mean? So, if you made an actual movie about the oil business and saw what they do, you might get bored after a little while if you don’t throw in some spicy stuff.
[…] But when you’re looking at a world, it’s not always exactly what it is. Because a movie audience is not going to respond to it if you just show what actually happens every moment.
I had this friend years and years and years ago, he was a very well-known homicide detective in Los Angeles, worked some of the bigger cases, like the Hillside Strangler and different things like this. He was a technical advisor on a couple of movies I wrote, and he said, ‘Have you ever watched a movie about a homicide detective and they’re always chasing somebody down the alley with a .44 Magnum?’ I said, ‘Yeah, and it’s always action.’ He said, ‘Here’s what a homicide detective actually does. They stay in their office, they go through phone bills, they look through receipts, they go visit families and question them and stuff like that.’
He said, ‘In all my years as a homicide detective, I’ve had my gun out of my holster twice, both times to change holsters.’
So when you watch movies about homicide detectives, if there’s action, it’s not reality. But, I mean, the good thing about this particular show is that there actually is, when we show the action stuff, that stuff really does happen. So, you know, we don’t stretch it that far.”
On the joy of returning for a second season:
Billy Bob Thornton: “I just loved doing the show. And the way it ended last season, it ended with a bang. Andy Garcia and I have known each other for years and years and years. We’re old friends, but it’s the first time we’ve worked together. That last scene with Andy and me excited me to see where that was going to go. And we found out, and it’s pretty cool.
Sam Elliott as T.L. and Billy Bob Thornton as Tommy in ‘Landman’ season 2 (Photo Credit: Emerson Miller / Paramount+)
On developing the father-son relationship with series newcomer Sam Elliott:
Billy Bob Thornton: “Once again, Sam and I go back to 1986, and we’d done two things together, both times it was two scenes. We always wanted to have something where we could be together on a daily basis, and it was just one of the joys of my life. I love Sam; I used to tell people that if I were a woman, I would have married Sam Elliott.
Sam and I know each other so well, it’s literally just two guys talking to each other. And my relationship with my father was very difficult. He and I have talked about that at length, and whatever that scene is, we just do it. It comes natural to us. He’s amazing, and I love every minute with him.”
On the partnership between Tommy and Cami:
Billy Bob Thornton: “It’s a little bit strained. I mean, I’m the one who knows how to do this. It’s fallen in her lap because of her husband’s passing, and she has a lot to learn. And when she says to me, ‘Well, if I don’t do this, how am I going to learn if you’re doing everything?’ I said, ‘Trust me, I know these guys. They’re not going to respond to you. They’re going to respond to me. They’ll give you all the, you know, easy deals. The hard ones are going to come to me.’
That’s really our relationship is me trying to explain to her that you kind of need to listen to me because I’ve been doing this a long time. And I know that you were with your husband through this whole thing, and you’re a smart person. You can handle it, but you have to have the information before you can do it.”
On what sets Tommy apart from other roles and how much of himself is in the character:
Billy Bob Thornton: “Well, a lot of me is in it because if I were an oil guy, I’d probably be kind of like that because I’m sort of playing myself in the thing. I can’t take much credit, and Taylor wrote it in my voice. And, you know, I have played characters before. The hardest characters to play are the ones where you have to learn technical stuff. I had to learn a little technical stuff for the oils business. But when I did Armageddon, I had to learn how to be the head guy in NASA. You know, you gotta talk to people. You gotta learn what this stuff means.
When I did Pushing Tin, I went to air traffic control school in Toronto. Those are the harder ones. But when you’re just playing a guy, you know, you just go out there and do it.”
CBS’s Tracker season three, episode four finds Colter (Justin Hartley) spending a little downtime in New Mexico. He’s lost in memories of his dad when Randy (Chris Lee) calls with a potential case. A woman named Gracie is searching for her boyfriend, Trey, and needs help.
(The following is a recap of season three, episode four and there are spoilers.)
The case is a couple hours away in Fort Morris, Texas, and even though Trey has only been gone 15 hours, Gracie seemed scared when Randy spoke with her. Colter takes the case and learns Trey is a veterinarian who didn’t show up for work. Gracie (Chelle Ramos) hasn’t been able to reach him after he missed their date the previous meeting. It’s not like him to ghost her.
It’s obvious Gracie’s holding something back, and she confesses he had more money recently. He never told her where it came from. Colter is her only hope, and the $10,000 she’s offering is all she has.
Randy discovers Trey’s phone last pinged at Bellwood Lodge, which seems to be a place he stays a lot. Randy also confirms Trey’s been making big cash deposits recently.
Reenie’s new assistant, Mel (Cassady McClincy Zhang), is super interested in Colter, and Randy says he has an algorithm that tracks reward offers on missing persons cases. If Colter’s near one, then Randy sends him the details.
Reenie (Fiona Rene) arrives looking hungover and wearing the same clothes from yesterday.
Colter steals a key and investigates Trey’s hotel room. There’s a gift box with a tag that reads Maggie and blood on the floor. Colter’s just barely started his investigation when the maid comes in, and it’s obvious she knows Trey. She doesn’t want any trouble but confirms the “Maggie” on the tag is the sheriff’s wife. The hotel manager walks in, asks Colter what he’s doing, and dismisses the maid. When Colter leaves, the manager calls someone and tells them a man is looking for Trey.
Colter fills Gracie in on what he’s learned, revealing he also found out her name is Maggie Holt and she’s the sheriff’s wife. She apologizes for lying and Colter recommends that she stay away from her husband. Maggie isn’t sure if he had anything to do with Trey’s disappearance.
Two deputies pick up Colter right after his meeting with Maggie, claiming they’re taking him to see Sheriff Holt. He quickly realizes he’s being taken out of town to be disposed of. Colter makes his move from the backseat, grabbing one of the men’s guns, punching him, and then leaping from the truck. They pull over and chase Colter but give up too quickly, believing he’s dead.
Colter’s hurt and thirsty as he walks through the hills without any cell phone service. He takes a bite of a cactus before continuing his trek, spotting cattle and a ranch. There’s a horse outside a house and he borrows it to get back to town.
Colter rides through the center of town and straight to Sheriff Holt’s house. He gets the drop on Holt (Patrick Gallagher) using a gun he took from Holt’s cabinet. Holt says he thought his wife had ended the affair and claims not to know about Trey going missing or about the men who just tried to kill Colter.
Colter informs Holt there are dirty cops working for him, and Holt doesn’t seem shocked. He hands Holt back his gun and Holt confesses he’s been suspicious about some of his guys. Holt doesn’t have the resources to do a thorough investigation but is certain evidence has gone missing. His deputies have taken pay cuts, and that probably led to them finding other sources of income.
Neither Holt nor Colter thinks Trey was working with the dirty cops. Holt has Colter look through files on his officers to see if he recognizes anyone. He points out Wade (Mac Brandt) and Cody (Zelman Gabriel). Holt believes they’re both working for Alonzo Diaz, who’s dealing drugs, running guns, and trafficking women. Alonzo is careful and so far, Holt hasn’t been able to take him down. That’s probably because he’s got Wade and Cody tipping him off when Holt gets close.
Holt and Colter head to the last place that Wade’s phone pinged and follow Wade as he drives off in his truck. Cody isn’t with them, but Colter hopes he’s heading to where they’re holding Trey. Wade stops at Trey’s veterinary clinic and Colter and Holt spring into action. They enter the clinic, guns drawn, and Wade starts shooting. Colter fires back and hits him in the shoulder, demanding to know where they’re holding Trey. Wade won’t say.
Colter sees the alarm’s deactivated, and the horse tranquilizers are missing. Wade continues to swear he doesn’t know where Trey is; he hasn’t heard from Cody in hours. Colter forces him to confirm they both work for Diaz, but they didn’t do anything with Trey. He claims Trey works for Diaz and they took Colter because they thought he was a Fed trying to flip Trey.
Wade says Diaz has quarter horses that Trey fixes up. Diaz pays him to keep his mouth shut about anything he sees.
Colter calls Randy to get into the BBQ restaurant’s security cameras across from the veterinary clinic. They see Trey pull up with a guy they can’t identify, but the car’s license plate is registered to Jimmy Ferris who doesn’t have a record. He was, however, a witness in a murder case that was sealed. Colter asks him to see if Reenie can open that case.
Holt puts out an APB on Jimmy Ferris, a nice kid who moved to town a year ago. Reenie discovers that Jimmy lost his mom during a shooting in which she was an innocent victim. Alonzo Diaz was involved in the investigation. Colter puts the pieces together and thinks Jimmy was following Trey to get to Alonzo, because he wants revenge on Alonzo. He took horse tranquilizers from Trey to use on Alonzo’s horses.
Jimmy holds Trey at gunpoint as Trey drives onto Alonzo’s property. They make it past the armed guards by claiming Jimmy’s a vet tech there to help hold the horses.
Colter and Holt watch the property from a safe distance and spot Trey’s car out front. Cody pulls up as they’re watching and Holt believes Cody’s going to tell Alonzo that Trey flipped, which he didn’t. They don’t have time to come up with a plan.
Colter and Holt sneak around the ranch and find Trey tied up and gagged in the barn. Trey’s shocked to see Holt there too, but Holt assures him they’re there to help. They can discuss Maggie later. Trey confirms Jimmy has been trying to get to Alonzo for years.
Colter has Holt stay with Trey as he heads to the house. Colter sees Jimmy’s holding Alonzo at gunpoint and tries to convince him to walk away. Jimmy tells Alonzo that he killed his mom and he wants to make him pay, but Colter warns him that Alonzo’s men will come running if he pulls the trigger.
Jimmy doesn’t care if he dies; he wants revenge. Colter reminds him that killing Alonzo won’t bring his mom back. Jimmy’s lowering his weapon when one of Alonzo’s men shows up. Colter takes him out as Alonzo and Jimmy shoot each other. Jimmy’s hit and Colter helps him out, taking down multiple members of Diaz’s crew. Only Cody remains, and Holt takes care of him.
Trey immediately begins working on Jimmy’s injury, assuring him he won’t let him die.
Later, the place is crawling with cops as Colter tells Jimmy that he told the sheriff that he shot Alonzo in self-defense. Jimmy’s not sure where he goes from here, now that Alonzo’s dead. Colter shares that someone told him it’s better just to let things go. He believes Jimmy will be okay.
Maggie apologizes to Colter for getting him into this situation. She and Holt will be getting a divorce, and she hands over the reward and thanks him for not quitting on her. “You’re a good man, Colter Shaw,” says Maggie.
Holt tells Colter he’s not going to stand in the way of Maggie’s happiness. They both think Trey just got caught up in something and should be okay if he tells the DA the truth. Colter hands Holt cash to give to the owner of the horse he borrowed. There’s a mutual respect that’s quickly built up between Colter and Holt, and Colter tells him not to hesitate to call if he needs anything.
Jeremy Renner as Mike McLusky and Hugh Dillon as Ian in ‘Mayor of Kingstown’ season 4 episode 3 (Credit: Dennis P. Mong Jr./Paramount +)
Paramount+’s Mayor of Kingstown season four, episode three opens with Mike (Jeremy Renner) arriving at Carney’s house, currently a busy crime scene. Over at the prison, Warden Hobbs (Edie Falco) tells the staff that Carney will be missed.
(The following is a recap of season four, episode three and contains spoilers.)
Kyle (Taylor Handley) is still suffering from the beating, barely able to stand up. Meanwhile, Cortez (Derek Rivera), the Colombian cartel member who shot Carney, is having a leisurely breakfast, and Robert (Hamish Allan-Headley) is cleaning his gun while drinking.
Mike and Ian (Hugh Dillon) watch as Carney’s dead body, eyes still open, is covered by a sheet. Mike leaves Carney’s place and visits his brother, informing him Carney was executed. Kyle’s shocked his lifeline within the prison just got whacked, but Mike tries to assure him it’s not connected to him. Mike doesn’t think Kyle has anything to worry about. Kyle confesses he’s never felt this helpless.
“Stay the course. We’ll get through this together,” says Mike. Next, Mike meets with prison guard Cindy Stephens (Laura Benanti) and tells her to forget everything they previously talked about. She needs to just keep her nose clean and put in the hours, like every other guard at the prison. Mike’s going to figure out another way to keep Kyle safe.
Bunny (Tobi Bamtefa) and Frank Moses (Lennie James) meet at a landfill, and Frank explains that he moves drugs through the trash carried away on trains. Government agencies don’t scan it or care about it. His drug business blends in with the garbage and no one is the wiser. Bunny’s impressed but wants to see every part of the operation before fully trusting Frank.
Their meeting is briefly interrupted with a call informing Bunny his guys on Grape St. took off this morning. Bunny wants them found ASAP.
Kyle’s in so much pain that he takes one of the pills Callahan smuggled to him.
Warden Hobbs’ right-hand man, David Torres (Clayton Cardenas), talks to Stevie (Derek Webster) and Ian about Carney’s murder, walking with them to Carney’s locker. Ian and Stevie obviously don’t like Torres, noting that he tries to look in Carney’s locker before they do. They dismiss him with a “f*ck off,” certain he’s fishing for details on Carney’s death and the investigation.
Carney’s locker is jampacked with junk, and Stevie finds drugs in his shoe. Ian tells Stevie to put it in his pocket as they pack up the rest of Carney’s belongings.
Tobi Bamtefa as Deverin “Bunny” Washington and Lennie James as Frank Moses in ‘Mayor of Kingstown’ season 4 episode 3 (Credit: Dennis P. Mong Jr./Paramount +)
Mike calls Bunny and asks if he or Raph had any side deals with Carney, informing him Carney was murdered. Bunny finally admits he has a guard (Kevin Jackson) inside and after Mike cusses about Bunny keeping that a secret, Mike demands a meeting with the guard. He needs to deal with the guard one-on-one, without Bunny as the middleman. After the call ends, Frank suggests that Bunny shouldn’t be worrying about the prison game anymore.
Bunny continues his tour of Frank’s operations, meeting with Frank’s guys in charge of different parts of Frank’s operations.
Mike, Ian, and Stevie meet at the diner, and it’s weird that they’re the last three of the group still walking around outside. (Robert’s basically on home confinement, Carney’s dead, and Kyle’s in prison.) They fill Mike in on what they found, including a burner phone in Carney’s locker. Plus, he had hash in his shoe. Mike thinks this is all a setup; Carney wasn’t organized or smart enough to keep this side business from them. Ian admits there’s something off about Torres, and Mike believes maybe he planted the stuff they found in Carney’s locker.
Mike is adamant that Carney wasn’t dealing drugs. He confesses he’s not sure what’s up with Warden Hobbs and asks Ian and Stevie to hold off on wrapping up the Carney investigation to make whoever did it sweat.
Later, Ian and Stevie call Mike from the Grape Street apartments, breaking the news that parts of Bunny’s guys were found in a meal delivery box. They believe it’s three bodies, but the heads and torsos are missing. Mike is certain the Colombian cartel is sending a message that they’re not satisfied with just the drug trade in prison; they want to be big players in Kingstown.
Ian and Stevie think Cortez, the Colombian cartel guy they let go, is staying put in his squat house or taking brief trips to the diner. (They’re unaware he killed Carney.) Mike thinks it’s time to bring in Bunny and let him take care of the situation. He calls Bunny and says it’s time for him to bring his hammer down.
Bunny tells Frank that the Colombians took out some of his guys.
Mike finds Shaver from the Aryan Brotherhood on the wrong side of town and beats him up while reminding him it’s not his territory. As if Mike doesn’t have enough on his plate, Rebecca calls to let him know Evelyn and Robert got into it at City Hall and there were witnesses. (Robert’s not supposed to go anywhere near the DA.)
Mike and Ian confront Robert at home, and Robert insists Evelyn spoke to him first. Robert makes the mistake of calling Kyle an incredibly derogatory term and Mike lets it slide, ordering Robert to stay at home and stop stalking Evelyn.
Basically, Kingstown is falling apart, Mike’s overwhelmed, and no one is safe at this point.
Kyle’s in the shower when Carol steps outside for a smoke. She briefly pauses by the guard, watching him before walking out.
Mike meets with Frank and Bunny, and Bunny declares that he’s going to kill the Colombians for chopping up his men. Frank insists he’ll get it done. He might have legitimate businesses, but he knows “how and when to get his hands dirty.” Frank’s right-hand man, LJ, confirms it’s true, but Bunny still wants to get his own revenge. Frank reminds him that as partners they are in this together, and he will avenge Bunny’s loss because it’s his loss, too.
Bunny sets up a meeting between Mike and his guard inside, Kevin Jackson (Denny Love), and Kevin confirms he will keep a close eye on Kyle at all times. Kevin promises to do his best, and Mike warns him they’re friendly-ish until he gives him a reason not to be. Kevin wonders if this is what got Carney killed and Mike says it’s not. Mike promises to look after him if he looks after Kyle.
Taylor Handley as Kyle McLusky in ‘Mayor of Kingstown’ season 4 episode 3 (Credit: Dennis P. Mong Jr./Paramount +)
Back in his cell, Kyle chats with Callahan (Richard Brake) about keeping his head down. Everything Callahan says is meant to make Kyle feel more comfortable confiding in him.
Mike shows up without an appointment to speak with Warden Hobbs, and Hobbs reminds him he needs to go through official channels from now on. Hobbs claims she’s sorry to hear about Carney’s death, but it has nothing to do with her prison. Mike lets her know the KPD investigation is ongoing and it may lead to Anchor. He watches for her reaction and warns her that Kingstown’s messy right now, which means that mess will come into the prison. Hobbs insists her prison is secure and as they talk, it’s obvious how much they dislike and distrust each other.
Ian catches up with Robert at the bar, and Robert’s already drunk, earlier than usual. Robert rants about Evelyn and how she’s taken everything from him. He also talks about how much he’s done for the McLuskys and how Mike doesn’t appreciate it.
Ian drives Robert home and learns that Robert’s wife left and took their kid. Robert’s been home alone, just drinking and sulking. Ian leaves when Robert passes out.
Frank asks if Bunny trusts him and chuckles when Bunny says he does, 60%.
The day ends and Torres tells Warden he believes “it’s contained now.” She claims she knows it is but then shakes while taking a few pills and making sure her gun is on the passenger seat of her car, readily available.
Kyle wakes and finds pills in a packet under his pillow.
Everyone gathers at the bar to pay tribute to Carney, and Carol takes a seat next to Mike. They toast to Kyle and Carney.
Season four episode three ends with two of Frank’s men pulling up outside the Colombian squat house, while inside the saws used to cut up Bunny’s guys are being cleaned in a bathtub. Cortez is in charge. Frank’s men head inside, shooting some cartel members and setting others (and the building) on fire. Dozens of men scurry out the back of the building.
Frank’s guys leave the building, and Cortez kills them. He stands and watches as they burn.
Two-time Emmy winner Tony Hale guest stars as a CEO on CBS’s Elsbeth season three, episode six. Directed by Nick Gomez, episode six—”Bunker Down”—will air on Thursday, November 13, 2025 at 10pm ET/PT.
Carrie Preston returns to star as the titular character. Wendell Pierce is also back as Captain C.W. Wagner for the series’ third season.
“Bunker Down” Plot: When a crisis manager vanishes inside a billionaire’s panic room, Elsbeth unravels the highly equipped fortresses that blur the lines between security and paranoia. Meanwhile, Elsbeth meets the late Judge Crawford’s widow, Winnie (Henny Russell).
Emmy Award winner Carrie Preston returns as Elsbeth Tascioni, the cunning yet unconventional consent decree attorney working with the NYPD to track down New York’s most well-heeled murderers utilizing her unique intuitive insight. The critically acclaimed series enters its third season with fresh cases, new characters, and unexpected challenges for Elsbeth and the 11th Precinct, led by her boss, Captain C.W. Wagner (Pierce).
CBS’s Ghosts season five, episode four welcomed back Trevor’s daughter, Abby (Gideon Adlon), who experienced the shock of her life when Sam let on that she sees ghosts. Abby’s now employed by Jay’s restaurant, and episode five will find Trevor discovering what it’s like to be a ghost girl dad. Episode five, “T-Daddy,” will air on Thursday, November 13, 2025 at 8:30pm ET/PT.
Season five stars Rose McIver as Sam, Utkarsh Ambudkar as Jay, Brandon Scott Jones as Isaac, and Richie Moriarty as Pete. Danielle Pinnock is Alberta, Asher Grodman is Trevor, Román Zaragoza stars as Sasappis, Rebecca Wisocky plays Hetty, Devan Chandler Long is Thorfinn, and Sheila Carrasco plays Flower.
“T-Daddy” Plot: Trevor’s relationship with his daughter is strained when he pushes her to follow a career in finance over poetry. Meanwhile, Jay confronts labor unrest at the restaurant. Rupinder Gill wrote the episode and Heather Jack directs.
Ghosts is a single-camera comedy about Samantha and Jay, a cheerful freelance journalist and chef from the city, respectively, who threw both caution and money to the wind when they decided to convert Woodstone Mansion, which Sam inherited, into a bed & breakfast—only to find it was inhabited by the many spirits of deceased residents who now call it home.
The departed souls are a close-knit, eclectic group that includes a saucy Prohibition-era lounge singer (Pinnock); a pompous 18th-century militiaman (Scott Jones); a ‘60s hippie fond of hallucinogens (Carrasco); an overly upbeat ‘80s scout troop leader (Moriarty); a cod-obsessed Viking explorer from 1009 (Chandler Long); a slick ‘90s finance bro (Grodman); a sarcastic and witty native from the 16th century (Zaragoza); and a society woman and wife of a 19th-century robber baron who is Sam’s ancestor (Wisocky), to name a few.
The opening of the B&B and Jay’s new restaurant are a source of intrigue, anxiety, and curiosity among the spirits, but they will gladly put up with the commotion as long as they can continue to interact with a living inhabitant.
Poster for the 2026 Grammy Awards (Photo Credit: CBS)
Kendrick Lamar tops the list of the 68th Annual Grammy Awards nominees, earning nine nominations in categories including Record of the Year, Album of the Year, and Song of the Year. Cirkut, Jack Antonoff, and Lady Gaga follow with seven nominations, while Bad Bunny, Leon Thomas, Sabrina Carpenter, and Serban Ghenea each collected six.
Andrew Watt, Clipse, Doechii, Sounwave, SZA, Turnstile, and Tyler, The Creator scored five nominations each. Winners will be announced during the 2026 Grammy Awards airing live from Los Angeles on Sunday, February 1st on CBS.
“The GRAMMY Awards are our opportunity to honor the people who make this community so vibrant and this year’s nominees remind us of the incredible talent that is driving music forward,” stated Harvey Mason jr., CEO of the Recording Academy. “From emerging talent to influential icons, these nominees reflect today’s broad and diverse musical landscape, and I am excited to celebrate them in the coming weeks ahead and on Music’s Biggest Night®.”
Eligible recordings were released between August 31, 2024 and August 30, 2025.
2026 Grammy Awards Nominees (Select Categories):
Record Of The Year
“DtMF” – Bad Bunny
“Manchild” – Sabrina Carpenter
“Anxiety” – Doechii
“WILDFLOWER” – Billie Eilish
“Abracadabra” – Lady Gaga
“luther” – Kendrick Lamar With SZA
“The Subway” – Chappell Roan
“APT.” – ROSÉ, Bruno Mars
Album Of The Year
DeBÍ TiRAR MáS FOToS – Bad Bunny
SWAG – Justin Bieber
Man’s Best Friend – Sabrina Carpenter
Let God Sort Em Out – Clipse, Pusha T & Malice
MAYHEM – Lady Gaga
GNX – Kendrick Lamar
MUTT – Leon Thomas
CHROMAKOPIA – Tyler, The Creator
Song Of The Year
“Abracadabra” – Lady Gaga, Henry Walter & Andrew Watt, songwriters (Lady Gaga)
“Anxiety” – Jaylah Hickmon, songwriter (Doechii)
“APT.” – Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Chae Young Park, Theron Thomas & Henry Walter, songwriters (ROSÉ, Bruno Mars)
“DtMF” – Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Benito Antonio Martínez Ocasio, Hugo René Sención Sanabria, Tyler Thomas Spry & Roberto José Rosado Torres, songwriters (Bad Bunny)
“Golden [From “KPop Demon Hunters”]” – EJAE & Mark Sonnenblick, songwriters (HUNTR/X: EJAE, Audrey Nuna, REI AMI)
“luther” – Jack Antonoff, Roshwita Larisha Bacha, Matthew Bernard, Scott Bridgeway, Sam Dew, Ink, Kendrick Lamar, Solána Rowe, Mark Anthony Spears & Kamasi Washington, songwriters (Kendrick Lamar With SZA)
“Manchild” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“WILDFLOWER” – Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
Best New Artist
Olivia Dean
KATSEYE
The Marias
Addison Rae
sombr
Leon Thomas
Alex Warren
Lola Young
Producer Of The Year, Non-Classical
Dan Auerbach
Cirkut
Dijon
Blake Mills
Sounwave
Songwriter Of The Year, Non-Classical
Amy Allen
Edgar Barrera
Jessie Jo Dillon
Tobias Jesso Jr.
Laura Veltz
Best Pop Duo/Group Performance
“Defying Gravity” – Cynthia Erivo & Ariana Grande
“Golden [From “KPop Demon Hunters”]” – HUNTR/X: EJAE, Audrey Nuna, REI AMI
“Gabriela” – KATSEYE
“APT.” – ROSÉ, Bruno Mars
“30 for 30” – SZA With Kendrick Lamar
Best Pop Vocal Album
SWAG – Justin Bieber
Man’s Best Friend – Sabrina Carpenter
Something Beautiful – Miley Cyrus
MAYHEM – Lady Gaga
I’ve Tried Everything but Therapy (Part 2) – Teddy Swims
Best Dance Pop Recording
“Bluest Flame” – Selena Gomez & benny blanco
“Abracadabra” – Lady Gaga
“Midnight Sun” – Zara Larsson
“Just Keep Watching (From “F1® The Movie”)” – Tate McRae
“Illegal” – PinkPantheress
Best Rock Song
“As Alive as You Need Me to Be” – Trent Reznor & Atticus Ross, songwriters (Nine Inch Nails)
“Caramel” – Vessel1 & Vessel2, songwriters (Sleep Token)
“Glum” – Daniel James & Hayley Williams, songwriters (Hayley Williams)
“NEVER ENOUGH” – Daniel Fang, Franz Lyons, Pat McCrory, Meg Mills & Brendan Yates, songwriters (Turnstile)
“Zombie” – Dominic Harrison & Matt Schwartz, songwriters (YUNGBLUD)
Best Alternative Music Album
SABLE, fABLE – Bon Iver
Songs Of A Lost World – The Cure
DON’T TAP THE GLASS – Tyler, The Creator
moisturizer – Wet Leg
Ego Death At A Bachelorette Party – Hayley Williams
Best R&B Performance
“YUKON” – Justin Bieber
“It Depends” – Chris Brown Featuring Bryson Tiller
“Folded” – Kehlani
“MUTT (Live From NPR’s Tiny Desk)” – Leon Thomas
“Heart Of A Woman” – Summer Walker
Best Rap Album
Let God Sort Em Out – Clipse, Pusha T & Malice
GLORIOUS – GloRilla
God Does Like Ugly – JID
GNX – Kendrick Lamar
CHROMAKOPIA – Tyler, The Creator
Best Country Solo Performance
“Nose On The Grindstone” – Tyler Childers
“Good News” – Shaboozey
“Bad As I Used Ro Be [From “F1® The Movie”]” – Chris Stapleton
“I Never Lie” – Zach Top
“Somewhere Over Laredo” – Lainey Wilson
Best Americana Album
BIG MONEY – Jon Batiste
Bloom – Larkin Poe
Last Leaf On The Tree – Willie Nelson
So Long Little Miss Sunshine – Molly Tuttle
Middle – Jesse Welles
Best Latin Pop Album
Cosa Nuestra – Rauw Alejandro
BOGOTÁ (DELUXE) – Andrés Cepeda
Tropicoqueta – KAROL G
Cancionera – Natalia Lafourcade
¿Y ahora qué? – Alejandro Sanz
Best Score Soundtrack For Visual Media (Includes Film And Television)
How To Train Your Dragon – John Powell, composer
Severance: Season 2 – Theodore Shapiro, composer
Sinners – Ludwig Göransson, composer
Wicked – John Powell & Stephen Schwartz, composers
The Wild Robot – Kris Bowers, composer
Best Pop Solo Performance Daisies – Justin Bieber
Manchild – Sabrina Carpenter
Disease – Lady Gaga
The Subway – Chappell Roan
Messy – Lola Young
Emmy nominee Tom Hiddleston promises we’ll see the Ice Age as we’ve never seen it before in Apple TV’s Prehistoric Planet: Ice Age. “Journey back a million years to the Ice Age. From the big freeze to the great thaw, life finds a way,” says Hiddleston, narrator of the latest chapter of the natural history series.
Executive produced by Jon Favreau and Mike Gunton, Prehistoric Planet: Ice Age will premiere on November 26, 2025. BBC Studios Natural History Unit produced the series, and Hans Zimmer, Anže Rozman, and Kara Talve for Bleeding Fingers Music wrote the original score.
A scene from ‘Prehistoric Planet: Ice Age’ (Photo credit: Apple TV)
Apple TV (which no longer goes by Apple TV+) offers this description of what you’re seeing in the trailer and can expect from the new chapter:
“The new trailer takes viewers into the Pleistocene era, millions of years after the extinction of the dinosaurs, as it has never been seen before. It features strange cycles of hot and cold that create shifting landscapes and a wide variety of mammals with complex behaviors, many resembling animals alive today, fighting to survive. Fans get their first look at clashes between woolly rhinos and saber-toothed cats, based on scientific knowledge gained from fur, soft tissues, and stomach contents preserved in permafrost and only recently discovered.
Alongside the era’s most iconic animals, like woolly mammoths and Dire wolves, viewers will explore five new astonishing habitats to encounter many incredible creatures that adapted to this strange new world, including the Columbian mammoth, a warm-weather relative of the woolly mammoth with curved tusks over 16 feet wide and sparse hair (Mammuthus columbi); 14-foot-tall bears, the largest to ever exist (Arctotherium angustidens); armadillos bigger than cars (Doedicurus clavicaudatus); and tiny elephant relatives (Stegodon sumbaensis) preyed upon by enormous giant storks (Leptoptilos robustus).
Reconstructed with the latest scientific knowledge, Prehistoric Planet: Ice Age combines current science with cinematic visuals to showcase the intelligence and complex social behaviors of the Pleistocene’s iconic species. This season will explore vast tundras, deserts, expanding grasslands, and melting permafrost as these creatures struggle for survival amid extreme climates, the beginning of The Big Freeze, and eventually, The Big Melt.”
Sarah Snook as Marissa Irvine and Jake Lacy as Peter Irvine in ‘All Her Fault’ (Photo by Sarah Enticknap/PEACOCK)
Emmy winner Sarah Snook (Succession) stars in Peacock’s gripping thriller All Her Fault, based on Andrea Mara’s bestseller. The eight-episode series premiered on November 6, 2025, and follows Sarah Snook as Marissa, a successful, self-made wealth manager whose young son, Milo, disappears while on a playdate with a classmate. Or at least that’s where Marissa and her husband, Peter (Jake Lacy, Apples Never Fall), believed their son to be until Marissa tries to pick him up and discovers he’s vanished.
Snook, who also serves as an executive producer, recently participated in a press conference in support of the Peacock series. Discussing the challenges of taking on the role, Sarah Snook said she needed to find a way to portray the reality of the traumatic situation.
“It is high drama, but like getting into this hysterical, histrionic overreacting … like finding the kernel of truth in these things. Like, ‘What is it like to have your child go missing? What is that like?’ For this person like that, that was the hardest thing to constantly make sure that we were delving down into what is the truthful version of this.”
Snook added, “We’re during the first read through and I write on the first page: ‘Must find different ways to cry.’ Because I was crying all the time, dealing with what’s happening. Finding different levels of like, ‘Okay, this is level 10. This is a guilt cry. This is a shame cry. This is a fear cry. This is a sorrow cry.’ You know, finding ways to create light and shade with a palette like that is tricky.”
Snook describes her character, Marissa, as ambitious, smart, and someone who’s made a name for herself in a male-dominated profession. She also loves being a mother. “[…] She definitely wants to be a parent and wants to be a mom, wants to be present as being a mom,” said Snook. “I think that’s something that’s a part of me as well. I mean, it probably doesn’t come out in this so much because of the content and the thriller aspect and what she’s dealing with. But I wanted to be able to play a character that is closer to me, in terms of warmth. [Who] is just naturally friendly and wants things to go well and has an intention to help that happen. Marissa has bad things happen to her. So, that’s what makes it an interesting story.”
Most parents can relate to momentarily losing sight of their child and the panic that ensues. Snook recalls that director Minkie Spiro shared her experience of when her daughter briefly went missing in a supermarket and the white-hot fear that followed. And as a mom herself, Snook can relate to that fear.
“I have had it just for a moment in that way. You sort of think that she was on this side. She turns out she’s on this side and gone. And you can expand that imaginatively into a world [where] it’s a couple of days. It’s a couple of nights. The worst can happen,” said Snook. “And watching the interviews of the parents who were pleading for the public to have any information. It’s just so raw. And so, it’s the worst thing that could ever happen, to have no knowledge of where the child is. So imaginatively, you go to the worst place, I guess.”
Sarah Snook as Marissa Irvine and Dakota Fanning as Jenny Kaminski in ‘All Her Fault’ (Photo by: Sarah Enticknap/PEACOCK)
Hot off the success of Succession, Snook was ready for something different. All Her Fault marks her first real thriller, which was part of her attraction to the series. “It had a really great twist that I was excited to be into,” explains Snook. “You engage with all the drama and all these scenes, and then also just playing a mom who is very successful and also wants to be a mom. Often, we see on screen women who are successful and then child rearing is kind of like a pain in the ass. But in this, she wants to be present for both. And how do you balance that?”
Marissa forms a close bond with another mom, played by Dakota Fanning, and it’s that female friendship that really stood out to Snook among the series’ themes. “That’s something that’s really strong and present in my life currently and something that I really lean on: female friendship. I think it’s really nice to see that on screen. We’re not sort of competitive women. You have a right to sort of get into a blame game of saying, ‘It’s her fault, it’s her fault,’ blah, blah, blah. And yet they don’t do that. They choose to stick together and be stronger for it.”
All eight episodes of All Her Fault are now streaming on Peacock. The series also stars Michael Peña, Sophia Lillis, Abby Elliott, Daniel Monks, and Jay Ellis.
