- Apple TV’s “For All Mankind” Takes Bold New Leaps in Space and Scope in Its Fifth Season (March 27, 2026)
It’s wild to think, going into the fifth season of Apple TV’s lush, sorely underrated science fiction series “For All Mankind,” that Ronald D. Moore‘s alt-history saga began with a simple premise: What if the Russians beat us to the Moon by just a few weeks back in the 1960s? In the seasons since, Moore, along with current showrunners Matt Wolpert and Ben Nedivi, has extrapolated a vastly divergent timeline from that simple fracture, including radical shifts in the political winds (a lesbian POTUS? A moon base by the 1980s? The USSR still standing strong in the 21st century?).
Now, in its fifth season, the show’s infamous time jumps have taken us to an alternative 2012 in which Mars has not only been colonized, but might well be on the cusp of asserting its independence from Earth. It’s not quite the near-future fantasism of “The Expanse,” but as the years go by, it’s getting pretty damn close. And, blissfully, it’s carried all of its human heartache, expansive scope, and staggering production values into that great beyond, as mankind reaches further out into the stars than ever before, bringing all of its relatable foibles with it.
After the usual flurry of news headlines that accompanies the start of a new season (including hilarious Easter eggs like a still-alive John Lennon and Jay-Z collaborating on the hit “Grey Album”), “For All Mankind” gets its wheels and asteroids spinning fairly quickly. Years after the Happy Valley colony hijacked the Goldilocks asteroid in Mars’s orbit and defied Earth’s greed, the Martian colonists live in an uneasy peace with their terrestrial neighbors (thanks to a multinational coalition called the M-6 that manages the colony, alongside Costa Ronin’s Russian governor, Leonid Polivanov). And, of course, it’s still 2012, so the kids are still doing flash mobs and “Gangnam Style,” even in space.
For All Mankind (Kevin Estrada/Apple TV)
Astronaut Ed Baldwin (Joel Kinnaman, rocking some of the show’s signaturely crunchy old-age prosthetics), now in his hobbling eighties, enjoys his final years in exile on the station, as a new crop of Martian kids—including his grandson, Alex (Sean Kaufman)—usher in the first generation of young adults who’ve grown up completely on the Red Planet. Meanwhile, Helios founder Dev Ayesa (Edi Gathegi) advances his plans to turn Mars into a self-sustaining colony, with none of those pesky supply runs from Earth required. On top of that, a small group of political activists, dubbing themselves the Sons and Daughters of Mars, and led by Season 4 man of the people Miles Dale (Toby Kebbell), begins murmurs of their own “Free Mars” independence campaign.
Like so many situations in “For All Mankind,” the colony is a powder keg just waiting for a match, and the first of many arrives in the form of a mysterious dead body found outside the habitat, which is quickly pinned on beloved Martian citizen (and North Korean defector) Lee Jung-Gil (C.S. Lee), who’s arrested by Martian peacekeeping forces (led by Mireille Enos, who gets to reunite with her “Killing” co-star Kinnaman this season). A hasty attempt to bust Lee out of prison sets off a chain of events that tests the Happy Valley colony more than ever before, forcing the hands of both Earth and Mars as the colonists begin a sincere bid to overthrow their Terran masters and strike out on their own.
Meanwhile, the spirit of exploration that dominated previous seasons of “For All Mankind” lingers, as Ed’s daughter, Kelly (Cynthy Wu), and Helios CEO Aleida Rosales (Coral Peña) begin a race to the next frontier: The moon of Titan, which might well be the first step in looking for new life in the universe. For all the domestic and, forgive me, terrestrial concerns that follow the show’s emphasis on Mars this season, it’s this eternal stretch further into the frontier that keeps the show’s bittersweet, humanistic idealism churning.
For All Mankind (Kevin Estrada/Apple TV)
As always, the show’s far-flung environs manage to stay grounded in the personal and political wrinkles of our age; this season touches on everything from immigration (intergalactic refugees known as “Craters,” so called because they sneak inside supply crates) to the threat of automation to the endless fight for workers’ rights. Corporations fight amongst each other to be the first to reach Titan, all while competing governments squabble for the fate of Mars and the people living on it.
And all of these concerns are informed by a rapidly expanding and shifting cast of characters as expansive as they are endearing; this far into the future from the show’s alt-’60s remit, it’s astonishing that Wolpert and Nedivi are able to realistically keep some of its oldest characters around, while introducing new faces each season who fit seamlessly into the show’s ornate fabric. (Alongside Kinnaman, we also see series stalwart Wrenn Schmidt as the now-imprisoned Margo, still dispensing advice to Aleida about her Titan mission.) Enos and Sanchez stand out as some of the best new faces this season, and Ines Asserson excels as a young Earth marine with a chip on her shoulder related to some complicated characters from previous seasons. Even Kebbell’s Miles grows in prominence and passion as an everyday guy thrust into a leadership role by sheer entropy.
For all the elegantly rendered visual effects and meticulous NASA-core production design of the show, what wows most is the incredibly relatable human drama that plays out in between. The show’s third episode is a heartstopper, a moment of transition that feels like the end of an era, not just for the families who’ve poured multiple generations into this story (the Baldwins, the Stevenses, the Dales), but for all of humanity. Love, loss, maturation, all of these things play out in the brittle walls of spaceships and extraterrestrial habitats as strongly as they always have. While this review can’t speak to the final two episodes of the season, the first eight episodes elegantly set up a conclusion that should speak to the show’s interest in human endeavor at both the micro and macro levels.
At the end of the day, “For All Mankind” is a lush testament to humanity’s dogged desire to better itself, whether in individuals and communities finding the strength to build something where they stand, or in braving the unknown. With knowledge that this is the show’s penultimate season, and a Russian-set spinoff, “Star City,” is on its way, it’s tempting to hope that the whole series will stick the landing. No matter where it ends up, it’ll be worth the ride.
First eight episodes screened for review. New episodes air Fridays on Apple TV.
- Shuffling and Whittling and Experimenting: Austin Keeling and Lam T. Nguyen on Editing the Told-on-Screens Film “Mercy” (March 26, 2026)
In “Mercy,” Chris Pratt plays a police detective accused of murdering his wife. It takes place in the future, when the judicial system is turned over to an AI “judge” played by Rebecca Ferguson. Until the final third of the film, everything takes place in a cyber-courtroom. He is trapped in a chair and has just 90 minutes to defend himself. But he has access to all the records, all the surveillance, and all the witnesses he wants. That means it all plays out on a gigantic screen. And that means the film’s editors, Austin Keeling and Lam T. Nguyen, had to make sure that the audience could try to solve the mystery by observing a lot of information — files, security camera footage, interviews — on that screen.
In an interview with RogerEbert.com, Keeling and Nguyen talk about that process, as well as finding ways to make audiences process a lot of information without getting lost in data.
This interview has been edited for clarity.
Everyone looks at screens all day. How do you overcome the audience’s screen fatigue and make looking at screens so vivid and involving?
AUSTIN KEELING: We ARE all looking at screens all the time, so keeping it fresh and interesting was definitely one of the biggest challenges. We got lucky that the script is about a murder investigation, so everything shown on the screens is directly linked to the central mystery. We made sure to justify the existence of each screen, only including it if it was connected to the detective work that Chris Pratt’s character engages in throughout the film. This draws the audience in, as each new screen presents a new clue or piece of information, allowing them to sleuth right alongside the main character.
LAM T. NGUYEN: Our objective was to create an immersive experience for our audience, and what sets this format apart is the incorporation of 3D elements in the screens. This unique hybrid format combines traditional filming techniques, screen-life elements, and 3D effects. During the editing process, we developed a digital camera that applied a blur (rack focus) effect and pan moves to our POV shots. This technique allowed us to establish a cinematic visual language that made the film entertaining and engaging, enabling our audience to follow the story effectively.
How do you direct our attention to what you want us to see and sneak information in the edges of what we see so we need to watch it again?
AK: Another huge challenge was juggling the massive quantity of assets in this film, both footage and graphics. We built the film by assembling “wide shots” of the Mercy courtroom and populating them with all the necessary assets for a given scene (footage of Judge Maddox, the courtroom background, video calls, security footage, websites, emails, etc.). We meticulously placed and animated each of these assets to exist in a master wide, and then created a “digital camera” to act as Chris’s POV. With this, we could zoom in and use keyframes to animate the camera to “look around” at various points in the room. This allowed us to focus the camera (and the audience’s attention) on key details throughout the Mercy courtroom while still retaining the extensive supplementary content at the edges.
LN: While editing this with our director, Timur Bekmambetov, we discussed that any important information should be placed in the center of the frame. We made a conscious effort to center everything important and then populate the surrounding screens afterward. We relied on our characters’ emotions to determine how quickly or slowly we looked at the screens. Since multiple screens are visible at any given time, everything has to be consistent and realistic to match the primary screen we are looking at. So there are definitely some easter eggs in there.
How do you balance what seems familiar or at least recognizable with some futuristic graphics that still have to be familiar enough for us to believe and process them?
LN: During pre-production, we explored all visual aspects of the film with Timur and the VFX team. There was a point at which things looked super futuristic and cool. However, Timur insisted on pulling that back and keeping it closer to our reality. Since the story takes place in 2029-2030, we wanted to advance the technology without straying too far from what we’re used to, so it’s more relatable for our audience when they experience the film. When I first met Austin, I brought up the Apple Vision Pro (since it was a new release at the time), and we used it as a baseline to develop the film’s visual language.
AK: We wanted to make sure that the Mercy chamber was not too far-fetched or futuristic (the film takes place only a few years in the future, after all). We played around with a bunch of different designs and animations, but ultimately the collaboration with Timur and the VFX team led us to a simple, unadorned style for most of the floating screens. Lam and I looked at the Apple Vision Pro early on as a jumping-off point for organizing and animating screens in 3D space. And all of the websites and video call formats are based on existing references. Essentially, we tried to keep a level of familiarity in the UI and functionality of the Mercy system so that audiences would believe in the scenario and ease into the chaos and tension of this world.
Chris Pratt stars as Chris Raven in MERCY, from Amazon MGM Studios.
Photo credit: Justin Lubin
© 2025 Amazon Content Services LLC. All Rights Reserved.
What do your home screens look like? Cluttered or very organized?
AK: I keep my home screen very clean and organized! I actually only have three folders on my desktop and nothing else. So the sequences in the film with all the screens of the Municipal Cloud flying past Chris were a fun challenge to tackle.
LN: I get annoyed if I leave a notification number on apps from my phone or laptop. I always try to clear out the notifications. I’m a minimalist, so my home screen is very organized. It’s the only way I’m able to focus, haha. However, my edit timeline can look very scattered and overwhelming at times, but I constantly clean up after every version of the edit.
What was your first conversation with Bekmambetov about the film like? What did he say his priorities were?
LN: Meeting Timur for the first time was an honor. He’s a true visionary who constantly thinks outside the box. I recall the first thing he told me was to do research on stock footage and user experience. He wanted the movie to be as authentic as possible. Our priority was also to focus on the story’s dialogue first, then populate it with visuals afterward. He provided a lot of trust in us and allowed us to explore various visions to present to him, and we would find a cohesive vision together.
AK: Timur was incredibly collaborative and trusting from day one. We had a general discussion about his vision for the film, and then he let us take a crack at putting together a pre-vis using stock footage, temp graphics, storyboards, and a table read Chris Pratt had done.
The main priority Timur had us focus on in this first pass was perfecting the rhythm of the back-and-forth dialogue between Chris Raven and Maddox, and using that as a backbone for the rest of the elements in the film. Lam and I built this version of the movie from the ground up (in less than three weeks!), and immediately started working with Timur to try out new ideas. We had daily discussions in which Timur would respond to the current edit and give us notes and experiments to try.
We continued to tweak the pre-vis right up until principal photography began, at which point the locked pre-vis cut served as a guideline for the shoot. Lam and I then began swapping out the temp assets for dailies as the footage came in. And once the shoot was over, we spent another 5 or 6 months in the editing room with Timur, shuffling, whittling, and experimenting with the materials we had to create the best version of the film possible.
How did you coordinate with Composer Ramin Djawadi?
AK: Working with Ramin was a great experience. We first worked with an Australia-based music editor named Rod Berling, who took some early ideas from Ramin (as well as material from his previous scores) and delivered temp score options for key sequences in the film. As we progressed and got notes from Timur, Ramin would send over more ideas and themes, which Rod then incorporated into his edits. It was a seamless process that allowed us to work with temporary music that tested many of the key sounds and themes Ramin eventually incorporated into the final score.
LN: Our initial meeting with Ramin was to discuss the emotions for each scene. So we reviewed our editor’s cut that had a temp score. Ramin provided his input and fresh insights on some scenes. Once he sent samples, they seamlessly integrated into the cut. Our notes were minimal, but he was an excellent collaborator.
How did you coordinate with the VFX team?
LN: Editorial and VFX had to work in complete unison at every stage of the edit. We developed a unique turnover workflow because each shot comprises 10 to 18 screens. While VFX for a single shot was manageable, replicating the visuals of the entire edit posed a significant challenge. Eventually, we established a workflow that became a true synergy for us. Our VFX Supervisor Axel Bonami, VFX Producer Bryony Duncan, and the entire VFX team were incredibly collaborative.
Timur, being a highly visual individual, insisted on approving the film’s visual aesthetics during the editing phase. Subsequently, VFX had to meticulously replicate every movement, rack focus, and edit placement. The VFX team demonstrated exceptional attention to detail and delivered an outstanding final look for the 3D glass effect, as well as the immersive, surreal environment they created.
AK: We worked very closely with the VFX team throughout the entire process, and we were lucky to have both Editorial and VFX in the same post house for the entire post-production timeline (first in Los Angeles, and then in Sydney). Because we were always making so many changes in the editing room, we had to communicate with VFX multiple times a day and continuously keep each other in the loop.
Almost no decision in the edit was made without input from the VFX side of the process; in fact, many of the biggest creative conversations on the film occurred in the editing rooms between Timur, Lam, and me, the producers, and the VFX team. Shout out to VFX Supervisor Axel Bonami and VFX Producer Bryony Duncan for being such great collaborators on this wild journey!
What movies did you see growing up that made you think about the role of the editor?
LN: I remember seeing “Memento” for the first time and being in awe of it. The film’s editing was masterfully crafted, and I studied it many times. That inspired me to become an editor. I admired Dody Dorn for editing that film and recall wishing it would be amazing to meet her someday. So it was very serendipitous that Dody jumped on board with our film at such a late stage in the process. She was complimentary about what Austin and I did, and she was amazing to work with, helping us get this film to the finish line. So we definitely want to give a shout-out to Dody Dorn to work on this film with us.
AK: That’s a tough one, but I guess it was the films I saw in the early 2000s that first made me notice editing and think about the art of filmmaking in general. Two movies that come to mind are “Requiem for a Dream” (for its very noticeable style and rhythm of editing) and “Magnolia” (for how it juggles and weaves together so many disparate storylines and characters).
What are you doing next?
AK: I’m still waiting for another movie to come my way, but when I’m not editing, I am the co-founder of an LA-based immersive theater company called E3W Productions. I’m currently developing two immersive theater activations in New Orleans and Los Angeles later this year.
LN: Currently, finishing up a feature called “Drifter” with Director/Actor Sung Kang (the “Fast and Furious” franchise). I’m very excited for the film once it comes out, as we are doing a unique marketing push for it.
- Netflix’s “Jo Nesbø’s Detective Hole” Feels A Bit Overstuffed (March 26, 2026)
If the Netflix Norwegian crime thriller series “Jo Nesbø’s Detective Hole” had been packaged into five or even six episodes, it might well have been masterful. Stretched over nine long chapters and stuffed with a dizzying array of subplots, the production stalls a bit in the middle and occasionally turns down some side roads that result in dead ends—but it’s still an effectively grisly and beautifully mounted effort, with superb performances from the ensemble cast.
About that title. If you’re a fan of the suitable-for-adaptation fiction known as Nordic noir, e.g., Stieg Larsson’s “Millennium” series (which became “The Girl with the Dragon Tattoo” film trilogy), the Kurt Wallander novels, et al., you’re no doubt familiar with the works of Jo Nesbø, whose books have sold more than 50 million copies worldwide. The emotionally tormented Oslo police detective Harry Hole (pronounced “HAH-ree, HOO-leh”) has been at the center of more than a dozen Nesbø novels. Michael Fassbender portrayed Hole in the disappointingly underwhelming 2017 film “The Snowman,” which was plagued by production problems.
Nesbø is the creator and writer of what appears to be the first season of “Detective Hole” (it ends on a terrific cliffhanger), with the fifth novel in the Harry Hole series, “The Devil’s Star,” as the primary source material. A perfectly cast Tobias Santelmann delivers electric work as the brilliant but brooding, self-destructive Hole, who seems more comfortable at a crime scene than he does having a cup of coffee with a friend, while Joel Kinnaman is equal to the task as Hole’s police colleague, the ambitious and chillingly duplicitous Tom Waaler.
Harry Hole. (L to R) Ingrid Bolso Berdal as Ellen Gjelten in Harry Hole Cr. Courtesy of Netflix © 2024
Also contributing greatly to that Nordic noir vibe: the use of dozens upon dozens of iconic Oslo locations, showcasing both the brightest and most lush as well as the dark and trash-lined underbelly of the city; a steady, blood-spattered stream of gruesome kills; and a typically effective and atmospheric score from the famed duo of Nick Cave and Warren Ellis (“Hell or High Water,” “Wind River,” “Blonde”).
After an expertly filmed and shocking chase scene that opens the series, we fast forward some five years to the present day. Harry is still obsessing over the unsolved bank heist that precipitated that chase sequence, but he’s in a relatively good place. He has a strong bond with his likable, free-spirited partner, Ellen (wonderfully played by Ingrid Bolsø Berdal). He’s been sober for a healthy stretch of time. And he’s in a promising relationship with a single mother named Rakel (Pia Tjelta, outstanding)—though it’s going to take some effort for Harry to break through to Rakel’s adolescent son, Oleg (Maxime Baune Bochud).
Still, things are already beginning to unravel, both in Oslo and in Harry’s world. Rival gangs are bringing an unprecedented level of firepower to their turf wars. Harry has suspicions about the high-ranking Waaler, who flaunts his wealth (he makes a half-hearted claim about some kind of inheritance) and exudes menace even when he smiles in your direction. The body count starts to pile up, and it appears some of the murders are the work of a serial killer who leaves a trademark red diamond with his victims. (We don’t see the killer, but we hear his voice, in Swedish, repeating the same mantra: “Open your eyes. It’s a simple pattern. A red guiding star, a five-pointed devil’s cross, will show you the way.”)
Harry Hole. (L to R) Joel Kinnaman as Tom Waaler in Harry Hole Cr. Courtesy of Netflix © 2024
We’re introduced to a green but promising journalist (Kelly Gale, doing what she can with an underwritten role) who is assigned to cover an unsolved murder case. Harry is haunted by nightmares in which the bloodied victims come to life. The great Peter Stormare enters the picture as a gang leader. We are treated to needle drops such as Warren Zevon’s “Werewolves of London” and Wovenhand’s cover of “Ain’t No Sunshine.” A man who wears a clerical collar is having a clandestine love affair in Prague and may or may not be up to something nefarious.
You can see what I mean about the “overstuffed” thing. Swirling close-ups of fountains and sculptures reflect the series’ twisted funhouse-mirror atmosphere. An oppressive heat wave magnifies the escalating gang wars, while the night is often bathed in cleansing, heavy rains. This series vibrates with mood. Strong female characters abound in supporting roles, but at its heart, this is a hard-boiled two-hander pitting Santelmann’s flawed but redeemable Harry against Kinnaman’s complex and icily efficient Tom, who truly believes the end justifies the means. If “Jo Nesbø’s Detective Hole” continues (there’s certainly a wealth of material to be mined from the novels), it could upgrade from good to great if it goes a bit leaner, a bit more focused. All the pieces are in place.
Whole season screened for review. Currently streaming on Netflix.
- “Daredevil: Born Again” Stays Blind to the Cultural Moment in Season 2 (March 25, 2026)
The finale of “Daredevil: Born Again’s” first season couldn’t have arrived at a more opportune moment. What began as a cat-and-mouse game between vigilante Daredevil/Matt Murdock (Charlie Cox) and drug-lord Wilson Fisk/Kingpin (Vincent D’Onofrio) has escalated into a full-fledged political thriller, with New York City descending into a fascist state under its criminal mayor—a development that eerily mirrors the start of the current Trump 2.0 era. The MCU’s New York has started to unnervingly mirror our own bleak and broken American system, starting with Fisk’s establishment of an anti-vigilante task force akin to ICE, and working-class citizens attempting to expose his crimes against the city and its residents, with no prevailing hope.
“Born Again’s” sophomore season offers some catharsis in a more narratively focused, albeit weaker, follow-up that shares a closer identity with the original Netflix series, for better and for worse.
The season’s opening scene follows Matt preventing a ship that’s smuggling illegal arms for Fisk’s Anti-Vigilante Task Force (AVTF), which reignites their rivalry. He and Karen Page (Deborah Ann Woll) have rekindled their romance and are working with a small team—NYPD officer Cherry (Clark Johnson), journalist BB Urich (Genneya Walton), and Murdock & McDuffie lawyer Kirsten McDuffie (Nikki M. James)—to take down Fisk’s operation.
L-R: Wilson Fisk / Kingpin (Vincent D’Onofrio), Vanessa Fisk (Ayelet Zurer), and Mr. Charles (Matthew Lillard) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Jojo Whilden. © 2025 MARVEL.
Meanwhile, an uprising grows in New York’s underworld, sparked by an anonymous video whistleblower who wears a Fisk mask in the Guy Fawkes style. Additionally, more innocent citizens beyond his anti-vigilante initiative—critics, journalists, people he had petty grievances with—are imprisoned at a secret detainment camp. When Dex/Bullseye (Wilson Bethel) has a change of heart and sets his sights on Fisk and his people, everyone is thrown off balance.
As Matt and Karen clash over moral compasses and the situation escalates, even Jessica Jones (a still commanding Krysten Ritter) gets pulled back in to help take back New York City.
In “Born Again”’s first season, showrunner Dario Scardapane struggled to reestablish the Man Without Fear within Disney’s newly minted TV-MA MCU while properly integrating him into the wider universe. The lack of connective tissue remains distracting in this sophomore season. Not due to forced Disney synergy, but a lack of acknowledgement of the expansive universe. The Mayor Fisk regime exists almost entirely in Daredevil’s self-contained world, which feels increasingly implausible given its scale, the heroes who occupy it, and the recent events that have occurred in-universe. Fisk’s NYC is too widespread to be illustrated in isolation.
That disconnect is hard to ignore, especially after the first season’s Yousef Khan-centric (Mohan Kapur) bottle episode and last year’s “Thunderbolts” climax set in the supposed Fisk-run NYC. Heck, Valentina Allegra de Fontaine gets a brief nod, and that’s the best you get of a New Avengers mention. Add to that the upcoming NYC-set “Spider-Man: Brand New Day” featuring The Punisher/Frank Castle (Jon Bernthal), who is often mentioned here but has no onscreen presence, despite being a prominent player last season. While there’s value in keeping the narrative focused, this amount of negligence upon integration across its current timeline weakens the already tenuous continuity. But don’t worry, Punisher’s upcoming TV special surely will bridge the gap between events because that’s what the MCU always does.
The series continues the first season’s sins of integrating far too many dull players who hardly contribute to the overarching plot, or of once-interesting characters turning boring due to weak characterization, or of favoring new, unnecessary players. For example, Matthew Lillard’s Bugs Bunny-esque CIA power broker, Mr. Charles, is a fun, intimidating addition that taps into his current “Lillard-issance,” but he contributes nothing to the overall plot. While the wider city’s involvement adds scope, the characters themselves feel stuck, making the heightened stakes ring hollow.
L-R: Jessica Jones (Krysten Ritter) and Matt Murdock / Daredevil (Charlie Cox) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Jojo Whilden. © 2025 MARVEL.
There’s a positive promotion of the original series alums: Woll’s Karen takes on a more prominent role, reigniting the fierce, strong-willed passion absent last season. Bethel’s Bullseye is a star scene-stealer, as his face turn is as exciting and fun as you can imagine—like seeing the best player in the league you’ve grown to hate join your home team. Then. Though this season is keen on reestablishing the long-awaited return of Jessica Jones, it comes belatedly, and the writing doesn’t do much work to cohesively bring her back to the fold, despite Ritter’s warm return.
Stakes do escalate in “Born Again,” season 2, leading to shocking developments, well-choreographed bloody action scenes, and solid surprises. However, much of it is lackluster due to the lack of meaningful new challenges for Matt. It’s frustrating to see the writers fall back on his no-kill rule against a climate eerily reflective of our own, and at his low point. While Fisk and his ICE-like regime rack up an undeniable body count—detaining innocent citizens under the guise of realism—Matt still clings to lawfulness as his path to justice. It’s true to his character, but after over a decade of following these characters on two different streaming services, the Matt–Fisk chess match feels exhausted, spinning its wheels and only reinforcing that stagnation.
Even with Cox and D’Onofrio at the top of their game, their ongoing moral debates no longer evolve. Matt continues to project his rigid definition of justice onto other vigilantes, or even on Karen, who are arguably more effective. Despite his losses—Foggy, a city under siege—he remains the same “dastardly do-gooder,” as the Fawkes-Kingpin frames him, which feels misaligned with the story’s urgency. The repetition extends to the structure itself, with each episode relying on the same intercutting juxtaposition between Fisk’s cruel commands and Matt and Karen’s resistance during heightened story turns. Even as the series draws on one of the 2020s’ most defining real-world events to frame its finale, it rarely strays from familiar ground.
In the end, as “Daredevil: Born Again” season 2 mirrors our current fascist moment while hinting at triumph, its restrictive character writing and dull, self-contained storytelling result in a middling, slow-building season—one that feels more promising for what’s on the horizon than what it delivers now.
Whole season screened for review. Airs Tuesdays on Disney+.
- Ebertfest Announces Expanded Lineup, Special Guests, and Final Festival Programming for “The Last Dance” Edition (March 24, 2026)
Roger Ebert’s Film Festival, widely known as Ebertfest, has announced additional programming, special guests, and updated film selections for its 27th and final edition, “The Last Dance,” taking place April 17–18, 2026, in Champaign, IL. Presented by Century Law Firm, this milestone year marks a poignant farewell to one of the most beloved film festivals in the country, celebrating a legacy rooted in empathy, storytelling, and the communal power of cinema.
In tribute to Roger Ebert and his enduring commitment to championing bold, personal filmmaking, the festival will also screen Chili Finger, a dark comedy set in and around Ebert’s hometown. When Jessica Lipki discovers a severed finger in her chili, she seizes the chance to blackmail a fast-food chain only to attract dangerous attention .Directed by Edd Benda and Stephen Helstad, the film stars Judy Greer, John Goodman, Sean Astin, Bryan Cranston, and Madeline Wise. Greer and Goodman will be in attendance for a live Q&A following the screening.
Jordan Peele’s Academy Award-winning thriller Get Out will screen as part of the program, with special guest Lil Rel Howery in attendance. The film follows Chris, who accompanies his girlfriend Rose for a weekend visit to meet her parents, only to uncover a series of increasingly disturbing revelations that lead to a shocking and horrifying truth. Directed and written by Jordan Peele, the film stars Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, and Caleb Landry Jones.
Continuing its tradition of spotlighting films grounded in humanity and emotional connection, the festival will present a screening of Bob Trevino Likes It, the critically acclaimed feature from writer-director Tracie Laymon. The film stars Barbie Ferreira and John Leguizamo, alongside French Stewart, Rachel Bay Jones, and Lolo Spencer. Inspired by a true story, the film follows Lily Trevino, a young woman navigating abandonment and emotional isolation, who forms an unexpected and transformative friendship with a stranger online. Laymon and Stewart will attend the festival for a post-screening Q&A.
Additional programming highlights include Charliebird, marking the feature directorial debut of Libby Ewing, from a script by Samantha Smart, who also stars and produces. The film follows a music therapist who forms an unexpected bond with a young patient, unlocking the buried grief of her past in a journey of connection, loss, and healing. Smart will attend as a special guest. The film is presented in partnership with the Alliance for Inclusion and Respect.
The festival will also showcase Mi Familia, the landmark multigenerational drama from Gregory Nava, who returns to the festival as a special guest for the third time, having previously participated in a Selena screening in 2018 and the 2019 Chaz and Roger Ebert Symposium focused on Latinx representation. The film tells the story of a second-generation Mexican immigrant who narrates his family history, beginning with the journey of his father, Jose, across Mexico to Los Angeles where he meets Maria and starts a family. Each subsequent generation contends with political and social hardships, ranging from illegal deportations in the 1940s to racial tensions and gang conflicts in the 1960s and 1970s. Yet through it all, the family remains strong, bound together by resilience, love, and shared history. The film stars Jimmy Smits, Esai Morales, Jennifer Lopez, Edward James Olmos, and Constance Marie, with narration by Olmos.
The Last Movie Critic, directed and written by Luke Boyce and Michael Moreci, with Jennifer Shelby serving as Executive Producer and Chaz Ebert, Nate Kohn, and Brett Hays producing, will screen at Ebertfest as a special local tie and tribute to Roger Ebert. The film is a documentary portrait of Ebert—not just the critic, but the idea he became. Through the voices of filmmakers he championed and the words he left behind, it explores how one man’s deep and abiding love for cinema became a gift to audiences everywhere, serving as a celebration of movies, empathy, and the belief that what we watch together can make us more human.
Rounding out the lineup is a special presentation of The General, the silent-era masterpiece starring Buster Keaton. One of the most revered comedies of the silent era, the film follows Southern railroad engineer Johnny Gray, who must pursue Union soldiers after his train—and his beloved Annabelle Lee—are taken during the Civil War, leading to a series of inventive and daring comedic set pieces. The screening will be accompanied by a live performance from The Anvil Orchestra, offering audiences a rare opportunity to experience the film as it was originally intended.
“This festival has always been about celebrating the power of film to bring us together. To inspire empathy, spark conversation, and remind us of our shared humanity,” said Chaz Ebert, co-founder of Ebertfest. “Roger believed deeply in the movies as a bridge between people, and I think he would be so pleased to see that spirit carried forward for 27 years. As we take this final bow, we do so with immense gratitude for the artists, the audiences, and the community that made Ebertfest what it is.”
The final edition of Ebertfest will spotlight headline talent alongside their films, elevating the overall impact and creating a more dynamic experience for both audiences and press. Renowned organist Dr. Steven Ball also returns, bringing his signature musical interludes between screenings With a carefully curated lineup that reflects its founding principles, “The Last Dance” promises to be a meaningful and celebratory sendoff to nearly three decades of championing great storytelling.
Ebertfest passes are currently available for purchase online or by calling the Virginia Theatre box office at 217-356-9063. An Individual Reserved Seating Festival Pass, which includes admission to all films, is $150 plus a $9.00 processing fee per pass. A Reserved 1-Day Festival Pass is available for $75.00 plus a $6.00 processing fee. Individual Reserved Seating Tickets are $20.00 plus a $3.00 processing fee per ticket. Individual film tickets will go on sale April 1, 2026 at 10:00 a.m.
Roger Ebert was a Pulitzer Prize-winning film critic for the Chicago Sun-Times, University of Illinois journalism alumnus, and Urbana native.
Chaz Ebert is also the author of the indie bestseller It’s Time to Give A FECK: Elevating Humanity through Forgiveness, Empathy, Compassion, and Kindness.
Ebertfest is hosted by Chaz Ebert and Nate Kohn, the festival director since the very beginning.
To become a supporting Festival Sponsor please contact Sonia Evans – sonia@ebertdigital.com.
For additional information, please visit https://ebertfest.com/ and follow us on social media:
Facebook: https://www.facebook.com/Ebertfest/
Instagram: https://www.instagram.com/ebertfest/
- New Trailer for Science Saru's 'The Ghost in the Shell' Anime Series (March 28, 2026)
Motoko Kusanagi is back! And ready for more action on the streets of Japan. Bandai Namco has revealed another exciting 45-second teaser trailer for a new version of GITS titled simply The Ghost in the Shell (with "the" in the title this time). From the acclaimed animation studio Science Saru, this is a brand new animated TV series version of the iconic sci-fi series Ghost in the Shell, which comes from a manga that has been turned into many movies & series already (here's the first teaser for this series from a few months ago). Beginning with Shirow Masamune's 1989 manga, The Ghost in the Shell, the franchise has since transcended media boundaries, expanding into mediums like anime, a live-action Hollywood film (remember or did we all forget it already?), and video games. Motoko Kusanagi, also known as Major, returns again battling more cybercrime. With animation from Science Saru (Inu-oh, The Colors Within, Scott Pilgrim Takes Off, Dan Da Dan). The fresh anime arrives in Japan as a TV series launching in July 2026 - as a Prime Video exclusive which hopefully means viewable in the US as well. This was revealed as part of the AnimeJapan 2026 event happening now. So far so good, I'm really digging all this new footage and the new look of The Major. Enjoy. // Continue Reading ›
- Bonkers Fun Teaser for RuPaul's 'Stop! That! Train!' Disaster Comedy (March 27, 2026)
"As if this day couldn't get any worse!" 🚂 Get ready for some bonkers train zaniness. Bleecker Street has revealed the first look teaser trailer for a new campy comedy called Stop! That! Train!, a flashy and fancy and funky new comedy about two train stewardesses. This entertaining new creation from director Adam Shankman and creator RuPaul is hitting theaters in June right in the middle of the summer. All aboard! Two train stewardess BFFs switch from a dull railway to the luxurious Glamazonian Express. During a massive storm, they must work with snooty first-class crew and President Gagwell to prevent a disaster in LA. The train might derail and crash into Los Angeles, so they must join forces with snobby first class attendants to save the day and keep the train on the right track. Or something like that! Even the title is fun. Stop! That! Train! stars Ginger Minj and Jujubee, with Symone, Brooke Lynn Hytes, Marcia Marcia Marcia, RuPaul, also Joel McHale, Chris Parnell, Natasha Leggero, & Jesse Tyler Ferguson. Plus Sarah Michelle Gellar and many others. Even the poster is funny with that snake-like train. Have a look below. // Continue Reading ›
- Xochitl Gomez in Creepy Kids at the Playground Thriller 'Hive' Trailer (March 27, 2026)
"Miss Sasha, it's so dark in here." Tubi has revealed the official trailer for an indie horror thriller film titled Hive, releasing for streaming (entirely for free!) on Tubi starting in April. Hive is based on Felipe Vargas' 2024 short film of the same name, extending the concept into a full feature film. When a strict, anxious teen loses the child she’s babysitting, she’s forced to confront a dark sinister presence hiding among playground children as her grip on reality slips. Very interesting creepy kids concept. As her world unravels and her grip on reality starts to slip, she must outwit a world where nothing is as it seems, to make it out alive. Starring Xochitl Gomez (from Doctor Strange: Multiverse of Madness) as Sasha, Aaron Dominguez, Zenobia Kloppers, Victoria Firsova, Tanya van Graan, Jenny le Roux, and Thulani Nzonzo. Well this looks properly wacky! Keep an eye out for this if you're into crazy weird low budget horror flicks. These kids are oh so creepy! This honestly looks like an SNL fake trailer but it also seems like it will be a fun watch anyway. // Continue Reading ›
- Callum Turner & Riley Keough in 'Rosebush Pruning' Official Trailer (March 27, 2026)
"Blood is not only a thing that can turn you on, but also a thing that can set you free – from us." Mubi has revealed their official trailer for peculiar dark comedy called Rosebush Pruning, the latest film made by the extra kooky Brazilian filmmaker Karim Aïnouz. This just premiered at the 2025 Berlin Film Festival a few months ago but it ended up with the worst reviews of the festival (I also hated it). This one's a dud. Alas Mubi is planning to give it a release anyway for anyone still intrigued. A tedious film about rich people. In an opulent villa beneath the Catalonian sun, American siblings Jack, Ed, Anna and Robert wallow in their isolation as well as a great inherited fortune, eschewing the demands of their blind father, and seeking love and validation through each other and their latest designer clothes. When Jack, eldest brother and linchpin of this family, announces that he is moving in with his girlfriend Martha, blood ties are severed and Ed is forced to uncover the truth surrounding their mother's death. Starring Callum Turner, Riley Keough, Jamie Bell, Lukas Gage, Elena Anaya, Tracy Letts, with Elle Fanning, & Pamela Anderson. This reminds me of Glen Powell's How to Make a Killing, but nowhere near as good – way too wacky and messy. // Continue Reading ›
- Official UK Trailer for 'The Wizard of the Kremlin' Starring Paul Dano (March 27, 2026)
"They're vicious animals. They come from the void." Signature Ent. & Gaumont have debuted a new official trailer for the film The Wizarrd of the Kremlin, an English-language feature film from French director Olivier Assayas about Putin and his lackeys. This first premiered at the 2025 Venice Film Festival last year, and also played at the Toronto, San Sebastian, Busan, Zurich Film Fests. A young Russian artist becomes an unlikely advisor to Vladimir Putin as takes power in post-Soviet Russia, navigating the era's complexities & chaos. The film tells the story of Vadim Baranov, played with calm and cool by Paul Dano, a sharp young man who becomes the top propagandist and advisor to Vladimir Putin when he rises in Russia as President in 2000. It's a remarkable inside look at how power dynamics, corruption and manipulation work within the top echelons of Russia's government. Also starring Jude Law as Putin, Alicia Vikander as Ksenia, with Jeffrey Wright, Tom Sturridge, Will Keen, and many others. I saw this film in Venice last year and it's exceptionally interesting, showing how everything really is about power and control and manipulation. This is a good trailer showing how enormous and chilling the whole structure is – with Paul Dano's meticulous performance leading the way. Opens soon in the UK starting in April but still has no US release date set yet. // Continue Reading ›
