More than two decades after Star Search  last crowned future stars and crushed hopeful dreams on network television, the iconic talent competition has officially entered the Netflix era. The Star Search  premiere arrived with glossy production values, real-time audience voting and a judging panel that, on paper looked like a group chat gone rogue. And yet, against all odds, the reboot’s first night mostly worked. In a TV landscape already oversaturated with singing competitions, dance-offs and emotional backstories edited to within an inch of their lives, Netflix’s Star Search  reboot had one major question hanging over it: does the world actually need another talent show? Based on Night 1, the answer is… maybe? At the very least, it’s entertaining enough to keep us watching, which is more than can be said for some of its genre peers. Hosted by Anthony Anderson, who brings dad-joke energy and professional crowd-wrangling skills, the Star Search  premiere kicked off with head-to-head matchups across four categories: Junior Music, Dance, Variety and Music Group. Judges Jelly Roll, Sarah Michelle Gellar and Chrissy Teigen evaluated each face-off, while viewers at home voted in real time to decide which acts would advance. Stakes were clear, nerves were high and yes — bodily function jokes were made. A Judging Panel That Shouldn’t Work (But Does) When the judging trio was first announced, skepticism was understandable. Jelly Roll, a country-rap artist with unfiltered honesty; Sarah Michelle Gellar, an actor best known for slaying vampires; and Chrissy Teigen, professional internet personality. Somehow, though, the chemistry clicks. Teigen plays the surprisingly insightful comic relief, Gellar emerges as the toughest critic in the room (is anyone surprsied) and Jelly Roll delivers earnest reactions and unforgettable one-liners that feel refreshingly unproduced. This balance gives the Star Search  premiere a looser, more human vibe than many hyper-polished competition shows, a smart move for Netflix as it tries to modernize a legacy brand. Junior Music: Raw Talent Meets Stage Fright The night opened with Junior Music, pitting two impressively young performers against each other. Eric Adrien Williams, already a Broadway veteran at 11 years old, delivered a confident, soulful take on a Jackson 5 classic. While nerves peeked through at the start, his charisma and vocal control won over judges and viewers alike. His competitor, Blair Kudelka, brought country charm and serious vocal chops but her performance wavered under pressure. The talent was undeniable; the execution, less so. In the end, Eric edged out the win, becoming the Star Search  premiere’s first advancing act, a feel-good moment that set the tone for the night. Star Search Live. (L to R) Eric Adrien Williams, Anthony Anderson in episode 101 in Star Search Live. Cr. Kit Karzen/Netflix © 2026 Dance: Precision vs. Visual Poetry Dance crews took over next, offering two wildly different interpretations of movement. Movement 55 came out swinging with an aggressive, high-energy routine packed with flips, splits and synchronized intensity. It was powerful, polished and undeniably physical, the kind of performance designed to impress in a competition setting. Ladymetry, a Paris-based crew, countered with a more conceptual approach, using geometry, body shapes and clever costuming to create striking visual illusions. It was artsy and hypnotic, if slightly less explosive. Viewers ultimately favored Movement 55’s raw athleticism, sending them through to next week, though Ladymetry left a strong artistic impression that deserved respect. Star Search Live. (L to R) Movement 55, Anthony Anderson, Ladymetry in episode 101 in Star Search Live. Cr. Kit Karzen/Netflix © 2026 Variety: Magic Still Has a Place The Variety category reminded everyone why Star Search  once felt truly different from its competition. Magician TJ Salta leaned into complexity, crafting a multi-layered illusion involving numbers, music and audience participation. Was it convoluted? Absolutely. Was it impressive? Also yes. Even the judges admitted they had no idea how it worked, which is sort of the point. Fernando Velasco followed with a classic large-scale illusion focused on movement and misdirection. While slick and professional, it lacked the “how did that just happen?” punch needed to win viewers’ votes. Salta advanced, proving that ambitious weirdness can still triumph on mainstream TV. Music Group: No Contest, Honestly The final face-off of the Star Search  premiere came down to two vocal groups and the difference was night and day. 2BYG delivered a shaky R&B reinterpretation of a boy band classic, struggling with harmonies and stage presence. The effort was there; the polish was not. Then H3rizon hit the stage and made the outcome obvious within seconds. The international girl group served vocals, choreography and star power in equal measure. Each member had a moment to shine, yet the group functioned as a cohesive unit, a rarity even among seasoned acts. If Star Search  is looking for breakout stars, H3rizon may have just raised their hand. Star Search Live. (L to R) H3RIZON, Anthony Anderson in episode 101 in Star Search Live. Cr. Kit Karzen/Netflix © 2026 Does Star Search  Still Matter? The Star Search  premiere didn’t reinvent the talent competition wheel, but it didn’t embarrass itself either, which is a win in 2026 television terms. The reboot leans on nostalgia without being trapped by it, adds modern voting mechanics and benefits from judges who feel more authentic than overly scripted. Is it fighting an uphill battle in a crowded genre? Absolutely. But Night 1 proved that Star Search  still has the potential to spotlight real talent, deliver genuine suspense and generate conversation, especially if future episodes maintain this balance of polish, personality, and occasional chaos. As the competition continues, the big question remains: will Netflix’s Star Search  become appointment viewing, or just another option in an endless scroll? For now, the premiere did enough to earn a return visit and in today’s TV climate, that might be the highest praise of all. Did you agree with the winners? Were any acts robbed? Sound off, because Star Search  is back and the debate has officially begun.

Disney+’s Percy Jackson and the Olympians  wrapped up its second season with a bang in the finale, “The Fleece Works Its Magic Too Well” , and fans are still catching their breath. After a season packed with quests, monsters and demigod drama, the finale takes everything up a notch with high-stakes action, emotional reveals and enough cliffhangers to keep viewers talking until Season 3. Between the all-out fight sequences, shocking twists and character beats that pay off, this episode proves why the series has become a must-watch for fans of modern mythology. Season 2 has been a wild ride, diving into the Sea of Monsters  storyline with Percy (Walker Scobell), Annabeth (Leah Sava Jeffries), Grover (Aryan Simhadri), Clarisse (Dior Goodjohn), and Tyson (Daniel Diemer) on a quest for the Golden Fleece to save Camp Half-Blood. Throughout the season, the show has balanced humor, heart and mythology, giving fans both action-packed set pieces and quieter character moments. This finale, however, is where all that build-up pays off and then some. From the opening scene to the last few minutes, the stakes feel enormous. Percy’s showdown with Luke (Charlie Bushnell) is nothing short of nerve-wracking. What starts as a sword fight quickly escalates into a brutal fistfight, leaving me on edge for our hero. Every punch, block and dodge feels charged with emotion and the tension is palpable. The acting throughout the episode is stellar, with the young cast hitting all the right notes, while the veterans bring the gravitas necessary to sell the mythological stakes. PERCY JACKSON AND THE OLYMPIANS - “Episode 208” (Disney/David Bukach) While the episode excels in action, it does leave some fan-favorite dynamics a bit undercooked. Percabeth fans, for example, will notice that there isn’t as much room for the sweet, slow-burn moments between Percy and Annabeth in this finale. The season, however, has given us plenty of highlights for the pair and their dynamic remains undeniable. Speaking of Annabeth, the finale could have used a bit more of her in the thick of battle, watching her sidelined with an arrow felt like a missed opportunity. The emotional heart of the finale comes from Thalia’s tense interaction with Zeus in a flashback. Finally learning the truth about the night she was turned into a tree adds weight to her story and underlines a recurring theme: the gods are not always to be trusted, especially Zeus. While Lance Reddick’s absence from the first season was felt, Courtney B. Vance steps into the role of Zeus with a quieter, eerily commanding presence that is every bit as intimidating as his predecessor. Meanwhile, Glynn Turman and Toby Stephens continue to shine in supporting roles, proving that the series has a strong ensemble to lean on for emotional and narrative weight. I definitely hope to see more of these characters next season. The finale also lays the groundwork for a tantalizing cliffhanger. With the prophecy looming and Thalia’s uncertain allegiance, non-book readers are left guessing: friend or foe? It’s a clever way to keep both die-hard fans and newcomers hooked for the next season. PERCY JACKSON AND THE OLYMPIANS - “Episode 208” (Disney/David Bukach) Overall, “The Fleece Works Its Magic Too Well” is an action-packed, emotionally satisfying and brilliantly acted finale  that cements Season 2 as a standout in Disney+’s lineup. Sure, there are minor quibbles like more Percabeth moments, more Annabeth action but these are small complaints in a season that delivers nonstop excitement and mythological intrigue. Until next season, demigods, it’s safe to say that Percy, Annabeth and the gang have left us wanting more. For fans this finale proves why Percy Jackson and the Olympians  continues to be one of the most thrilling adaptations of Rick Riordan’s world. With Season 3 already on the horizon, there’s plenty to speculate about and plenty to get excited for.

Did You Get My Good Side? Lights, camera, action and pose. A model is posing as a photographer takes her pictures. The model actually gives direction on what poses she does, as the photographer continues shooting. Suddenly someone she seems to be familiar with approaches her with a knife, and she panics, yells for them to get back, screams and lights out. The horror on her face is caught in the last shot.  The Investigation Begins Next shot is of the model dead on the floor covered in blood. Faith is gathering all the details of the crime scene. She points out the stab wounds and other details to Amanda. The crime scene photographer is leaning over the body taking shots of the victim as Amanda and Faith continue deducing the possible killer’s actions and motive.  Amanda gets a call from Will, and she asks where he is. He is frustrated, because he can’t solve the mystery of  where the crime scene is. He’s in the right  building somewhere.  Amanda gives him directions. His dyslexia is preventing him from reading the signs on the wall. A young woman, Ava Green, walks by behind him. She recognizes him as he turns around. He remembers her, but has successfully forgotten their past brief romantic entanglement. Awkward. She’s got a grant to archive the building. She works there. She didn’t know Chloe, but does have a few friends who photographed her. Amanda’s call breaks up their uncomfortable reunion. Ava reaches over and pulls Will’s hand grasping his phone toward her as she air drops her number on his phone. Will smiles goofily as she walks off. Will finally gets to the crime scene, and Amanda is there talking to the building owner, Ms.Valentina Talvesco, and her son Alex . Her son owns the photography studio. Ms. Talvesco asks that the murder not be publicized. Amanda assures her they have no plans of doing that. Ms. Talvesco is on the verge of a meltdown as her son tries to calm her.  Will begins his search of the crime scene, quietly, slowly recreating what may have happened using his unique attention-to-detail and exceptional powers of observation. Amanda grabs Will as he walks by and introduces him to the building owner and her son. He asks pertinent questions about the room where the murder occurred. Ms. Talvesco says the unit was vacant. Alex tells Will that they were scammed when someone emailed his Mom pretending to be the famous fashion photographer, Hans Kessler. Faith supplies the facts about Hans Kessler, as Will turns to her confused. Ms. Talvesco says Kessler was an old friend and an icon. Will asked them about the email, and Alex says they left the unit’s door unlocked, and Ms.Talvesco says they hadn’t changed the front door access code in forty years. So, no real physical security in place, and the killer was given easy access.  Amanda provides background information on Kessler. He’s been in Venice for a month and found out his email account was hacked. No trace was able to find the origin of the hacker’s account. Chloe was also emailed for the modeling job and the location. Will checks the body and brainstorms with Faith. He notices a black light above on the ceiling. They turn it on and see blood spatters. They find more evidence and  piece together the entire crime. They surmise the real motive, and it is horrendous. C oop takes Betty and Her Dad for a Walk Nico gives Coop pointers on training a dog. Coop wants to get a dog, and her Dad asks if she’s ready for that kind of responsibility. Michael Ormewood tiredly stops to tie his shoe. He tells Coop and Nico to keep walking. Coop tells Nico secretly she doesn’t really want a dog. She’d really rather have a cat. She was actually following the doctor’s orders about getting her Dad to do some gentle exercise. Nico promises not to tell her Dad. She and Betty will help all they can with her Dad. Betty starts barking and Nico tells Ormewood that she recognizes the neighbor’s house, Viggo. He gives her ‘cookies’. Betty takes off for the house, and they chase after her.  They knock on the door, and Viggo and his niece answer. They give them Betty who just ran in the house through the doggie door. Ormewood and Nico try to introduce themselves, but are rudely ignored as Viggo shuts the door. Nico says it’s strange Viggo never mentioned he had a niece, as they walk away. She says he was an only child. Coop sees Betty is bleeding from one of her paws. Nico checks Betty, but doesn’t see any cuts. Ormewood tells Coop and Nico to go around the corner, as he returns to Viggo’s front door. No one answers. Another mystery and possible murder discovered on a walk.  Photography, Weird Art, Fetishes and Clues  Faith and Will return to their GBI Office and review the evidence and instax/polaroid photos found in Chloe’s apartment. Some showed the knife that may have killed her.They try to figure out why the photos of the model were taken if the killer planned on murdering her for real. Ava stops by to see Will. Will asked her to come by and provide some of her photographic expertise. He introduces her to Faith. Ava recognizes the photographer’s style, Crispen Ratner. She says he’s part of the indie sleaze revival scene. He’s part of the photographer group that pass off their sex fetishes as art. He was big once, but barely works now. He used to have a studio in the same building where Chloe was killed. Chloe was the one who reported Ratner about abuse. Faith and Will find Ratner, and arrest him as he tries to run. Faith checks and verifies his alibi. Will notices some film Ratner has is exactly like the one found at the crime scene. Ratner tells them it was purchased to take vintage photos for a client, Gideon Barnell. He’s obsessed with dead stuff. (Disney/Wilford Harewood) JULIA CHAN, RAMÓN RODRIGUEZ Betty Witnesses a Crime Nico and Ormewood take Betty to see Angie. Nico insists something happened inside Viggo’s house that may have traumatized Betty. Ormewood had the blood analyzed and its human. He shows Angie the lab results. Captain Heller enters Ormewood’s office and asks what’s going on. Ormewood dodges the question. He asks Angie to help them with the case after Captain Heller leaves. Ormewood and Angie return to Viggo’s house without a warrant. Mr.Shaw opens the door. He looks a little beat up. Angie asked about the couple that was at his horse earlier. Things are suspicious. Ormewood is a little down, and Angie cheers him. Angie is all in on the case now. Will and Faith Meet the Creepy Art World Will and Faith go undercover as art collectors. Ava introduces them to Gideon Barnel, the hostl. He is a very weird collector of dead things, something like a taxidermist. Will flirts with Ava as they go see some of Gideon’s prize valued collections. He’s horrible. Will overhears some other collectors talking about Barnell possibly paying to get a photo of a person dying. Faith and Will bring photos back to the office as evidence. Amanda can’t understand why people are so weird and gross. Will suggests someone desperate enough to do the job for Barnell might kill someone just to take a photo of it.  Faith comes in with information on the vintage camera film rolls. They find one suspect is someone they already interviewed.. Weird Art World and Betty Goes On a Stakeout Case Conclusions The two investigation teams split up, Will and Faith, find their suspect in someone providing information at the crime scene. Why did they do it?  Did Will and Faith find the incriminating evidence? What happens to the suspect? Did they find the weapon? Do Ava and Will develop a new way to process film? What’s the surprise twist and  ending? Will almost saves a life..  Angie and Ormewood get their persons and uncover something more. What happened in the Viggo House? Why did Mr. Viggo lie? Will Betty get over her trauma? What happens when Nico and Betty go on a stakeout? Did Nico ever tell Will what happened? Did Ormewood help Coop with her book report? What do they discover about Viggo? The slowest on-foot chase ever, and a bicycle getaway vehicle is too hilarious. The way the show ended diverged into two separate stories was interesting and very good. I have seen them do this before, but it always ended with Angie, Faith, Ormewood and Will solving the crimes together in the end. Loved how Coop is taking care of her Dad. Nico and Betty involved in the crime solving was a new twist. Betty gets her own official badge.  Another surprise twist involved Faith and Will’s case that really showed the real motive of the murder. Like how Will has a new love interest. What happened to Marion Alba? Faith needs a new love interest, too. The slowest on-foot chase and getaway vehicle was a hilarious way to end the crime investigation. This episode was a nice way to follow that high energy two-part season beginning. I give this episode 4.9 Stars out of 5.

If your childhood ever involved quoting “Who’s the boss? Kel’s the boss!” while chugging orange soda, prepare for a freakishly fun blast of nostalgia. Legendary comedy duo Kenan Thompson  and Kel Mitchell  are reuniting in a horror‑comedy mash‑up that looks like Scooby‑Doo  met Abbott and Costello  in a foggy graveyard: Kenan & Kel Meet Frankenstein . After decades of fans clamoring for more from these two, the announcement of this monster‑mashing movie has the internet buzzing and for good reason. The project was unveiled during an episode of Prime Video’s Good Sports  when Mitchell filled in for co‑host Kevin Hart and dropped the news that production on the horror comedy kicks off summer 2026 . Thompson and Mitchell will both star in and produce  the film, marking their first major feature together since Good Burger 2  in 2023.  The screenplay comes courtesy of Jonah Feingold , whose credits include 31 Candles  and At Midnight . In a juicy twist on classic horror tropes, Kenan & Kel Meet Frankenstein  follows two hapless delivery drivers whose routine gig takes a terrifying turn when a late‑night drop‑off at a creepy castle awakens the infamous Frankenstein’s monster. What follows is an uproarious, spooky romp that promises equal parts laughs and screams and maybe more than a little orange soda spilled in terror. Boy Frankenstein and his monster are really popular lately. The film’s vibe has been likened to a modern Shaun of the Dead  or Scooby‑Doo  adventure, blending slapstick, meta humor and genuine horror‑comedy energy.  Heck, one could practically see this as the cinematic love child of Abbott and Costello Meet Frankenstein , the 1948 classic that made monster mash‑ups a thing. Thompson and Mitchell, whose partnership began on Nickelodeon’s All That  and then Kenan & Kel , have always had chemistry that transcends eras. Whether you first encountered them on Saturday morning TV or rediscovered them on streaming platforms, this film feels like a celebration of that bond.  With production gearing up soon, expect more cast news, trailers and maybe even teasers that play up the duo’s legendary comic timing. As the horror‑comedy genre continues to evolve, bringing Thompson and Mitchell into the fray feels like both a respectful nod to the past and a bold, quirky move into the future. Audiences who grew up loving their banter and newer fans curious about how these two handle spikes, shadows and supernatural set pieces — are all in for a treat. So keep your flashlights ready and your orange soda chilled. Kenan & Kel Meet Frankenstein  is shaping up to be one of the most delightfully weird reunions of the year.

When “Inquisition” kicked off, Doc  plunged us straight into chaos and we ate it up. Season 2’s Episode 12 delivered a mash‑up of medical crisis, hospital board drama, buried flashbacks and emotional reckonings that finally started to untangle the Hannah storyline that’s dogged Westside all season. If you tuned in for surgical stakes and boardroom backstabbing, you got all  of it plus a few surprises that solidified this as one of the season’s most compelling episodes. Opening with Ambulance Mayhem — Charlie’s Life on the Line We begin not in the calm corridors of Westside but in the frantic siren blur of an ambulance. Hannah is riding with her brother Charlie, who is violently spitting up drugs and slipping into a coma. It’s a visceral way to start “Inquisition,” and it immediately raises the emotional stakes. Charlie’s condition is grave and within minutes he’s in the ICU, unconscious and unresponsive. This isn’t just a medical subplot; it propels every character into reactive mode and ties directly into the larger boardroom trouble brewing upstairs. Boardroom Battle: Amy, Michael, Joan, and the Truth Cut to a very different kind of tension: Amy, Michael and Joan facing the Westside Board. They’re under the microscope, spilling what they know , while the HR rep conveniently bends truths. The Board wants answers about Hannah’s father’s firing and the hospital’s reputation is hanging by a thread. Joan, initially someone I didn’t fully trust shines this episode. I’ll humbly eat crow: she proves herself genuinely in Amy’s corner by sending Jake in to extract the whole truth. That’s a pivot I didn’t see coming. But Amy isn’t content to wait for the Board to sort this mess. Determined to uncover the deeper truth, she recruits TJ’s father who just so happens to be a detective. It’s classic Amy: take matters into her own hands and go full Sherlock on anyone who stands in her way. Flashbacks Bite Back — Brian Clarke Through the Years “Inquisition” doesn’t shy away from showing us why  the Brian Clarke situation has festered so long. We get a flashback to five years earlier: Amy in full no‑nonsense mode, snapping at a patient’s daughter for googling symptoms. It’s cringe, it’s chaotic and it underscores both Amy’s growth and her flaws. More importantly, we learn so much  about Dr. Brian Clarke’s incompetence. Thanks to a series of interviews and flashbacks recollection, we now know more about the time when Clarke bailed mid‑procedure, a fact that reframes everything. When Amy confronts Michael with this info, she calls him out for not having her back. Enter another flashback: Michael and Richard Miller standing over an earlier confrontation with Brian. Michael either  conveniently forgot who it was or  was less than honest to the Board and when word gets out that Richard’s been dragged into the investigator’s office, Michael bolts . His sudden recollection of that conversation with Amy is telling and it adds tension to the already shaky alliance amongst Westside’s leadership. He tells the investigator that Amy was in the wrong. DOC: Scott Wolf in "Inquisition" episode of DOC airing Tuesday, Jan. 20 (9:00-10:00 PM ET/PT) on FOX. CR: John Medland/FOX. ©2026 FOX Media LLC. Investigation Intensifies — Sonya, Nurses, and Emails While the investigator grills Sonya, shockingly she doesn’t come after Amy. Other nurses, however, do tell the truth and it’s not looking good for Amy. Richard Miller gets called in next, chomping at the bit to show the Board an email from Brian before his firing. This is where the political knives come out and viewers are left wondering who will end up scapegoated for Clarke’s failures. Charlie’s Surgery and Joan’s Struggle Back in the ICU, Charlie’s prepped for surgery. Joan takes a pill to manage her symptoms and when TJ checks in post‑op, he notices her hands trembling. She plays it off, but the moment lingers, and I don't think TJ was fooled one bit. Confrontations and Consequences Finally, when Amy confronts Hannah, the scene cracks . It’s intense, raw and Hannah breaks down, apologizing after Amy picks up a clue that might just save Charlie. This moment serves as a standout emotional beat: old Amy resurfacing for a moment to declare that Brian deserved what was coming, followed by steely focus on saving a life. It’s chilling in the best way. "We both know he got what he deserved." Hannah is whisked away by the FBI, and Brian’s widow eventually tells the truth about her husband because  Amy saved Charlie. But the story here isn’t fully wrapped; Richard, having dinner with his attorney hints that he is coming hard for Amy and flashbacks to him knowing she helped Brian and he kept that a secret. This dude is not a good guy. A Strong Ending to a Tense Chapter “Inquisition” delivers on all fronts: medical urgency, twists in the Board investigation, character evolutions and enough intrigue to fuel speculation for weeks. And yes, I’m glad  the Hannah storyline finally got some closure, even if it opens new doors for Richard’s pursuit of Amy. If you needed drama, revelations and heart‑stopping hospital moments, this episode served it up with a scalpel and a smirk.

Grab your popcorn and your shady alliances, House of Villains  is officially stalking its way back onto screens with Season 3 and Peacock has dropped the release date that reality TV fans have been gossiping about. The much‑anticipated third installment of the hit competition series will make its wicked debut on Thursday, February 26, 2026 , giving schemers and shade‑throwers a new lair to wreak havoc. After two seasons of backstabbing brilliance on E!, House of Villains  has found a new home on Peacock, where it will join the streamer’s growing lineup of reality juggernauts. Joel McHale returns as host, ready to referee yet another influx of egos, alliances and delicious betrayals. The Season 3 premiere is playing coy by dropping the first three episodes  all at once on launch night, a clever bait‑and‑switch that ensures viewers won’t have to wait to dive into the scheming right away. Following that bold opening, episodes will roll out weekly on Thursdays at 9 p.m. ET / 6 p.m. PT  beginning March 5 . As always, the stakes are ludicrously high: 11 infamous reality TV personalities will live together, compete in brutal challenges and strategize to avoid that dreaded Hit List for a shot at the $200,000 grand prize  and the title of “America’s Ultimate Supervillain.”   This season’s lineup reads like a greatest hits of reality drama. Returning fan favorite Tiffany “New York” Pollard  brings her signature energy, while a cavalcade of memorable names from Big Brother , Survivor , The Challenge , Below Deck , Basketball Wives , RuPaul’s Drag Race , Love Island , and Selling Sunset  promise fresh chaos and crossover tension. Full cast includes: Paul Abrahamian (“Big Brother”), Tyson Apostol (“The Challenge” and “Survivor”), Kate Chastain (“Below Deck” and “The Traitors”), Jackie Christie (“Basketball Wives”), Drita D’Avanzo (“Mob Wives”), Plane Jane (“RuPaul’s Drag Race”) Johnny Middlebrooks (“Love Island” and “The Challenge”), Ashley Mitchell (“The Challenge”), Christine Quinn (“Selling Sunset”)  and Tom Sandoval (“The Traitors” and “Vanderpump Rules”). Peacock’s move has injected a fresh jolt into the franchise, giving longtime watchers and new viewers alike a chance to binge both previous seasons and the upcoming run without channel hopping. Whether you’re Team Villain or Team Eye‑Roll‑At‑Villain, Season 3 looks primed to serve up theatrics with that signature blend of strategy and shade. Get ready to witness more alliances crumble, more blindsides land and more iconic reality personas clash; all beginning Feb. 26, 2026  on Peacock. If you thought the villainy was intense before, just wait. Want updates on the House of Villains  cast breakdown, episode recaps, or our takes as the season unfolds? Stay tuned right here at The TV Cave.

Angel Reese, the two‑time WNBA All‑Star and Chicago Sky forward, has officially joined the cast of Netflix’s hit drama The Hunting Wives  for its second season, marking a significant expansion of her career into scripted television. Reese’s casting was confirmed on January 20 as production on the series continues. Reese will appear in a co‑starring role as a character named Trainer Barbie, a name that echoes her well‑known on‑court monikers such as Bayou Barbie and Chi Barbie. The Hunting Wives , which debuted on Netflix in July 2025 after moving from Starz, quickly became one of the platform’s popular drama series with its blend of mystery, relationships and intrigue set in East Texas. The storyline follows Sophie O’Neil, portrayed by Brittany Snow, as she becomes entangled in the elite and secretive circle of friends known as the hunting wives. Malin Akerman co‑stars as Margo Banks, alongside a recurring ensemble cast. Season 2’s production is underway, but Netflix has not yet announced an official premiere date. Previous reports indicate that the follow‑up season will continue the dramatic arcs from Season 1, with new characters joining the mix. The Season 2 logline reads: “Sophie and Margo are on the outs. But soon enough, old secrets and new foes force them back together. As they play their dangerous games the question arises. Are they the hunters or the hunted?” Reese has engaged with the series publicly in the past, having expressed enthusiasm for The Hunting Wives  on social media after watching its first season. That engagement preceded the opportunity to join the cast, highlighting a rare transition from professional sports to scripted drama. What do you think of the news, are you exicted?

If Tell Me Lies  has taught us anything over the years, it’s that no one on this show ever says what they mean and when they finally do, it’s usually too late. Season 3, Episode 4, “Fix Me Up, Girl,”  leans hard into that tradition, delivering one of the season’s messiest, most psychologically bruising hours yet. This is Tell Me Lies  at its most unhinged: secrets spreading faster than common sense, relationships rotting in real time and Stephen DeMarco once again proving he’s the human embodiment of a red flag emoji parade. From the jump, the episode makes it clear this is a turning-point chapter. The emotional stakes are higher, the lies sharper, and the fallout more unavoidable. The show continues its dual-timeline structure, cutting between the characters’ college years and the wedding-day future that hangs over everything like a storm cloud waiting to burst. Stephen Stays Awful, Diana Stands Her Ground At the center of “Fix Me Up, Girl” is Diana’s pregnancy storyline, which finally explodes into the open. What begins as a deeply personal decision quickly becomes public knowledge thanks to loose lips and misplaced loyalty, an ongoing theme this season. Stephen’s reaction is exactly what longtime viewers expect: controlling, manipulative and wrapped in the language of concern. Rather than offering support, Stephen attempts to assert ownership over Diana’s choices, pushing for involvement and validation he hasn’t earned. The episode’s strongest moments come when Diana refuses to play along. Her confrontation with Stephen is sharp, restrained, and emotionally devastating, highlighting just how far she’s come compared to the people still orbiting his chaos. It’s a rare moment of clarity in a show that thrives on emotional fog. Wedding Bells and Emotional Landmines The future-timeline scenes at Bree and Evan’s wedding continue to drip with tension and Episode 4 adds another layer by circling back to the mystery of Bree’s unsettling phone calls. The answers don’t arrive with fireworks, but with quiet dread. When Stephen pieces together the truth, the episode closes in on him like a shark catching a scent in the water. The brilliance here is restraint. Rather than blowing up the wedding outright, the episode lets the knowledge simmer. Stephen doesn’t need to act immediately; the threat of what he might  do is far more effective. It’s classic Tell Me Lies : cruelty as a slow burn. (Disney/Ian Watson) CATHERINE MISSAL, BRANDEN COOK Lucy’s Self-Destructive Spiral Continues Lucy’s arc remains difficult to watch in the most intentional way possible. Still untangling her identity from past trauma, she drifts into another emotionally hollow connection, one that feels less like chemistry and more like punishment. The episode doesn’t glamorize her choices, and that’s the point. Lucy isn’t regressing because she’s weak; she’s regressing because she’s human, damaged and painfully aware of it. “Fix Me Up, Girl” underscores how deeply Stephen’s influence lingers, even when he’s not in the room. Lucy may be physically distant from him, but the patterns he helped carve are stubborn and familiar. A Series at Full Confidence What makes Tell Me Lies  Season 3 Episode 4 work so well is its confidence. The show no longer rushes emotional beats or overexplains motivations. It trusts the audience to sit with discomfort, to recognize manipulation when it appears, and to understand that growth isn’t linear especially when everyone involved is still lying, just in more sophisticated ways. The writing remains sharp, the performances grounded and the tone perfectly calibrated between grim realism and darkly watchable chaos. “Fix Me Up, Girl” doesn’t resolve much, but it rearranges the board in ways that make the next moves inevitable and likely devastating. As the season barrels forward, this episode stands out as a quiet storm: no massive explosions, just pressure building in every corner. If Tell Me Lies  is about the long-term consequences of emotional dishonesty, Episode 4 makes one thing painfully clear no one gets out clean, and the mess is only getting started. What did you  think of “Fix Me Up, Girl”? Let the spiraling commence.

There’s something deeply satisfying about a spy story that knows how to sharpen its heels before stepping into dangerous territory. Ponies , Peacock’s glossy new Cold War thriller, arrives with an irresistible hook: two overlooked American women in 1970s Moscow, dismissed as background players, quietly turning the tables on global intelligence agencies. In an era crowded with grim prestige dramas and nostalgia-heavy espionage tales, Ponies  manages to feel both classic and refreshingly self-aware and yes, it’s absolutely worth your time. Set against the frosty paranoia of 1977 Moscow, Ponies  follows Beatrice “Bea” Grant (Emilia Clarke) and Twila Hasbeck (Haley Lu Richardson), embassy wives whose lives are shattered when their CIA-connected husbands die under suspicious circumstances. What begins as grief quickly turns into curiosity, then suspicion and finally full-blown espionage. The hook is baked into the title itself: “PONIES” stands for “Persons of No Interest,” a term used for people so seemingly harmless they slip beneath the radar of agencies like the KGB. Naturally, that’s where the fun begins. Let's start where the show shines brightest: its leads. Emilia Clarke is quietly excellent as Bea, a character who initially presents as reserved and cerebral but slowly reveals a spine of steel. Clarke resists the urge to oversell Bea’s transformation, allowing it to unfold through small, smart choices and a growing sense of resolve. Haley Lu Richardson, meanwhile, steals scenes with ease. Her Twila is impulsive, brash and emotionally raw, a live wire who balances Bea’s restraint with chaotic energy. Together, they create the kind of on-screen chemistry that can’t be manufactured, only trusted. Tonally, Ponies  walks a tricky line and mostly sticks the landing. The series blends Cold War tension with wry humor, never tipping fully into satire but refusing to drown in self-seriousness. The scripts understand that espionage, especially at this level, can be both terrifying and absurd. A well-placed sarcastic aside or awkward embassy interaction often says more about power and politics than a lengthy exposition dump ever could. Visually, the show commits hard to its period setting. The production design is rich with Soviet-era austerity, muted color palettes, imposing architecture and an ever-present sense of surveillance. Even quieter scenes hum with unease, as though the walls themselves might be listening. That attention to detail gives Ponies  its immersive edge, making Moscow feel less like a backdrop and more like an active participant in the story. That said, the overarching conspiracy, while engaging, occasionally leans on familiar genre beats. Veteran spy-thriller fans may spot certain twists coming a mile away. A few secondary characters also feel underdeveloped, existing more as plot devices than fully realized players. Still, these are minor quibbles in a series that understands its priorities and sticks to them. “NIght Moves” Episode 106 — Pictured: (l-r) Haley Lu Richardson as Twila, Lili Walters as Ivanna -- (Photo by: Katalin Vermes/PEACOCK) What elevates Ponies  above standard spy fare is its emotional core. Beneath the coded messages and double-crosses lies a story about grief, agency and female friendship forged under extreme pressure. The show doesn’t rush these themes or treat them as garnish; it lets them simmer, giving the espionage stakes real personal weight. When Bea and Twila make risky choices, it’s not just about international intrigue, it’s about survival, autonomy and refusing to remain invisible. Peacock has quietly built a reputation for smart genre programming, and Ponies  fits neatly into that lane. It’s polished without feeling sterile, clever without being smug and confident enough to let its characters lead the charge. For viewers craving a spy series that values character as much as plot and isn’t afraid to crack a smile along the way, this one earns its place on the watchlist. The verdict is clear: this is a stylish, character-driven espionage drama that understands the power of being underestimated. It may play with familiar spy tools, but it wields them with confidence and charm. If Peacock was aiming to deliver a Cold War thriller with bite, heart, and fun then mission accomplished. For more TV news, reviews and deep dives into the shows worth your time, keep exploring The TV Cave  where the remote is always within reach and the opinions are never on mute.

Apple TV is officially reopening the door on one of its buzziest thrillers and judging by the newly released trailer, The Last Thing He Told Me  season two is wasting absolutely no time pulling viewers back into its web of secrets, simmering paranoia and emotional landmines. The Jennifer Garner led drama returns Friday, February 20, 2026 and if the trailer is any indication, the series is doubling down on everything that made season one such a compulsive watch. Based on The First Time I Saw Him , the bestselling sequel novel by Laura Dave, season two picks up five years after Owen (Nikolaj Coster-Waldau) vanished into the wind. Now, he’s back, which is great news for exactly no one. Hannah (Garner) and Bailey (Angourie Rice) are once again thrust into survival mode, racing to figure out whether reuniting their fractured family is even possible when the past refuses to stay buried. The trailer leans hard into tension rather than answers, teasing fractured trust, shifting alliances, and the kind of emotional whiplash that thrives in Apple TV’s prestige-drama lane. Garner remains the show’s emotional anchor, balancing vulnerability with steel-spined resolve, while Rice continues to be one of the series’ quiet MVPs. The returning cast including David Morse brings continuity, while new additions Judy Greer  and Rita Wilson  immediately register as potential problems. Behind the scenes, the creative team remains stacked. Laura Dave returns as creator and executive producer alongside Josh Singer, with Aaron Zelman joining as co-showrunner for season two. Reese Witherspoon’s Hello Sunshine remains onboard, continuing Apple TV’s ongoing relationship with book-to-screen adaptations that actually respect their source material. Structurally, season two will roll out across eight episodes , premiering weekly through April 10, 2026, a release strategy that practically dares viewers not to theorize wildly between episodes. Courtesy of Apple TV If the first season was about absence and uncertainty, season two looks poised to explore what happens when answers finally arrive and complicate everything. The trailer promises a darker, more emotionally loaded chapter, one that asks whether love can survive the truth, or if some secrets are better left unanswered. Season one of The Last Thing He Told Me  is currently streaming on Apple TV , and based on this trailer, now might be the time to catch up or emotionally brace yourself before February rolls around.

Just when Ashur thought he had finally gamed the system, Spartacus: House of Ashur  reminds him and us that Rome always collects its due. STARZ has released a sneak peek clip from episode eight of the series and it’s a tantalizing preview that suggests the show is gearing up for one of its most consequential chapters yet. Titled “Horizons,”  the episode premieres Friday, January 23, and if the clip is any indication, the balance of power inside the ludus is about to shift in bloody fashion. The Spartacus  franchise has never been subtle, and House of Ashur  wears that legacy proudly. This alternate-history continuation imagines a world where Ashur survived his original fate and was rewarded perversely and perfectly with ownership of a gladiator school. The sneak peek underscores how fragile that victory really is. Ashur faces a devastating setback, the kind that threatens not only his authority but his carefully constructed illusion of control. For longtime fans, it’s a satisfying reminder that this universe thrives on watching arrogance meet consequence. Meanwhile, the clip also teases Achillia’s return to the arena, a storyline that has quickly become one of the show’s most compelling additions. As portrayed by Tenika Davis, Achillia isn’t positioned as a novelty act or a symbolic gesture. She’s a weapon and one that unsettles both the gladiators and the Roman elite. Her reentry into the sands suggests spectacle, yes, but also disruption, which House of Ashur  has proven is its favorite currency. Episode eight is written by Henry G.M. Jones and directed by Toa Fraser, a pairing that has consistently delivered sharp pacing and visceral tension this season. Visually, the sneak peek leans into the franchise’s signature excess: simmering confrontations and the ever-present promise that violence is just a sentence away. It’s comfort food for Spartacus  fans, served with a sly grin. STARZ clearly knows what it has here, a revival that doesn’t just trade on nostalgia, but actively enjoys twisting it. With Ashur’s power under threat and Achillia stepping back into the spotlight, “Horizons” looks poised to push Spartacus: House of Ashur  into darker, messier territory. New episodes stream weekly on Fridays on STARZ, with the full Spartacus  saga available for those ready to relive or discover every betrayal, beheadin and beautifully over-the-top monologue. If this sneak peek is any clue, the house Ashur built may soon be splattered with blood.

If there is one thing we know about the British television landscape, it’s that they love a sterile office building and a "pension fund in peril" plotline almost as much as they love a rainy afternoon. Enter Steal , the latest high-octane (or at least high-anxiety) thriller to hit Prime Video. Dropping all six episodes on January 21, 2026 , the series asks a question we’ve heard a dozen times before: when billions go missing, are the low-level employees victims of circumstance or the masterminds behind the curtain? At The TV Cave , we’ve been tracking Sophie Turner’s post-Westeros career with a mix of genuine curiosity and "cool older sibling" energy. After her turn in Joan , she’s back in the UK scene as Zara, a cog in the corporate machine at Lochmill Capital. But does this heist series actually steal the show, or is it just another corporate embezzlement drama that could have been an email? The Premise: A Tale of Two Suspects The setup for Steal isn’t exactly reinventing the wheel. We have the classic heist blueprint: bad guys with heavy weaponry storm a shiny glass tower, millions are siphoned into the digital ether and the middle-management types are left holding the bag. Zara (Turner) and her best friend Luke (Archie Madekwe) find themselves at the center of a police investigation that quickly turns into a game of "did they or didn't they?" While the premise is well-worn territory, the series tries to differentiate itself by focusing on the "butterfly effect" of the crime. It’s less about the choreography of the vault-cracking and more about the psychological erosion of the people left in the aftermath. It’s a UK-based series through and through, expect gray skies, sharp accents, and a detective with a gambling addiction (Jacob Fortune-Lloyd) who is probably one bad day away from an HR intervention. Luke (Archie Madekwe) and Zara (Sophie Turner) in STEAL. Ludovic Robert/Prime © Amazon Content Services LLC Turner Stepped Up Her Game (Literally) Let’s talk about the elephant in the boardroom: Sophie Turner. I went into this screening wanting to love it because, frankly, Turner has a screen presence that is hard to ignore. She has really stepped her game up here and no, that isn’t a Game of Thrones pun, I'm above that (mostly). Turner portrays Zara with a frantic, "I-might-vomit-at-any-second" energy that carries the tension when the script occasionally decides to take a nap. The supporting cast of UK stalwarts does exactly what you’d expect: they provide a solid, dependable foundation. Archie Madekwe is particularly good as the loyal-to-a-fault Luke and the chemistry between the two leads is the only thing keeping the middle episodes from feeling like a mandatory training seminar on investment banking. To Binge or Not to Binge? Prime Video was smart to drop all six episodes at once. Steal is a series that practically begs for a binge-watch. While the first episode is a genuine "heart-in-your-throat" experience, the middle section of the series hits some significant speed bumps. It is very slow in some parts. If this were a week-to-week release, there’s a high probability viewers would wander off to find something with a bit more momentum by episode three. However, as a weekend binge, the pacing issues are easier to swallow. You can power through the lulls to get to the answers the series takes its sweet time delivering. Torch it or Tomb it? So, is Steal worth your data? Yes, but don’t feel the need to cancel your Friday night plans for it. It’s a competent, well-acted thriller that manages to land a few surprising punches despite its familiar DNA. It’s okay to take your time with this one, it’s a "slow burn" that occasionally forgets it’s supposed to be a thriller, but the payoff at the end of the six-hour journey is satisfying enough to justify the investment. If you’re looking for a slick Ocean’s Eleven romp, keep looking. But if you want to watch Sophie Turner navigate a moral minefield in a high-stakes pressure cooker, Steal is a solid addition to your watchlist. For more TV news, recaps, and exclusive interviews, keep your tabs locked to The TV Cave. Let us know in the comments: do you think Zara is guilty, or just in the wrong place at the wrong time?