After nearly a decade of fans asking, begging and side-eyeing every rumor on the internet, The Night Manager  has finally returned for Season 2. Tom Hiddleston’s perpetually stressed superspy Jonathan Pine is back in action, the globe-trotting intrigue is dialed up and the suits are still impeccably tailored. The big question, though, hangs heavier than a concealed weapon under a linen jacket: was this sequel worth the wait? The short answer is yes… mostly. The longer answer is a little messier, a little slower and very much in line with what modern prestige TV spy dramas tend to deliver. Season 2 of The Night Manager  picks up years after the explosive events of the first outing. Pine is no longer the wide-eyed hotel night manager pulled into the shadows; he’s a seasoned operative navigating a murkier, more morally compromised world. The show leans into that evolution, trading some of Season 1’s propulsive thrill for a colder, more calculated tone. It’s a shift that won’t please everyone but it does make thematic sense. From a purely visual standpoint, The Night Manager Season 2  is a stunner. Exotic locations, luxury interiors and moody lighting remain core ingredients. The series still looks like a glossy travel brochure funded by an intelligence agency and that’s part of the appeal. Director Susanne Bier’s influence is felt even when she’s not behind every episode, with a consistent visual language that emphasizes isolation, power, and quiet menace. Tom Hiddleston remains the show’s greatest asset. His performance as Jonathan Pine is more restrained this time around but that restraint feels intentional. Pine has seen too much, lost too much and the cracks are now internal rather than explosive. Hiddleston plays him with a simmering intensity that rewards patience even when the plot takes its time getting where it’s going. That patience however is where The Night Manager Season 2  may test viewers. The early episodes are deliberately paced, layering exposition and new players onto the chessboard before making any bold moves. Compared to the razor-sharp escalation of Season 1, the setup here can feel overly cautious. The absence of Hugh Laurie’s deliciously vile Richard Roper looms large and while the new antagonists are competent, few match that same magnetic threat level. The writing remains smart but occasionally leans too hard on familiar spy-thriller tropes: double crosses, shadowy agencies and characters who speak exclusively in ominous half-sentences. When the show breaks away from formula and focuses on character consequences, it shines. When it falls back on genre autopilot, it feels like a very expensive déjà vu. Still, once The Night Manager Season 2  finds its rhythm, the tension ramps up nicely. Mid-season twists land effectively, the stakes become clearer and the narrative tightens. There’s a particularly strong run of episodes where the show remembers that espionage isn’t just about secrets, it’s about who pays the price for keeping them. For fans of the original series, this new season offers enough intrigue, style and emotional weight to justify its existence. It may not have the same lightning-in-a-bottle energy as Season 1 but it compensates with a more mature, world-weary perspective that reflects both its characters and its audience. In the end, The Night Manager Season 2  is a confident, if imperfect, return. It’s sleek, smart, occasionally frustrating and undeniably watchable. Those expecting a carbon copy of the first season may be left wanting but viewers willing to settle into a slower burn will find a worthy continuation of one of television’s most stylish spy dramas. And honestly, any excuse to watch Tom Hiddleston brood in luxury locations still feels like a pretty good deal.

Bob Weir, the influential guitarist, singer and songwriter who co founded the Grateful Dead, has died at the age of 78. His death was confirmed by his family, who stated that he passed away peacefully after health complications related to underlying lung issues following a cancer diagnosis earlier in 2025. Weir’s passing marks a significant moment in American music history, closing the chapter on one of the last remaining original members of the legendary band. Born Robert Hall Weir on October 16, 1947, in San Francisco, Weir became involved in the local music scene as a teenager. In 1965, he joined Jerry Garcia and other musicians to form a band that would soon be known as the Grateful Dead. The group emerged as a central force in the countercultural movement of the 1960s and went on to build a devoted following through its improvisational live performances and genre blending sound that incorporated rock, folk, blues and psychedelic influences. As a member of the Grateful Dead, Weir developed a distinctive rhythm guitar style that set him apart from traditional rock players. His approach emphasized unusual chord voicings and complex patterns that became a defining element of the band’s sound. He also served as a key vocalist and songwriter, contributing several of the group’s most recognizable songs, including Sugar Magnolia, One More Saturday Night and Mexicali Blues. The Grateful Dead continued touring and recording for three decades before disbanding in 1995 following the death of lead guitarist Jerry Garcia. After the band’s conclusion, Weir remained active in music, forming and performing with groups such as RatDog, Kingfish, Bobby and the Midnites and later Dead & Company. These projects allowed the Grateful Dead’s catalog to reach new generations of listeners while maintaining its presence in live music culture. Weir received numerous honors throughout his career, including induction into the Rock and Roll Hall of Fame as a member of the Grateful Dead and a Grammy Lifetime Achievement Award recognizing the band’s impact on music. His career spanned more than 60 years and reflected a consistent commitment to live performance and musical exploration. Bob Weir is survived by his wife and children. His death represents the loss of a foundational figure in rock history, whose work helped shape the evolution of live music and American rock culture. His recordings and performances remain a lasting record of his contributions to one of the most influential bands of all time.

We have arrived at the penultimate episode for season 2 of Paramount+’s hit oil drama Landman . No one ever said that life on the Pitch would be easy, However, “Plans, Tears, and Sirens” runs an emotional gambit more akin to the good, the bad, and the ugly. Never without drama, this week goes to eleven for all those caught up in the maelstrom of the West Texas oil and gas industry.  Directed by Stephen Kay, the episode opens with another chaotic morning at the Norris household in Midland, Texas, suburbia as Tommy Norris (Billy Bob Thornton) and his mix of family and friends roommates burn up the phone lines coordinating, planning, organizing for the day ahead. Cutting through the cross-conversation chatter, the atmosphere is thick with emotion for one Angela Norris (Ali Larter), as the overwrought mother stands at the proverbial door of another milestone for her and her daughter, Ainsley, played by Michelle Randolph. With the underlying fear of losing her little girl looms large, the Norris matriarch’s angst and sharp wit in the moment reflects a perfect mix of humor and over-the-top despair.  Nevertheless, while Angela’s motherly fears are palpable, articulating the anxiety that many parents face when their children take their first steps into adulthood, it falls desperately short of being relatable when we learn Ainsley’s departure is only for a mere week at cheer camp at her soon-to-be university, just three hours away.  Despite his wife being in near tears at the thought of their daughter also having to share a room in gen pop, aka the dorms, Tommy rushes out the door to jump from the frying pan into the fire as he heads to catch a private jet down south with his M Tex Oil compadres for the launch of their new oil rig, off shore.  Before everyone is onboard and buckled in their seats for that quick trip, attorney Rebecca Falconea (Kayla Wallace) finds herself on the doorstep of her on-again, off-again geologist buddy, Charlie Newsome (Guy Burnet). Since Charlie has hit the scene, there has been a softening of Rebecca’s hard-shell exterior.  Though it was only a matter of time, it seems Mr. Newsome has been the one to crack the code on the sharp-tongued corporate litigator’s vulnerability and defenselessness. Overlooking the fact that he’s loading up his gear for a six-month stint on a jack-up rig in the middle of the Gulf, the relentless legal strategist has come this day to make amends, with a reluctant apology and an urgent plea to keep their situationship going. No spoilers here — the two make up, as we knew they would; though, there is that pesky little workplace ethics violation of fraternizing with an employee that still remains. But, yeah, he’s worth it.  In Fort Worth, Angela drops Ainsley off at her new “home” for the week at TCU. At luck would have it, Taylor Sheridan could not have scripted a more fairly odd couple when Ainsley opens the door to her new roommate, who is her opposite in every sense of the word. Despite her best efforts, Ainsley is unable to breakthrough to common ground with the stranger. If truth be told, with that laundry list of “cannot dos,” “I must haves,” and preferred pronoun demands dominating every conversation, even Felix Unger would find Ainsley’s new roomie to be, as the kids would say, extra.  Michelle Randolph as Ainsley and Ali Larter as Angela in Landman episode 9, season 2, streaming on Paramount+. Photo Credit: Emerson Miller/Paramount+ In no time, Ainsley finds herself back in the admissions office, sitting across from everyone’s fav university administrator Greta Stidham, played by acclaimed stage and screen actress, Miriam Silverman. Silverman’s portrayal of the no-nonsense admissions counselor stands out as a highlight every time she is on canvas, marked by her keen attention to character detail, employing subtle gestures and expressions that enhance her performance. Silverman’s deadpan delivery of one-word comebacks opposite Randolph’s blindly naive coed quips is comedic gold.  Though Ainsley is encouraged to pull on her big girl pants and work through her differences, she opts to cut to the chase and call in reinforcements. Pulled from a day of retail therapy to work through her empty nest despair, Angela storms her way back on campus to set things right for her daughter. The intimidating university admissions counselor is not easy intimidated, herself. That is until she goes word-for-word with the Texas tornado that is Angela Norris.  Played for dramatic laughs, the scene could have easily devolved into cinematic farce, if there were not some measure of truth to the fierce parental advocacy behind the moment. Believe me, the “Texas cheerleading mom” stereotype exists for a reason, and not just as a pop culture phenomenon reserved for Friday Night Lights. If you know, you know.  Just as Angela averts a college crisis back home, Tommy and friends touch down in the Louisiana bayou to attend the pseudo garden party setup at the water’s edge to view the offshore rig launch. Go big or go home, right? Finding her footing in her new role as big oil boss, Cami Miller, played by Demi Moore, wastes no time putting her own magic touch on M Tex oil’s initiatives and activities. Dressed to the nines in a scene-stealing pink chiffon, one-shoulder gown, the oil barroness invites her guests and employees to enjoy a Cajun banquet as they watch the company’s future sail out to the Gulf. Though, I must say, it does feels a lot like a let-them-eat-cake moment? Under the sweltering heat and humidity, Tommy, himself, tries to make sense of the need for such pomp-and-circumstance in an industry that has learned not to count its millions before they are pulled from the ground and sealed in barrels. Nevertheless, his hesitance to celebrate unknowingly puts him at odds with his boss. Tommy better enjoy the shrimp while he can, Cami’s fade-to-black “she dropped a bomb on him” moment is going to make for a long ride home.  Nevertheless, the episode’s most emotionally charged moment comes back in Midland when Cooper Norris (Jacob Lofland) makes a planned stop after work to check in on his fiancé, Ariana (Paulina Chavez). When the often tenacious and determined single mom, oilfield widow finds herself in a harrowing confrontation with a brutish man during a break from her bartending job at the Patch Cafe, Cooper arrives just in time to protect what’s his, and not a moment to soon. While we want to believe this is a one-off moment for the reserved oilman to defend his bride-to-be, there is a nagging feeling the fallout from the events of this night may linger.  With only one episode remaining in Landman , we have less than 60 minutes left to tie up loose ends on this season’s controlled chaos. The season 2 finale is slated to drop on Sunday, January 18. Catch up on all your favorite episodes from the past nine weeks on Paramount+. Landman has already been renewed for a third season.

Brace yourselves TV Cave readers as Netflix just turned up the heat in the comedy kitchen. The streaming giant has officially ordered a brand‑new comedy series adaptation of I Suck at Girls , tapping the sharp‑witted talents behind Abbott Elementary  to bring author Justin Halpern’s adolescent misadventure memoir to life for a new generation of binge watchers. This isn't your average sitcom shuffle; it feels like Netflix dissecting teen angst with a snarky scalpel. At the helm of this Netflix comedy series order are Abbott Elementary  co‑showrunners Justin Halpern and Patrick Schumacker, whose knack for turning everyday chaos into laugh‑out‑loud storytelling has made them must‑watch creatives in comedy TV. They’re teaming up once again with comedy juggernaut Bill Lawrence ( Scrubs , Ted Lasso , Shrinking ), marking a powerhouse trio that promises something funnier and perhaps more chaotic than a school staff meeting gone rogue. What I Suck at Girls  Is All About Based on Halpern’s 2012 memoir of the same name, the show follows three high school sophomores stumbling hopelessly through teenage crushes, identity crises and all the awkward romance tropes you love to cringe at, think Everything Sucks!  energy with an extra dose of Halpern’s signature honesty. The series description suggests a coming‑of‑age comedy with both bite and heart, anchored in the kind of self‑deprecating humor that made the book a cult favorite long before Netflix shrugged and said, “Yeah, we want that.” Creative Team and Production Vibes This adaptation isn’t just co‑written, Halpern and Schumacker are executive producers through their Delicious Non‑Sequitur Productions banner, joined by Lawrence’s Doozer and additional EPs Chet Dave, Jeff Ingold and Liza Katzer. It’s a comedy vets’ dream team assembled to reimagine a very specific brand of teen chaos for streaming. Interestingly, the order is cast‑contingent, meaning Netflix could very well yank the plug if the talent doesn’t measure up to the pedigree behind the camera, a rarity in these era‑of‑pilots‑without‑pilots times. A Blast From the Past This isn’t the first rodeo with I Suck at Girls.  The property was previously developed for Fox back in 2013 under the title Surviving Jack , starring Christopher Meloni in a father‑son coming‑of‑age tale, an iteration that lasted one season. Now the concept gets a full reboot, this time set squarely in the chaotic late teens of its protagonists. Getting Halpern and Schumacker on a Netflix comedy project feels like a signal: the streaming wars are leaning hard into comedy with edge. Fans of teen narratives and awkward humor should keep an eye and maybe a place in their queue for this one. With no release date yet, all we can do now is speculate… and maybe rewatch Abbott Elementary  one more time while we wait. Stay tuned to The TV Cave for updates on casting, release windows, and our take on how this wild ride shapes up!

Last week on Beyond The Gates, two sisters get results as their mother begins treatment. Cotillion looms, and Leslie receives an offer she should absolutely refuse. Let’s get into it. The Dupree Family in Crisis Tracey stopped by the Dupree Mansion on a mission: wear Anita down until she finally faces  what she’s going through. It felt a little unnecessary, but I’ll admit—effective is effective. Anita broke down, and by the time she pulled herself together, she’d made a decision that felt painfully human: one good day before treatment begins. So she planned Mardi Gras-themed joy for her family, the kind that tries to make laughter louder than fear. And for a moment, it worked. Kat, however, continues refusing to deal with what she could be facing. She and Chelsea argue, and Kat misses the celebration entirely—ditching her family in favor of spending time with the block of wood she calls a boyfriend. I’m not even trying to be mean. The man has the charisma of a beige wall. Meanwhile, Nicole, while waiting for her results on the genetic testing she and Dani both received, tries to anchor the family with small, intentional gestures. She shows up at Martin’s with breakfast and pushes for family togetherness. No phones. No distractions. Just family time. She also tries to help Samantha prep for cotillion, which is looming like a storm cloud in the background. And then… Tyrell. Tyrell climbs onto his high horse about privilege, and the “purpose” of cotillions and sororities, and the problem isn’t even his opinion—it’s how he delivers it. He’s rude, disrespectful to Nicole, and parroting talking points he didn’t even build himself. You can have a critique without being a jerk. He chose jerk. Send this ungrateful brat off to college. Immediately. Over at the club, Vanessa and Dani have lunch, and Dani is physically present but mentally elsewhere. Still, I appreciated the honesty between them—two women speaking plainly about their relationships without turning it into a competition or a lecture. These moments matter because this show is strongest when it lets characters breathe. Then we get to the emotional gut punch of the week: the results. Andre has been Dani’s rock, and she needed  that. Nicole doesn’t have the gene, but Dani does. And those final scenes? Heartbreaking. Nicole, climbing into bed to comfort her sister, was quiet, intimate devastation—the kind of scene soaps are built for. This storyline has been one long emotional roller coaster, but the acting and the restraint in that final beat made it land. Ted and Shanice Shanice and Ashley catch up, and I truly do not like this forced friendship. It still reads like the show decided they should be close and is trying to make us accept it through repetition. But I did  notice something else: Shanice is feeling Ted. Not the relationship I would’ve chosen for her, but here we are. Ted flirts, Shanice responds, and it’s shaping up as a slow burn… with one major issue hovering over it: the writers have done real damage to Ted’s character in service of Leslie’s mess. It’s going to take time for viewers to respect him again—if the show even plans to rebuild him. Leslie, Marcel, Vanessa, Joey… and The Clinic Let’s talk about this clinic, because it’s giving “front” more than “philanthropy.” A clinic could  be a great idea—especially in a show like this where wealth, optics, and power games are baked into every storyline. But the execution? I don’t like it. I don’t like Joey being involved, and I really  don’t like that Leslie bulldozed Samantha out of something that should’ve been hers to shape. The clinic should not be a redemption arc. Using Leslie and Joey’s money to do the right thing? Fine. But making Leslie the face of it is absurd. Vanessa and Joey, meanwhile, are moving deeper into something that’s no longer ambiguous. Any thoughts that she was playing him for revenge are gone. She’s in love with that man. She’s faithful to that man. And it’s giving that old trend where people rapped about what they’d do for “love”… except the word choice back then wasn’t love. Yeah. That’s Vanessa. Joey tells Vanessa that Leslie came to see him about investing in the clinic. And here’s the thing—Joey’s guilt is real. He feels for Vanessa and for what he’s done to her family by taking her husband away from their children. That guilt is what prompts him to call Leslie. Leslie comes to the casino and, surprisingly, has instant chemistry with Randy. And you know what? I’d like to see it. Leslie assumes every man wants her, and her belief that Joey was looking for a little “pull and tug” on the side gave me secondhand embarrassment so strong I nearly left my own living room. Eeeeyuck. But minus that bump, Jon and Trisha played well off each other in the negotiation. Leslie wants full credit and for Joey to be the silent partner. Joey wants to dedicate the clinic to Doug. And speaking of Doug? Doug and Leslie could’ve been interesting in another timeline. Leslie clocks Joey fast, pointing out the guilt he must carry about Doug. She’s not a fool—Joey has Doug’s wife not long after Doug died, and nobody’s buying the “it just happened” routine. Joey, though, finds guilt useless. And the show leans hard into rewriting Doug like he was some terrible man, which brings me to… Weekly Wrap Dear BTG writers: what did Jason Graham do to y’all to keep crapping on Doug’s character? Doug is no longer on the show, and you are still  dragging him as if we didn’t watch with our own eyes. He wasn’t an alcoholic. He was drinking a little more when he knew Joey, the man who trapped him in gambling debt and posed a threat to his life, was sleeping with his wife. Even then, those scenes were limited. Doug’s story was always about gambling. That’s what you  showed us. So don’t suddenly tell us he was this horrible alcoholic if you never established it on screen. And at this point, it’s unnecessary unless you plan to follow up with a recast and a redemption arc. Otherwise, it just feels like lazy character assassination to justify Joey. On the romance front: Leslie and Marcel do not have chemistry. But Leslie and Randy? Chemistry in two seconds. Randy is a scammer, sure—we know that—but he also has a heart. That’s the lane. Let him try to scam her and then, when she ends up on trial, or he’s tasked to hurt her, let him realize he’s actually caught feelings. That’s messy. That’s soap. As for Eva and Izaiah… they’ve become boring. They had potential, but the show rushed them together with no real build, and Izaiah—who started as an interesting character—is now being centered around Eva. You made that mistake with Tomas. Stop doing that. The YA group is gorgeous, but it still feels like the show doesn’t know what to do  with them. Currently, this show lacks a young super couple in the making. There’s no “we’re going to remember them forever” pairing brewing—no Sprina, no Robin/Jason, no Liz/Jason, no Sami/Lucas, no Lily/Daniel. They’re pretty, but the relationships lack substance. The best among them are Madison and Chelsea. And honestly? The best written, fully fleshed-out romance on this show continues to be Andre and Dani, with Ted and Shanice catching up behind them. With that said, this week was a good one. The emotional beats hit, the family stuff landed, and the stakes are setting up nicely. Now tighten the weak areas—and stop trying to rewrite history we all watched in real time.

Sunday, January 11, 2026 — What to Watch & When Another night on the couch? Don’t threaten us with a good time. Whether you’re streaming at an ungodly hour, watching live awards chaos, or settling in for cozy PBS drama, tonight’s TV lineup is stacked. Here’s your easy, breezy, can’t-miss guide  to what’s airing tonight — Cave-style. 🌙 Late-Night Streaming Drops (3:00 AM ET) Landman  (Paramount+) Penultimate Episode Alert 🚨 Things get tense as Angela steps in to pull Ainsley out of a messy situation, while Cooper puts his authority to the test at a drill site. The calm before the finale storm? Absolutely. The Night Manager  (Prime Video) Season 2 Premiere — First Three Episodes Available Jonathan Pine is back, and surprise: his past isn’t done with him. A chance encounter drags him into a dangerous new conspiracy stretching from the Colombian jungle to the polished halls of MI6. Sleek, stylish, and very bingeable. 🌟 Primetime Picks (8:00 PM ET) Fear Factor: House of Fear  (FOX) Series Premiere — Special Night & Time Johnny Knoxville returns to gleefully encourage chaos. This revamped version traps strangers under one roof where fear isn’t just a challenge — it’s a lifestyle. Gross stunts, wild dares, and questionable life choices included. Golden Globes  (CBS) Live — Three-Hour Event Awards season officially kicks off with Nikki Glaser back as host. Expect big wins, awkward speeches, fashion risks, and at least one moment that will dominate your group chat. Check out guide to this year's ceremony here . Miss Scarlet  (PBS) Season 6 Premiere Eliza and Blake’s partnership gets complicated as their personal and professional lives collide. Add a new detective settling into Scotland Yard, and change is definitely in the air. When Calls the Heart  (Hallmark Channel) Hope Valley faces a crisis as Nathan responds to a fire in Goldie National Park, while Elizabeth leads the town’s relief efforts. Heartfelt heroics and emotional moments incoming. Worst Cooks in America  (Food Network) Soup, sandwiches, eggplant parmesan, and handmade pasta — what could possibly go wrong? (Everything. It’s always everything.) 🕘 9:00 PM ET — Drama Hour All Creatures Great and Small  (PBS) Season 6 Premiere With victory declared in Europe, the future feels hopeful — but peace doesn’t come easily. James juggles family life, veterinary duties, and an especially demanding Siegfried in this quietly emotional return. Industry  (HBO) Season 4 Premiere Harper makes a power move as the head of her own fund, while Whitney works behind the scenes to guide Tender into its next era. High finance, higher stakes, and zero chill. 🕙 10:00 PM ET — One More Before Bed Bookish  (PBS) U.S. Series Premiere Set in post-war London, a clever bookseller with a knack for solving murders turns his hobby into a side hustle. Smart, stylish, and perfect for mystery lovers who want something a little different. 🍿 Final Take from The TV Cave Whether you’re tuning in live for awards season drama, catching up with beloved PBS favorites, or diving into prestige TV, Sunday night delivers across the board. Clear your schedule, charge the remote, and let the couch do the rest. Check back tomorrow for your next Daily TV Guide , only here at The TV Cave  — where your watchlist lives.

Back in December, Noah Baumbach teamed up with George Clooney and Adam Sandler for Jay Kelly , with Clooney playing the titular role. The film follows Kelly and his longtime manager (played by Sandler) as they travel across Europe, with their relationship slowly being tested along the way. The film also features a strong supporting ensemble including Laura Dern, Patrick Wilson, Billy Crudup, Stacy Keach, Eve Hewson, Jim Broadbent, and Greta Gerwig. After its release on Netflix, alongside a limited theatrical run for awards consideration, Jay Kelly  has been met with positive reviews, with both Clooney and Sandler receiving Golden Globe nominations for their performances. I actually watched this back in December but never got around to reviewing it. However, with Adam Sandler recently winning the Astra Award for Best Supporting Actor – Comedy or Musical for his role in the film, I decided to revisit it to celebrate his win. So after watching it for a second time, here are my thoughts on Jay Kelly . I think this film is a real step up for Baumbach after White Noise . It’s more relatable, the characters feel more grounded, and the story moves at a much better pace. I really like how the film works as an insight into the life of a Hollywood movie star and the sacrifices you have to make to pursue that dream. It also feels very meta, especially with Clooney in the role, as the film ends with a tribute montage using clips from Clooney’s real career. Clooney and Sandler are definitely the stars of the show. Clooney’s character feels like a slightly fictionalised version of himself, but in a good way — it’s a playful, emotional performance that highlights what Clooney does best. That said, I think Sandler is even stronger here. He’s the emotional anchor of the film, and his performance feels deeply relatable. Being the man who has to hold everything together for a movie star clearly takes a toll, and Sandler plays that exhaustion and loyalty beautifully. The supporting cast is excellent, but no one quite reaches the same level as Clooney and Sandler. The standout for me is Billy Crudup, who only appears for about ten minutes but completely steals every scene he’s in. It’s a strong ensemble overall, but this is very much a two-hander driven by two powerhouse performances. Baumbach’s direction is also impressive, especially on a technical level. Linus Sandgren’s cinematography makes incredible use of the European locations, Nicholas Britell’s score is one of my favourites of the year, and the editing is very cleverly handled. One of the most impressive things is how the film blends flashbacks into the story — they feel seamless and never like a distraction from the main narrative. The only thing stopping Jay Kelly  from being one of my absolute favourites is that it does drag in a few places. It’s a strong story about legacy and fame, but there are moments that could have been tightened up to keep the momentum going. I also found out that the role of Jay Kelly was originally meant for Brad Pitt before he left the project, which led to the role being rewritten for Clooney. Honestly, I can see that working. The character is designed to be a legendary movie star, so it could have been played by almost any major A-lister. Still, it would have been fun seeing a tribute montage featuring Fight Club , Inglourious Basterds , and Snatch  if Pitt had stayed on. Somewhere in an alternate reality, that version exists. Overall, Jay Kelly  is a great film that explores themes of legacy, sacrifice, and regret. Baumbach’s writing and direction, combined with the performances, cinematography, score, and editing, make this a really rewarding watch. My biggest Oscar hope is that Adam Sandler lands a Best Supporting Actor nomination — he absolutely deserves it. I’m giving Jay Kelly  a 9 out of 10  and 4.5 out of 5 stars . It’s not quite on the level of Marriage Story  for Baumbach, and I slightly prefer Happy Gilmore 2  out of Sandler’s two 2025 films, but this is still one I’d strongly recommend.

The new year is off to a blockbuster start, and the latest box office numbers are proving that audiences aren’t ready to slow down after the holiday rush. James Cameron’s Avatar: Fire and Ash  continues its reign at the top of the charts, while a mix of thrillers, family films, and even a chimpanzee-led adventure are duking it out for the runner-up spots. For anyone keeping tabs on what’s making waves in theaters or what might be worth skipping in favor of a streaming night, here’s the scoop on the weekend’s box office action. Cameron’s sci-fi juggernaut is showing remarkable staying power, bringing in an estimated $21–24 million in its fourth weekend. That pushes Avatar: Fire and Ash  to a domestic total of around $345 million, a 33% drop from Avatar: Way of Water  at the same stage but still enough to dominate January’s moviegoing landscape. Clearly, audiences are still enchanted by Pandora, even if the sequel isn’t breaking records like its predecessors. The movie’s continued success proves that the Avatar  franchise isn’t going quietly into the night, it's the cinematic equivalent of a stubborn ex who refuses to leave the party. Meanwhile, competition for the second spot is surprisingly lively. Disney’s Zootopia 2  is holding steady in its seventh weekend, estimating $11 million this frame. Lionsgate’s thriller Housemaid , starring Sydney Sweeney and Amanda Seyfried, isn’t going down without a fight, earning $10.6 million in its fourth weekend. Both films are showing that strong word-of-mouth and loyal fan bases can keep movies afloat even after the initial hype fades. Adding some chaos to the mix is Paramount/18Hz’s Primate , which has audiences wrestling with, well… actual wrestling chimps. The R-rated animal-centric comedy pulled in $11 million, skewing heavily toward 18–34-year-old males, with Latino, Caucasian, Black, and Asian American audiences showing up in fairly balanced numbers. Clearly, some people love seeing humans get outsmarted by primates, and studios are more than happy to capitalize on that fascination. On the other end of the spectrum, STX and Anton’s Greenland 2: Migration  landed on the lower end of projections with $8.5 million. The disaster sequel leans older and male, appealing to a slightly different demographic than Primate , and has carved out a modest but dedicated audience in the West, particularly at theaters like Harkins Estrella Falls, AZ. Even smaller releases are making their mark. Angel Studios’ political war drama I Was a Stranger  is quietly performing well in faith-based circuits, while Sony’s comedy Anaconda  has surpassed $100 million globally, proving that even B-movie humor and high-concept silliness can find an audience in 2026. Chloe Zhao’s period drama Hamnet  is also turning heads overseas, earning $4 million in its UK opening weekend and positioning itself for Golden Globe buzz. The weekend’s box office trends show a fascinating mix: tentpole blockbusters holding steady, mid-tier thrillers maintaining their footing, and quirky niche films finding passionate audiences. It’s a reminder that in 2026, moviegoers are hungry for variety from CGI-heavy adventures to politically charged dramas, and yes, even chimp-on-human shenanigans. As we move further into the new year, it’s clear that the box office is as unpredictable as ever. Avatar: Fire and Ash  may still be the king of Pandora, but the race for second place is wide open and audiences clearly have plenty of options for where to spend their popcorn dollars.

Roger Ewing, the actor best known for his role as Deputy Marshal Thad Greenwood on the classic television western Gunsmoke , has died at the age of 83. Ewing passed away on December 18, 2025, in Morro Bay, California, according to family announcements. His career spanned both television and film during the 1960s and early 1970s, leaving a lasting mark on American entertainment. Born on January 12, 1942, in Los Angeles, California, Ewing began his acting career in the early 1960s. He first appeared on screen in the 1964 film Ensign Pulver  and quickly moved into television with guest roles on series including Bewitched , The Baileys of Balboa , and The Bing Crosby Show . These early performances showcased his versatility and prepared him for a defining role in one of television’s most popular westerns. Ewing joined Gunsmoke  in 1965, initially appearing as a guest character named Ben Lukens before being cast full-time as Deputy Marshal Thad Greenwood. He portrayed Thad Greenwood for two seasons, appearing in more than 50 episodes of the long-running CBS series. His character contributed to the series’ depiction of law enforcement and life in Dodge City, helping maintain the program’s reputation as a cornerstone of American television during the 1960s. In addition to Gunsmoke , Ewing appeared in films such as None but the Brave  (1965) and Smith!  (1969), and his final screen role was in Play It as It Lays  (1972). His television work included guest appearances on popular series including Rawhide , Death Valley Days , and The Mothers-in-Law , reflecting a broad range of acting roles across genres. Ewing retired from acting in 1972 and later pursued professional photography and civic involvement in his local community. Roger Ewing’s contributions to television and film, particularly his portrayal of Deputy Marshal Thad Greenwood, remain a notable part of American entertainment history. His work on Gunsmoke  and other projects continues to be recognized for its role in shaping classic television programming.

The Golden Globes are back, the champagne is chilled, and Hollywood is once again preparing to pretend this night is “casual.” The 2026 Golden Globe Awards  arrive with a nominations slate that’s equal parts prestige bait, streaming wars, and a few eyebrow-raising curveballs — exactly the kind of chaotic energy the Globes have always thrived on. This year’s lineup leans heavily into big-name auteurs, Netflix and Apple TV+ flexing their budgets, and actors who’ve been circling awards season for years finally getting their moment. Below is your complete Golden Globes 2026 guide , including how to watch, quick predictions in the races that matter most, and a full, easy-to-read nominees list  so you can keep score from your couch. How to Watch the Golden Globes 2026 The Golden Globes 2026  air Sunday, January 11, at 8:00 p.m. ET / 5:00 p.m. PT . If you want to catch all the glitz, awkward speeches, and inevitable red carpet memes live, here’s how: CBS (television):  The ceremony broadcasts live on CBS, so anyone with broadcast TV access, cable, or a live TV streaming service that includes CBS can tune in. Paramount+ (streaming):  For cord-cutters, the Globes stream live on Paramount+ , including plans that provide live CBS access. Just sign in on your device of choice, smart TV, tablet, or computer and you’re set. International viewers:  Many networks carry the Globes live or with a short delay. Check your local listings or the Paramount+ international site to confirm access. Plan ahead for some pre-show chaos: the red carpet kicks off before the ceremony, and the hosts are guaranteed to swing between charm and total awkwardness. Make sure your Wi-Fi is strong if you’re live-tweeting and streaming at the same time the Globes are always best enjoyed with snacks, commentary, and a comfy couch. Who’s Hosting the Golden Globes 2026? The Golden Globes 2026  will be hosted by comedian Nikki Glaser , returning for her second year at the helm. Known for her razor-sharp wit and fearless humor, Glaser made waves last year as the first solo female host of the Globes — and she’s back to dish out more laughs, awkward celebrity banter, and probably at least one eyebrow-raising joke on the Beverly Hilton stage. Glaser thrives on a mix of observational humor and pointed quips, making her the perfect guide through a night that’s equal parts Hollywood prestige and unpredictable chaos. Expect punchy monologues, playful digs at A-list stars, and commentary that will keep both viewers and Twitter feeds buzzing well into the night. Early Predictions: The Races to Watch Awards season has already set the tone and some frontrunners are emerging. While anything can happen at the Globes, here’s a look at who we think might walk away with the biggest prizes: Best Motion Picture – Drama Predicted Winner: Sinners Ryan Coogler’s gripping drama has been dominating critics’ buzz and awards chatter all season. Its emotional punch and cultural resonance make it the safe bet for the top prize. Best Motion Picture – Musical or Comedy Predicted Winner: One Battle After Another Paul Thomas Anderson’s sharp, stylish comedy has been racking up acclaim and seems poised to take the spotlight in a crowded category. Best Female Actor – Film (Drama) Predicted Winner: Jessie Buckley – Hamnet Buckley’s portrayal of Agnes has wowed critics and audiences alike, making her the standout in an already stacked lineup. Best Male Actor – Film (Drama) Predicted Winner: Wagner Moura – The Secret Agent Moura’s intense performance has been getting steady awards-season attention, giving him the edge in a tight race. Best Female Actor – Film (Musical or Comedy) Predicted Winner: Rose Byrne – If I Had Legs I’d Kick You Byrne’s comedic timing and critical buzz put her slightly ahead of a very competitive group. Best Male Actor – Film (Musical or Comedy) Predicted Winner: Timothée Chalamet – Marty Supreme Chalamet’s charm and character-driven performance make him the clear favorite here. Best Director Predicted Winner: Paul Thomas Anderson – One Battle After Another The Globes tend to reward directors who are also riding the wave of a strong picture campaign — Anderson fits that mold perfectly. Best Animated Feature Predicted Winner: KPop Demon Hunters With a global fanbase and a killer soundtrack, this Netflix hit has all the momentum to snag the animated trophy. Cinematic and Box Office Achievement Predicted Winner: Sinners Critical acclaim plus solid box office makes this the likely winner in the prestige-plus-popular-choice category. These predictions lean on the awards season so far, but with the Golden Globes’ penchant for surprises, expect at least one shocking win to shake up the night. 🎥 Film Nominees Best Motion Picture – Drama Nominee Frankenstein Hamnet It Was Just an Accident The Secret Agent Sentimental Value Sinners Best Motion Picture – Musical or Comedy Nominee Blue Moon Bugonia Marty Supreme No Other Choice Nouvelle Vague One Battle After Another Best Female Actor – Motion Picture (Drama) Nominee Film Jessie Buckley Hamnet Jennifer Lawrence Die My Love Renate Reinsve Sentimental Value Julia Roberts After the Hunt Tessa Thompson Hedda Eva Victor Sorry, Baby Best Male Actor – Motion Picture (Drama) Nominee Film Joel Edgerton Train Dreams Oscar Isaac Frankenstein Dwayne Johnson The Smashing Machine Michael B. Jordan Sinners Wagner Moura The Secret Agent Jeremy Allen White Springsteen: Deliver Me From Nowhere Best Female Actor – Motion Picture (Musical or Comedy) Nominee Film Rose Byrne If I Had Legs I’d Kick You Cynthia Erivo Wicked: For Good Kate Hudson Song Sung Blue Chase Infiniti One Battle After Another Amanda Seyfried The Testament of Ann Lee Emma Stone Bugonia Best Male Actor – Motion Picture (Musical or Comedy) Nominee Film Timothée Chalamet Marty Supreme George Clooney Jay Kelly Leonardo DiCaprio One Battle After Another Lee Byung-hun No Other Choice Ethan Hawke Blue Moon Jesse Plemons Bugonia Best Animated Feature Film Nominee Arco Demon Slayer: Kimetsu No Yaiba – Infinity Castle Elio Kpop Demon Hunters Little Amélie or the Character of Rain Zootopia 2 Best Non-English Language Film Nominee It Was Just an Accident No Other Choice The Secret Agent Sentimental Value Sirāt The Voice of Hind Rajab Best Director – Motion Picture Nominee Film Paul Thomas Anderson One Battle After Another Ryan Coogler Sinners Guillermo del Toro Frankenstein Jafar Panahi It Was Just an Accident Joachim Trier Sentimental Value Chloé Zhao Hamnet 📺 Television Nominees Best Television Series – Drama Series The Diplomat The Pitt Pluribus Severance Slow Horses The White Lotus Best Television Series – Musical or Comedy Series Abbott Elementary The Bear Hacks Nobody Wants This Only Murders in the Building The Studio Best Limited Series, Anthology, or TV Movie Title Adolescence All Her Fault The Beast in Me Black Mirror Dying for Sex The Girlfriend Best Female Actor – Television Series (Drama) Nominee Series Rhea Seehorn Pluribus Kathy Bates Matlock Britt Lower Severance Bella Ramsey The Last of Us Helen Mirren Mobland Keri Russell The Diplomat Best Male Actor – Television Series (Drama) Nominee Series Sterling K. Brown Paradise Gary Oldman Slow Horses Mark Ruffalo Task Adam Scott Severance Noah Wyle The Pitt Diego Luna Andor Why This Year’s Globes Matter The Golden Globes 2026  feel like a snapshot of where the industry is right now: streamers dominating the field, genre storytelling finally being taken seriously, and TV stars crossing over into film prestige with ease. It’s messy, it’s competitive, and it’s exactly why the Globes remain such a compelling awards show to watch. Whether you’re tracking wins, rooting for chaos, or just here to see who accidentally drops an F-bomb on live TV, this year’s ceremony has plenty to offer. Check back with The TV Cave  for live reactions, winner updates, and post-show fallout  once the trophies are handed out because the real drama always starts after the envelopes are opened.

Veteran actor T.K. Carter, a familiar face across American film and television for nearly five decades, has passed away at the age of 69. Authorities confirmed that Carter was found deceased at his home in Duarte, California on January 9, 2026. No foul play was reported and an official cause of death has not been released. His passing marks the end of a long and consistent career that spanned multiple eras of entertainment. Born Thomas Kent Carter on December 18, 1956, Carter began working professionally in the mid 1970s. He steadily built a reputation as a reliable character actor, appearing in a wide range of genres including comedy, drama, horror and science fiction. His film career gained major recognition in 1982 when he appeared as Nauls in John Carpenter’s acclaimed science fiction horror film The Thing . The role became one of his most recognizable performances and remains a significant entry in genre cinema history. Carter’s film credits extended well beyond that landmark role. He appeared in movies such as Seems Like Old Times , Doctor Detroit , Runaway Train , Ski Patrol , and Domino . In 1996, he contributed voice work to the hit animated sports film Space Jam , further expanding his on screen range and audience reach. On television, T.K. Carter maintained a steady presence across network and cable programming. He was widely known for his recurring role as Mike Fulton on the NBC sitcom Punky Brewster , appearing throughout the show’s original run in the 1980s. He later played Mylo Williams on Good Morning Miss Bliss , the precursor to Saved by the Bell . Additional television roles included appearances on The Sinbad Show , The Steve Harvey Show , Family Matters , Everybody Hates Chris and the HBO miniseries The Corner , where he portrayed Gary McCullough. In the later stages of his career, Carter continued to work consistently, appearing in series such as The Company You Keep  and Dave  in 2023. His extensive resume includes more than 60 credited roles across film and television. T.K. Carter’s passing closes a chapter on a career defined by longevity and versatility. His body of work remains a significant part of American television and film history, reflecting decades of consistent performances across multiple genres and platforms.

Last night, Hollywood’s glitterati gathered for the 2026 Astra Awards , and the red carpet was hotter than a Netflix release on a Friday night. From swoon-worthy wins to jaw-dropping surprises, the ceremony didn’t hold back. Warner Bros.’ Sinners  dominated the evening, snatching up multiple awards, while Netflix’s KPop Demon Hunters  thrilled animation fans. If you’re keeping tabs on who’s leading the awards season buzz, this was the night that made headlines. The Astra Awards have quietly become a benchmark for both critical and fan acclaim, blending prestige with just enough irreverence to keep things interesting. Last night’s show proved why the Astras are worth watching—big wins, unexpected performances, and a few red carpet moments we can’t stop talking about. Big Wins and Show-Stopping Moments Sinners , Ryan Coogler’s latest powerhouse, left little doubt who owned the night. It won Best Motion Picture – Drama , Best Director , Best Original Screenplay , and Best Cast Ensemble , among others. Michael B. Jordan’s portrayal in the drama category sealed his reputation as one of the industry’s finest. Comedy and musical lovers weren’t left out either. One Battle After Another , a WB production, clinched Best Motion Picture – Comedy or Musical , while Timothée Chalamet snagged Best Actor  in the category for Marty Supreme . Amanda Seyfried also walked away victorious for her role in The Testament of Ann Lee . Animated and genre fans had reason to celebrate. Netflix’s KPop Demon Hunters  not only took Best Animated Feature  but also Best Original Song  and Best Voice Over Performance , proving once again that streaming platforms are reshaping Hollywood dominance. Horror, thriller, action, and sci-fi weren’t ignored. WB’s Weapons  scored Best Horror/Thriller Feature , while a very charismatic canine, Indy the Dog, earned Best Performance in a Horror/Thriller . Meanwhile, WB’s Superman  soared to Best Action or Sci-Fi Feature , showing that some heroes never retire. Astra Awards 2026 Winners Category Winner Production/Studio Best Motion Picture – Drama Sinners WB Best Motion Picture – Comedy or Musical One Battle After Another WB Best Actor – Drama Michael B. Jordan Sinners (WB) Best Actress – Drama Jessie Buckley Hamnet (Focus Features) Best Supporting Actor – Drama Stellan Skarsgård Sentimental Value (Neon) Best Supporting Actress – Drama Amy Madigan Weapons (WB) Best Actor – Comedy or Musical Timothée Chalamet Marty Supreme (A24) Best Actress – Comedy or Musical Amanda Seyfried The Testament of Ann Lee (Searchlight) Best Supporting Actor – Comedy or Musical Adam Sandler Jay Kelly (Netflix) Best Supporting Actress – Comedy or Musical Ariana Grande Wicked: For Good (Universal) Best Adapted Screenplay One Battle After Another Paul Thomas Anderson (WB) Best Original Screenplay Sinners Ryan Coogler (WB) Best Book to Screen Adaptation The Housemaid Lionsgate Best Director Ryan Coogler Sinners (WB) Best Cast Ensemble Sinners WB Best Animated Feature KPop Demon Hunters Netflix Best Voice Over Performance Arden Cho KPop Demon Hunters (Netflix) Best Horror/Thriller Feature Weapons WB Best Performance in a Horror/Thriller Indy the Dog Good Boy (IFC/Shudder) Best Action/Sci-Fi Feature Superman WB Best Documentary The Perfect Neighbor Netflix Best International Feature Sentimental Value Neon Best Indie Feature Twinless Roadside Best First Feature Sorry, Baby A24 Best Original Score Sinners Ludwig Göransson Best Song "Golden" KPop Demon Hunters (Netflix) Best Young Performer Jacobi Jupe Hamnet (Focus Features) Highlights Worth Talking About Red Carpet Magic:  Sharon Stone turned heads in a look that could stop traffic, while Dylan O’Brien and Arden Cho gave fans a mini Teen Wolf  reunion. Streaming Supremacy:  Netflix and WB walked away with major wins, underlining the ongoing dominance of streaming versus traditional studio powerhouses. Genre Love:  Horror, sci-fi, and animation weren’t sidelined, proving the Astras value creativity across every corner of the industry. The 2026 Astra Awards  were proof that Hollywood can mix prestige, spectacle, and a little sass all in one night. Whether you’re team Coogler, rooting for streaming domination, or just here for the red carpet moments, last night had something for everyone. One thing is clear: Sinners  is the drama to beat, KPop Demon Hunters  is the animated sensation, and the stars, human and canine alike, delivered unforgettable performances. The buzz isn’t going anywhere, and neither are the Astras. For the latest on TV, movies, and all things pop culture, The TV Cave keeps you in the loop with all the highlights, hot takes, and behind-the-scenes scoops you won’t want to miss.