Spooky season is peaking, and TV networks clearly got the memo. From murder docs and mummies to high-stakes hospitals and haunted housewives, Thursday’s lineup is absolutely stacked . Whether you’re a binge fiend or a live-TV loyalist, here’s your complete guide to what’s worth watching, what’s skippable, and what’s just plain unhinged. ☀️ EARLY RISERS & STREAMING BINGERS Aileen: Queen of the Serial Killers  – Netflix, 3:00 AM ET Nothing says “good morning” quite like a true-crime deep dive into one of history’s most infamous female serial killers. Netflix’s new doc pulls back the curtain on Aileen Wuornos’s troubled life, with the usual mix of archival footage, dramatized reenactments, and just enough moral gray area to spark your next group chat debate. Warning: not for the faint of heart—or the easily haunted. Carl Weber’s The Family Business  – BET+, 3:00 AM ET If your family drama doesn’t involve the Dixie Mafia and political takedowns, are you even trying? LC Duncan’s plan finally comes together—but it could send Vegas straight back to jail. With Paris plotting and tempers flaring, this episode’s giving soap-meets-mob energy, and we’re here for every scheming second. Jurassic World: Rebirth  – Peacock, New to Streaming Scarlett Johansson, Jonathan Bailey, and Mahershala Ali headline this latest trip back to Isla “Please Stop Making Dinosaurs” Nublar. The setup? A secret island lab full of leftover prehistoric nightmares. The vibes? Corporate greed meets dino chaos, again. The CGI? Surprisingly stellar. Grab your popcorn—this one’s destined to dominate your timeline. The Kardashians  – Hulu, 3:00 AM ET It’s the end of an era as Caitlyn Jenner pops back in to say goodbye to the family house. Meanwhile, Kris is hanging out with Glenn Close  (yes, that one), and Kourtney’s plotting an artsy collab with Julia Fox. Basically, it’s another week in the Kardashian multiverse where self-awareness goes to die, but production value lives forever. Married at First Sight  – Peacock, 3:00 AM ET Three fresh episodes mean triple the awkward honeymoons. Some couples are already picking baby names; others are Googling “how to get an annulment quietly.” And one poor bride’s attempt at intimacy? Let’s just say you’ll be watching through your fingers. Reasonable Doubt  – Hulu, 3:00 AM ET Secrets, betrayals, and parents in the hot seat—Hulu’s legal drama doubles down on the twists this week. If you like your courtroom thrills with a side of emotional trauma, this is your Thursday binge. Sorry, Baby  – Max, New to Streaming A dark, introspective indie starring Eva Victor as a reclusive professor grappling with trauma and healing. Heavy stuff, but beautifully acted. Maybe save this one for when you’re emotionally fortified—or at least not sipping wine alone. The Witcher: Season 4  – Netflix, Eight-Episode Binge Drop Geralt of Rivia returns—this time played by Liam Hemsworth, stepping into Henry Cavill’s monster-slaying boots. The war is raging, the continent’s on fire (metaphorically and literally), and Yennefer and Ciri are fighting their own battles. Expect breathtaking sword fights, political scheming, and endless Twitter discourse about The Recasting . 🌆 PRIMETIME POWER HOURS 9-1-1  – ABC, 8:00 PM ET Athena’s journey home forces her to confront life without Bobby. Yes, it’s emotional. Yes, you’ll cry. And yes, the emergency-of-the-week will probably involve something so wild it trends before the first commercial break. (Disney/Christopher Willard) AISHA HINDS, ANGELA BASSETT Georgie & Mandy’s First Marriage  – CBS, 8:00 PM ET Georgie’s mom dating again? Instant crisis. Add Jim and Audrey’s existential will-making session and a nostalgic Missy cameo, and you’ve got a surprisingly heartfelt episode that’ll make you call your parents—then regret it instantly. Hell’s Kitchen  – FOX, 8:00 PM ET Chef Ramsay’s contestants tackle Southern cuisine. Someone will over-season, someone will undercook, and someone will cry over cornbread. You already know the drill, and that’s exactly why it works. Law & Order  – NBC, 8:00 PM ET Tonight’s case: a gambling-addicted restaurateur meets an untimely end, and the debate over justice versus compassion heats up. Bonus: Ryan Eggold guest stars as Riley’s freshly paroled brother, so expect drama with a side of family tension. The Real Housewives of Orange County  – Bravo, 8:00 PM ET Amsterdam trip! Tulips, tears, and tequila-fueled chaos. Emily gets alarming news about Shane, Heather finds closure spreading her dad’s ashes, and everyone else finds new ways to offend the locals. A classy mess, in other words. 🏈 SPORTS BREAK Thursday Night Football: Ravens vs. Dolphins  – Prime Video, 8:15 PM ET It’s Baltimore versus Miami under the lights, and both teams are coming in hot. Expect explosive plays, bad officiating tweets, and at least one coach losing his headset mid-rant. 👻 LAUGH & SCREAM BLOCK Ghosts  – CBS, 8:30 PM ET Halloween at Woodstone Mansion takes a turn when Sam and Jay accidentally unleash a mummy ghost. Yes, a mummy ghost . The only thing scarier? The idea of property taxes on a haunted estate. 🔥 LATE-NIGHT DRAMA ZONE 9-1-1: Nashville  – ABC, 9:00 PM ET Emergencies at a waterpark and a sorority house? Only this show could make floaties and frat bros equally life-threatening. Meanwhile, Blue’s firefighter exam looms large as Blythe starts snooping into his past. Grab your tissues and  your adrenaline. Law & Order: SVU  – NBC, 9:00 PM ET A brutal assault at a house party tests the team’s instincts. With two suspects in custody, Rollins proves she’s still got the magic touch—psychological manipulation edition. Justice, drama, and a classic SVU face-off. Matlock  – CBS, 9:00 PM ET Olympia’s team takes on a wrongful death case while Matty digs into some very personal family secrets. Nostalgia meets new-school storytelling, with a side of legal intrigue. Special Forces: World’s Toughest Test  – FOX, 9:00 PM ET This week’s task: crossing a rope 200 feet above a canyon. Terrifying. Expect screaming, sweating, and at least one celebrity regretting every life choice that led them here. 🌙 NIGHTCAP PICKS Elsbeth  – CBS, 10:00 PM ET Halloween night in suburbia turns deadly when rival neighbors go full Hitchcock. Annaleigh Ashford shines in an episode that’s equal parts campy and clever—a delicious murder mystery treat. Grey’s Anatomy  – ABC, 10:00 PM ET The interns face a bizarre trauma case while Meredith wrestles with a complicated breast reconstruction that forces her into an uneasy partnership. Translation: medical chaos, emotional explosions, and the perfect end to your drama marathon. 🍿 FINAL THOUGHTS Thursday’s schedule is peak  multitasking TV—half binge fodder, half live chaos. Whether you’re streaming dinosaurs, crying over firefighters, or pretending you don’t still watch The Kardashians , there’s something for every flavor of obsession. Now grab your snacks, dim the lights, and let the binge begin—because at The TV Cave , every night’s a primetime event.

Starz just dropped the hammer on one of its most talked-about crime dramas. After four high-octane seasons of hustling, betrayal, and brotherhood, BMF  has officially been cancelled. The network confirmed that the fourth season, which wrapped in August 2025, will be the show’s last. For fans who’ve been riding with Meech and Terry since day one, this one stings like a bad deal gone wrong. The cancellation comes at a time when BMF  was still pulling solid numbers and a loyal fan base. So why the sudden cut? According to reports, rising production costs and a shift in Starz’s programming strategy played a major role. Translation: the show got too expensive, even for a network built on power plays and crime sagas. Ironically, BMF , a series about building an empire from scratch became a victim of its own success. Created by Randy Huggins and executive produced by Curtis “50 Cent” Jackson, BMF  turned a true story into a cultural phenomenon. It gave audiences an unfiltered look at the rise of the Black Mafia Family, led by real-life brothers Demetrius “Big Meech” Flenory and Terry “Southwest T” Flenory. The show balanced grit and heart with slick performances from Demetrius Flenory Jr. and Da’Vinchi, both of whom brought authenticity and swagger to their roles. But let’s be honest, Starz canceling BMF  after four seasons feels premature. The show still had story left in the tank. Rumor has it spinoffs are in the works, which could give fans a glimmer of hope. Still, pulling the plug now leaves a gaping hole in Starz’s lineup and an even bigger one in the hearts of viewers who tuned in weekly for their dose of street ambition and drama. So here’s the question every fan is asking: will BMF  rise again somewhere else, or has the empire officially fallen? If Starz knows what’s good for them, they’ll find a way to keep this story alive. Because love it or not, BMF  was the kind of TV chaos we couldn’t look away from and that’s not something you cancel lightly.

There’s something undeniably powerful about watching a forgotten piece of Black history get its moment in the cinematic sun. Sarah’s Oil , directed by Cyrus Nowrasteh and set for release on November 7, 2025, takes on the true story of Sarah Rector, a young Black girl from early-1900s Oklahoma who becomes one of America’s first Black millionaires when oil was discovered on her land. It’s a story that deserves the spotlight. The question is, does the film do it justice? Well… mostly. At its core, Sarah’s Oil  is the kind of biographical drama that wants to inspire audiences while sneaking in a bit of history homework. The real Sarah Rector was born in 1902 in what was then the Oklahoma Indian Territory. Her family was part of the Creek Nation, and after land allotments were distributed, she was given a seemingly worthless patch of land. That “worthless” land, of course, turned out to be sitting on top of a fortune in oil. By age eleven, she was a millionaire and a target for every scheming adult within a hundred miles. It’s an extraordinary true story, and the movie captures the broad strokes beautifully. Where Sarah’s Oil  shines brightest is in its performances. Naya Desir-Johnson makes an impressive big-screen debut as young Sarah. She carries the movie with an earnestness that feels both fresh and deeply grounded. Sonequa Martin-Green, as Sarah’s mother Rose, brings warmth and emotional weight to every scene, and her real-life husband Kenric Green matches her energy perfectly as Sarah’s father Joe. Their chemistry gives the film a heartbeat that keeps it pulsing even when the script falters. Speaking of faltering, the storytelling here can be a little rough around the edges. The film’s pacing is choppy, and several storylines feel unresolved, as if someone forgot to tie up a few too many narrative loose ends. The climax, which should have packed a powerful emotional punch, ends up feeling strangely anticlimactic. For a film about one of the richest kids in American history, it occasionally runs on empty. There’s also the matter of tone. While Sarah’s Oil  clearly aims to celebrate Black resilience and historical triumph, it can’t quite escape a recurring Hollywood habit: the overabundance of white saviors. For a story centered on a young Black girl’s incredible determination and the systemic racism she faced, too many moments lean on white characters stepping in to “help” or explain the plot. It’s not enough to ruin the movie, but it does dull its edge especially when you consider how radical Sarah Rector’s story really is. Now, if the people in the story are accurate fine but it was noticeable. Garret Dillahunt plays one of the film’s key antagonists with his usual finesse. He’s so good at being bad that you almost wish he’d been given more screen time (and, let’s be honest, it’s always a little heartbreaking to see him playing the villain when he’s so good at being the good guy). Meanwhile, Zachary Levi is… there. He did more than I thought he was capable as an actor. Visually, the film does what it needs to do. Shot primarily in Oklahoma, the production design nails the early-20th-century setting without feeling like a dusty museum piece. The cinematography captures both the isolation and the quiet beauty of the Midwest landscape, helping ground the historical drama in something tactile and lived-in. Despite its flaws, Sarah’s Oil  has its heart in the right place. It’s an earnest, well-meaning attempt to shine a light on a chapter of history that’s too often overlooked. If anything, it may encourage audiences to look up the real Sarah Rector, a girl who navigated racism, legal battles, and public scrutiny to control her own fortune long before she was old enough to do anything. That’s a story worth telling, even if this particular retelling doesn’t strike oil every time it drills. So, does Sarah’s Oil  live up to its potential? Not entirely. But thanks to breakout performances, strong direction, and a story that demands to be remembered, it’s still worth the trip to the theater. You might not walk out fully satisfied, but you’ll walk out knowing who Sarah Rector was and that alone feels like a victory. Verdict:  An inspiring story bogged down by uneven pacing, rescued by excellent performances and a rich historical core. Rating: ★★★☆☆

And, that’s a wrap! Season 5 of Only Murders in the Building comes to a dramatic close with the big reveal for Hulu’s original hit whodunit, starring Steve Martin, Martin Short, and Selena Gomez.  No spoilers here, you will have to tune in for yourself to find out how the amateur super sleuths put the pieces together (with a little help from their friends, of course) to name the murderer of their beloved doorman Lester Coluca in the courtyard fountain on the night of Oliver’s (Short) wedding. Check out Season 4 finale for the backstory. The 10-episode Season 5 for the comedy mystery first released on Sept. 9, with the drop of the first three episodes. Weekly installments have followed since, leading up to this week’s finale and big reveal on Oct. 28. Only Murders has done a masterful job of keeping audiences locked in for the past five seasons with the leads comedic chemistry infused, at fortuitous moments, with a touch of the sincere and the poignant. For the most part, the season stayed to true to its winning formula of witty banter, clever plot twists, and a double dose of mystery. But, for this season’s finale, with an overload of guest stars and having to find a place for them on canvas dominating the narrative, at times, has left very little room for the viewer to see the clues, themselves, leading up to the reveal. And while the unmasking of the killer remains quite the mystery until its not, the unveiling of such lacks the proper nuance for viewers to have their own a-ha moment and arrive at a similar conclusion this go-round. Hey, if you are thinking that’s not how it’s supposed to work, I say, that half the fun is trying to figure it for yourself before you have to be told.  Nevertheless, though you know you have seen this all before, something about the series’ signature blend of humor and heart will keep you committed to finding out how it all comes to an end, once again. Since the start of the season, Charles-Haden Savage (Martin) Oliver Putnam, and Mabel Mora (Gomez) have been hot on the trail of the double murder (Nicky Caccimelio, the dry cleaner, was also killed on the same night) at their historic NYC apartment building. After both men were found dead under suspicious circumstances, the amateur super sleuths delve into the investigation, uncovering the requisite dark secrets and hidden connections within their beloved building along the way, including the secret gaming room in the basement that appears to be at the epicenter of this season’s murders.  Navigating through twists and turns that lead them into the murky world of organized crime, billionaire side bets, and robot friends amid their quest for the truth, the true crime trio must also grapple with their own personal challenges of love, friendships, and the impending loss of a place they call home. And, without a building when this is all said and done, can there really be any more murders? I digress. With the clock ticking on their time left at the Arconia, now that billionaire designer Camila White (Renee Zelleweger) is set to take over the building for her new casino, the podcasters double down on identifying the killer in one last stand for their home. Knowing that a key piece of evidence — that truly has been in more hands than the one it started with — belongs to someone in the building, Charles, Oliver, and Mabel go back to their murder board with the hopes of pinning the billionaires as prime suspects. Which, if you have been keeping up, also includes Christoph Waltz as tech guru Bash Steed and Logan Lerman as billionaire black sheep Jay Pflug.  In a secret ploy, the podcaster trio arrange for the billionaire trio to convene in the Arconia’s Velvet Room in a classic “I thought you called this meeting. No, I thought you did!” moment to get them to confess. From there, the episode finds its footing on familiar ground as the character dynamics and comedic timing of the onscreen ensemble highlights the core of the show’s success — undeniable chemistry and stellar comedy writing.  Now five years in, the bond between the lead characters has become the crucial part of the comedy glue, the generational gap, notwithstanding, with the latter providing a consistent source of well-meaning jokes and miscommunication moments. In this episode, specifically, that callout is evidenced by a hilarious scene that unfolds during the gaming room confrontation and the ones that immediately follow when things do not go as planned. It is in these onscreen scenarios that both Martin and Short’s decades of experience and rapport mix beautifully with Gomez’s deadpan humor and understated energy. Just when you think this should not be that funny, it most certainly is. As with any end to an Only Murders season, there’s always a hope that there will be more to our podcasters’ stories, even if it means coming to terms with the fact that an unnerving number of murders take place in this one building. And, as luck would have it, there will be more — Season 6 for the Emmy-winning show has officially been announced, with this season’s closer hinting at a mystery that quite literally has landed on the true crime podcasters’ doorstep, and set to take them international. Grab your passports, friends. Season 5 of Only Murders In The Building also stars Meryl Streep, Da’Vine Joy Randolph, Keegan-Michael Key, Michael Cyril Creighton, and Dianne Wiest. All 10 episodes are streaming now on Hulu. Watch them again to see what clues you may have missed.

Your daily dose of premieres, finales, and all the TV chaos worth staying up for. Another midweek lineup stuffed fuller than a Halloween candy bowl and yes, there will  be drama, explosions, and probably at least one tearful reunion special. Whether you’re in the mood for artsy prestige fare, guilty-pleasure reality, or a primetime comfort binge, The TV Cave has your ultimate watchlist covered. 🌙 After Midnight Premieres (12:00 AM ET) Down Cemetery Road  ( Apple TV+ ) Series Premiere  — Nothing says “sweet dreams” like a house explosion and a missing girl. Ruth Wilson stars as a nosy neighbor turned amateur sleuth who ropes in Emma Thompson’s PI to get to the bottom of the mystery. British small-town secrets and stellar acting? Add to queue immediately. Read our review here . Ink Master  ( Paramount+ ) Season 17 Premiere  — Fifteen new tattoo artists, $250,000 on the line, and egos as sharp as their needles. Expect plenty of ink, shade, and questionable decision-making. The first three episodes drop at once, because restraint is overrated. ☕ Early-Morning Streaming Drop (3:00 AM ET) Ballad of a Small Player  ( Netflix ) Movie Premiere  — Colin Farrell trades his brooding Batman energy for a gambler on the run in Macau. Glitzy casinos, bad choices, and a mysterious woman at the baccarat table? Sounds like trouble (and our kind of movie night). Hazbin Hotel  ( Prime Video ) Season 2 Premiere  — Charlie’s feeling the loss of Sir Pentious while trying to keep the Hotel for Hell’s redemption mission alive. Chaos, catchy tunes, and morally confused demons await. Welcome back to our favorite infernal sitcom. Hedda  ( Prime Video ) Movie Premiere  — Tessa Thompson reimagines Ibsen’s classic in this modern, glossy update from Nia DaCosta. Expect bold visuals, psychological fireworks, and at least three monologues that deserve an Oscar clip. Loot  ( Apple TV+ ) Molly tries to make peace with her ex while Howard enlists help to impress Destiny. Classic Loot  mix of rich-people problems and heartfelt comedy. The Morning Show  ( Apple TV+ ) Yanko and Bradley’s loyalties are tested when Claire resurfaces. Corporate backstabbing before breakfast? Yes, please. Murdaugh: Death in the Family  ( Hulu ) At the Watermelon Festival (because of course), Alex faces the fallout of his own mess while Mandy’s latest article drops a bomb. True crime meets Southern scandal — grab your sweet tea. Selling Sunset  ( Netflix ) Season 9 Premiere  — The Oppenheim drama returns with new agent Sandra Vergara stirring the designer pot. Expect bigger listings, smaller bikinis, and enough feuds to power a solar grid. Slow Horses  ( Apple TV+ ) Season 5 Finale  — The world’s most dysfunctional spy squad faces one last mission. Farouk’s team is up to no good, and it’s up to Slough House to stop the carnage — probably while insulting each other. Star Wars: Visions  ( Disney+ ) Volume 3 Premiere  — Nine new animated shorts from around the galaxy. Expect rebels, bounty hunters, and treasure hunts. It’s the Force, but make it artsy. ⚾ Evening Kickoff (7:00 PM ET) MLB World Series Game 5  ( FOX ) The Toronto Blue Jays and L.A. Dodgers continue their fight for glory. Grab the snacks — this could be the night someone swings their way into history. 🎃 Primetime Power Plays (8:00 PM ET) The Challenge  ( MTV ) Alliances crumble faster than a stale protein bar. As the numbers drop, every win (and loss) counts — and someone’s about to regret last week’s vote. Chicago Med  ( NBC ) Doctors clash, emotions flare, and Goodwin’s personal life takes center stage. If you like your medical drama with a side of emotional whiplash, you’re in luck. Law & Order Toronto: Criminal Intent  ( The CW ) A stolen car turns deadly, leading detectives Graff and Bateman to a suspect no one saw coming. Canada’s crime scene just got colder. Shifting Gears  ( ABC ) Halloween plans go sideways when Eve suggests an overnight — and Riley’s crew faces party chaos. Spooky season meets sitcom hijinks. Survivor  ( CBS ) A tribe shake-up sends everyone scrambling. Three tribes, one scorcher of a day, and at least one contestant who really should’ve hydrated. 🏕️ Half Hour Laughs (8:30 PM ET) Abbott Elementary  ( ABC ) Barbara organizes a Halloween camping trip, which can only go perfectly… right? Expect spooky snacks, student chaos, and more teacher bonding we didn’t know we needed. ❤️ Prime Drama & Reality Feels (9:00 PM ET) Chicago Fire  ( NBC ) Cruz hunts for a mysterious ally, Mouch plays hero, and Vasquez faces a brutal choice. Just another night at Firehouse 51. The Golden Bachelor  ( ABC ) Fifteen ladies return to spill tea, shed tears, and maybe still flirt with Gerry. The reunion special promises love, loss, and more emotional damage than your average therapy session. Love Is Blind: The Reunion  ( Netflix ) No weddings, no problem — the Season 9 cast reunites to rehash every awkward, ghosted, and “we were on a break” moment. Someone’s definitely still salty. 🌍 Adventure Hour (9:30 PM ET) The Amazing Race  ( CBS ) The teams take on Croatia, where alliances get messy and one team’s Roadblock strategy completely implodes. Expect beautiful views and ugly arguments. 🚨 Late-Night Thrills (10:00 PM ET) Chicago P.D.  ( NBC ) A bombing rocks the city, and Atwater reconnects with an old friend — who might not be so innocent. Chicago Wednesdays stay undefeated. 🤪 Comedy Nightcap (10:30 PM ET) Beavis and Butt-Head  ( Comedy Central ) The eternal man-children mistake a church group for a militia. Plus, a new kid joins their class — poor soul. Dumb, nostalgic fun at its finest. 🍿 Final Thoughts from The Cave From haunted school trips to high-stakes spy finales, tonight’s lineup is pure October gold. Whether you’re binging Selling Sunset  till sunrise or watching the World Series  with one eye open, there’s no wrong choice — just plenty of great TV.

Apple TV+ has gone digging for another British spy thriller and unearthed Down Cemetery Road , a moody, stylish, and occasionally chaotic mystery starring two of the UK’s finest exports, Emma Thompson and Ruth Wilson. Adapted from Mick Herron’s novel, the same mind behind Slow Horses , this new series comes loaded with expectations, sardonic wit, and a fair bit of emotional baggage. The result? A smart, sharp, but sometimes uneven ride through suburban secrets and espionage intrigue that might just leave viewers equal parts thrilled and baffled. From the very first frame, Down Cemetery Road  hooks you. The show opens in a quiet Oxford suburb, where Ruth Wilson’s character Sarah Tucker will become involved with an explosion that will lead her down a path that shatters her tidy existence. Emma Thompson enters the story like a wrecking ball of charisma as Zoë Boehm, a private investigator with more attitude than patience, and together they stumble into a labyrinth of lies, missing people, and government-level cover-ups. It’s the kind of setup British television does best: quiet menace, quirky humor, and dialogue so sharp you could slice your toast with it. A Dream Duo with Killer Chemistry Let’s start with the obvious: Ruth Wilson and Emma Thompson absolutely devour their roles. Wilson brings her trademark blend of vulnerability and steel, while Thompson chews through the script like she’s been waiting her entire career to play a caffeine-fueled, world-weary detective who has seen one too many lies. Watching them together is pure joy. Their chemistry is electric, spiky, funny, and deeply human. Even when the plot occasionally fumbles, these two make every moment sing. Thompson delivers a deliciously cranky performance, throwing out quips and one-liners with surgical precision. Wilson grounds the show with emotional heft, turning Sarah Tucker from a curious neighbor into an unlikely truth-seeker who refuses to be dismissed. The two women are the show’s beating heart, and whenever they share the screen, Down Cemetery Road  feels unstoppable. Plot Twists or Plot Potholes? Here’s where the show occasionally trips over its own ambition. The first couple of episodes set up a sleek, suspenseful mystery with real bite. But as the series digs deeper, it starts juggling too many ideas, espionage, corporate malfeasance, missing persons, and conspiracies that would make even the Slow Horses  gang raise an eyebrow. The result is entertaining, yes, but also occasionally exhausting. There are moments when Down Cemetery Road  feels like it’s trying to outsmart itself, layering twist upon twist until the tension threatens to snap. The good news? It never fully collapses. Even when the narrative takes a detour through absurd territory, the energy stays high, and the performances keep you invested. It’s a messy puzzle box of a show, but one that’s almost too fun to stop watching. Courtesy of Apple TV+ A Feast for the Eyes and Ears If there’s one thing Apple TV+ knows how to do, it’s production design. Down Cemetery Road  looks phenomenal. The cinematography oozes atmosphere, foggy English streets, muted palettes, and bursts of cinematic flair that make even a parked car look suspicious. The score matches the mood perfectly, oscillating between eerie tension and jazzy unease. Every frame feels intentional, and that polish gives the show an edge that elevates it above your standard suburban mystery. Verdict: Uneven but Unmissable Down Cemetery Road  isn’t perfect, but it’s the kind of imperfect that’s still wildly entertaining. It’s clever, stylish, and filled with character, even when it threatens to bury itself under too many secrets. Thompson and Wilson turn what could have been another brooding British mystery into a whip-smart, slightly unhinged thriller that keeps you guessing until the end. The show’s ambition occasionally outpaces its execution, but that’s part of its charm. It swings big, stumbles, and then gets right back up with a smirk and another cup of tea. Down Cemetery Road  is a must-watch for anyone who loves twisty mysteries, British attitude, and female leads who can command a room with a raised eyebrow. Rating: 3.5 out of 5 – Come for the cast, stay for the mess.

ABC is not quietly easing into 2026. The network just dropped its midseason schedule, and it’s a slick mix of returning heavy hitters, ambitious revivals, and strategic reshuffles. If January is supposed to be sleepy season, ABC clearly missed that memo. The network is rolling out new episodes like it’s May sweeps, giving us a little nostalgia (Scrubs, anyone?), a lot of procedural grit, and a few strategic power plays that show the alphabet network still knows how to command attention in the streaming age. Below is the full rundown of what’s coming, when to tune in, and which nights will absolutely destroy your social life. ABC Midseason Schedule 2026 at a Glance Date Time (ET) Show Details Sunday, Jan. 4 7:00 PM America’s Funniest Home Videos Season 36 return — still proving dad jokes and pet fails are immortal Tuesday, Jan. 6 8:00 PM Will Trent Season 4 premiere — the slickest detective since Castle 9:00 PM High Potential Returns in a new slot with more quirky crimes and sharper chemistry 10:00 PM The Rookie Season 8 premiere — Nathan Fillion’s charisma continues to defy gravity Wednesday, Jan. 7 8:00 PM Shifting Gears Back for more workplace chaos 8:30 PM Abbott Elementary Season 5 return — still the smartest show about dumb bureaucracy 10:00 PM Shark Tank Midseason return to remind us we’re bad at business Thursday, Jan. 8 8:00 PM 9-1-1 Season 9 return — more disasters, more tears 9:00 PM 9-1-1: Nashville Spinoff debut — country drama meets catastrophe 10:00 PM Grey’s Anatomy Season 22 return — the hospital that refuses to die Friday, Jan. 9 8:00 PM Celebrity Wheel of Fortune Because watching famous people guess words never gets old 9:00 PM 20/20 Journalism meets true crime — a Friday staple Saturday, Jan. 24 8:00 PM NBA on ABC Lakers vs. Mavericks headline the season Monday, Jan. 26 8:00 PM American Idol Season 24 premieres in a new Monday slot Wednesday, Feb. 25 8:00 PM Scrubs The revival we didn’t dare hope for — two-episode premiere Friday, Feb. 27 8:00 PM Celebrity Jeopardy! All Stars Smart people playing for charity and bragging rights Sunday, Mar. 22 8:00 PM The Bachelorette Season 22 premiere — expect drama, roses, and regret What’s Working (and What’s Ballsy) ABC’s biggest flex is confidence. Rather than playing it safe with endless reality fillers, the network is leaning into scripted storytelling again. The Tuesday block of Will Trent , High Potential , and The Rookie  looks like a calculated attempt to own the procedural space. It’s the kind of cohesive lineup that feels designed for binge-watchers who still believe in live TV. Then there’s Scrubs . The revival drops February 25 with a double episode event, and it’s the exact kind of nostalgia ABC needed to spark social buzz. It’s been over a decade since Sacred Heart closed its doors, but if any show deserves another shot, it’s the one that made gallows humor in hospitals a national pastime. Abbott Elementary  remains the comedic backbone of the week, and Grey’s Anatomy  continues to exist in defiance of time, medical logic, and actor contracts. Meanwhile, ABC’s Thursday lineup of 9-1-1  and 9-1-1: Nashville  could become its next major drama engine if it lands with viewers. The Verdict from The TV Cave The 2026 ABC midseason schedule is refreshingly un-boring. It mixes familiar comfort with gutsy programming decisions that suggest the network is finally playing offense again. Whether you’re tuning in for the chaos of 9-1-1 , the emotional whiplash of Grey’s Anatomy , or the nostalgia trip that is Scrubs , ABC’s lineup has something for everyone and maybe even a few reasons to start watching live TV again. So grab your remote, cancel those streaming auto-plays, and get ready to spend your winter back on the couch with network TV. ABC just gave us a reason to care about midseason again.

Disney+ has officially ended its production partnership with the BBC on Doctor Who , concluding a collaboration that began in 2022 and marked a major international expansion for the long-running British science fiction series. The BBC has confirmed that future episodes will now be produced solely under its banner, with the next chapter of the show already in development. The partnership between Disney+ and the BBC was announced in October 2022, positioning Disney+ as the exclusive global streaming home for Doctor Who  outside the United Kingdom and Ireland. The collaboration coincided with the relaunch of the series under returning showrunner Russell T Davies and the introduction of Ncuti Gatwa as the Fifteenth Doctor. The deal aimed to elevate the show’s production value, expand its global audience, and introduce the series to a new generation of international viewers. During the Disney+ era, Doctor Who  released a trio of 60th anniversary specials in 2023 featuring David Tennant’s return as the Fourteenth Doctor, followed by the debut of Gatwa’s first season in 2024. These episodes showcased higher visual quality and increased budgets, reportedly reaching approximately 13 million dollars per episode. While Disney+ had played a significant role in global distribution and financing, the BBC stated that the series would continue production independently. The broadcaster confirmed plans for a 2026 Christmas special and additional episodes beyond that. Neither Disney+ nor the BBC disclosed detailed reasons for the end of the partnership. However, reports have cited the rising cost of production and creative control considerations as possible contributing factors. The BBC emphasized that it remains fully committed to the future of Doctor Who  and to maintaining the high production standards established in recent years. Under the previous arrangement, Disney+ provided substantial marketing and global reach for Doctor Who , which historically had limited exposure outside the UK. The show’s availability on the Disney+ platform allowed it to stream in more than 150 countries and territories, broadening its international fan base. With the conclusion of this agreement, the BBC will now be responsible for securing new distribution partners or handling international streaming directly through its own platforms such as BBC iPlayer or BritBox. The end of the Disney+ partnership marks a new phase for the series as it approaches its seventh decade on television. The BBC has not indicated any change in creative leadership, and Russell T Davies remains attached as showrunner. Production on the upcoming season is expected to continue without interruption. Disney+’s decision concludes one of the most ambitious collaborations between the BBC and an American streaming service to date. While the partnership elevated Doctor Who ’s global profile and production scale, the BBC’s renewed control signals a return to its traditional model of in-house production and distribution. Future details about international streaming availability for upcoming Doctor Who  episodes are expected to be announced by the BBC in the coming months. For now, previously released Disney+ seasons and specials are expected to remain on the platform, though their long-term streaming availability may depend on existing licensing agreements. The BBC has confirmed that Doctor Who  will continue its broadcast and streaming presence in the UK, with production on new episodes already underway for 2026.

Well, folks, pack your suitcases and your magnifying glasses because Only Murders in the Building  is taking the show international. Hulu has officially greenlit Season 6, and Charles, Oliver, and Mabel are leaving the cozy chaos of New York behind for a new mystery set in London. The Season 5 finale left fans blinking at their screens, and not just because of the usual dramatic eyebrow raises. Cinda Canning (Tina Fey) returned after a two-season hiatus, dropping her new true-crime podcast The Girl With the Curls , which follows a murder case shrouded in London. Things took a twist when the red-haired suspect tumbles outside the Arconia gates, only to be revealed as Cinda herself. Safe to say, the next chapter is already giving us chills. Hulu has confirmed that part of Season 6 will be filmed in London. Charles, Oliver, and Mabel will trade the Arconia’s familiar hallways for cobbled streets, double-decker buses, and presumably very posh tea breaks, all while trying to solve a brand-new whodunnit. The streamer hasn’t confirmed which returning or recurring characters will join them, but it seems likely Tina Fey won’t be far from the chaos. No release date has been announced yet, but one thing is clear: fans can expect the same mix of suspense, and heartfelt awkwardness that has made the series a standout. The trio navigating a foreign city promises fresh hijinks, new suspects, and plenty of those moments where you yell at the screen because they just don’t see what’s right in front of them. Only Murders in the Building  has been great at blending cozy comedy with murder mystery, and London is shaping up to be the perfect new playground. Get ready for more schemes, more secrets, and the same three oddballs we’ve grown to love, now tackling crimes across the pond.

It’s a golden age for binge-watchers and franchise loyalists. With streaming platforms battling it out for our eyeballs (and monthly fees), November’s release calendar looks like a buffet of sequels, reboots, and long-awaited reunions. Peacock, Disney+, and Paramount+ are all serving up shiny new content, and yes, that includes a proper farewell to the Crawley family. Let’s grab our tea, settle into the sofa, and talk about everything from Downton Abbey: The Grand Finale  to Disney’s Freakier Friday  and Marvel’s latest leap into streaming. Downton Abbey: The Grand Finale Brings One Last Toast to the Crawleys Mark your calendars, because on Friday, November 7, 2025 , Downton Abbey: The Grand Finale  officially streams on Peacock , giving fans one last visit to the Crawleys and its impeccably mannered inhabitants. “I’m not saying that we’ll never revisit Downton ,” Fellowes told TVLine. “I don’t know that we will, but I don’t know that we won’t. All I’m saying is that we won’t revisit it at the same period with the same characters and the same actors. You will never see that ensemble again.” Translation: cherish this finale, because Lord Grantham and company aren’t coming back for another round of snarky tea-time burns. Peacock, which already streams all six seasons and both previous films, has essentially become the official home of Downton Abbey . If you need a crash course before the finale, the binge is waiting. Disney+ Doubles Down on Nostalgia With Freakier Friday and The Fantastic Four Disney+ clearly got the memo: nostalgia pays the bills. The platform has two big premieres lined up for November, starting with The Fantastic Four: First Steps on Wednesday, November 5 .  Marvel’s newest cinematic reboot stars Pedro Pascal takes the lead as Reed Richards, with Vanessa Kirby as Sue Storm, Ebon Moss-Bachrach as Ben Grimm, and Joseph Quinn as Johnny Storm. Then the following week, Freakier Friday  on Wednesday, November 12 . This direct sequel to the 2003 hit Freaky Friday  will see the chaos return body-swap style. Peacock’s Action and Animation Lineup: Nobody 2 and Bad Guys 2 Peacock’s November lineup proves it’s not just about refined British accents and vintage table settings. The streamer is bringing back Bob Odenkirk’s gritty everyman assassin for Nobody 2 , landing Friday, November 14 . According to TVLine, this sequel finds Hutch trying to take a well-earned vacation, naturally, it goes spectacularly wrong. Expect more high-octane action, plenty of dark humor, and a cast stacked with returning and new faces including Connie Nielsen, RZA, Christopher Lloyd, and Sharon Stone. Because if you’re going to ruin a vacation, you might as well do it with style. And the fun doesn’t stop there. DreamWorks Animation’s Bad Guys 2  hits Peacock on Friday, November 21 , promising another round of slick visuals and morally questionable mischief. This time, the now-reformed gang is hijacked into a globe-trotting heist by a rival crew known as The Bad Girls.  With voices from Sam Rockwell, Marc Maron, Awkwafina, and Craig Robinson, this animated sequel might just steal the show, literally. Paramount+ Gets Dark and Psychological With Little Disasters On Thursday, December 11 , Paramount+ joins the streaming frenzy with Little Disasters , a six-episode psychological thriller based on Sarah Vaughan’s novel. The series follows four long-time friends whose relationships unravel after one of them, played by Diane Kruger, brings her baby to the ER with an injury she can’t explain. The setup screams “prestige miniseries,” complete with moral ambiguity and emotional fallout. Expect watercooler debates (or at least Slack chat arguments) when all episodes drop at once. Streaming Showdown: Sequels, Reboots, and the Nostalgia Economy Peacock continues to carve out its niche with prestige period dramas and quirky thrillers, while Disney+ leans into the power of nostalgia and superhero spectacle. Paramount+, ever the quiet contender, keeps betting on emotionally charged limited series that punch you right in the feelings.

Animation is no longer just for the kids’ table. Long gone are the days when cartoons were Saturday-morning sugar highs between cereal commercials. Today, animation is prestige television, internet meme fuel, and the emotional therapy we didn’t realize we needed. So as the world celebrates International Animation Day , we at The TV Cave  are raising a metaphorical glass (and maybe an actual one) to the shows that redefined what animated TV can do in our humble opinion. From Springfield to the Land of Ooo, from bending elements to breaking hearts, these ten series prove that animation isn’t a genre, it’s a storytelling superpower. Some made us laugh until we snorted coffee out of our noses. Others reminded us that existential dread looks better when it’s cel-shaded. Either way, these are the animated TV series that earned their place in the pop-culture pantheon. 1. The Simpsons — The Godfather of Modern Animation You can’t talk about animation without genuflecting to The Simpsons . It’s the TV equivalent of a national monument, one that still somehow produces new episodes. Since 1989, Homer, Marge, Bart, Lisa, and Maggie have been the dysfunctional American family we love to roast and occasionally relate to. Sure, the golden years ended somewhere around the late ’90s (don’t @ us), but The Simpsons  built the foundation every other animated sitcom stands on. The writing was razor-sharp, the satire cut deep, and the cultural footprint? Immense. Whether you’re quoting “D’oh!” or realizing half your memes originated here, this show deserves its eternal yellow crown. 2. BoJack Horseman — The Depressed Horse That Made Us Feel Things Somewhere between an A-list meltdown and an animated existential crisis, BoJack Horseman  became one of the most emotionally brutal and brilliant shows of the 2010s. What looked like a goofy Netflix experiment turned into a masterclass in storytelling, tackling addiction, fame, and self-loathing with brutal honesty and dark humor. BoJack isn’t just a cartoon horse, he’s every bad decision you’ve ever made after 2 a.m. But that’s the genius of it. The show doesn’t flinch. It makes you laugh, then guts you three seconds later. It’s proof that animation can hit harder than most live-action dramas and it looks damn good doing it. 3. Avatar: The Last Airbender — The Perfect Blend of Art and Heart If storytelling perfection had an element, Avatar: The Last Airbender  mastered all four. What started as a Nickelodeon kids’ show became one of the greatest fantasy sagas ever told, animated or otherwise. Aang’s journey from goofy monk to world savior is emotional, visually stunning, and deeply philosophical. Every episode balances humor, action, and moral complexity with near-mythic precision. The world-building? Flawless. The character arcs? Chef’s kiss. If you’re still sleeping on it because it’s “for kids,” congratulations, you’re missing one of the best shows of the century. 4. Rick and Morty — Science, Nihilism, and Too Many Pickle Jokes Half sci-fi fever dream, half therapy session for people with too much existential dread, Rick and Morty  continues to be Adult Swim’s chaotic crown jewel. It’s smart. It’s stupid. It’s aggressively self-aware. Beneath the burping, time-hopping, and multiverse madness lies a surprisingly profound exploration of meaninglessness and how to laugh at it anyway. Rick and Morty  is proof that animation can deliver big ideas through tiny portals, with enough nihilistic charm to keep you questioning everything. 5. Gravity Falls — The Small-Town Mystery That Grew a Cult It’s rare for an animated series to stick its landing, but Gravity Falls  nailed it. Creator Alex Hirsch turned a quirky Disney show into a cult phenomenon full of conspiracies, cryptids, and coded messages that still fuel Reddit threads. At its core, it’s a heartfelt story about growing up and facing the weirdness of the world, wrapped in one of the smartest mystery-comedy packages ever animated. You come for the jokes; you stay for the lore. And then you rewatch to catch all the Easter eggs you missed while laughing the first time. 6. Adventure Time — The Whimsical Fever Dream That Made Grown-Ups Cry What time is it? It’s Adventure Time . Pendleton Ward’s candy-colored masterpiece turned Cartoon Network into an emotional rollercoaster that somehow mixed absurdist comedy with gut-punch storytelling. inn and Jake’s adventures in the post-apocalyptic Land of Ooo delivered surreal visuals, quirky humor, and a surprising depth that hit viewers right in the feels. This show taught an entire generation that friendship is magic, love is complicated, and weird is wonderful. And it did all that while featuring a talking lemon who screams “UNACCEPTABLE!” 7. Futurama — Smart Sci-Fi That Never Got Old (Even After Being Cancelled Twice) Futurama  is the rare show that got canceled, resurrected, and somehow stayed hilarious. Created by Matt Groening and David X. Cohen, it’s the cooler, nerdier cousin of The Simpsons , a blend of sharp satire, clever writing, and surprising heart. Every episode juggles absurdity and emotional gut punches like only great animation can. The jokes hit the nerd notes, but episodes like “Jurassic Bark” and “The Luck of the Fryrish” prove it also hits where it hurts. Futurama  made space feel weirdly human. 8. Steven Universe — The Gem of Progressive Storytelling When Steven Universe  premiered, it quietly revolutionized what children’s animation could do. Rebecca Sugar’s vibrant world of gems, fusion, and found family became a milestone for LGBTQ+ representation and emotional intelligence. The show’s charm lies in its radical kindness. It taught kids and adults alike that love takes many forms and that healing is messy but worth it. Add in gorgeous music and beautifully soft visuals, and you’ve got an animated masterpiece that wears its heart and its glitter, on its sleeve. 9. Archer — The Spy Comedy That Never Missed Its Mark Archer  is pure chaos in a tailored suit. It’s a show that skewers spy thrillers, workplace comedies, and pretty much every genre it touches with enough quotable one-liners to power your group chat for years. Sterling Archer is an unfiltered narcissist you somehow root for, surrounded by a cast of lovable disasters. The animation style is sleek, the writing is viciously funny, and the commitment to bit after bit is frankly heroic. Even after years on air, Archer  proves that animated comedy can still feel sharp, fast, and delightfully inappropriate. 10. The Legend of Korra — The Bold Successor That Stepped Out of the Shadow Following Avatar: The Last Airbender  was a nearly impossible task, but The Legend of Korra  didn’t just follow, it evolved. Korra’s story brought a more mature tone, tackling politics, trauma, and identity in ways few animated shows dared. Visually stunning and thematically daring, Korra  turned animation into an introspective powerhouse. Its finale alone, one of the most quietly revolutionary moments in animation history, cemented it as a modern classic. Why These Shows Still Matter Each of these animated TV series didn’t just entertain, they changed the rules. They pushed the boundaries of genre, tone, and audience expectation. Animation isn’t a niche; it’s a narrative playground. These shows proved it could be just as sophisticated, emotional, and daring as any prestige drama sometimes more so. They also made it clear that animation is for everyone. Whether it’s the absurd genius of Rick and Morty , the sincerity of Steven Universe , or the timeless wit of The Simpsons , these series invite you to laugh, cry, and maybe question your life choices, all without a single live-action actor. The Takeaway So, in honor of International Animation Day , revisit these worlds. Rewatch your favorites or finally dive into the ones you’ve been pretending to have seen. Animation isn’t a guilty pleasure, it’s television’s beating creative heart. At The TV Cave , we salute the animators, writers, voice actors, and fans who make this art form impossible to ignore. Because whether you’re sobbing over a cartoon horse or quoting Homer Simpson for the thousandth time, one truth remains: great animation hits harder than reality. What's your favorite? Drop a comment.

Mary’s having an on-the-go consultation with colleagues at UHOP, University Hospital of Pittsburgh. Her two doctors ask for her input on an unusual case. They show her their patient who says she’s thirty years old but doesn’t look it, and curses a lot. She is in Pittsburgh without her parents. Her parents are in Maine. The doctors are leaving something unsaid, and let Mary see for herself. Mary’s surprised to see a young girl who definitely looks like she’s no older than ten years old. Ingrid is in a group session with her therapist and other members of her group. She tells him about her return to work with the fellows and Dr. Watson. She explains why she wants to be back. They are interrupted by the late arrival of a new member, Beck Wythe. Ingrid continues telling them why she wanted to return to her workplace.  Sasha, Adam and Stephens talk about Ingrid in their office when she walks in. Sasha knew she overheard them and told her they were talking about her. Ingrid doesn’t seem to mind. She gives her a gift, her favorite cake.  Sasha looks at the cake with trepidation. Adam tells Ingrid about Watson’s pea plants experiment growing in the office. Stephens is wary of Ingrid’s return for good reason. Meanwhile, Watson is asleep on the couch in his office. Shinwell wakes him when he brings him some tea, and tells him all the fellows are back. Watson says he was in very early. Shinwell notices words Watson had written on his office window, “The Pittsburgh Mystery”, and asks about it. Watson says it’s nothing and half-heartedly tries to wipe it off. He leaves to see the fellows, but tells them he’s got to get to the ER for a consult on a case with Mary. He selects Adam to do a remote consult on a case. He’s sure they will do well without him there. Adam sardonically thanks him for his confidence in him. Watson looks at the x-rays from Mary’s patient. She needs his expertise with this case. Mary tells him her patient is thirty and was driving a Mustang that got t-boned in an accident. She says they need to operate on her, but really needs to know how old she is. Mary shows him her patient.  Watson is visibly surprised when he meets her. Max introduces herself and adamantly states she is thirty. Watson asks her to open her mouth and he sees fully erupted third molars that show they have been there for decades. Max looks like she’s ten years old, but her teeth prove otherwise. Watson says she’s indeed thirty. Mary preps for her surgery.  Max asks Watson how long she has to stay in the hospital. He asks her when she noticed her body stopped aging. Max is sarcastic, but likes Watson’s straight forward attitude and honesty. She tells him her story. She says when she was ten she stopped growing. She went to several clinics and the Mayo clinic, and was given growth hormones. Nothing helped. She got emotional and abruptly ended recanting her story to Watson. She does tell him she was on her way to Oregon, somewhere her mother never got to go.  Watson presents Max’s case to the fellows. He explains that no one sees her the way she really is. He presents them with all her history. He’s fascinated by what Max Bowers has, and isn’t sure if they have a name for her condition. He wants to help her, and assigns everyone a task that will help solve their new medical mystery. \Watson returns to monitor Max’s surgery.  Dr. Morstan’s method of preparing herself to do surgery is intriguing.  She begins the surgery on Max and discovers something unusual. Things change and the surgery is halted. Dr. Watson and Dr. Laila Bynum meet in UHOP and discussed getting together later. Watson invites her to consult on Max’s case. She is a pediatric oncologist and isn’t sure why Mary and Watson needed her opinion on a thirty year old woman. She finds out when they introduce her to the patient.  Watson calls an emergency meeting with the fellows and Shinwell. They establish two teams to help Max in a 24-hour timeline. There are two problems they have to solve to give Max hope. He fights for her and wants to give her something to live for. The teams established are Team How to Stay Alive and Team Why Stay Alive at All. Watson goes to map Max’s genome.  Why did Mary stop Max’s surgery? What did they find out was also wrong with Max? How does Shinwell help Max?  What does she really want to do in life?  Why does Max need to get to Oregon?  Do they find others like Max? Do Stephens and Ingrid work out their issues? What is Ingrid’s diagnosis of Stephens?  Watson's energized intention to help a patient is wonderful to see. The fellows interaction once Ingrid returned to their group was like a psychological experiment in real-time. Great to see how things happened as they tried to reconnect. They were surely uneasy with Ingrid’s return and she realized how much she needed to earn their trust again. The science and medical investigation is totally their thing. Add to that some detective work, and they have a formula that works in this show. It’s fun to watch how they all work to piece the science together to explain how the medical mystery occurred.  It guides them to a viable solution. It’s also nice to see Watson and Laila’s budding romance getting serious. I’m not mad at that, even though I wished he and Mary would have worked out, just like Sherlock. The different twists and turns in this episode certainly are enthralling, and the humorous moments add to this. Lestrade, a homicide detective in Oakland, Sherlock Holmes-like mention is also unique to this series. They continue it as an underlying consistent thread. The introduction of a new character, Beck Wythe, is a question mark as to how he fits into the series. Another question is why Shinwell is looking at the material Watson is reviewing on his computer, as he sits in his car. The words “The Pittsburgh Mystery” Watson wrote on his office window were never explained either. This episode ended with more questions than expected, and created a great lead into future episodes. It was very good and I gave it 4.5 out of 5 Stars .