The latest romantic comedy, Sweethearts , has hit Max just in time for the holidays. In her feature directorial debut, Jordan Weiss, brings to life this coming-of-age rom-com centered on two college freshmen, Ben and Jamie, as best friends who have been struggling to enjoy their college experience due to their ongoing long distance relationships with their high school sweethearts. The decidedly co-dependent besties (played by Nico Hirago and Kiernan Shipka) make a pact to tag team their breakups with their respective partners while home on Thanksgiving break.  Who doesn’t love a little vinegar with that cornbread stuffing? Or, is it dressing? Nevertheless, despite their careful workshopping of their breakup speeches on a cross country trip back home, Ben and Jamie’s carefully plotted operation turkey drop, of sorts, dissolves into chaos when everything that could go wrong for the night does. Would it even be comedy if everything stayed on plan? From the awkwardness and unpredictability of the characters’ new experiences to the half-baked hijinks, the film falls short of bringing anything substantially new to the rom-com genre. In moments that are often reminiscent of teen angst movies from the ‘80s, the comedic elements in the ensuing story stem from a series of mishaps, missteps, and miscommunication between the leads and their love interests. The jokes almost write themselves.  The film does pivot at times to allow its archetypal supporting characters, from the socially hip parents to the wise counseling teacher/coach, to explore and share their own vulnerabilities, serving as poignant reminders that love comes in many forms. Case in point, to add to the emotionally charged Thanksgiving holiday, Ben and Jamie’s larger-than-life, rather flamboyant hometown friend, Palmer (played by comedian Caleb Heron), who has been living out his gap year working at EuroDisney, is also returning home, complete with a new accent, a new lease on life, and a not-so-surprising life choices big reveal at his own carefully planned le petite soirée. Translation, epic house party. While the film tries to do too much, flame-broiled turkey on the lawn notwithstanding, Sweethearts does succeed in capturing the essence of friendship, taking you through a heartwarming exploration of choices, identity, and even the beauty of simply being there for one another. Through a handful of entertaining and relatable experiences, the film emphasizes that the most fulfilling relationships are those where people involved are honest with who they are and what truly makes them happy.  With a host of quirky side characters, played by Christine Taylor, Ava DeMary, Charlie Hall, and a cameo by Jake Bongiovi to round out the cast, Sweethearts and all of its holiday goodness is streaming now on Max.                                                                  ### On the KP Scale = 7 out of 10

Heartbreak. If I had to choose one word for this episode, it would be heartbreak. I must admit, the Found writers have been all gas this season. The weekly cases have been engaging while bringing the audience into the process – a rare treat you don’t find in a lot in shows anymore. They also have done a beautiful job with the series arcs for each character. I anticipated learning more about each M&A team member as well as Sir being on the run. I didn’t anticipate each person’s reaction to Gabi’s lies. This has been an enjoyable unraveling and Season two has not disappoint. As the M&A team continues to grapple with the secret Gabi kept from them, each person is not the same anymore. And though they don’t completely forgive Gabi, they are still protective of her. [SPOILERS]   Especially Dhan. His marriage shifted from strained to crumbled apart due to the secret Dhan kept from his husband – Ethan.  Ethan has officially moved out of their home. Hopeful for reconciliation, Ethan is cautious. It was refreshing to see Ethan give Gabi good insight into Dhan and the impact his loyalty to her has caused their marriage.  Which also makes me wonder – what is this “debt” Dhan feels owed? How did Gabi help him? One thing Dhan does not take lightly, is Gabi’s safety. And he made it known to Christian (Sir’s brother) whatever is going on, if he is working with Sir and Gabi is hurt - Dhan will kill him. With a restraining order looming over her, Margaret is eager to get back to the bus station to continue her nightly routine. Unfortunately, the bus depot manager said she can no longer come there. Permanently. To lighten the blow, Gabi and Zeke provide Maragaret access through surveillance cameras at the bus depot. But just as she was getting settled in for the night, the connection was lost and then Margaret lost it. I must admit – I got frustrated for Margaret too. The despair on her face must also hold tight onto her heart. And when she said, “why can’t you find my son” to Gabi, I was completely undone. As Gabi held Margaret on the floor in her arms, I wondered - will we get an episode of her son’s disappearance? More bad news descends on the team when the police raids Zeke’s apartment. Lacey is with him, but Zeke is unconsolable as Trent and his team unplugs everything. His connection to the outside world was severed, which does not help his Agoraphobia (an anxiety disorder). Another great scene by the writers and actors as you can feel the ground pull beneath you. How will Zeke move forward? Will he need to go back to the hospital if he can’t control his anxiety attack? Gabi’s world is blurring together as she tries to make amends and prepare for her inevitable imprisonment for holding Sir. The media has taken interest in her case again, adding twists and color to Gabi’s history with Sir. But her main objective is laser focused – find Sir.  Even if that means working with Christian – Sir’s brother. But who is working with Sir? How did he get the case file? One thing Gabi did not need was Sir posting a video about their relationship. Their intellectual relationship. Did no one tell him saying less is more impactful than fanning the flames? And boy was Gabi in flames! So where do we go from here? Will Gabi end up in jail? Will Dhan and Ethan repair their marriage? Will Margaret, Zeke and Lacey ever get back the life they worked so hard to build? Will we find out who is working with Sir? Bring your support blankie for another new episode next Thursday, streaming on Peacock next day.

This week on Doctor Odyssey, it’s Gay Week, providing some joy after Wedding Week’s heartbreaking conclusion. Captain Massey’s brother, Craig, comes aboard with his partners and the relationship between Max, Avery, and Tristan ends before it even begins.  Episode 7 titled “Oh, Daddy” starts with an amusing meeting between the crew, quizzing Massey on the lingo he may hear during Gay Week. Captain also boasts about how proud he is of his brother for getting sober and finding a good partner. Little does he know Craig has not only one partner but two!  Massey informs Max about his growing up with Craig and how there was a 10-year age gap, leading to him practically raising his brother because their mom and dad weren’t around. Massey and Avery then talk about how accepting he is of his brother’s throuple because he keeps an open mind to what makes people happy.  Craig, played by John Stamos, finally comes aboard with his partner Brian. Massey gets a bit of a surprise when Riley, Craig and Brian’s third, comes aboard. Unsurprisingly, given last week’s threesome, Avery seems quite interested in Craig, Bryan, and Riley’s relationship.  At dinner Captain can sense something is wrong with his brother and asks him if he’s been drinking. Angered by this accusation, Craig accuses Massey of not accepting his throuple, but quickly gets excited when Marcia, Craig’s favorite drag queen, performs to ‘Hot to Go’ by Chappell Roan, which Massey organized.  Max jumps into action when Marcia’s wig catches fire, resulting in no lung damage, but a burnt head. In a vulnerable state, Marcia opens up about the appearance she has to keep up as a drag queen.  The big three ponder the idea of actually being a throuple, Avery leading the conversation and admitting that their threesome was fun.  Tensions flare when Max and Tristan bicker about a diagnosis for a couple experiencing a medical emergency after a Zumba class. They bring Massey into it, where he demands that they get a diagnosis as soon as possible, which Max is clearly unhappy about because he wanted to do everything by the books.  It turned out that Max was correct; the condition was not Marburg, as Tristan thought, but rather Carotenosis and Mononucleosis. When Captain senses the agitation in the room, he urges the big three to get back in sync. Afterwards, Max admits that he doesn’t want to be in a throuple because it’s not him. He wants to be in a relationship with one woman and to have a marriage and kids. However, Avery refuses to accept no for an answer and convinces Tristan to talk to Max about reconsidering their throuple.  Later on, Brian tries to convince Craig to go to rehab, but Craig once again says no. Things take a disastrous turn when Craig bumps his head on the pool slide stairs, with blood flowing from his head.  Craig promises Massey, Brian, and Riley that he hasn’t been drinking, but Max’s drug test says otherwise. Craig tells his brother that something is wrong, because once again, he has not been drinking. It’s soon revealed that he has indeed not been drinking but has Auto Brewery Syndrome due to his acid reflux medicine. Tristan makes a confession to Avery, telling her that he is in love with her and can’t share her. He doesn’t want to be in a throuple with Max either, and it has to be all or nothing between them.  At the end of the episode, arguably the best part, a couple who mistakenly booked their cruise during Gay Week gets a little bundle of joy when the wife gives birth to a beautiful and healthy baby girl.  The Odyssey cruise ship is about to be rocked, with Avery revealing that she’s pregnant. Who is the father? Is it Max or Tristan? The fall finale will air November 21 on ABC. It will stream on Hulu the next day.

Boyd and Ellis’ Search for Fatima   Boyd and Ellis comb the woods for Fatima, but a troubling new development hints that something is seriously wrong with Boyd. His health seems to be deteriorating, adding another layer of urgency to the situation. Meanwhile, Elgin is still holding Fatima captive in a dungeon-like room. Attempting to make her “comfortable,” he brings her supplies and informs her that the baby is angry with her for not eating. Fatima confesses she also sees the Kimono Woman but warns Elgin that the figure is deceiving him. Elgin dismisses her concerns and offers her blood he’s been draining from his own veins, insisting it will strengthen the baby. The scene turns macabre as Fatima reluctantly drinks, with the blood unnecessarily dripping down her mouth in a theatrical, Dracula-like display. Fatima attempts to escape by cutting Elgin, but her effort fails. The next morning, Boyd and Ellis argue over Fatima’s disappearance. Sara interrupts, revealing she knows Fatima is missing—the voices in her head are laughing, claiming the group won’t find Fatima in time.  Back in the dungeon, Fatima discovers a mysterious door in the ground, setting up what could be a pivotal reveal. Victor and His Memories   Victor experiences another emotional breakdown during a conversation with Tabitha and Sara. He laments that he doesn’t want to remember anymore, retreating further into his fragile mental state. When Tabitha tries to stop him from leaving, something inexplicable happens when she touches him—but viewers are left in the dark about what it is. When Sara presses Tabitha for answers, she claims she doesn’t know what occurred. This cryptic moment adds intrigue but feels like another tease in an already slow-burning episode. The Clinic, Julie, the Ruins, and Randall   Julie is examined by Marielle, though she lies about her experiences, attributing them to a strange dream. Later, Julie opens up to her mother, mentioning her time in the woods with Randall—a revelation that immediately sets Jim off. Unsurprisingly, he confronts Randall. In a display of calm, Jim approaches Randall with understanding, acknowledging their shared trauma. He asks about the ruins, but Randall quickly reverts to his abrasive demeanor, offering a cynical piece of advice: teach Julie to drive and accept that no one will escape. While bleak, his words emphasize the mounting hopelessness permeating Fromville. The Voices   Sara’s unsettling calm is broken when the voices return, confirming that her temporary peace was too good to be true. The Sheriff’s Office   Ellis urges Boyd to visit the clinic, but Boyd refuses, admitting that he already knows what’s wrong with him. His condition began even before he ventured into the woods with Sara. Ellis is understandably upset that Boyd kept such a critical secret from him. Boyd confides in Ellis about the monsters’ psychological games, including their intent to break him emotionally. He wonders if his current condition—and Fatima’s disappearance—is connected to their manipulations. Their conversation is interrupted when one of the monsters taunts them, triggering a brief loss of control in Boyd. Thankfully, Ellis steps in to calm him down, showing the strained yet resilient bond between father and son. Colony House   At Colony House, Donna reminisces about celebrating Fatima’s one-year anniversary there, hinting at the close relationship she shares with her. The atmosphere shifts when Victor throws a tantrum, tossing items out of his window before storming out with an axe, terrifying the other residents. His intent to chop down a tree adds to his unraveling psyche. Boyd visits Donna, sharing what the voices told him about Fatima. Donna insists that the town can’t handle the truth of Fatima’s disappearance, especially so close to breaking point. Boyd agrees to keep the information quiet but informs Donna that Fatima is gone. Realizing the stakes, Donna declares it’s time to ring the bell and hold a town meeting. Boyd organizes a search party, agreeing to split into pairs. Suspiciously, Elgin offers to team up with Ellis, unbeknownst to Ellis, he is teaming up with the one who has kidnapped his wife. Conclusion   This episode earns a 6/10. While there are moments of tension and hints of intrigue, much of the runtime feels like filler. Emotional beats could have been more impactful, but the slow pacing and lack of significant revelations drag the episode down—especially given that it’s the penultimate installment of the season. With only one episode left, the stakes should have been higher, and the adrenaline should have been pumping. The final twist does align with some fan speculation, but the cliffhanger ending leaves too many questions unanswered. The finale now has the unenviable task of delivering both satisfying resolutions and critical answers. Let’s hope it can rise to the occasion.

There are three realities that define what we know about life in Texas — there’s lots of land, lots of oil, and, of course, lots of football under Friday night lights. There’s a taste of all three in Landman, Paramount+’s newest offering, released on November 16. Set in the Permian Basin boomtown of Midland, Texas, the 10-episode series starring Billy Bob Thornton, Ali Larter, and Jon Hamm, is a modern-day tale of fortune seeking in the not-so-glamorous world of West Texas oil and gas. At first blush, it is not hard to imagine Landman as no more than Yellowstone-West, set on the dusty Texas plains with steel horses, aka oil pump jacks, instead of cattle horses, and land worked tirelessly by salt-of-the-earth roughnecks as opposed to their distant cousin ranch hands of Montana. But, to do so, according to the show’s creator, Taylor Sheridan, you would be wrong.  Despite its intentions to set itself apart, the not-a- Yellowstone spinoff somehow manages to still fall in line thematically with Sheridan’s previous work, right down to its haunting, sepia-toned musical opening credits sequence. Though, more specifically, the series’ unfiltered deep dive into the boots-on-the-ground life on the modern-day American frontier and the clash between individual aspirations and the broader influences of capitalism and industry unfolds in similar ways to Sheridan’s other fictional think pieces of this type. Moments of familiarity continue throughout each episode as they showcase the unique challenges facing those who work to scratch their feast-or-famine living out of the unrelenting earth. Much of the storytelling of Landman unfolds in a-day-in-the-life fashion of the titular character Tommy Norris (Thornton) as an oil company crisis executive chain-smoking his way from one all-consuming issue to another, as he faces the unpredictability of the oil industry.  The first two episodes, released during the premiere weekend, waste no time delving into the literal and figurative fires that Norris must confront each day he teeters precipitously between the boon of capital gains and the sobering catastrophic crises that, no doubt, come with this inherently dangerous work, and that’s just on Monday. In the span of five minutes, our anti-hero is at-once a negotiator, a fixer, a therapist, and a walking encyclopedia of market-driven economics, oil rig mechanics, and even cancer rate statistics of Asian populations. And, not necessarily in that order.  With his hardened-by-life exterior, Tommy serves as the brutally no-nonsense landman for M Tex Oil conglomerate headed by Monty Miller (Jon Hamm). Day-to-day, his work is varied and thankless — from negotiating a service lease agreement with Mexican drug runners while being held their captive to assessing his company’s liability in a brutal clean up of a roadway drug plane/oil tanker collision, all while balancing the needs of his broken family as the wise old patriarch, giving hard truth advice to his coming-of-age son and daughter, as he tries desperately to overlook the repressed sexual tension that remains with his bombshell ex-wife, Angela (Larter). Though, I have to really question the parental skills of any father letting his daughter throw away Whataburger fries! C’mon now. If you know, you know.  Known for bringing a sense of authenticity to his roles, Thornton portrays yet another beautifully nuanced yet flawed, complex individual, who is both relatable and genuine, despite his acerbic personality spraying over you like kerosene.  For those who may not know, Landman succeeds in painting a fairly accurate portrait of the dynamic life in a West Texas oil town, shaped by the ebb and flow of the industry, that gives its existence both purposeful stature and relevance. Played out, at times, in voiceover narration and heavy on the cinematic drone flyovers of sprawling Texas landscape and urban skylines, the oil field life montages set to country music, do their best to showcase the rugged Individualism of the region and a culture that tends to celebrate self-reliance and hard work, with many residents taking pride in their connection to the land and the oil industry.  The latter is represented onscreen in the roughneck crew Tommy’s son Cooper (Jacob Lofland of Maze Runner fame) is assigned to by his father to learn the ways of the oil industry force.  In foreshadowing detail over an impromptu barbecue of tongue-on-fire Carne Asada tacos, the young Norris is schooled by the Medina Family on the grueling work, yet impressive financial payoff, that comes with life out West “working the patch.” No sooner than Cooper hears these words does he fully comprehend their lesson when he is left as a crew “orphan” day two of his devastating indoctrination into the life of a roughneck. Nevertheless, the stark realities of the brutal life in the oil field are permentatly etched in the mind as the elder Norris tells the city slicker corporate attorney sent to handle the inevitable litigation cases stemming from the dumpster fires piling up — there’s simply  “no time to grieve; no time to mourn,” in this world. Welcome to the Patch.  Written and directed by Taylor Sheridan, Landman drops new episodes Sundays on Paramount+ through January 2025.

Dune: Prophecy , HBO's prequel to the iconic Dune  series, delves into the origins of the Bene Gesserit, exploring their rise and the political intrigue that shapes Frank Herbert’s universe. Set 10,000 years before Paul Atreides, the series traces the formation of the powerful sisterhood and their role in the aftermath of the Butlerian Jihad, a war that outlawed sentient machines. Plot & Setting The story follows sisters Valya and Tula Harkonnen, portrayed by Emily Watson and Olivia Williams, as they lead the proto-Bene Gesserit. As the sisterhood navigates the remnants of the Jihad, Valya seeks to reclaim her family’s legacy after they were dishonored by history. She discovers her true mother, Mother Superior Raquela Berto-Anirul, and together, they create a network of influence across the Imperium, using their power to shape rulers. As Mother Superior embarks on a controversial genetic project to cultivate better leaders, Valya becomes determined to fulfill a vision she believes will change the future. In a climactic moment, Raquela’s dying vision warns of the fall of the sisterhood, and Valya becomes the catalyst for its transformation, using her newfound powers to carry out her mission—no matter the cost. The series jumps forward 116 years, showing the complex state of the Imperium under the sisterhood’s rule, though the transition remains unclear. Performances & Visuals Watson and Williams deliver standout performances, capturing the nuanced dynamics between the Harkonnen sisters. The series’ production is rich in detail, with stunning set designs and costumes that bring the Dune  universe to life. From the desolate planet Wallach IX to the luxurious Salusa Secundus, the world-building is immersive, maintaining the visual style fans expect from the franchise. Conclusion Dune: Prophecy  provides a deep dive into the Bene Gesserit's origins, adding layers to the Dune  universe with its political intrigue, mysticism, and complex characters. However, the story takes time to fully engage, and while the fight sequences are well-executed, they fail to sustain interest. Those unfamiliar with the Dune  lore may struggle to follow along, so prior knowledge of the books or films is recommended for a richer viewing experience. Dune Prophecy airs Sunday nights on Max.

Yellowstone continues to move slowly, but purposefully, in its quiet era as the Dutton Family heirs find themselves still reeling from the supposed death by suicide of ranch family patriarch and Montana Governor John Dutton, formerly played by Kevin Costner.  In this time, we are learning how Dutton’s grown children, Kayce Dutton (Luke Grimes), Beth Dutton (Kelly Reilly), Jamie Dutton (Wes Bentley) and loved-him-like-son Rip Wheeler (Cole Hauser) respond to the black cloud now lingering desperately over their lives.  Episode 10 of the final season of the Taylor Sheridan-produced modern western drama, opens in the early morning hours as the Yellowstone ranch crew sent to work cattle in Texas awake from a hard days night sleeping on the equally hard western land in their pup tents. In scenes set against the backdrop of the hauntingly beautiful “Night Herding Song” by Colter Wall, the cowboys rustle themselves to life as fading stars give way to the dawn’s early light. When Teeter (Jennifer Landon) fails to emerge from her tent, cattle boss Rip goes in search, only to find her frozen on the ground, refusing to make eye contact with the coiled rattlesnake that has made a soft and downy bed on her chest. Rip makes quick work disposing of the snake.  When a second rattler is found minutes later again in Teeter’s tent, the crew quickly discovers that they have encamped themselves on a live snake den. Snakes were everywhere — yet another stark reminder that, in words Rip would echo moments later, life on the Texas range is one of suffering and survival.  Cut to Beth Dutton barreling down the Texas highway going ninety in her fish-out-of water custom Bentley, in search of quality time with her wayward husband. Finding him with his crew and horses at their new camp site, she coaxes him back to her hotel room in town. In a tender moment alone, Beth reflects upon this being their first time together outside of Montana, while Rip admitted to it being his first time outside of Montana ever — a   rather poignant fact that Beth, herself, had not known. This unexpected interlude and another moments later watching Rip and Beth slow dance in the hotel bar introduces audiences to a softer side of both ranching life and these two hard-as-nails lovers. However, what initially feels like a flashback preceding the tragic events playing in the background of each new episode turns out to be a product of Beth’s dreams. As the episode jumps back from West Texas back to Montana, we now find Rip and Lloyd (Forrie J. Smith) standing together at the Yellowstone corral gate contemplating the future, uncertain of what they will do now and who will be running the Dutton Ranch in John’s absence.  The through line for all those impacted by the death of the family’s patriarch is the ranch, itself — from the business that made him and the legacy that defined him, and, in many respects, all those who remain connected to it in tragedy’s wake. One member of the latter, living on the fringes of the Dutton family, whom we learn from Lloyd is taking the death exceptionally hard is Carter. Rip finds the orphan-turned-ranch hand in the bunkhouse, attempting to sleep through his tears. In a scene that comes dangerously close to a father-son bonding moment, Rip assures the teen that no matter what happens as a result of John Dutton’s death, Carter would always have a place at the ranch.  Across the pasture, somber strings of music welcome Kayce home to Monica’s waiting arms at their new residence in East Camp on the Dutton property — a gift from his dad shortly before his death. Kayce tells his wife that he will have to stay at the Dutton lodge to work through the logistics of the ranch. Before doing so, he takes Tate on a father-son walk to talk about his grandfather and his legacy, and Tate’s place in it. Alluding to his father complicated backstory and death, Kayce advises his son that he can “remember the way his grandfather lived or the way he died. But, that (ultimately) his heart cannot focus on both.”  Still walking in a fog and fallout from his adoptive father’s death, Jamie Dutton returns to the Montana state house to immerse himself back in his work. Little does he know, his estranged sister has beat him to his office. With eyes as black as her form-fitting designer suit, Beth repeatedly and unabashedly berates her brother with open hand slaps and a final threat on his life that she knows his role in her father’s death, delivered in haunting Beth Dutton whispers, loud enough to make your skin crawl. Despite the confrontation with Beth only moments before, Jamie continues to plot and plan with Market Equities Group executives to reinstate the land lease his father vacated prior to his death to use Dutton property for their operations.  Beth calls Kayce to tell him that she can confirm that it was Jamie who was responsible for their father’s death, from his failure to neither deny it nor look her in the eyes. Kayce, knowing that Jamie could have not acted alone, if true, radioes a friend from his past for his help. The episode ends as quietly as it began, back in West Texas with the Dutton ranch hands riding off into the sunrise, ready to begin yet another long, but assuredly productive day on the range. The clock is now ticking on the expected showdown to come between the Duttons, as the siblings race to see which heir will reign supreme in avenging their father’s death and solidify their claim to the ranch and its legacy. There are only four episodes left to find how it will all play out.  Yellowstone - The Final Episodes stream each Sunday at 7pm on Paramount Network until December 15.

This episode opens with Executive Chef Veev, Genevieve Hale, of Veev Restaurant having a meeting with her restaurant staff.  The restaurant later opens and has problems with reservations and irate customers that are double-booked. No one in charge knows how or why it happened.  Chef Veev discovers all the discourse is caused by a kitchen staff member, Jordan, who is selling reservations at the restaurant online.  She confronts him, and they argue.  She fires him, and he lets her know exactly how he really feels about her. Chef Veev attacks and kills him.  She stages a fake attack to cover up her crime.   Enter Elsbeth with NYPD.  “Yes Chef!” NYPD gets statements from the restaurant staff. Chef Veev said they may have been attacked by the Avocado Cartel, but Elsbeth is not convinced. Chef Veev later refuses to let Elsbeth back in the restaurant.  Elsbeth does find a way to return and ask questions of some staff members.  She uses her unique investigative skills to uncover a  motive for Jordan’s murder. Other things happen during Elsbeth’s day while trying to solve a murder.  She invites herself to Captain Wagner’s game night at his place.  He’s handed out flyers and invited everyone in the office except her.  Elsbeth and Officer Kaya Blanke are living together at Elsbeth’s apartment, until Kaya’s home is renovated, and they don’t want it known at work.  Kaya didn’t want it to affect her promotion potential.  But Elsbeth is the one who accidently tells about their living arrangements.Later, she is waylaid by a car while crossing the street.  The driver asks her to get in.  It is TrueRose, a pop star who was married to one of Elsbeth’s Chicago clients.  She asks Elsbeth to help her with her divorce, but Elsbeth declines.   Elsbeth and Detective Edwards (Marissa Diamond) go undercover to find the Avocado Cartel Boss at the farmers’ market near the Veev Restaurant.  They almost expose an FBI surveillance case already in place.  The FBI proved the cartel boss could not have killed Jordan.Elsbeth sees Chef Veev at the farmers market and apologizes for treating her as a suspect.  She also discusses her findings with her.  All this is another Elsbeth method of gaining the confidence of Chef Veev.  Chef Veev shares her cooking experiences with Elsbeth.  Some in which she suffered serious harm on her path to become a Boss Executive Chef in a male dominated field.  Elsbeth also  asks for status on Mr. Montebello’s Palm Hotel Partner Search opportunity.  Jordan‘s double-booking scam caused Mr. Montebello’s restaurant reservation cancellation.  This was a valuable missed opportunity for Chef Veev, and another motive for Jordan’s murder. She assured Elsbeth that Mr. Montebello made another reservation, and she would cook her famous specialty, duck cassoulet.  Elsbeth asks Chef Veev for tips on how to cook her specialty.  She follows her suggestions and goes through two duck cooking masterclasses and three ducks before finally successfully preparing Chef Veev’s famous duck cassoulet.  The time needed to prepare the duck recipe is relevant and useful in solving Jordan’s murder.   Later at the Veev Restaurant, NYPD explains how they found the killer, and together with Elsbeth’s  re-enactment of how Chef Veev killed Jordan, had enough evidence to arrest Chef Veev.  That together with the chef’s rage issues,  the partnership loss, Jordan’s video and her duck specialty cooking time added more evidence.   The NYPD Team all met after work at Captain Wagner’s house to play poker.  Elsbeth wins the pot and has no idea how much it is. This epi ends with a good laugh.

"Based on a True Story" returns for its second season on Peacock, continuing the darkly comedic exploration of America's obsession with true crime. The series follows married couple Ava (Kaley Cuoco) and Nathan (Chris Messina) as they navigate the complexities of parenthood while maintaining their unconventional relationship with Matt (Tom Bateman), a former serial killer turned podcast collaborator. Season 2 picks up three months into Ava and Nathan's new roles as parents. The couple faces the challenges of early parenthood, sleep deprivation, hygiene and Ava’s ability to produce milk as she feels good mothers must breastfeed. Adjusting to their new dynamic, the couple must also deal with Ava's sister, Tory (Liana Liberato), revealing her engagement to Matt, further intertwining their lives with the former killer. The show continues to critique the sensationalism surrounding murder and how people commodify tragedy for personal gain. The season reflects how the thirst for fame can lead people down morally questionable paths, especially as Ava and Nathan attempt to control and manipulate their circumstances for their benefit. A series of new murders makes things quite a bit more complicated. The possibility that Matt is slipping back into his old ways looms over the characters, creating tension. Have they misplaced their trust in Matt? Are they wrong to suspect him? The show does a good job of keeping the viewer on edge, unsure whether Matt is a changed man or simply biding his time until he acts again. Will Tory become his next victim? The recurring theme of trust, or the lack thereof, permeates the season as Ava, Nathan, and Matt's bonds are tested. Ava’s complicated relationship with her morality and the business she has created around true crime forces her to reevaluate the ethical boundaries of what she is willing to tolerate in the name of success. Melissa Fumero is introduced this season as a recurring character, Drew, who becomes entangled in Ava’s life in a way that I will not spoil during this review. This adds a layer of complexity to the relationship dynamics of the season and increases the stakes. Kaley Cuoco and Chris Messina once again show that they have chemistry and can continue to deliver strong performances. They capture the nuances of a couple faced with moral ambiguity in their circumstances. Cuoco delivers as she demonstrates Ava's internal conflict, adding depth to her character. Messina's Nathan serves as her more grounded counterpart. The comedic timing between the two adds to the laughs. Tom Bateman's Matt remains excellent in skillfully balancing charm with underlying menace. Liana Liberato's Tory rounds out the main cast and introduces a fresh dynamic; her carefree spirit may be too trusting.   Based on a True Story Season 2 continues to push the boundaries of dark comedy while exploring morality, obsession, and the human desire for fame. Performances from Kaley Cuoco, Chris Messina, and Tom Bateman remain strong and each cast member have chemistry with one another. The series thrives in its examination of the messy, morally grey lives of its characters. There are a few pacing issues, but the season’s engaging exploration of the consequences of fame, ambition, and true crime keeps the viewer invested. Fans of the first season will find the second installment entertaining; it offers enough twists, turns, and dark humor to keep them tuned in. However, those new to the series may want to start from the beginning to fully appreciate the intricate dynamics, layered storytelling, and characters that make Based on a True Story such a distinctive show.

Yes, you read that right— Cruel Intentions  is making its return, but this time, it’s a modern series hitting your screens. If you were a fan of the 1999 film, you’re in for a treat, as Amazon Prime is bringing the same sultry, scandalous energy with a fresh spin. The original movie was a perfect blend of temptation, drama, and morally questionable decisions, and it’s safe to say many of us watched it far younger than we should have—but no regrets there, right? (Cue bashful grin). So, grab your cozy blanket, your favorite snack, and queue up Bitter Sweet Symphony  by The Verve, because things are about to get just as steamy and suspenseful in the new series. With eight episodes in the first season, Cruel Intentions  promises to deliver all the lies, deceit, and drama we loved in the original film, now reimagined for today’s audience. Set in the prestigious world of Manchester College, the series introduces us to Caroline Mertueil (Sarah Catherine Hook), a sorority queen with an air of entitlement and a thirst for power, and Lucien Belmont (Zac Burgess), a charismatic ladies' man who is just as devious as he is charming. These step-siblings are bound by a shared desire to maintain their social dominance on campus, particularly after a hazing scandal threatens their hold on the elite circle they control. College life serves as the perfect setting for this series, where power dynamics, privilege, and the complex politics of Greek life play pivotal roles in the unfolding drama. What makes this version of Cruel Intentions  so enticing is how it blends the nostalgia of the original film’s darker themes with the modern-day issues and dynamics of college life. It’s a world of secrets, ambition, and manipulation, and Caroline and Lucien will do whatever it takes to keep their position at the top. As part of their scheme, they set their sights on Annie Grover (Savannah Lee Smith), the innocent and impressionable daughter of the Vice President of the United States. If they can manipulate Annie into their world, they’ll not only secure their social status but also maintain their crown as the campus’s most desired power couple. The show is dripping with the same sensual tension and morally ambiguous characters that made the 1999 film a cult classic. With its modern-day twist, it’s not just a tale of seduction—it’s also a commentary on the lengths people will go to achieve fame, wealth, and social capital. And, of course, it’s a dramatic exploration of the complexities of relationships, power, and control, all wrapped up in a deliciously twisted narrative. The dark undertones of the original film remain intact, but this version cleverly updates the stakes and plays on the heightened tensions of today’s political and social climate, particularly with Annie’s ties to the White House. As you watch Caroline and Lucien navigate their plot to seduce and manipulate Annie, you can’t help but feel a mix of suspense and fascination. Will they succeed in their game of power, or will their deceit eventually catch up with them? The first season promises to take viewers on a rollercoaster of emotional manipulation, backstabbing, and unexpected twists. What’s particularly compelling is how the series balances the sexy, dangerous allure of the original with the morally gray complexities of the characters, making it impossible to look away. While the show is undoubtedly rooted in the themes of the original film—desire, betrayal, and the corruption of innocence—it also feels timely and relevant. The rise of social media, political intrigue, and the endless pursuit of fame and recognition make the series feel like a commentary on modern-day celebrity culture and the darker sides of ambition. It’s not just about seduction; it’s about the lengths people will go to in order to stay relevant and maintain control. In this world, nothing is sacred, and everyone is a pawn in the game of social power. So, if you were a fan of the original movie, this series is bound to pull you in. But even if you’re new to the Cruel Intentions  universe, there’s plenty here to keep you hooked. It’s a twisted, glamorous, and sometimes disturbing dive into the mind of the privileged, with all the tension, drama, and intrigue that makes for the perfect binge-watch. Will Caroline and Lucien’s scheme fall apart, or will they manage to stay on top? And how far will they go to maintain their reign? Find out when Cruel Intentions  premieres on Prime Video on November 21st. Get ready for a fresh take on the seductive, dangerous world you loved—and prepare to get hooked once again.

James Patterson’s iconic detective, Alex Cross, is back in a new series adaptation, and based on the first trailer, Cross  promises to deliver an intense, edge-of-your-seat experience. Amazon Prime Video has already renewed the series for a second season, and the buzz surrounding it is palpable. Aldis Hodge steps into the role of Alex Cross, the brilliant but flawed detective—previously portrayed by Morgan Freeman in Kiss the Girls  and Along Came a Spider , and by Tyler Perry in 2012’s Alex Cross . The series picks up where Patterson’s beloved novels left off, following Cross as he uses his unique ability to get into the minds of both killers and victims, unraveling complex murder mysteries. The show’s first trailer, which dropped on October 18, sets the stage for what’s sure to be a wild ride. In it, we see Cross in an intense interrogation scene, where a suspect, seemingly confident, dares to call him “boy.” But it’s quickly clear that Cross is more perceptive than anyone could have anticipated—he sees things even his fellow detectives miss. Hodge's portrayal promises to be both captivating and emotional as Cross confronts his trauma, making the character both powerful and vulnerable. Alongside Hodge, the series features a stellar supporting cast, including New Amsterdam ’s Ryan Eggold and Shadowhunters ’ Isaiah Mustafa. The ensemble also includes Johnny Ray Gill, Juanita Jennings, Alona Tal, Samantha Walkes, Caleb Elijah, Melody Hurd, and Eloise Mumford, all of whom contribute to the compelling storytelling. Cross  is helmed by showrunner and executive producer Ben Watkins, with a second season already in the works—featuring new additions Matthew Lillard, Wes Chatham, and Jeanine Mason. The series doesn’t just focus on murder investigations; it explores the emotional weight that Alex Cross carries, particularly the trauma from the brutal murder of his wife. The show paints Cross as a man of contradictions: deeply committed to justice, yet haunted by personal demons. He’s a family man, a father, and a detective who channels his grief and obsession into hunting down killers. Yet, his trauma often clouds his judgment, leading to moments of lost control—moments that are just as gripping as the crimes he investigates. Set to premiere on Thursday, November 14, all eight episodes of Cross  will drop at once on Prime Video. And from the first few minutes of Episode 1, you’ll be hooked. Hodge’s portrayal of Alex Cross is powerful and nuanced, grounding the character in real, raw emotion. His performance alone makes this series worth watching, but it’s the ensemble cast that truly elevates the storytelling. Each actor brings their own unique energy, making the whole team feel like a force to be reckoned with. Ryan Eggold’s portrayal of Ed Ramsey also stands out, offering a fresh, compelling take on a character far removed from his role in New Amsterdam . Beyond the gripping performances, Cross  is enriched by its setting, weaving in the culture and soul of Washington, D.C., and the Black American experience. From subtle references to the city’s unique vibe to cultural nods that will resonate with viewers, Cross  offers a refreshing level of authenticity that’s both relatable and deeply grounded in its setting. As the series progresses, it’s clear that the writers have mastered the art of suspense. Cross  is a masterclass in tension, with dual storylines that are equally engaging. The twists and turns keep you guessing, and there are moments when you’ll be shouting at the screen, completely immersed in the action. The way the narrative unfolds will keep you on the edge of your seat, constantly trying to piece together the puzzle. If you’re a fan of thrillers, psychological dramas, or simply well-crafted television, Cross  should be at the top of your watchlist. It’s an exhilarating, thrilling, and at times unsettling ride, and it’s one that’s absolutely worth taking.

After a long, emotional journey from episode one to the season finale, viewers get to see the culmination of what led to New England Patriots tight end Aaron Hernandez’s death.  Episode 10, titled “Who Killed Aaron Hernandez,” depicts Chronic Traumatic Encephalopathy, or CTE, as having a major role in the decline of Hernandez’s life and shows the ongoing effects of it. It also focuses on his second murder trial.  When Boston University researchers opened Aaron’s brain, they were shocked by what they saw. As the season progressed, viewers were able to see the specific kind of hits that built up Aaron’s condition. Aaron led with his head during games, taking blows one by one.  Then there’s a flashback to Aaron telling Tanya about migraines that he’s been getting, and since he doesn’t have access to the team medication, he has no help with them.  Also. during a conversation with his lawyer, the lights made his vision blurry, and he lost focus.  Aaron participates in a basketball game with his fellow inmates, but things take a turn when he attacks an inmate who had been taunting him, and the guards strike him on the head, further progressing his CTE.  At the trial, Aaron’s lawyer portrayed Sherrod as a criminal, sparking an angry outburst from him, who detailed what his former friend had done to him. The prosecution also called Chris to the stand, arguing that the stress from his relationship with Aaron led to Aaron committing the murders. It’s noted that Shayanna was the only one in his family to show up.  Aaron hallucinates a visit with his father Dennis in prison where Dennis tells his son everything, he wanted to hear his whole life, but none of it is real.   In a shocking turn of events, Aaron is found not guilty, but this verdict would not mark the end of his suffering. The rumors about his sexuality spiral out of control, triggering him in the moments leading up to his suicide. Aaron’s family is left devastated, forced to pick up the pieces and reevaluate their roles in his life.  Once again, Josh Andrés Rivera puts on a powerful performance as he’s done all season. He takes us into Aaron’s mindset and final days, portraying his ongoing paranoia flawlessly.  The season progressed nicely, showcasing the star football player’s life-changing moments, both for better and for worse. Will there be a season two? I guess viewers will have to wait and see.