The biggest news is also the most frustrating: FX has not officially renewed The Shards for season 2. But the finale was clearly designed to leave the door open, and the people behind the show have been unusually candid about wanting to walk through it.

The season ends with Terry Schaffer pushed from his balcony during a Halloween party. He survives the fall, but the identity of his attacker remains unknown. The episode then gathers Bret, Robert, Susan, Debbie, Thom, Liz, Steven and Ryan in a room, where detectives announce that someone present may be the Trawler. The killer’s identity, the person who attacked Terry, and the truth behind Matt Kellner’s murder all remain unresolved. 

That is not simply a cliffhanger. It is a deliberate departure from Bret Easton Ellis’s novel, which has its own ending. Executive producer Brad Simpson explained that the television adaptation was initially conceived as a limited series, but the writers and cast found enough material to make a longer story worthwhile. The novel’s action covers only three months of senior year, giving the show room to expand its characters and mysteries rather than rush toward a conclusion. 

What could season 2 explore?

The obvious priority is the Trawler investigation. The finale deliberately refuses to confirm whether Robert is the killer, whether Bret’s narration can be trusted, or whether the murders are connected to the Riders of the Afterlife cult. The show has also established that not every violent act necessarily comes from the same person. That leaves room for a season built around competing suspects, false confessions and increasingly unreliable perspectives.

The finale’s other major threads are just as important. Debbie now has compromising evidence about her father and Bret, while Bret and Robert’s relationship has moved from suspicion to intimacy. Susan’s attack, Thom’s intervention and Robert’s declaration of love have left the central relationships in a volatile state. Steven’s final, unsettling presence also suggests that Terry’s assistant may have a much larger role to play. 

What about the cast and release date?

There is no confirmed season-two cast announcement, production schedule or release date. The existing ensemble would be the natural foundation if the show returns, but any return is still conditional on a renewal.

The strongest evidence for continuation comes from Ryan Murphy himself. In an August interview, he said he and Ellis hoped to make at least three seasons, if not more. That is an ambitious creative plan, not a formal order from FX. 

So, for now, season 2 is wanted, possible and heavily foreshadowed, but not officially happening. The finale’s final promise, “And that’s when things really got crazy,” may be the clearest statement of intent the show has offered.

The post The Shards Season 2: Everything We Know After the Finale appeared first on KIMU.

Set inside a luxurious villa in Baja California, Mexico, Crush House places its contestants in an environment where alliances can form, rivalries can erupt and unexpected connections can develop. The competition is hosted by adult film stars Josh Moore and JJ Aussie, who oversee the contestants as they compete for the title of MVC, or Most Valuable Crush.

The stakes are substantial. The season’s winner is set to receive a $20,000 cash prize sponsored by MISTR, along with the opportunity to have MENCRUSH produce a personalized documentary about them. Challenges, strategies, eliminations and shifting alliances are expected to drive the competition, while the show’s focus on relationships and identity aims to give the format more substance than a conventional dating or competition series.

The original announcement named Tim James, Dom King, Roxas Caelum, Kyle Krieger, Horse Papo, Rocky Unleashed, Huge Ajax, Victor Vivone, Beau Butler and Austin Ponce as the ten contestants competing in the first season with a season finale orgy to boot.

MENCRUSH describes the series as part of a broader ambition to build a global queer media and entertainment brand, combining creator-led programming with documentaries and reality television. Its current website places Crush House at the center of that strategy, describing a format in which ten creators live together, with viewers participating through votes that can influence who stays and who ultimately becomes the Most Valuable Crush.

The current MENCRUSH model also emphasizes weekly premieres, live audience interaction, exclusive behind-the-scenes material and direct engagement between creators and subscribers. The platform says the winning creator will ultimately receive their own reality series, with the audience playing a role in determining that outcome.

That interactive element could prove to be one of Crush House‘s biggest differentiators. Rather than simply watching contestants compete, MENCRUSH is positioning its audience as an active part of the show’s ecosystem.

With its combination of gay representation, recognizable adult-content personalities, reality-TV competition and audience participation, Crush House is clearly intended as a flagship title for MENCRUSH and a major step toward establishing the platform as a destination for original queer entertainment.

The post MENCRUSH Unveils Crush House, a New Gay Reality Competition Bringing Ten Adult Creators Under One Roof appeared first on KIMU.

Andrew Garfield plays Altman, with Anora breakout Yura Borisov as OpenAI co-founder Ilya Sutskever and Monica Barbaro as former OpenAI CTO Mira Murati. Cooper Hoffman plays Greg Brockman, while Ike Barinholtz appears as Elon Musk. Jason Schwartzman, Cooper Koch, Billie Lourd, Zosia Mamet, Chris O’Dowd and Mark Rylance also feature. (People.com)

The trailer is already generating comparisons to The Social Network, but Guadagnino appears to be going somewhere considerably stranger. There is something almost horror-movie-like about the footage: billion-dollar technology, existential questions about humanity and a group of extremely powerful people behaving as though the fate of civilisation is being decided inside a Silicon Valley boardroom. Online, viewers are particularly fascinated by Garfield’s transformation, with some joking that he gives the fictional Altman considerably more charisma than the real one. Others are already asking whether this is going to be an Altman “hit piece”. (Reddit)

And then there is the extraordinary question of whether Altman himself approved any of this. There is currently no evidence that he did. In fact, Garfield has repeatedly stressed that he has never met Altman. He built the performance from Simon Rich’s screenplay, interviews, research and court transcripts rather than personal access to his subject. Garfield has also admitted that he is “really scared” of the backlash involved in portraying one of the most powerful people in technology. (The Independent)

That makes the film’s journey even more intriguing. Amazon MGM dropped the nearly finished movie earlier this year, shortly after its enormous financial partnership with OpenAI. Amazon denied that the two events were connected, but reports suggested the film presents a critical portrait of Altman. Neon subsequently acquired the worldwide rights. (Los Angeles Times)

With Guadagnino behind the camera, Damon Albarn providing the music and Garfield embodying one of the defining—and most controversial—figures of the AI revolution, Artificial suddenly feels less like a conventional tech biopic and more like a cinematic referendum on who gets to control the future. It arrives in cinemas on Christmas Day before expanding in January.

The post Sam Altman Has Entered His Villain Era: Watch the Trailer for Luca Guadagnino’s Artificial, the Film About the OpenAI Founder appeared first on KIMU.

Then it all unravelled.

Investigations revealed that Theranos’s technology did not work as Holmes had claimed, triggering the company’s collapse and a criminal prosecution. In 2022, Holmes was convicted on four counts of defrauding investors and was later sentenced to more than 11 years in federal prison. She reported to prison in May 2023.

Her extraordinary rise and spectacular fall have already been turned into documentaries, podcasts and the acclaimed Hulu drama The Dropout. So why does A24’s new film, You Can See Everything, feel so unsettling?

The answer is Nathan Fielder.

The filmmaker behind Nathan for You and The Rehearsal has spent three years secretly making a documentary about Holmes with director Lance Oppenheim. The film begins 34 days before Holmes is due to enter prison, after she invites the filmmakers to document her life. What follows, according to A24, becomes a “mind-bending” journey that goes far beyond a conventional portrait of a disgraced entrepreneur.

That strangeness is already apparent in the teaser. Holmes sits opposite Fielder, staring directly at him while insisting that she has nothing to deceive him about. The scene is almost painfully intimate. There is no dramatic reconstruction or actor playing Holmes. It is Holmes herself, attempting to control the narrative of her own story.

And that is what makes the footage so jarring.

We know what happened to Theranos. We know Holmes was convicted of fraud. Yet Fielder places himself directly inside her world and appears to ask the question that has followed Holmes for years: is she manipulating everyone around her, or is she herself being manipulated?

The film reportedly becomes even stranger after Holmes enters prison, incorporating reenactments and unexpected twists that deliberately blur the boundary between documentary and performance.

In other words, You Can See Everything is not simply another Elizabeth Holmes exposé. It appears to be a film about watching Elizabeth Holmes, and about how impossible it may be to know exactly what we are watching.

The post Who is Elizabeth Holmes? And why is the trailer for A24’s documentary You Can See Everything so jarring? appeared first on KIMU.

Obviously, it is not that simple. Nothing with Araki ever is.

I Want Your Sex is a neon-lit, filthy, funny little grenade about desire, power, performance and the increasingly bizarre ways we understand intimacy. Cooper Hoffman plays Elliot, a sexually inexperienced young man who gets pulled into the orbit of Erika Tracy, an older artist played by Olivia Wilde with the kind of feral charisma that suggests she might either ruin your life or make it considerably more interesting. Probably both.

The genius of the film is that Araki does not treat Elliot’s generation as prudish idiots or Erika’s generation as sexually enlightened icons. Everyone is damaged. Everyone is performing. Everyone is horny. Everyone is also deeply, deeply online.

That makes the film feel weirdly essential to this particular moment. We have spent years turning sex into content, discourse, identity, branding and a potential HR incident. Dating apps have made intimacy feel transactional. Social media has made everyone simultaneously exhibitionist and terrified of being seen. The result is a culture obsessed with sex while becoming increasingly anxious about actually having it.

Araki’s response is not a think piece. It is a psychedelic sex comedy.

The writing, co-created with Karley Sciortino, understands that the only appropriate language for our current cultural insanity might be heightened, camp and completely unhinged. Characters talk like they have wandered out of a group chat at 3am. The jokes are deliberately filthy. The drama keeps threatening to become melodrama before swerving into something stranger. It is trashy in the most intelligent possible way.

And the cast gets it. Wilde is having an absolute ball, weaponising Erika’s confidence and making every entrance feel like an event. Hoffman is the ideal straight man, awkward enough to make Elliot believable but game enough to follow Araki into increasingly deranged territory. Around them, Mason Gooding, Chase Sui Wonders, Daveed Diggs and Charli xcx add to the film’s fever-dream ecosystem.

Then there are the cameos, which feel less like celebrity stunt casting than Araki winking at his own cinematic history. James Duval’s appearance is particularly delicious, connecting this new, sexually anxious generation to the director who helped define the horny, alienated outsider cinema of the 1990s.

Is I Want Your Sex subtle? Absolutely not.

Is it occasionally ridiculous? Completely.

But subtlety is overrated when the world itself has become this ridiculous.

The real joke is that a film this aggressively sexual ends up being about something almost wholesome: the terrifying vulnerability of wanting someone. Not liking their post. Not sending a thirst trap. Not negotiating the perfect vocabulary for desire. Actually wanting. Actually risking humiliation. Actually being alive inside your own body.

That is why I Want Your Sex feels genius. It is not nostalgic for a supposedly freer sexual past. It is staring directly at our bizarre present and asking the question contemporary culture seems increasingly afraid to ask:

What if we stopped being so fucking scared of desire?

The post Why Gregg Araki’s I Want Your Sex Might Be the Most 2026 Film of 2026 appeared first on KIMU.

The Mexican film is the third feature directed by Gael García Bernal, who also co-wrote the screenplay with Argentine playwright and novelist Mariano Pensotti. Bernal stars as Camilo, a Cuban lifeguard whose life changes dramatically after he rescues Abel, a wealthy Mexican businessman with political ambitions, from drowning. Abel rewards him by bringing him to Mexico, where Camilo becomes his right-hand man, marries Abel’s daughter Juana and appears to enter an extraordinary new life. But the apparent dream quickly becomes something much darker: Camilo discovers that Abel’s world is built around manipulation and control, forcing him to fight to reclaim his own destiny. (La Biennale di Venezia⁠)

The film is being described as a comedy-drama with psychological, surreal and dreamlike elements, exploring manipulation, social masks, identity, class and the ways people construct versions of themselves for others. (Paloma & Nacho⁠)

And then there is Ricky Martin.

Martin’s involvement was deliberately kept secret until the first trailer was released on August 24, 2026. He plays Roby, an actor hired to portray Camilo in a biographical film being pushed by Camilo’s wife. In a particularly meta twist, Martin is therefore playing an actor who is playing a character whose life is itself being turned into a movie. (Quién⁠)

According to reports, Martin joined the project shortly before filming began in Mérida, Yucatán, and filmed his part in just one day. He is also credited as an executive producer, making his involvement considerably more significant than a conventional cameo. (Quién⁠)

The ensemble also includes Manuel García-Rulfo, Débora Nascimento, Esmeralda Pimentel, Natalia Oreiro, Jorge Salinas, Anna Díaz and Jerry Velázquez, alongside Bernal and Martin. (IMDb⁠)

The film has a major festival launch ahead. Hombre al Agua will have its world premiere in the Venice Film Festival’s Venice Spotlight section in September 2026, followed by its North American debut at the Toronto International Film Festival. Venice lists its running time as 116 minutes. (La Biennale di Venezia⁠)

Produced by Bernal and Diego Luna’s La Corriente del Golfo, alongside Cárcava Cine and Redrum, the film is arguably notable not just for its unusual story but for the meeting of two huge Latin American stars: acclaimed actor-director Gael García Bernal and global pop icon Ricky Martin.

And given that Martin’s role was hidden until the trailer, there may still be considerably more to discover when the film finally premieres.

The post Ricky Martin’s secret role in Gael García Bernal’s highly anticipated new film, Hombre al Agua appeared first on KIMU.

As of August 17, 2026, Netflix has not officially confirmed The Last House 2. There is no announced sequel title, production date, cast list, director confirmation or release date. Netflix’s official material currently focuses on the first movie, which began streaming on August 7.

That does not necessarily mean a sequel will never happen. Netflix will likely look at viewing figures, completion rates, audience reaction and whether the movie generates enough interest to justify another installment. The film has already attracted significant attention. It was reported as Netflix’s number-one movie in the US during August, although critical reaction has been mixed.

There is also potential material for another story because The Last House deliberately leaves audiences with questions surrounding the mysterious force, the family’s ordeal and the wider implications of what has happened outside their home. The filmmakers have emphasized that the movie is about more than simply surviving an external threat. Leterrier has described themes involving consumerism, family relationships, isolation and the psychological effects of being trapped together.

The movie was also designed around a constantly changing house. Production took place inside a single deteriorating set, with the physical transformation of the home reflecting the family’s psychological deterioration. That contained concept could theoretically lend itself to a sequel that expands the world beyond the original house.

However, there is currently no evidence that Netflix has started developing The Last House 2. Any claims about a confirmed sequel, returning characters or a 2027/2028 release date should therefore be treated as speculation unless Netflix or the filmmakers officially announce it.

For now, the safest prediction is that Netflix will wait to see how The Last House performs over the coming weeks before deciding whether the story continues. If a sequel is eventually approved, the most likely possibilities would be an expansion of the mysterious threat, a continuation involving the surviving characters, or an entirely new family facing the same phenomenon.

The post Everything We Know About a Possible Netflix The Last House Sequel appeared first on KIMU.

Set in Los Angeles in 1981, the series follows 17-year-old Bret Easton Ellis, played by Igby Rigney, and his impossibly glamorous circle of privileged prep-school friends. Their already complicated lives become considerably more dangerous when mysterious new student Robert Mallory, played by Homer Gere, arrives at school. At exactly the same time, a serial killer known as the Trawler is targeting teenagers across Los Angeles. The delicious question is whether Robert is simply the intriguing outsider Bret cannot stop thinking about, or whether there is something much darker lurking underneath.

That premise is where The Shards really hits its sweet spot. Like Scream, there is an ever-present sense that someone could be watching, lying or killing. Like Cruel Intentions, the drama is driven by attraction, manipulation, privilege and people who are far too interested in each other. But The Shards adds something neither comparison quite captures: a distinctly queer coming-of-age story in which desire, repression and paranoia are tangled together.

The cast is another major reason the show is generating attention. Rigney anchors the series with a performance that critics have singled out, while Gere brings exactly the right combination of mystery and magnetism to Robert. Kaia Gerber plays popular cheerleader Susan Reynolds, with Hayes Warner as Bret’s girlfriend Debbie, while veterans including Evan Rachel Wood and Wes Bentley add serious dramatic weight.

The soundtrack is another huge part of the show’s appeal. The 80s music does far more than simply establish the period, it becomes part of the atmosphere, giving every party, flirtation and ominous encounter an extra layer of cool. The needle drops help make Los Angeles in 1981 feel like a fantasy version of the decade, all glossy pop, new-wave swagger and teenage excess, while also creating a sharp contrast with the violence bubbling underneath. It is exactly the kind of soundtrack that makes you want to Shazam everything, then immediately build a playlist and pretend you were there.

And visually, the show is almost absurdly seductive. The production recreates 1981 Los Angeles through immaculate clothes, cars, parties, music and interiors, creating a world that looks glamorous right up until the moment something horrible happens. Viewers have already praised the production design, costumes and needle drops, while reviewers have highlighted its stylish, immersive quality.

That is ultimately why The Shards feels like such a hit already. It is not simply a murder mystery, or a teen drama, or a queer thriller. It is all three at once, wrapped in Ryan Murphy maximalism. It gives audiences something to obsess over, something to lust over and, crucially, something to theorise about. It is Cruel Intentions meets Scream, but gay, glossy, horny, paranoid and very, very dangerous.

The post Ryan Murphy’s The Shards is giving Cruel Intentions meets Scream, but GAY and set in the 80s appeared first on KIMU.

The biggest development is that Season 2 is now expected to begin filming on August 10, 2026, according to recent production reports. Principal photography is scheduled to continue until early December, giving the series a significantly longer production schedule than its first season. Filming will once again take place primarily in Toronto, with additional scenes expected to be shot in Montreal.

Although fans have been hoping for news that filming is already underway, neither Bell Media nor showrunner Jacob Tierney has officially announced that production has started. Instead, all recent reporting continues to point to an early August start date.

Season 2 will adapt Rachel Reid’s bestselling novel The Long Game, continuing Shane and Ilya’s story several years after the events of Season 1. The new episodes will explore the challenges of maintaining their secret relationship while navigating the pressures of professional hockey, with Ilya’s mental health expected to become a major focus of the season.

Hudson Williams and Connor Storrie are both expected to return in their starring roles as Shane and Ilya. François Arnaud and Robbie G.K. are also expected to reprise their Season 1 roles, although Bell Media has yet to announce any additional casting beyond the returning principal cast.

A spring 2027 premiere remains the target. Earlier this year, Jacob Tierney confirmed that the production team had already been deep into writing and pre production, and every update since has continued to point toward a 2027 release. While some reports suggest April as a likely window, no official premiere date has been announced.

The series has also remained in the spotlight this month despite not receiving Emmy nominations. Several entertainment outlets explained that Heated Rivalry was never eligible for the Primetime Emmy Awards because it is a fully Canadian production for Crave, even though it streams internationally on HBO Max. The show remains eligible for the International Emmy Awards instead.

For now, the biggest confirmed news is that production is imminent. If filming begins on schedule in early August, fans can likely expect the first behind the scenes photos, official production stills, and additional casting announcements in the coming weeks as Season 2 moves into full production.

The post Everything We Know About Heated Rivalry Season 2 Ahead of Filming appeared first on KIMU.

The genius of Disclosure Day is how it weaves together so many of the ideas that have fascinated people for generations, including:

• Roswell and alleged recovered crash debris
• Government cover-ups and decades of classified information
• Secret programmes studying non-human technology
• Military and intelligence agencies suppressing evidence
• UFO sightings by civilians and military personnel
• Whistleblowers risking everything to reveal the truth
• Alien encounters stretching back generations
• The idea that extraterrestrials have been quietly observing humanity rather than invading it
• Psychic or unexplained connections between humans and alien beings
• Advanced technology far beyond human understanding
• The possibility that the greatest sign of an advanced civilisation is empathy rather than conquest

Rather than presenting these ideas as disconnected conspiracy theories or isolated events, the film cleverly brings them together into a single story that feels surprisingly coherent. It rewards audiences who are familiar with UFO lore while remaining accessible to those simply looking for a great piece of entertainment.

What also makes Disclosure Day stand out is its tone. It never becomes weighed down by its own mythology. There are genuine laugh-out-loud moments throughout, with sharp writing and witty dialogue breaking the tension at just the right time. The humour makes the characters feel authentic and prevents the film from becoming another overly serious science fiction drama.

The performances elevate everything even further. Emily Blunt delivers a grounded, emotionally rich performance that keeps the story rooted in humanity, while Josh O’Connor perfectly balances intelligence, vulnerability and quiet determination. Their chemistry is believable, and the supporting cast all contribute to making the extraordinary events feel deeply personal.

One of the film’s most thought-provoking elements is what many viewers have interpreted as an animal rights allegory. Throughout the story, humanity’s fear, confinement and treatment of the extraterrestrials mirrors the way humans often treat animals on Earth, judging them as inferior simply because they are different. The suggestion that the aliens first approached humanity through the natural world, communicating via or appearing alongside animals before making direct contact, reinforces the idea that all sentient life deserves compassion rather than exploitation. Whether this was the filmmakers’ intention or not, the parallel is difficult to ignore. For many viewers, it becomes a powerful invitation to reconsider humanity’s relationship with animals and the ethical choices we make every day. Some may even see the film as encouraging a shift towards veganism as an extension of the empathy that the story ultimately celebrates.

Then comes the ending.

Rather than delivering a long speech explaining everything, the aliens leave humanity with a single translated word: “Listen.” It is a wonderfully restrained conclusion that leaves the audience thinking long after the credits roll. Instead of providing all the answers, the film suggests that humanity’s greatest weakness has never been a lack of intelligence, but a failure to truly listen, to each other, to the natural world and perhaps even to life beyond our own planet.

That final moment transforms Disclosure Day from an entertaining alien thriller into something much deeper. It becomes a meditation on communication, humility and our place in the universe. Whether you leave believing in extraterrestrials or not is almost beside the point. The film reminds us that fear divides us, curiosity unites us, and empathy may be the highest form of intelligence.

In an era saturated with superhero films and predictable blockbusters, Disclosure Day dares to be clever, funny, emotionally engaging and philosophically ambitious all at once. It doesn’t simply tell a story about aliens. It tells a story about us, and that is precisely what makes it unforgettable.

The post The Real Twist in Disclosure Day Isn’t the Aliens, It’s What They Reveal About Us appeared first on KIMU.