Another major criticism is the writing. Early reviews have described the story as confusing, overloaded and occasionally boring. Slant’s review is particularly harsh, calling the season “borderline incoherent” and arguing that its short episodes and constant recycling of familiar characters prevent the story from developing properly. The review also criticizes the way returning characters are presented almost like celebrity cameos, with familiar lines and imagery seemingly included for audience applause rather than because they serve the plot.

The pacing has also become a source of frustration. Slant points out that some episodes are barely 22 minutes long, considerably shorter than episodes from earlier seasons. For viewers accustomed to AHS building elaborate worlds and complicated storylines, the reduced runtime can make the new season feel rushed or incomplete.

There is also a broader sense of fatigue among some fans. Criticism of Season 13 follows dissatisfaction with previous installments, particularly Season 12, Delicate. Although Delicate received a 77% critics’ score on Rotten Tomatoes, its audience score was lower at 64%. Critics praised its more restrained approach but also questioned its ability to create genuine suspense.

Fan discussions show similar complaints about weak writing, disappointing payoffs and excessive reliance on familiar ideas. Some viewers have described Delicate as building suspense without delivering a satisfying conclusion, while others argue that the newer seasons lack the atmosphere and character development associated with earlier installments.

Ultimately, the negative reaction seems to reflect a clash between what made AHS popular originally and what Season 13 is currently offering. The show is giving longtime fans recognizable faces, characters and references, but some critics and viewers feel that nostalgia cannot replace strong writing, coherent plotting and genuine horror.

The post Why Is Everyone Hating the New Season of American Horror Story? appeared first on KIMU.

But beyond the murder investigation, Blue Season is notable for the Asian talent embedded throughout its world, with Vietnamese identity and language forming an important part of the show’s cultural texture.

One of the faces to watch is Kim Nguyen, who appears throughout the series as Kim. Her involvement is particularly significant because Vietnamese representation in British television remains relatively rare. Blue Season was deliberately created by its filmmakers to allow Asian characters to exist naturally inside a mainstream British crime story rather than making their ethnicity the entire subject of the narrative. (Vietcetera⁠)

Nguyen’s presence therefore carries significance beyond a conventional supporting role. Vietnamese dialogue appears within the series alongside Cantonese, Mandarin, Japanese and French, creating a genuinely multilingual London rather than a version of the city filtered exclusively through English. (Feyno⁠)

For Vietnamese audiences, seeing Vietnamese talent and language embedded inside a British crime thriller on a global streaming platform is a particularly striking moment. It reflects Blue Season’s wider ambition: representation that feels lived-in rather than inserted for effect.

With Nguyen appearing across all six episodes, her involvement becomes part of the show’s continuing Vietnamese presence. (Fi1m⁠)

Blue Season isn’t presenting Vietnamese identity as a novelty. It is simply allowing Vietnamese people, language and talent to exist within the world of a major crime drama. And that, arguably, is what makes Kim Nguyen’s presence so meaningful.

The post Kim Nguyen Makes Her Mark in Apple TV’s Blue Season appeared first on KIMU.

The actress has been cast as Anna in Playmates, an upcoming coming-of-age drama from Searchlight Pictures. The film will be the feature directorial debut of Lorraine Nicholson, daughter of Hollywood legend Jack Nicholson, who has also written the screenplay. The project was announced by Searchlight in September 2026. (TheWrap⁠)

Despite its provocative setting, Playmates is not a Hugh Hefner biopic. Instead, the story centres on 13-year-old Elle, played by Indiana Elle, a self-described know-it-all who considers the Playboy Mansion her second home. There she meets Anna, one of seven women hoping to become Playmate of the Month, played by Depp.

The pair develop an unlikely friendship and decide to help each other pursue what they want most. For Anna, that means achieving a coveted magazine cover. For Elle, it means winning over a boy. The film is therefore being positioned primarily as a coming-of-age story rather than a straightforward examination of Hefner or the Playboy brand. (TheWrap⁠)

Bill Pullman is attached to play Hugh Hefner, bringing the real-life founder of Playboy into the story. However, available details suggest Hefner is part of the world surrounding the characters rather than the central protagonist.

What makes the project particularly unusual is Nicholson’s personal connection to its setting. She has previously written about growing up around the Playboy Mansion and visiting regularly from childhood until she was around 11. Her 2024 Vanity Fair essay described the mansion as a place where many of her childhood friends lived and where she encountered Playmates, Hefner’s children and the adults who surrounded the property. Those memories are now informing her first feature film. (Yahoo News Malaysia⁠)

For Depp, Playmates adds another strikingly different role to an increasingly eclectic filmography. Following Nosferatu, she is also set to reunite with director Robert Eggers for Werwulf and appears in the science-fiction comedy Alpha Gang. (TheWrap⁠)

The film is produced by Alex Orlovsky and Duncan Montgomery of High Frequency Entertainment alongside Depp herself. Searchlight has acquired the project, but no official release date has been announced yet.

With Depp entering the Playboy universe, Nicholson transforming her extraordinary childhood surroundings into fiction, and Pullman stepping into Hefner’s famous robe, Playmates is already shaping up to be one of the more unexpected additions to Depp’s upcoming slate.

The post Lily-Rose Depp Enters the Playboy Mansion: Everything We Know About Playmates appeared first on KIMU.

The series launched in 2022 with DAHMER — Monster: The Jeffrey Dahmer Story, starring Evan Peters as the Milwaukee serial killer. The season became a global Netflix phenomenon, accumulating 1 billion viewing hours in its first 60 days and earning 13 Emmy nominations.

Season two, Monsters: The Erik and Lyle Menendez Story, turned to the brothers convicted of murdering their parents in 1989. Cooper Koch and Nicholas Alexander Chavez played Erik and Lyle, with the series generating renewed attention around the brothers’ claims of abuse and the broader question of how their case was understood by the public and justice system.

The third installment, Monster: The Ed Gein Story, arrived with Charlie Hunnam portraying the Wisconsin killer whose crimes helped inspire fictional villains including Norman Bates and Buffalo Bill. The season opened with 12.2 million global views in its first three days and reached No. 1 in 11 countries.

Now comes Monster: The Lizzie Borden Story, starring Ella Beatty as the Massachusetts woman accused of killing her father and stepmother with an axe in 1892. The season also introduces Sarah Paulson as Aileen Wuornos, creating an explicit thematic connection between two generations of infamous female killers.

So who comes next?

There is no officially announced Season 5 subject, but several possibilities have emerged. Showrunner Ian Brennan has said the creative team has considered Dennis Rader, better known as BTK, and Gary Ridgway, the Green River Killer. Luigi Mangione has also entered the conversation, although Brennan has stressed that the subject remains a complicated and premature possibility.

Ted Bundy, meanwhile, appears less likely. Murphy previously said he had rejected a Bundy season because he did not see a sufficiently compelling social theme for the anthology to explore.

Another possibility comes from inside the cast. Charlie Hunnam has publicly floated Roy DeMeo, the notorious Gambino crime figure, as a potential subject. Murphy, however, has indicated little interest in taking Monster into the organized-crime world.

For now, the safest prediction is that Season 5 will remain within Monster‘s established territory: a notorious real-life figure whose story offers Murphy and Brennan more than murder alone, with questions about society, media, gender, celebrity or the machinery surrounding the crime providing the larger dramatic hook.

The post What Comes Next for Ryan Murphy’s Monster? The Four Installments So Far and the Likely Candidates for Season 5 appeared first on KIMU.

When will Season 2 be released?

The second season is scheduled to arrive in 2027, although an exact premiere date has not yet been announced. Production began in early 2026, with filming taking place in locations including London, Budapest and Croatia.

The series will again be released through Sky in the UK and Peacock in the US.

Who is returning?

Eddie Redmayne will return as the Jackal, while Úrsula Corberó is back as his wife, Nuria. Charles Dance will reprise his role as billionaire Timothy Winthorp, with Eleanor Matsuura returning as Zina Jansone.

There are also several new faces joining the cast. Fellow Travelers star Matt Bomer has been confirmed for a role that is being kept secret, while Weruche Opia and Pablo Schreiber are also joining the series. Details of their characters remain under wraps.

What will Season 2 be about?

The exact storyline is still being kept secret, but Season 1 left the Jackal with several major problems to solve.

After killing Bianca, the intelligence officer who had spent the season hunting him, the Jackal was left without the person who had come closest to exposing him. However, his personal life was in far greater turmoil. Nuria had discovered the truth about her husband and disappeared with their son, leaving the Jackal desperate to find her.

Meanwhile, his relationship with Winthorp is heading towards a confrontation, particularly after Zina revealed Winthorp’s identity to the Jackal.

Eddie Redmayne has suggested that the Jackal’s desire to reunite with Nuria will be important, while executive producer Gareth Neame has indicated that Season 2 will continue exploring the assassin’s work and the people who employ him.

One thing seems certain: the Jackal has unfinished business, and Season 2 looks set to push his double life even further.

The post Everything we know about The Day of the Jackal Season 2 appeared first on KIMU.

What is the sequel called?

The follow-up is titled Drawn Apart, the screen adaptation of Ébano, the second book in Ron’s two-part Enfrentados series. The title reflects the fractured state of the central romance after the first film’s cliffhanger.

Who is returning?

Ester Expósito and Hugo Diego García are back as Marfil Cortés and Sebastián Moore, respectively. The pair’s relationship drives both films, with Marfil, the daughter of a powerful Spanish businessman, falling for the bodyguard assigned to protect her. Ron is also involved in the adaptation, continuing her creative partnership with Prime Video and Amazon MGM Studios.

What will it be about?

Plot specifics remain closely guarded, but the first movie’s ending provides the roadmap. Marfil’s kidnapping mystery deepens, Sebastián’s true identity comes into focus, and a new abduction leaves the couple facing forces that could permanently separate them. The sequel is expected to pick up from that explosive turn rather than reset the story.

The stars and Ron have teased a darker, more intense chapter. Expósito and García have suggested that Drawn Apart will not simply repeat the first film’s formula, while Ron has described the franchise as balancing romance with substantial thriller and action elements.

When will it premiere?

There is no publicly announced release date. Ron told Forbes that she had already watched the completed sequel and hoped it would arrive in 2027. That is an aspiration, not a confirmed launch window.

What does that mean for fans?

The good news is that viewers are not waiting for Prime Video to decide whether to continue the story. The sequel has been announced and completed, with its principal stars returning. The remaining unknowns are the release date, trailer, and how closely the film will follow the second novel.

For now, Drawn Apart is a confirmed sequel with production behind it, a cliffhanger to resolve and a darker chapter of Marfil and Sebastián’s story still to come.

The post ‘Drawn Together’ Sequel ‘Drawn Apart’: Everything We Know About Prime Video’s Next Chapter appeared first on KIMU.

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.