- Once More, With Feeling: Anthony Head (1954-2026) (June 8, 2026)
It all started, funny enough, over a cup of coffee. Anthony Stewart Head, the venerable British actor who spent generations on our televisions in one iconic role after another, passed last week at the age of 72 from complications from pneumonia. And yes, he left behind a variety of unforgettable performances in numerous long-running TV shows (and at least one cult-favorite film). He’s played assassins, mentors, prime ministers, aliens, demons, and the worst villain of them all: A vindictive ex-husband. But it was his work in the Nescafé Gold Blend commercials through the 1990s that first put him on the map, and in the hearts of many a Briton.
Though most audiences wouldn’t really catch up to Head until he was the middle-aged mentor of Sarah Michelle Gellar’s Buffy on “Buffy the Vampire Slayer,” he built a notoriety as one half of the so-called “Gold Blend couple” (alongside costar Sharon Maughan), who spent years chasing a serialized courtship in 40-second bursts over cups of instant coffee. The pair were magnetic, Head flashing that dimpled smile and sweeping Maughan off her feet with his effortless charm (not to mention that distinctive reedy baritone). When you have only half a minute to make an impression, the fact that Head did so effortlessly is a testament to his immediate presence.
Born in 1954 to documentary filmmaker Seafield Laurence Stewart Murray Head and actress Helen Shingler, Head decided quickly he’d follow his family into show business. “When it’s in your family, it’s a choice, it’s there. It’s not a jump to say: ‘I want to act,'” He told Metro in 2013. “When I was six I was in a little show my mother’s friends organised, playing the Emperor in The Emperor’s New Clothes. I remember thinking: ‘This is the business, this is what I want to do.”
And that he did, starting out in theater with roles like Freddie Trumper in Chess (his brother, Murray, played the part in the original cast) before studying at the London Academy of Music and Dramatic Art. From there, he’d continue his work in shows like Godspell (alongside Su Pollard) in the late 1970s, while also testing his vocal chops in the band Red Box and, post-Gold Blend, a turn as Frank N. Furter in The Rocky Horror Show on the West End. (His musical prowess will become important later.)
But international audiences likely know him best as Giles, the bespectacled grownup who kept the Scooby Gang of “Buffy the Vampire Slayer” in line for six of the show’s seven seasons. Amid all the emotional tumult and supernatural ass-kicking that Buffy Summers and co. had to contend with, Giles was always there in the library, purring out one bon mot or helpful piece of advice after another. Of course, when he got to let loose on the show, it was a delight: See season three’s “Band Candy,” where cursed chocolate bars turn Sunnyvale’s adults into hormonal teenagers, Giles included; there, he gets into fights and sports a tight white T-shirt with cigarettes rolled into the sleeve, all greaser charm. And in the inimitable “Once More, With Feeling,” he showed off his pipes once again as he sang about the torment of realizing his paternal protection of Buffy was holding her back, and he needed to leave.
Springboarding from that role, Head would find himself firmly ensconced in the genre well, cropping up in all manner of sci-fi and fantasy TV shows, particularly in Britain. He long hovered around the titular part in “Doctor Who” in the 1990s, eventually appearing in some audio dramas, a webcast, and, in 2006, an honest-to-God episode of David Tennant’s first season as an alien school administrator with devilish plans for his students. He spent four seasons on BBC’s “Merlin” as King Uther Pendragon, lending gravitas to its low-budget tale of swords and sorcerers.
Through all of these parts, Head carried himself with that beautiful mixture of stentorian warmth and brutal coldness that personified the British character actor; in many ways, he was the platonic ideal of such a figure. Which made, of course, his dips into comedy that much more effective, as when he played the Prime Minister (and object of David Walliams’ infatuation) in the long-running sketch series “Little Britain” or BBC Radio comedy “Bleak Expectations.” He could deadpan with the best of them, throwing in a devilish smirk to land a joke just as easily as he could recite Shakespeare.
But that smirk turned into a sneer in one of his most memorable film roles, as overprotective dad/organ repossessor Nathan in Darren Lynn Bousman’s midnight-movie hopeful “Repo! The Genetic Opera.” Born of Bousman’s background in underground LA theater, and buoyed by his work on the successful “Saw” sequels, “Repo!” saw him update the homespun show into a modestly-budgeted bid to become a 21st-century “Rocky Horror,” and it was so smart to put Head smack dab in the middle of that. He gurns and growls with relished commitment to every corny bit and bob, wailing that rock-tenor through tracks like “Legal Assassin” and “I Remember,” trying as he might to lend the deliciously adolescent mayhem on display some pathos. “Repo!” may be remarkable for its charming shagginess, but Head is the Atlas holding it all on his shoulders.
Of course, even his later career would be marked by consistent work; he’d dip back into the musical well with the short-lived, unfairly forgotten medieval musical “Galavant,” and he made turns on “Bridgerton” and the sitcom “Motherland.” His last major role, arguably, was as devious, two-faced ex-Richmond owner Rupert Mannion on “Ted Lasso,” whose role elevated from thorn in Hannah Waddingham’s side to full-on rival in the third season. He offered a perfect counterpoint to Ted’s unfailing faith in the goodness of people; he was just kind of unstoppably bad, even as Head’s performance hinted at jealousy and possessiveness that at least explained his villainy.
It’s fascinating that he’d play so many villains and tricksters and men of devious motive since, by all accounts, Head was a delight as a human being and a costar. In tributes to the star, his Gold Blend costar Maughan called him “a lovely man,” and Buffy herself, Sarah Michelle Gellar, wrote on her Instagram: “‘Tell Giles I figured it out and I’m ok’ Well I don’t have it figured out and I’m not ok. But I know I’m the lucky one because I knew you.”
Despite the romantic tumult of many of his characters, Head seemingly found his happily ever after with his longtime partner, Sarah Fisher; the pair remained together, though they never married, until Fisher died in December 2025. And now, with Head’s passing, he, too, is mourned not just by generations of fans but by the people who were blessed to work alongside him. His ubiquity, more than anything, is a testament to that reputation; that he could have such a long, comfortable career juggling sex appeal and silliness feels like a rare achievement.
- Kiwi Comedy “Alice & Steve” Leaps Over the Age Gap (June 8, 2026)
Hulu’s “Alice & Steve” is wild, uneven, very funny, and surprisingly insightful, even if it’s the kind of show you think you might hate.
The first episode establishes the premise: Alice (Nicola Walker) and Steve (Jemaine Clement) are longtime friends now in their fifties. He’s recently divorced, and she’s married with two kids, one in high school and one in her late twenties. The friends are not exactly rule followers—that first episode includes an emergency trip to the vet after Steve’s dog eats part of the 50-somethings’ cocaine.
That first episode has a rollicking tone with physical humor, off-color gags, and the leads’ charisma jumping off the screen. It ends after Steve sleeps with Alice’s grown daughter, Izzy (Yali Topol Margalith), who tells her mom the first chance she gets, promising that her May-December romance is the real deal.
It’s hard to see any chance this show could handle the intricacies of this setup. The tone is too wild, the relationship too gently handled—if you could set up such an age-gap in the most positive way possible, that’s what “Alice & Steve” does. But it’s hard to escape the ick of a grown man sleeping with a person 20+ years his junior, whom he has watched grow up since she was a baby.
It’s “Woody Allen and Soon-Yi Previn” bad. And yes, the 6-part series does go there. You see, because as sure as the pilot will make you think this premise was unredeemable, the show proves you wrong.
The next two episodes are a thoughtful romp, challenging Steve in all the ways it needs to while keeping Izzy’s agency and Alice’s rightful fury in the forefront. Alice is right about Steve needing to leave her daughter alone. But she is delightfully wrong about pretty much everything else. She’s mean to nearly everyone, including her kind husband, played here by a pensive Joel Fry. She delights in drama, curating scenes to make everyone uncomfortable around her.
Meanwhile, Steve is as oddly charming as you’d expect for Clement, whose schtick has been charming for decades (though “Flight of the Conchords” hasn’t aged as well as one hopes). Izzy calls him “weirdly hot,” and that continues to be true, even as Alice sets up a generational conflict that, yes, includes Steve’s thoughts on Woody Allen. That debate happens over Trivial Pursuit, in the kind of set piece that could come off as horribly clichéd in the wrong hands. But with a script by Sophie Goodhart of “Bad Education,” this series totally pulls it off.
This push-pull between my (Alice’s, her husband’s, and maybe a little bit Izzy’s friends’) judgment of Steve’s action and the beauty of their budding relationship could have powered the whole season. Maybe two!
But instead, in episode four, the show feels a need to juice the plot. Like the first installment, those 31 minutes are a hackneyed snooze. If you allow yourself to guess the most cliched plot points to occur next, just know they’re coming at the series’ midpoint.
But “Alice & Steve” surprises you yet again. When it’s not focusing on setting up its plot, this show is delightfully unhinged, managing to say quite a bit about our human condition—about stunted growth, family, and love.
Alice does not become a better person, per se, but she does grow, and we do come to understand why these people love her. Steve manages to actually take a hard look at himself from his own point of view, no longer outsourcing too many of his decisions to Alice or whatever other strong woman is around to lead him.
And Izzy, well, she remains mostly an idea, but one played with an alluring depth by Margalith. Which is good because the three central performances had to work if this show had any chance to succeed—and they really do. Clement is attractive, recalcitrant, wounded, and wrong in ways that make his character feel sympathetic even when he clearly knows better than to be doing what he’s doing.
In title, “Alice & Steve” is a two-parter, but really this is Walker’s show. She inhabits her chaos-agent role with such gusto and such vulnerability that you’ll want to reach through the screen and hug her or slap her. She’s helped by how the camera lingers on her face in both good lighting and bad, showing us what 50 actually looks like in a dynamic, impulsive woman who’s blowing up her life in a bid to protect her grown daughter from something she is actively (and consensually) pursuing.
It’s all somehow smarter than it should be and just as funny as you’d hope. Watch at your own risk.
Full season screened for review. Currently streaming on Hulu.
- Words Are Also Filters: Marjane Satrapi (1969-2026) (June 4, 2026)
In a 2006 interview with The Believer, multi-talented artist and activist Marjane Satrapi said, “nothing is scarier than the people who try to find easy answers to complicated questions.” Satrapi built a career using imagery and dark humour to explore the nuances of modern life, often from the lens of the Iranian diaspora.
Born to an upper-middle class family in Rasht, Iran a decade before the 1979 Islamic revolution, Satrapi’s most well-known work is the graphic novel series “Persepolis,” a semi-autobiographical tale of a girl also named Marjane, aka Marji, who was born to an upper-middle class a decade before the 1979 Islamic revolution. Released in the early 2000s, Satrapi adapted the novel into a feature film with her friend and fellow artist Vincent Paronnaud.
Traditionally hand-animated and filmed mostly in black-and-white to mirror the pen-and-ink style of the novel, the film follows Marji as she comes of age—and gets into heavy metal and rock music—during the revolution and the Iran–Iraq War in the 1980s, eventually finding herself alone in Vienna at the age of 14, where she gets strung out and has visions of God. Returning home, she discovers that she was homesick for a place that no longer exists, and must now find a new place for herself in the world.
Persepolis (2007, France)Directed by Vincent Paronnaud, Marjane Satrapi
The film premiered at the 2007 Cannes Film Festival, where it tied for the Jury Prize. In her acceptance speech, Satrapi said, “Although this film is universal, I wish to dedicate the prize to all Iranians.” The film went on to be nominated for the Best Animated Feature at the 80th Academy Awards, making Satrapi the first woman nominated in that category since its inception in 2001.
It’s no wonder Satrapi found her voice in both graphic novels and later cinema. Speaking to The Believer about the popularity of her novel around the globe, Satrapi addressed the universality of images, saying:
“Words also are filters. They have to be translated. Even in the original language, there is interpretation and some ambiguity. If there’s a cultural difference between the writer and the reader, that might come out in words. But with pictures, there’s more efficiency…I always thought the image and the text, writing and imaging, that there is no separation between them.”
Along with the “Persepolis” series, Satrapi wrote a handful of graphic novels, including 2004’s “Chicken With Plums,” about her distant relative Nasser Ali Khan, a musician living in 1950s Tehran who decides one day to stay in bed until he dies. The dramedy, which features a stand-out performance of melancholic brilliance by Mathieu Amalric, is both a personal story about a man whose heart is broken beyond repair, but also an elegy for the lost world of a pre-revolution Iran, one that Satrapi had a taste of as child, though she mostly knew from family lore and photographs. The film debuted at the 2011 Venice Film Festival, opening in the United States the following year.
This was actually my first introduction to the work of Satrapi, whose “Persepolis” I would discover afterward. I was covering my very first film festival—the 2012 San Francisco International Film Festival, where “Chicken With Plums” was set to screen with an introduction by Satrapi.
I remember very distinctly seeing her in the window-filled, sun-dappled lobby of the Sundance Kabuki, a group of fans eagerly surrounding her. She was puffing away at a cigarette, looking almost too stereotypically French with a chic black outfit and eyeliner. Someone from the festival was desperately trying to get her to put out the cigarette.
It was an indelible image of confidence and defiance, one that would stick with me every time I thought of Satrapi and her work for years to come.
“THE VOICES”, 2013
Director: Marjane Satrapi,
Dreiundzwanzigste Babelsberg Film GmbH
Over the next fifteen years, Satrapi directed several more films, including “The Voices,” a black comedy psychological horror starring Ryan Reynolds, “Radioactive,” a biopic of Marie Curie starring Rosamund Pike and Anya Taylor-Joy, and “Dear Paris,” a dark comedy starring Monica Bellucci and Rossy de Palma.
Although she only lived eighteen of her fifty-six years in Iran, Satrapi always considered the country her home. In a 2009 essay for The New York Times she wrote, “I call Iran home because no matter how long I live in France, and despite the fact that I feel also French after all these years, to me the word ‘home’ has only one meaning: Iran.”
One of her last creative projects, the collective work “Woman, Life, Freedom” takes its name from the Kurdish slogan which became a rallying call for feminist activists in Iran after the September 13th 2022 arrest and murder of Mahsa Jina Amini, a young Kurdish-Iranian student whose only crime was not wearing a headscarf. Calling herself the director of the work, Satrapi brought together seventeen Iranian and international comic artists, along with Iranian academics, to craft a work that honored Amini, while also exploring this new generation of protests.
Discussing the work with The Guardian in 2024, Satrapi said of the new youth movement, “I call it a revolution. It’s not a revolt, it’s not a movement, it’s a proper revolution. I’ve said it many times and nobody says the contrary: I think it’s the first really feminist revolution…and it is supported by men.”
Last April, her longtime husband and creative partner Mattias Ripa passed away. This morning news broke that Satrapi had joined him. A statement released from her close friends reads: “Marjane Satrapi died of sadness a little over a year after the death of Mattias Ripa, her husband and the love of her life.” President Emmanuel Macron of France added that Satrapi’s passing “marks the loss of a leading figure in French culture and a freedom-loving artist whose work carried a universal message and earned her immense international acclaim.”
In her 2024 interview with The Guardian, Satrapi left readers with one last thought, one that I would like to leave with you as well. She said “human nature is made for freedom. With this youth, we might have better days.”
If you are someone you know is in a crisis, you can reach out to the 988 Suicide & Crisis Lifeline.
- Cannes 2026 Video #12: Wrapping Up (June 4, 2026)
The 2026 Cannes Film Festival drew to a close this past May 24th. In this video dispatch, Chaz Ebert reflects on this year’s fest and shares interviews Sonia Evans conducted at Cannes, including World Woman Foundation CEO/founder Rupa Dash, Take2Film’s Julie Sisk, media psychologist Dr. Katherine Woods, and more. Watch the video below.
The 2026 Cannes Film Festival is in the rear-view mirror, but we’re still reflecting on the great experience we had, the wonderful films we saw, and the fantastic people we met.
Personally, I always enjoy the Cannes Immersive Competition, which showcases new virtual-reality projects from around the world. This year, the top prize was awarded to the French-produced project, Katabasis.
Prior to the festival, American studio Neon had acquired a large number of competition films, slowing the pace of acquisitions early in the festival. But sales picked up later in the festival with Netflix acquiring the animated film “In Waves.” “Gentle Monster” with Lea Seydoux, and the Spanish breakout film, which shared the best director prize, “The Black Ball.”
Michael Barker of Sony Pictures Classics was busy acquiring the animated film “Iron Boy” along with “Rehearsals for a Revolution,” the Iranian film that won the “Golden Eye” prize for best documentary in the festival.
Also, “La Gradiva,” winner of the grand prize in the Critics’ Week section, was acquired by distributor 1-2 Special, who are reportedly planning a theatrical release.
More and more I find that Cannes is about connecting with people, long-time friends and new ones.
(INTERVIEW with Julie Sisk of Take2Film)
This year, we met with Rupa Dash, CEO and founder of the World Woman Foundation. She’s leading initiatives to bring creative women together all over the world, including in Cannes.
(INTERVIEW)
Our senior vice president of development, Sonia Evans, at down with Dr. Katherine Woods, a media psychologist, professor at George Washington university, and author of a number of books.
(INTERVIEW)
Our dear friends Nicholas and Pamela Guest were back in Cannes this year, and these two accomplished actors are currently working on a fascinating documentary.
(INTERVIEW)
We’ve followed the path of Elizabeth Guest’s feature film directorial debut from its early days through it’s completion last year. We’re very happy to report that the film has a distribution deal and you’ll be able to see this stellar rom-com later in 2026.
(INTERVIEW)
People are often surprised that the leaders from other film festivals around the world come to the Cannes Film Festival each year. We talked with Ingrid Jean-Baptiste from the Chelsea Film Festival about why she comes to Cannes.
(INTERVIEW)
Of course, Cannes attracts filmmakers from all over the world. We met with Nancy Paton, a Polish-Austrailian producer and founder of Desert Rose Films in the United Arab Emirates. Her production company strives to give underrepresented females a voice in front of and behind the camera.
(INTERVIEW)
That’s all for Cannes 2026! It was a very special year, both on screen and off, and we can’t wait to come back for the 80th edition of the film festival in 2027. We know there will be a lot of surprises planned. Until then, au revoir!
- AMC Turns “Interview With a Vampire” Into the Delicious, Malicious “The Vampire Lestat” (June 4, 2026)
It finally happened. “Interview with the Vampire” has become “The Vampire Lestat.” Season three of the AMC series goes wild with a full transformation into the long-awaited, much-anticipated adaptation of the second book in The Vampire Chronicles by Anne Rice. Books 1 and 2 have seen feature film renditions, but no one knew how to make the wholly villainous Lestat’s heel turn work. It took creator, writer, and showrunner Rolin Jones to envision a storyline that requires the Vampire Himself (Sam Reid) to narrate the events of his pseudo-punk, alternative rock-god era. He’s on tour and on the road to a collision with the Vampire Queen, Akasha (Sheila Atim), but first, he has some emotional baggage to unpack. To paraphrase our complicated protagonist: This is the story of how Lestat woke the Queen of the Damned and unleashed her wrath upon the world.
Wait a moment. Before I attempt to explain the blood-fueled, sensually sardonic madness you’re about to witness, there’s something you must understand. With “The Vampire Chronicles,” Rice has written a series about a toxic, romantically incestuous, overpowered group of immortal “friends” who snipe at each other throughout the centuries while falling desperately in and out of love. And yes, that is the franchise’s charm. Whether on the page or the screen.
Secondly, Jacob Anderson’s Louis is still very much a major player in Lestat’s story, but he has a B-plot (literally called Side B) of his own. Anderson is gravitational, making Reid’s supernova brighter. Thus, more time with Louis is for the better. Now let me tell you how it all goes down.
Lestat and Louis have formed a lovers-to-friends camaraderie until the former learns that Louis confessed their secrets to Daniel (Eric Bogosian), who turned their story into a book. A best-seller that reads more like creative non-fiction than a balanced perspective. It turns out that Louis, but also Daniel, might be unreliable narrators. Friends, Lestat is not the character we met in the first two seasons. That was Louis’ interpretation—both villainized and idealized. From the start of S3, we realize we’re meeting the Vampire Lestat for the first time. While his biographers didn’t lie, they never knew the entire story. Lestat feels attacked, and that’s never good, but he vents his rage by taking over a rock band.
Daniel is making a documentary, following Lestat and his band on a cross-country tour. The first three episodes are as campy as you’d expect from the musings of a self-deprecating narcissist, but the added humor of the mock-rockumentary styling gives an allure that’s “This Is Spinal Tap” mixed with “What if Billy Idol was a vampire?”
The Vampire Lestat (AMC+)
Yet the new POV and campiness aren’t the only reasons “The Vampire Lestat” is a departure from “Interview With the Vampire.” Do not doubt it’s just as depraved, soaked in unceasing obsession, violence, and emotional overkill as before. However, when you reach Ep 4, something deeper emerges from the thrills and the winkingly self-aware humor. The loneliness of being a vampire and the centuries of shameful secrets begin to burn brightly.
That’s when this re-envisioned series really starts to cook. The music takes a turn (for the better), mirroring Lestat’s changing awareness of who he is and what the past has cost him. The confessions and reveals are as rattling as they are gleeful. Most of all, the truth about these vampires emerges to a finer degree. They want desperately to be loved, but love is only meant to last a hundred years or so, and then to persist in absence. That truth is their torture, and it’s what makes “The Vampire Lestat”—the man and show—such a perverse delight.
Throughout the first two seasons, we are meant to believe these vampires are monsters divorced from their humanity. Yet, during the first six episodes of the 7-episode season, we learn that they may be more purely human than we are. Humane? No, but they are overwhelmingly human; every emotion and foible is ratcheted up into overflow. Until everything they feel pours out in unfiltered and frightening forms. It’s not that they’ve lost the sense of what it means to be mortal; it’s that the absence of mortality intensifies every emotion. That’s why they’re uncontrollable beings of lust, love, lechery, cruelty, compassion, and yearning. The funhouse mirrors the series holds up to our humanity, which is what makes “The Vampire Lestat” so compelling, even as it taunts us with our taboos.
The Vampire Lestat (AMC+)
It’s both wicked and charming while remaining unrepentantly dangerous. That’s hard to look away from. As a gothic alt-rock opera caught somewhere between an ’80s that never was and a ’90s that will never be, “The Vampire Lestat” outdoes season 2. The actors seem to have more fun, spinning their characters in new directions. For example, the resentful Daniel or Armand (Assad Zaman). What are we going to do with Armand?
Of course, the history of Louis and Lestat can’t be relitigated without their guilt towards Claudia (Delainey Hayles). We also meet the Vampire Gabriella (Jennifer Ehle), who has twists in store for us. This season seethes in its savagery and a spiraling understanding of everything that made Lestat who he is—setting us up for who he will become when the Queen of the Damned rises. Can he evolve into more than “a three-century train wreck”? We’ll see.
Season three of “Interview with the Vampire” is reborn as “The Vampire Lestat,” an eternal playground for the malicious gods of rock and ruin. Get ready for another ride on their mood swings. Big swings, big feels: a bloody good time.
Six episodes screened for review. Premieres June 7th on AMC and AMC+.
- Octavia Spencer & Hannah Waddingham in 'Ride or Die' Series Trailer (June 8, 2026)
"Make a choice: your friend or this organization." Amazon MGM Studios has revealed the first trailer for a new international assassins buddy comedy series titled Ride or Die, about these two best friends. Set for a streaming debut online starting in July this summer if anyone wants to join them. "Some friendships are bulletproof." Two best friends, Judith and Debbie, discover Judith is secretly an assassin. After a hit goes wrong, they go on the run while being targeted by a mysterious enemy, forcing them to confront the secrets between them. They end up fleeing together – it is a race against time and a road trip across Europe, with law enforcement, highly trained assassins, and some very dangerous criminals right at their heels. Starring Octavia Spencer as Debbie & Hannah Waddingham as Judith, with a cast including Bill Nighy, Ed Skrein, Sylvia Hoeks, Calam Lynch, Savannah Steyn, and Jamie Parker. Ahh yes another ol' "turns out your best friend is actually a top secret expert assassin!" story, as if we haven't seen this 1000x before. Not to be confused with the recent Bad Boys: Ride or Die movie, this streaming series will only be on Prime Video starting this summer. Not really sure it'll be worth a watch – but check out the footage below anyway. // Continue Reading ›
- First Look at Live-Action Pup in 'Scooby-Doo: Origins' Series Teaser (June 8, 2026)
Get the Scooby Snacks ready! Netflix has revealed a first look teaser trailer for their new live-action version of Scooby-Doo, a new streaming series titled Scooby-Doo: Origins. This has already been filming down in Atlanta since April this year and won't be ready for debut on Netflix until sometime in 2027 next year. Netflix's official intro for it: "For more than 50 years, Scooby-Doo has been a pop-culture powerhouse. The franchise has spawned three theatrical films, more than a dozen animated series, and nearly 40 animated home entertainment movies. But Scooby-Doo: Origins marks the first time Scooby-Doo will appear as a real dog. Can we get a round of a-paws for the new pup?" This series is more of an origin story, which is why Scooby is just a puppy. At Camp Ruby-Spears, Shaggy and Daphne investigate a Great Dane puppy linked to a supernatural murder. With Velma and new arrival Fred, they face a mystery that could reveal their hidden secrets. The full cast includes Mckenna Grace as Daphne Blake, Tanner Hagen as Shaggy Rogers, Abby Ryder Fortson as Velma Dinkley, Maxwell Jenkins as Fred Jones, plus Paul Walter Hauser in a key role, and Frank Welker as the voice of Scooby-Doo – the talking Great Dane puppy. Get a look at the new pup in this teaser footage – but we'll have to wait a while to see more actual finished footage of this later on. // Continue Reading ›
- Full Trailer for 'Mockbuster' Doc - Making a B-Movie for The Asylum (June 8, 2026)
"Are you panicked yet?" Giant Pictures has revealed their full official trailer for a documentary film called Mockbuster, a clever meta comedy from Australian filmmaker Anthony Frith. This is not a faux doc, it's a real doc film about the infamous studio known as The Asylum. A look at what it's actually like to make a bonafide B-movie. Formed in 1997, The Asylum has been creating rip-off B-movie blockbusters for decades (called "mockbusters") and releasing them to fans who want to watch this unabashed junk and laugh their butts off. Mockbuster is a comedic, behind-the-scenes documentary of the making of Anthony Frith's own dinosaur film The Land That Time Forgot for The Aslyum, which made in 6 days in Adelaide. "Throughout the film shoot, Frith navigates the gloriously chaotic orbit of Asylum producer Brendan Petrizzo and studio founders David Rimawi, David Latt, and Paul Bales as he attempts to keep a prehistoric adventure afloat amid rubber dinosaurs, last-minute rewrites, and caffeinated panic." The doc will be out to watch this July. It's an amusing B-movie version of Megadoc, taking us into the wacky world of making (bad) movies. Enjoy. // Continue Reading ›
- Amusing Trailer for Animated Series 'Among Us' Following Crewmates (June 7, 2026)
"Any one of us could be the killer!" 😱 Paramount+ has revealed one final official trailer for the animation series Among Us, an animated version of the popular video game series that originally arrived in 2018. The latest attempt at taking another fun concept from video games and turning it into a fun animated series. But is it any good? Among Us is already streaming now on Paramount+ to watch. Emergency Meeting! Based on the global gaming phenomenon, Among Us follows a group of eccentric Crewmates who must root out an Impostor (an alien shapeshifter) in their midst before they fall victim to its villainous designs. Very similar to the same concept from the video game. The full voice cast features Patton Oswalt, Ashley Johnson, Dan Stevens, Debra Wilson, Elijah Wood, Kimiko Glenn, Liv Hewson, Phil LaMarr, Randall Park, Wayne Knight, and Yvette Nicole Brown. Quite an impressive set of actors voicing these colorful Crewmates! Which color is your favorite? Check out this new series now if it seems like it might be your jam. // Continue Reading ›
- One More Rad Story Trailer for 'Star Wars: Galactic Racer' Video Game (June 7, 2026)
"Racers don't go head to head against Sebulba – legends do." Buckle up! Fuse Games has launched another official trailer for the Star Wars: Galactic Racer video game, ready to play in October later this year. Sometimes we break our rules and post trailers for video games - and this game continues to look awesome. Growing up, I was a huge fan of the N64 game Star Wars Episode I: Racer, featuring pod racing from Star Wars: Episode I – The Phantom Menace (both released the same year in 1999). I'm ready to play this next! Galactic Racer is a runs-based, high-stakes reinvention of racing born in the lawless Outer Rim of the Star Wars galaxy. The campaign is set in the New Republic Era and takes place on the desert planet Jakku as seen in 2015's Star Wars: The Force Awakens. With the Empire now gone and the galaxy rebuilding, The Galactic League is formed: an underground, unsanctioned circuit where syndicates bankroll chaos and new champions are forged. We featured the original debut trailer late last year. This latest promo is a look at the story mode in this, involving the racer Sebulba and others competing for podracing glory. Can't wait to play. // Continue Reading ›
