New movies and shows this week on HBO Max, Hulu and Prime Video
Here's what's new on HBO Max, Hulu, Prime Video, Netflix and Apple TV+.
What we're watching: A new season of "And Just Like That...," a new series about a group of New York City 20-somethings and a new film from the creator of "Succession."
" And Just Like That..." Season 3 available tonight on HBO Max
The vibe: No longer living in her iconic brownstone from "Sex and the City," we follow Carrie Bradshaw as she reinvents herself while navigating her relationship with Aidan Shaw.
Zoom in: This season features star-studded guest appearances by Rosie O'Donnell, Cheri Oteri, Jenifer Lewis, Mehcad Brooks and Susie Essman, among others.
" Adults" available now on Hulu
State of play: This TV-MA ensemble comedy series modernizes the "Friends" concept, following a group of New Yorkers in their 20s crashing together in one home and tackling adult responsibilities to varying degrees of success.
" Mountainhead" available Saturday on HBO Max
The intrigue: Steve Carell, Jason Schwartzman, Cory Michael Smith and Ramy Youssef star in this film about a group of billionaire buddies who reunite at a secluded resort during an international crisis.
Behind the scenes: This is the first project from "Succession" creator Jesse Armstrong since the Emmy-winning series finale in 2023.
" The Second Best Hospital in the Galaxy" Season 2 on Prime Video
This critically acclaimed adult animated series returns with guest voices, including Abbi Jacobson ("Broad City"), Andrew Dismukes ("Saturday Night Live"), Bowen Yang ("Saturday Night Live") and Jay Ellis ("Insecure"). Available now
" Cold Case: The Tylenol Murders" on Netflix
This installment of the "Cold Case" series examines the Tylenol murders that rocked Chicago in 1982 and includes an interview with prime suspect James Lewis. Available now
" The Better Sister" on Prime Video
Chloe (played by Jessica Biel) and Nicky (played by Elizabeth Banks) are two estranged sisters who reunite to untangle their complicated family history and find the truth behind the death of Chloe's husband. Available now
" F1: The Academy" on Netflix
This docuseries follows a group of women who compete and train to break into Formula One racing. Available now
" The Mortician" on HBO Max
David Sconce, a Los Angeles-based mortician who served prison time for exploiting the deceased and their families in the '80s, tells his side of the story in this three-part documentary. Available Sunday
" Mike Birbiglia: The Good Life" on Netflix
In this new comedy special, Birbiglia discusses his father's recent stroke and how it has prompted him to reevaluate his life and parenting style. Available now
" Bono: Stories of Surrender" on Apple TV+
The U2 lead singer's one-man stage show of the same name is reimagined in this film where he pulls back the curtain on his personal life and performs songs from the band's iconic discography. Available Friday
" Dept. Q" on Netflix
Scott Frank ("The Queen's Gambit") directs this series about a former top-rated detective in Scotland who is assigned to a new cold case while dealing with guilt from a shooting that left his partner paralyzed and another police officer dead. Available now
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
27 minutes ago
- Yahoo
Inside Netflix's F1: The Academy: Abbi Pulling and the stars ready to shatter racing's glass ceiling
When Abbi Pulling was first asked to join the cast of Netflix's F1: The Academy, she never anticipated the level of attention the series would bring to her pursuit of a Formula 1 dream. With the show landing on the streamer this week, Pulling is about to face a world of scrutiny — but, as she says, it's a 'privilege' and a responsibility. This docuseries is more than just another show about motorsport. It shines a spotlight on the F1 Academy, a women's-only racing competition, which runs as a support series to the main F1 Grand Prix. Following the success of Drive to Survive, the show gives viewers an exclusive look behind the scenes of a sport traditionally dominated by men, showcasing what it really takes to break barriers in one of the world's most demanding industries. The series goes beyond the high-speed races, offering a deeper look at the grit, determination, and passion of the women competing for a fully-funded season in the prestigious GB3 Championship, a single-seater racing series based in the UK. Pulling, 22, who races for Alpine on the show, is the star of the series as she chases the 2024 title. 'It's a huge opportunity,' she told The Standard at Wednesday's London premiere. 'I'm quite scared about what the next week will bring because people are going to either love me or hate me — so we'll see. 'But it's amazing to be here and seeing so much attention on not only women's motorsport but women's sport as a whole. It's another big thing to boost women's sport and hope it helps not just within motorsport but sport as a whole.' The series aims to provide a deep dive into the lives and careers of these rising stars. 'I'm just excited for viewers to see everyone's story and everyone's journey and what everyone has been through, gone through in 2024 and understand what it takes to be a racing car driver,' she added. 'It's such a privilege and we're all so lucky to be here and I'm so happy for the opportunity and to be racing again this year, moving onto a bigger car, a different challenge. It's really exciting and I hope people see that journey and resonate with it or relate to it in show way and the challenges that you've got to face.' Pulling's 2024 F1 Academy title journey has been nothing short of dramatic. Despite her 83-point lead over Mercedes' Doriane Pin, a change in the Abu Dhabi schedule meant Pulling still had to secure pole positions at Yas Marina to guarantee her win. The series' creation has a high-profile backing, with Reese Witherspoon's Hello Sunshine behind the production. 'I met her at the premiere in Miami,' Pulling shared. 'She's so lovely and passionate about motorsport. The whole crew were incredible and really respectful of us. It's a high-intensity environment, and having cameras in your face for both good and bad moments... it was done respectfully. I'm excited for people to see it.' And the excitement isn't just limited to Pulling. Fellow driver Amna Al Qubaisi, who shares the track with her sister Hamda, teased: "You'll see a lot of girls being competitive and very passionate about the sport. I think it's going to be more dramatic than Drive to Survive." American driver Chloe Chambers echoed that enthusiasm, saying, 'I am so excited for this to come out. I really hope people watch it, enjoy it, and want to watch more F1 Academy. That's what I'm looking forward to.' For Bianca Bustamante, the series represents the hard work and dedication of all the drivers involved. 'Everyone has worked so hard to make this a reality,' she said. F1: The Academy is available to stream on Netflix now
Yahoo
an hour ago
- Yahoo
My cultural awakening: A Timothée Chalamet drama made me leave my partner – and check him into rehab
Two summers ago, I met a man on a dating app who would become my boyfriend. The red flags were there from the start, but I ignored them all. When I stayed at his, he didn't have a towel to offer me, and he never changed his sheets. It became obvious that he didn't know how to look after himself. Even though, in reality, he could survive without me (similar to how a teenage boy would survive on his own, eating burgers in bed), I felt like, if I wasn't there to buy groceries, cook and clean, he might die. He would disappear for days, on a drink- or drugs-fuelled bender, and I'd assume he'd overdosed in a basement somewhere. I lived in fear that something terrible would happen to him. I became his boyfriend and his caregiver. This was a familiar role for me: I'd done it in all my previous relationships. I needed to be needed. If the person I was dating didn't need me, then what value did I have? I found safety in taking care of someone. This started as a family dynamic: as the eldest child, I had to look out for my younger brothers, and learned to overlook my own needs. Then, when I was 14, my girlfriend died in a drug-related car accident. My therapist helped me to see the connection; that because I couldn't save her, I sought romantic relationships with men or women I thought I could save instead. I hadn't seen how much I was damaging myself by trying to help him. And that I never would never be able to One evening, after being recommended it by Netflix, I began watching Beautiful Boy, a film about the breakdown of a father's relationship with his son, who is an addict. It was about halfway through that I decided to leave my relationship. When Steve Carell's character (David) hangs up on Timothée Chalamet (Nic), saying, 'I wish I could help you, but I can't do that,' I knew I couldn't either. I admired the strength it took to end the cycle of trying (and failing) to save his son. Even though he was my boyfriend and three years older, I related to the father-son dynamic in Beautiful Boy. I felt responsible for him, and he would tell me that he would die without me, threatening to take his own life. Until then, I hadn't seen how much I was damaging myself by trying to help him. And that I would never be able to, not really. He had to learn how to take care of himself. As David says: 'I don't think you can save people.' Despite deciding to end the relationship in September 2023, I didn't take action until October, when I cheated on him. I felt I had to do something irreparable that would make it impossible for us to stay together. I told him what I'd done over the phone, then I called his mum to tell her about his drug problem. I don't think she knew: she lived in another country and he hid it from her. Finally, I called a psychiatric facility and did all of the admin to make sure that he would be taken care of, and then never spoke to him again. The guilt I felt was overpowered by the feeling that this was something I had to do. That was my last codependent relationship. I have a new boyfriend, who tells me that my company alone is enough. I'm the most peaceful I've ever been, but sometimes the voice that says I'm only lovable if I'm useful comes back. If I try to cook for my boyfriend when I'm tired and he tells me I don't have to, I can spiral. But slowly, with help, I'm building a sense of self that doesn't rely on being of service. Beautiful Boy helped me see that I don't need to take care of someone else to have value. Action on Addiction is available on 0300 330 0659.
Hamilton Spectator
an hour ago
- Hamilton Spectator
Carrie's voice is back. So is the show's soul as ‘And Just Like That…' grows up
PARIS (AP) — 'She's messy. It can be messy. But it's real.' So says Cynthia Nixon — not just of Miranda Hobbes, the character she's embodied for almost three decades, but of the show itself. 'And Just Like That...,' HBO's 'Sex and the City' revival, has come into its own in Season 3: less preoccupied with pleasing everyone, and more interested in telling the truth. Truth, in this case, looks like complexity. Women in their 50s with evolving identities. Not frozen in time, but changing, reckoning, reliving. Queerness that's joyful but not polished. Grief without melodrama. A pirate shirt with a bleach hole that somehow becomes a talisman of power. At its glittering European premiere this week, Nixon and co-star Sarah Jessica Parker, flanked by Kristin Davis and Sarita Choudhury, spoke candidly with The Associated Press about how the show has evolved into something deeper, rawer and more reflective of who they are now. A voice returns Season 3 marks the return of Carrie Bradshaw's iconic internal monologue that once defined 'Sex and the City.' The series has always followed Carrie's rhythm, but now it brings back something deeper: her voice. Literally. 'We've always loved the voiceover,' Parker said. 'It's a rhythm — it's part of the DNA.' The decision to restore it, producers say, was deliberate. The voiceovers return just as Carrie rediscovers her direction — offering viewers a renewed sense of intimacy and connection. That growth is echoed in her rekindled relationship with Aidan and her acceptance to step back for him to focus on his troubled son. The character who in 1998 first stopped a cab in Manolo Blahniks — and once floated through Manhattan chasing shoes and column deadlines — is now grounded in reinvention, the wounds of loss and cautious hope. The word is: grown up. 'She doesn't burst into tears or stomp out of the room anymore,' Parker said. 'She asks smart, patient questions. That's not effort — that's just her nature now.' 'People seem surprised that she is mature,' Parker added. 'But that's just basic developmental stuff — hopefully, simply by living, we get better at things. It's not surprising. It's just real.' Warts and all If Carrie is the compass, Miranda is the seismic shift. Miranda's arc — which now includes a late-in-life queer awakening — may be the show's most radical contribution to television. And for Nixon, who publicly came out as queer while still playing straight in the original 'Sex and the City,' that evolution is deeply personal. 'There's never a 'too late' moment. Miranda comes to queerness at 55,' Nixon said. 'That doesn't mean everything that came before was wrong. It just means this is her now. And it's messy. It can be messy. But it's real.' That embrace of imperfection lies at the core of Nixon's philosophy — and the show's power. On television, where characters linger in our lives for years, there's a unique intimacy and empathy that develops. 'Television puts someone in your living room, week after week. They're imperfect, they make you laugh, and eventually you say, 'I know that person. They're my friend.'' she said. 'That's more powerful than one mythic, perfect film. That's where the change happens.' That change includes how queerness is portrayed. Nixon recalled how earlier generations of LGBTQ+ characters were forced to be flawless, or two-dimensional, to justify their screen time. 'There was a time when gay people on screen had to be saints or martyrs,' she said. 'Now, we can be characters like Miranda — who've had rich, fulfilling heterosexual lives and now stumble upon queerness, and not in a tidy way. There's collateral damage. That's important.' That depth, Nixon said, comes not just from character, but from the format. Unlike film, which requires resolution in two hours, television lets people grow — and falter — in real time. 'The writers are smart' And Miranda's transformation isn't just personal. It's political. In Season 3, she's seen retraining in human rights law, joining protest movements, and wrestling with systemic questions — mirroring Nixon's own off-screen life. In 2018, the actor ran for governor of New York on a progressive platform, bringing her activism directly into the public arena. That convergence isn't accidental, she says. 'On long-running shows, if the writers are smart, they start to weave in the actor,' Nixon said. 'When I started, Miranda and I were very different. But now we've grown closer. We're almost the same person — in temperament, in values.' Season 3 narrows its scope, pulling focus back to the emotional cores of Carrie, Miranda and Charlotte. Several side characters are gone, including Che Diaz, and what remains is a cleaner, more character-driven story. 'I think one of the great things about our show is we show women in their 50s whose lives are very dramatic and dynamic,' Nixon said. 'You get to this age and there's a lot going on — if you choose to keep moving forward.' Friends, friction, and freedom Kristin Davis, who plays Charlotte, noted that those life shifts come fast and often overlap. 'She really starts to unravel,' Davis said. 'But the joy is her friends are there.' Sarita Choudhury, who plays real estate powerhouse Seema, echoed that sense of late-blooming autonomy. 'She's feeling that, if you have your own business, your own apartment, your own way, you get to say what you want,' Choudhury said. 'There's power in that.' It's a subtle rebuke to the long-held media narrative that midlife is a decline. Not just fashion — declaration Fashion, as ever, is present — but now it feels more personal than aspirational. Parker described insisting on wearing a ripped vintage Vivienne Westwood shirt with a bleach hole. 'It had to be in an important scene. It meant something,' she said. Even the show's iconic heels, still clacking through New York's brownstone-lined streets, feel louder this season. And yes, Carrie is writing again — not her usual musings, but a 'historical romance' that lets the show wink at its own pretensions. Taxis become carriages. Voiceovers drift into period drama. Her beloved blouse — vintage, shredded, almost costume — fits the mood perfectly: century-leaping fashion for a century-leaping Carrie. The protagonist, as ever, walks the line between costume and character. 'And Just Like That...' is a show that's learned to walk — loudly — into its next chapter. 'You're better today than you were 10 years ago,' Parker said. 'That's not just Carrie — that's everyone.' ___ Season 3 of 'And Just Like That…' premiered on Thursday on HBO Max
