logo
Is ‘Invasion' returning for season 3? Everything we know so far

Is ‘Invasion' returning for season 3? Everything we know so far

Business Upturn08-05-2025

By Aman Shukla Published on May 8, 2025, 19:00 IST Last updated May 8, 2025, 12:06 IST
Apple TV+'s sci-fi drama Invasion has captivated audiences with its gripping narrative and global perspective on an alien invasion. After two thrilling seasons, fans are eager to know: Is Invasion Season 3 happening? Here's everything we know so far. Invasion Season 3 Renewal Status
Good news for fans: Invasion has been officially renewed for a third season by Apple TV+. The renewal was announced on February 13, 2024, via posts on X, with production reportedly starting shortly after. Multiple sources, including TV Insider and Rotten Tomatoes, confirm that Season 3 is in development, signaling Apple's confidence in the series' growing popularity. When Will Invasion Season 3 Premiere?
While an exact premiere date for Invasion Season 3 has not been announced, we can make an educated guess based on the show's production timeline. Filming began in early 2024, and considering the post-production demands of a sci-fi series with heavy visual effects, a release is likely in late 2025 or early 2026. For comparison, Season 1 premiered in October 2021, and Season 2 followed in August 2023. Apple TV+ typically spaces out releases for its major shows, so fans should stay tuned for official updates. Where to Watch Invasion
Invasion Seasons 1 and 2 are available to stream exclusively on Apple TV+. With Season 3 in production, now is the perfect time to catch up on the series before its anticipated return.
Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at BusinessUpturn.com

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more
‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more

Los Angeles Times

timean hour ago

  • Los Angeles Times

‘Somebody hug me!' 7 Emmy hopefuls on staying calm, hitting their marks and more

The Emmys' limited series/TV movie acting categories have come to represent some of the best and most-talked-about shows on television, and this year's crop of contenders is no exception. The seven actors who joined the 2025 Envelope Roundtable were Javier Bardem, who plays father, victim and alleged molester Jose Menendez in Netflix's 'Monsters: The Lyle and Erik Menendez Story'; Renée Zellweger, who reprises her role as the British romantic heroine in 'Bridget Jones: Mad About the Boy'; Stephen Graham, who co-created and stars in 'Adolescence' as the father of a teenage boy who commits a heinous murder; Jenny Slate, who plays the best friend of a terminally ill woman in FX's 'Dying for Sex'; Brian Tyree Henry, who portrays a man posing as a federal agent in order to rip off drug dealers in Apple TV+'s 'Dope Thief'; Elizabeth Banks, who takes on the role of an estranged sibling and recovering alcoholic in Prime Video's 'The Better Sister'; and Sacha Baron Cohen, who appears as the deceived husband of a successful filmmaker in Apple TV+'s 'Disclaimer.' The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. And I'm like, 'But they're trying to kill us.' You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you're just terrified for both. There's always humor somewhere in the drama. Banks: There's a reason why the theater [symbol] is a happy face/sad face. They're very intertwined. Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with 'Mad About the Boy'? Zellweger: Nobody's the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It's been a really interesting sort of experiment to revisit a character in the different phases of her life. What I'm really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don't have to pretend that I'm less than I am, because I don't want to be the character that I was, or played, when she was 29, 35. I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? Is he with his child psychologist?' No, Owen's upstairs playing swing ball with his tutor. It was like OK, that's the way to do this — not to take myself too seriously when we say, 'Cut,' but when I am there, immerse myself in it. Let's be honest, we can all be slightly self-obsessed. My missus, she's the best for me because I'd phone her and say, 'I had a really tough day. I had to cry all day. My wife's died of cancer, and it was a really tough one.' She goes, 'The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They've let the kids out of school early because there's been a flood. And you've had a hard day pretending to be sad?' Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.

Apple Watch 圈圈真的準?美國有研究指 Apple Watch 部份運動數據追蹤表現準度不足
Apple Watch 圈圈真的準?美國有研究指 Apple Watch 部份運動數據追蹤表現準度不足

Yahoo

time2 hours ago

  • Yahoo

Apple Watch 圈圈真的準?美國有研究指 Apple Watch 部份運動數據追蹤表現準度不足

Yahoo購物節,6月2至13日正式舉行!集合全球精選著數的網上大型購物節:波鞋低至36折、手袋低至4折、自助餐半價、旅遊產品買一送一等,更有獨家優惠為您而設,把握限時兩星期優惠,1Click買盡全世界! 早前消委會就發表智能手錶評測報告,強調智能手錶、手環的運動數據都是估算,只適宜作參考之用。其實智能手錶在追蹤不同數據時準度的確存在著誤差。最近美國就有研究指 Apple Watch 於運動時記錄燃燒了多少卡路里的數據,準度並不是想像中的高。 美國密西西比大學的研究人員做了一個關於 Apple Watch 的研究,分析了 56 數據得出一個整合分析,並以 Apple Watch 每一項的表現都與標準的醫療級工具進行了比較。結果顯示 Apple Watch 於測量心率及步數方面極大部份情況下是準確的。研究人員指,測心率與步數的平均絕對百分比誤差(即衡量準確度的標準指標)分別為 4.43% 與 8.17%,然而估算燃燒了卡路里數據表現就達 27.96%。對於一般大眾買到的穿戴式裝置而言,低於 10% 的誤差值表現已被視為「十分優秀」,但研究團隊測試 Apple Watch 在走路、跑步、混合強度訓練和踩單車等多種活動中計算用戶燃燒了多少卡路里的數據時,卻發現其估算值大幅超出可接受範圍。 不過研究人員同時指出,這個數據本身就相當難以估算,因為涉及許多變數如體重及運動方式等等。因此,不要把每個數字都當作 100% 準確,而是可當成其中一種鼓勵的工具,達至恆常運動、保持追蹤習慣並維持動力。團隊還指出,目前 Apple Watch 的準確度已提高了不少,顯示蘋果在硬體及演算法方面都在逐步改進,而指出弱點可幫助開發者獲得更真實的回應建議,協助他們進一步研究,以製出更好的感應器或演算法,提升智能手錶追蹤健康數據的表現。 更多內容: 9to5mac 消委會試智能手錶運動偵測,Garmin 最貴最高分,一款千元級高評分!Apple、Samsung、華為各有高低 智能手錶推薦 2025 | Apple、三星、Garmin 如何選?三鐵、跑山、單車各有不同,睇清楚點揀! 緊貼最新科技資訊、網購優惠,追隨 Yahoo Tech 各大社交平台! 🎉📱 Tech Facebook: 🎉📱 Tech Instagram: 🎉📱 Tech WhatsApp 社群: 🎉📱 Tech WhatsApp 頻道: 🎉📱 Tech Telegram 頻道:

6 Apple TV+ shows that are so good, I wish I could enjoy them for the first time all over again
6 Apple TV+ shows that are so good, I wish I could enjoy them for the first time all over again

Yahoo

time3 hours ago

  • Yahoo

6 Apple TV+ shows that are so good, I wish I could enjoy them for the first time all over again

If you purchase an independently reviewed product or service through a link on our website, BGR may receive an affiliate commission. There's a particular kind of magic that only comes with a first watch of a TV series — the sort of thing that makes you gasp at a twist you didn't see coming, get emotionally invested in a story and its characters, and whisks you away someplace else thanks to the visual magic of the medium. I've actually thought about this a lot while watching Apple TV+. It's no secret that Apple doesn't release as much content as most of the other streamers, but whenever Apple does get it right the result is often unforgettable. On that score, I've rounded up six Apple TV+ series below that are honestly so good, I wish I could erase them from memory just so I could experience them again for the first time. They range from heartwarming comedy to spy adventures and prestige drama that's as good as anything Hollywood has done in years. Today's Top Deals Best deals: Tech, laptops, TVs, and more sales Best Ring Video Doorbell deals Memorial Day security camera deals: Reolink's unbeatable sale has prices from $29.98 Bright, joyful, and full of heart, Acapulco has loads of How I Met Your Mother/The Wonder Years energy, thanks to narration by an older version of the show's main character — Maximo Gallardo, who as a young man in 1984 lands his dream job at the Las Colinas beach resort in Acapulco. The coming-of-age story unfolds with such a deft balance of charm and depth that by the end of each episode, you're either grinning or teary-eyed — and many times, both. The pastel-colored aesthetic and overall wholesome introduction to Mexico's culture certainly made me want to dig out my passport for that first visit to Mexico I keep planning. It somehow feels like underselling this next Apple TV+ standout by describing it as a mere TV show. Drops of God is a feast for the senses disguised as a family drama — sort of like a wine industry version of Succession. At the center of it all is a globe-spanning narrative stemming from the death of a wine expert who sets up a series of tests in order to determine who will inherit his estate: Will it be his estranged daughter, or his prized pupil? The series is tense, beautiful, and quietly devastating. And befitting its subject, the cinematography here is as intoxicating as an aged Bourdeaux. This dreamy adaptation of Min Jin Lee's award-winning novel is, without question, one of the most extraordinary things I've ever seen on television. It begins in Japanese-occupied Korea and follows Sunja, a young woman whose decisions echo across generations, as her family migrates to Japan and struggles to carve out a life amid war, discrimination, and dislocation. The title refers to the Japanese gambling game — one the family eventually turns into a livelihood — but it's also a haunting metaphor for the randomness of life, the slim odds of success, and the quiet resilience of those determined to endure. Here again, this is an Apple TV+ show that's on par with cinema. The visuals, the acting, and the storytelling in Pachinko are each breathtaking in their own right. Watching the show, dare I say, might even change you, not unlike the way traveling outside one's home country for the first time makes a profound impression on you. This next one broke the internet just a few months ago, with its jaw-dropping and supremely addictive second season. The premise behind Severance sounds simple: What if you could split your work and personal memories into two separate lives? The execution ended up being a masterclass in slow-burn tension, eerie world-building, and existential dread. Severance is actually so good, it's now the most-watched Apple TV+ series of all time, according to the streamer, and I envy anyone discovering this puzzle box for the very first time. It's rare for a spy thriller to be both razor-sharp and grimy, but Slow Horses pulls off that quirky balancing act thanks in large part to Gary Oldman's glorious mess of a lead performance. The show also pulls off a neat trick — it turns the espionage genre on its head by focusing on a team of MI5 outcasts rather than more competent secret agents with movie star good looks. The resulting story somehow makes these characters' loser status feel both hilarious and heroic. This is basically espionage with a hangover. It's messy and unpredictable. In a genre obsessed with perfection, Slow Horses makes failure look like a superpower. From its opening moments, Tehran grabs you and doesn't let go. This tightly-wound espionage thriller follows Tamar, a Mossad hacker sent undercover in Iran's capital, where one wrong move could mean the end — not just for her mission, but for her life. What makes the show stand out isn't just the cat-and-mouse plotting, but the emotional depth running beneath every decision Tamar makes. It's a story about identity, loyalty, and the psychological cost of living a lie. The upcoming third season has me especially excited — not just because Tehran raised its game significantly in Season 2, but also thanks to the arrival of Hugh Laurie, who joins the cast as a nuclear plant supervisor. When spy thrillers are done right, avoiding tired tropes and leaning into sharp writing and believable tradecraft, they're among my favorite kinds of shows to stream. And Tehran delivers so strongly, fans of The Bureau and The Americans will feel right at home here. With a lead actress who commands every scene and a constant undercurrent of tension, double-crosses, and moral ambiguity, Tehran stays a step ahead at every turn. Don't Miss: Today's deals: Nintendo Switch games, $5 smart plugs, $150 Vizio soundbar, $100 Beats Pill speaker, more More Top Deals Amazon gift card deals, offers & coupons 2025: Get $2,000+ free See the

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store