The “Enola Holmes” films have never been short on charm and wits, but “Enola Holmes 3” gives the franchise a little more room to breathe and, dare I say, mature. The mystery is still there. The cheeky banter is still there. Enola is still starting fires and solving crimes. But this time, the story heads to Malta and lets Enola and Tewkesbury deal with a mystery that makes them grow up and face their respective legacies.On this episode of The Discourse, host Mike DeAngelo speaks with director Philip Barantini and stars Millie Bobby Brown and Louis Partridge about the film, which hits Netflix July 1. Brown returns as Enola Holmes, with Partridge back as Tewkesbury. It follows Enola as she heads to Malta to marry, while her aspirations merge with her most complex and dangerous case yet. The film also features Henry Cavill, Helena Bonham Carter, Himesh Patel, Sharon Duncan-Brewster, and more.READ MORE: ‘The Bear’: Jeremy Allen White, Liza Colón-Zayas, Lionel Boyce & Matty Matheson On Saying Goodbye, Spinoff Ideas, ‘The Social Reckoning’ & More [Interview]

“The Agency” approaches espionage less as a series of action beats and more as a study in information, perception, and control. The show is at its absolute best when it leans into that tension, allowing seemingly ordinary conversations to simmer with unease while drawing on its wealth of densely fleshed-out characters, each carrying their own agendas, vulnerabilities, and secrets. Conversations are rarely straightforward, motives are constantly in question, and even routine interactions can reshape the balance of power inside the CIA. In Season 2, the Paramount+ with Showtime drama deepens those tensions, following agents and analysts as personal loyalties, institutional pressures, and a growing sense of distrust begin to collide. But this time around the action and pacing is increasing by the second.Based on the acclaimed French series “Le Bureau des Légendes,” “The Agency” follows Michael Fassbender as Martian, a CIA agent whose personal and professional lives continue to collapse into one another. Season 2 picks up with Martian still trying to save Samia, played by Jodie Turner-Smith, while the agency itself is pulled into a wider web of internal suspicion, shifting loyalties, and a mole hunt that turns the office into its own kind of battlefield.READ MORE: ‘Maximum Pleasure Guaranteed’: Tatiana Maslany, Jake Johnson, David Gordon Green & David Rosen On Lonely Screens, Bad Decisions, ‘She-Hulk,’ ‘Spider-Verse’ & More [Bingeworthy Podcast]The series also stars Jeffrey Wright, Richard Gere, Katherine Waterston, John Magaro, Dominic West, and more. And truly, one of the joys of Season 2 is watching a cast this deep make even the smallest exchanges feel like fully loaded scenes. Wright, who plays Henry Ogletree, and Magaro, who plays Owen Taylor, both spoke with Bingeworthy host Mike DeAngelo about the new season, the ensemble’s unusual chemistry, and what it takes to make all that spy-world jargon feel lived-in rather than laminated.

Robin Hood has been a lot of things over the centuries: noble thief, romantic outlaw, swashbuckling folk hero, animated fox, Kevin Costner with an accent that wanders wherever it pleases. But in Michael Sarnoski’s hands, the myth becomes something darker, sadder, and more spiritually eviscerated. His new film, “The Death of Robin Hood,” is less interested in the legend as a heroic brand than in the man who might be trapped beneath its curse.Written and directed by Sarnoski, “The Death of Robin Hood” stars Hugh Jackman as an aging, haunted Robin Hood, a man grappling with a life of violence after a battle leaves him gravely injured. In the care of a mysterious Prioress played by Jodie Comer, he’s offered something that might look like salvation, if he can survive long enough to accept it. The film also stars Bill Skarsgård, Murray Bartlett, and Noah Jupe, and arrives in theaters June 19 via A24.READ MORE: ‘Obsession’: Curry Barker On His Twisted Wish-Fulfillment Horror Breakout, Inde Navarrette’s Wild Performance, ‘Texas Chainsaw Massacre,’ & More [The Discourse Podcast]Sarnoski joined The Playlist’s The Discourse podcast to talk about stripping away centuries of heroic varnish, finding the emotional soul of Robin Hood, reuniting with cinematographer Pat Scola, and writing the upcoming “Death Stranding” movie. And early in the conversation, he acknowledged a thread that has become increasingly clear across his work, from “Pig” to “A Quiet Place: Day One” to “The Death of Robin Hood”: these are stories about people who, in some way, already feel dead before the movie begins.

Just when you think Spider-Man has lost all novelty, “Spider-Noir” finds its spark by going backward into smoke, shadow, bruised conscience, silly accents, and old Hollywood fatalism. It’s still a comic-book story, complete with masks, villains, superpowers, and a hero trying to decide whether he can outrun the thing he was built to become, but its real trick is tonal. The series treats noir not as a costume rack, but as an emotional statement.On this episode of Bingeworthy, host Mike DeAngelo is joined by writer, producer, and showrunner Oren Uziel to talk about Season 1 of “Spider-Noir,” the live-action Marvel/Sony series starring Nicolas Cage as Ben Reilly (No, not Peter Parker), a washed-up private investigator in 1930s New York forced to confront his past as the masked vigilante known as The Spider. The series, which is now streaming on Prime Video after its MGM+ debut, also stars Lamorne Morris, Li Jun Li, Karen Rodriguez, Brendan Gleeson, Jack Huston, and more.

Following up on a cultural phenomenon like “Yellowstone” is no easy task. Any spin-off has to balance honoring what made the original series a hit while finding its own fresh ground. With “Dutton Ranch,” especially after the letdown of “Marshals,” that challenge falls on Beth Dutton and Rip Wheeler, who leave Montana behind for Texas in hopes of building something new, only to discover that new beginnings come with familiar dangers. Maybe they’re magnets for this kind of thing.“Dutton Ranch,” the new “Yellowstone” spin-off that follows Beth Dutton and Rip Wheeler as they gamble everything on a new life in Texas. Kelly Reilly and Cole Hauser return as the fan-favorite couple, with Finn Little back as Carter. This time, the Dutton orbit expands to include Annette Bening as Beulah Jackson, a formidable Texas rancher whose power, control, and family legacy put her directly in Beth’s path. The series also stars Ed Harris, Jai Courtney, J.R. Villarreal, Marc Menchaca, Juan Pablo Raba, Natalie Alyn Lind, and more.READ MORE: ‘Dutton Ranch’ Review: Beth and Rip’s Texas Reset Is Mostly A ‘Yellowstone’ Rehash With Fewer Culture-War DetoursOn this episode of Bingeworthy, host Mike DeAngelo speaks with Reilly, Bening, and Hauser about carrying the “Yellowstone” legacy into a new chapter. The conversations cover Beth and Rip’s move from Montana to Texas, Beulah’s dangerous grip on power, the show’s darker Episode 4 turn, and how the creative team approached evolving characters that fans already know inside and out.

Some shows walk into the room with a genre label pinned neatly to their shirt. They wear it like a badge of honor and adhere to all rules therein. “Maximum Pleasure Guaranteed” kicks the door open, knocks over the lamp, checks its phone (Where's my phone?!), spirals emotionally, and somehow still has time to become a murder mystery. It's part divorce drama, part paranoid thriller, part loneliness comedy, and part “please stop making that decision, Paula” anxiety machine. Better yet, it knows exactly how messy that cocktail should taste, and, boy, does it taste good.The new Apple TV+ series stars Tatiana Maslany as Paula, a lonely single mother caught in the meat grinder of divorce, custody fights, work stress, and modern connection. When she reaches out through her computer for something that looks like intimacy, or maybe just proof that she still exists outside everyone else’s demands, she tumbles into a voyeuristic thriller that writer David Rosen described as a “modern day Rear Window.” The series also stars Jake Johnson as Carl, Paula’s ex-husband and co-parent, a man who often looks like the reasonable adult in the room until reason starts feeling a little too much like the wrong kind of control.On this episode of Bingeworthy, host Mike DeAngelo speaks with Maslany, Johnson, Rosen, and director David Gordon Green about building the show’s live-wire tone, turning a broken relationship into a suspense engine, and finding humor inside a life that already feels like it has 19 browser tabs open.

Be careful what you wish for, sure. But maybe be even more careful what you confuse for love, because Curry Barker’s “Obsession” takes one of horror’s oldest tricks and turns it into something queasy, funny, tragic, and deeply uncomfortable. It is the kind of movie that starts with a premise simple enough to fit on a cursed greeting card, then keeps tightening the rope until everyone in the room starts laughing from sheer discomfort. Written, directed, and edited by Barker, “Obsession” follows Bear (Michael Johnston), a music store employee, as his crush on his childhood friend and co-worker, Nikki (Inde Navarrette), leads him to buy a strange object called the One Wish Willow. He wishes for Nikki to love him more than anyone else in the world. The wish works, which is exactly the problem. The film also stars Cooper Tomlinson, Megan Lawless, and Andy Richter, and opens in theaters on May 15 from Focus Features.Barker joined The Discourse to discuss the new horror film, which arrives after his micro-budget YouTube breakout “Milk & Serial” and his acclaimed short “The Chair.” The conversation covered the film’s uncomfortable festival reactions, the dark emotional machinery behind unearned love, Navarrette’s knockout performance, the possibility of more One Wish Willow stories, and his upcoming work on “Texas Chainsaw Massacre” and “Anything But Ghosts.”

The town on “From” has always felt less like a place and more like an emotional pressure cooker with monsters hiding in the walls. Every season cranks that pressure a little higher on the survivors, then asks them to keep pretending they can still function as leaders, parents, lovers, or even just regular people. Season 4 somehow makes all of that feel even more unstable. Hope is not dead in this show. It’s worse than that. Hope is absolutely exhausted.The hit MGM+ horror mystery returned recently for Season 4 and continues through the end of June, once again following the trapped residents of a nightmarish town where escape seems impossible and the creatures outside only scratch the surface of what’s really wrong here. Season 4 stars Harold Perrineau, Catalina Sandino Moreno, David Alpay, Elizabeth Saunders, Scott McCord, and more, as the series continues pulling at threads that somehow only create bigger knots.On this episode of Bingeworthy, host Mike DeAngelo is joined by Harold Perrineau to discuss Boyd’s deteriorating mental state, the exhausting psychology of the series, wild fan theories, the legacy of “Lost,” and even why making “The Matrix” nearly short-circuited his inner fanboy.‘The Boys’ Season 5: Karl Urban, Jack Quaid, Karen Fukuhara, Jensen Ackles, Erin Moriarty, and Laz Alonso On Ending The Series, and Potential Spin-Offs [Bingeworthy Podcast]Yes, season 4 finds Boyd in especially brutal shape, something Perrineau immediately acknowledged when discussing where the character is emotionally this year.

Director Damian McCarthy really loves to hit that dread button, and in “Hokum,” he absolutely wears that thing out. Not with loud shocks or cheap jolts, but with the kind of slow, creeping unease that just sits there, staring back at you. The longer you watch, the more it feels like the movie isn’t escalating so much as tightening, quietly, deliberately, until there’s nowhere left to go. Then he slaps you across the face for good measure.READ MORE: ’ Hokum’ Review: Adam Scott Is Haunted By A Hotel Full Of Scares, Death, & Secrets [SXSW]Written and directed by McCarthy, “Hokum” stars Adam Scott, Peter Coonan, David Wilmot, and Austin Amelio. The film follows novelist Ohm Bauman, who retreats to a remote Irish inn to scatter his parents’ ashes, only to become consumed by stories of a witch tied to the hotel’s honeymoon suite. Disturbing visions and a sudden disappearance begin to fracture whatever control he has left, forcing him to confront a past that doesn’t stay buried.On this episode of The Discourse, McCarthy joins the podcast to break down how “Hokum” came together, why he stripped the story down rather than build it out, and how he balances supernatural horror with something far more immediate and human. The starting point was as simple as it gets.

Lots of action shows begin with some no-nonsense badass fully in charge of their faculties, but “Man On Fire” starts with a man who just plain isn’t. Before anything even happens in the story, Creasy is a suicidal, messy shell of his former peak CIA agent self. But, as with other iterations, that lack of stability is the hook. This isn’t "Reacher," and a muscular heroic soldier boy doesn't blow into town to set things right. "Man on Fire" is about a once-capable man on the brink of collapse forced into a heroic situation, which is far more emotionally compelling. The new Netflix series based on the A.J. Quinnell "Creasy" book series and the 2004 Tony Scott action film, revisits John Creasy, an ex-agent pulled back into danger to protect a young girl while dealing with emotional damage that doesn’t switch off just because the job demands it. Yahya Abdul-Mateen II takes on the role, and Steven Caple Jr. (“Creed II,” “Transformers: Rise Of The Beasts”) directs the first two episodes, setting a tone that stays rooted in character even as the scale expands.