The film Die My Love takes place mostly in a remote farmhouse. Tucked away amid tall grasses and verdant woods in rural Montana, it seems idyllic. But Grace (played by Jennifer Lawrence) appears uncomfortable as soon as she sets foot inside her new home. She flops over like a rag doll while her boyfriend, Jackson (Robert Pattinson), explores the building, which he inherited from his uncle. Months later, she and Jackson have a baby.
Bugonia, the latest film from the Greek director Yorgos Lanthimos, begins with shots of bees. As they gently buzz about in a field of wildflowers, a voice-over intones the glory of the insects’ lives. Their ability to help another species reproduce through pollination is, the speaker marvels, like “sex, but cleaner.” Their beauty emerges from their “larger organizing principle.
An existential thriller set in the middle of the Moroccan desert, a whodunit doubling as a crisis of faith, a musical about the founder of the Shaker movement—this year’s Toronto International Film Festival not only screened some of this fall’s biggest movies, but it also offered attendees a rich array of stories to indulge in.
In the lead-up to last night’s Emmy Awards, the host, Nate Bargatze, explained that he wanted to keep the evening as tightly-run as possible, so that the ceremony wouldn’t exceed its three-hour timeslot. To enforce order, he intended to rely on a single bit throughout the show: For every second a winner went over their allotted time for giving an acceptance speech, he’d take $1,000 away from a planned $100,000 donation to the Boys & Girls Clubs of America.
Like its mischievous demigod protagonist, the Chinese animated fantasy film Ne Zha II has been a practically unstoppable force. Since its initial release in China, over Lunar New Year, the blockbuster has earned more than $2 billion worldwide. It’s now the highest-grossing film of 2025, the highest-grossing animated film of all time, and the highest-grossing non-English-language film in history.
The Bear didn’t wait long to stress out its viewers. “Review,” the seventh episode of the dramedy’s first season, is one of the most anxiety-inducing viewing experiences in recent TV history. In it, the employees at the sandwich shop in which the show originally takes place lose their cool after a food critic’s praise directs a deluge of customers their way. But the crew’s panic quickly permeates off-screen too.
Modern dating, experts have lamented, has become a numbers game; the more matches you make, the more likely you are to land a mate. But in the new film Materialists, the only number that really matters is a suitor’s net worth. Take Harry (played by Pedro Pascal), for example: He’s a partner in a private-equity firm and the owner of a $12 million penthouse apartment in Manhattan.
Every major movie franchise has boxes to check. In Jurassic Park, dinosaurs must run amok; in Planet of the Apes, apes have to meditate on intelligence; in The Fast and the Furious, Vin Diesel absolutely has to evangelize the benefits of family, Corona beers, and tricked-out cars. But Mission: Impossible took four films to fully establish its franchise must-have: the ever more blurred lines between its death-defying, stunt-loving star, Tom Cruise, and the superspy he plays.
This is an edition of Time-Travel Thursdays, a journey through The Atlantic’s archives to contextualize the present. Sign up here.
This article includes spoilers for the film Warfare.
Since 2012, Ray Mendoza has been building a hefty Hollywood résumé: performing stunts, choreographing gunfights, and teaching movie stars how to act like soldiers in films such as Act of Valor and Lone Survivor. He also helped design the battle sequences in last year’s Civil War, the writer-director Alex Garland’s speculative thriller imagining America as an endless combat zone.
These projects have been a particularly good fit for him.
Predicting how an episode of the HBO show The Rehearsal will end is nearly impossible. The pseudo-docuseries, in which the comedian Nathan Fielder stages elaborate exercises to help—or rather, “help”—ordinary people prepare for challenging interactions, tends to go down rabbit holes dictated by Fielder’s fixations. A Season 1 installment found him supporting a man who wanted practice having a difficult conversation only for the focus to shift to Fielder rehearsing his own confessions.
This article contains spoilers through the second episode of The Last of Us Season 2.
Players of the game on which HBO’s postapocalyptic drama The Last of Us is based knew it was coming—“it” being the death of the show’s protagonist, Joel (played by Pedro Pascal).
At the end of the Season 4 premiere of Hacks, Deborah (played by Jean Smart) and Ava (Hannah Einbinder) pose for the cover of a prestigious magazine. Glamorously dressed and impeccably lit, they look ecstatic, beaming in every shot.
This article contains spoilers through Episode 6 of Daredevil: Born Again.
For a character whose flagship show ended seven years ago, the blind lawyer Matt Murdock—better known as the vigilante Daredevil—has maintained a steady presence on Marvel’s roster. In the film Spider-Man: No Way Home, he impressed Peter Parker (Tom Holland) with his reflexes. In the TV series She-Hulk, he flirted with the titular heroine.
Judging by some of the online comments aimed at Rachel Zegler, the star of Disney’s live-action version of Snow White and the Seven Dwarfs, you’d think that she had done something unforgivable—set Cinderella Castle on fire, perhaps, or told Mickey Mouse he couldn’t wish upon a star. But Zegler had merely stated her opinion of the original 1937 film: that she finds it “extremely dated” and that, to her, the prince “literally stalks” Snow White.
Joe and Anthony Russo, better known as the Russo brothers, have enjoyed two of the most lucrative careers in Hollywood. The bulk of their success comes from the features they’ve co-directed for Marvel: Three of those projects, in which they helped turn comic-book characters into icons and “cinematic universes” into a standard practice, are among the 50 highest-grossing movies of all time.
Poor, poor Mickey Barnes. The protagonist of the film Mickey 17 lives a grim existence as an “expendable,” a worker aboard a spaceship whose only job is to die repeatedly for the sake of human progress. Mickey, played by Robert Pattinson, is subjected to lethal viruses, exposed to radiation, and asked to sit in a chamber of nerve gas, just so he can report on his own deterioration until he loses consciousness.
As soon as Conan O’Brien strode onto the Oscars stage Sunday night, he looked like he belonged there. He was self-deprecating, telling the crowd to sit down before he continued, even though no one was standing. He found Demi Moore in the audience and greeted her with a grin; he had just played a pre-recorded clip of himself emerging out of her back as a nod to her work in the Best Picture-nominated body horror film The Substance.
For months, the actor Karla Sofía Gascón had been reaping the rewards of leading a prestigious film. She plays the title character in Emilia Pérez, about a Mexican cartel boss who transitions into a woman and seeks to build a more virtuous life. The Spanish-language musical has faced waves of backlash since its release last year—but it has also found a devoted fan base among awards bodies.
This article contains spoilers through the end of Yellowjackets Season 2.
A funny thing can happen to a hit show when it’s no longer the hot new thing on television. If such a series manages to produce more seasons, it often becomes weirder, stranger, and more specific, narrowing its appeal rather than attempting to maintain its wider following. Twin Peaks moved beyond probing its central mystery and into exploring the dream logic of its titular town.
In the film September 5, the ABC Sports studio at the 1972 Munich Olympics seems like an uncomfortable space in which to work, let alone think. The control room is smoky, the air conditioner barely functions, and every piece of machinery generates a frustrating amount of background noise. Yet the producers and reporters inside are more than capable of focusing on their jobs as they put together engaging, daily live broadcasts of the Games.
In an interview she gave prior to hosting last night’s Golden Globes ceremony, the comedian Nikki Glaser explained how she prepared for the job. She put together two writers’ rooms and did more than 90 test runs. She debated the meanness of punchlines. She fought with her boyfriend (who is also her producer) over whether the actor Jesse Eisenberg or the podcast “Call Her Daddy” would be better recognized by the stars in the room.
Her efforts paid off.
When the South Korean drama Squid Game hit Netflix in 2021, the show became a bona fide cultural phenomenon. The story of people in debt competing to the death for a massive cash prize looked like nothing else on television, juxtaposing candy-colored children’s games with horrifying hyper-violence. Squid Game soon turned forest-green tracksuits into a trendy Halloween costume. It helped enter the word dalgona—the sugary treat used in one of the contests—into the pop-culture lexicon.
During his fourth time hosting Saturday Night Live, Chris Rock brought a particularly magnetic and mischievous energy—one that showed his mastery of being a good-natured troll. In the show’s best moments, it followed suit: The episode was packed with sketches that feinted toward seemingly familiar premises before upending them, and many of Rock’s characters tapped into his punchy stand-up persona and button-pushing sense of humor.
This article contains spoilers for the film The Seed of the Sacred Fig.
When the film The Seed of the Sacred Fig begins, an Iranian lawyer named Iman (played by Missagh Zareh) has just been promoted to “investigating judge.” The position gets him a higher salary, promises him a luxurious three-bedroom home—and arms him with a gun.
When Mean Girls, the musical remake of the 2004 film, hit theaters in January, the film appeared to shock audiences for, well, being a musical. Theatergoers recorded the moment that their fellow viewers realized what kind of movie it was; in one video, the crowd groans loudly as soon as a character starts singing, before laughing at their own reactions. But the studio behind the remake wasn’t surprised by these responses.
Long before “thinking about the Roman empire” became shorthand for having a hyper-fixation, Ridley Scott turned the actual Roman empire into a mainstream obsession. In 2000, the director’s sword-and-sandal blockbuster Gladiator muscled its way into becoming that year’s second-highest-grossing film, before winning the Academy Award for Best Picture and cementing its status as—I’m just guessing here—your dad’s favorite movie of all time.
When Donald Trump seemed poised to win the presidential election in 2016, Trevor Noah, then the host of The Daily Show, began the program’s live night-of special on a somber note. “It feels like the end of the world,” he said to a silent audience. “I’m not going to lie. I don’t know if you’ve come to the right place for jokes tonight, because this is the first time throughout this entire race where I’m officially shitting my pants.
While working on his latest film, Megalopolis, Francis Ford Coppola had an idea: What if viewers interacted with the movie itself? He’d have microphones placed throughout audiences at every screening, so that at a predetermined moment, everyone who wanted to could ask the characters a question—and someone on-screen would respond. It would bridge the gap between fact and fiction. It would prove that cinema-going could truly be a unique experience.
As he accepted the Emmy for Outstanding Limited Series last night, Richard Gadd, the creator and star of Netflix’s Baby Reindeer, made a plea to the audience. “If Baby Reindeer has proved anything, it’s that there’s no set formula to this, that you don’t need big stars, proven IP, long-running series… to have a hit,” he said. “The only constant across any success in television is good storytelling, good storytelling that speaks to our times.