Take a look atThe Handmaid's TaleSeries Graph (episodes ranked by fan rating), and you'll see a near-impossible feat: back-to-back 9.0 and 5.7 ratings for the final two episodes of season 6. Translated, that's a Game of Thronesscale of reaction to the show's final-ever episode.
Given that the season 6 finale was an outright setup for new Hulu and Disney+ sequel seriesThe Testaments, things didn't look too rosy. Thankfully, the reality is completely different — and I genuinely think The Testaments is as good as season 1 of The Handmaid's Tale.
For starters, the spinoff has nailed the art of reintroducing us to somewhere we already know (the totalitarian regime that is Gilead) and making it feel fresh. There are still secrets buried beneath the surface that we're none the wiser about, and a simple anti-regime stunt from Mayday isn't going to get any answers this time.
Then there's the casting. We already knew that Ann Dowd is absolutely blistering as the impenetrable Aunt Lydia, but newbies Chase Infiniti and Lucy Halliday mould the show into their own creation. We're looking at a major star on the rise after One Battle After Another with Infiniti, people.
If that's not enough to win you over to The Testaments, its main downside (feeling like it's just getting going) gives way to its biggest positive... surprises galore.
The Testaments is the journey to revolution that The Handmaid's Tale season 6 wanted to be
Some 15 years after the events of The Handmaid's Tale, a lot has changed in the Republic of Gilead. Aunt Lydia has rescued herself from imprisonment by being handpicked to oversee the laws and uniforms governing Gilead's women in the form of a new school.
Here, students are separated into four colors: Pinks for elementary age, Plums for young tweens who haven't come of age, Greens for those who have and are eligible for marriage, and the so-called 'Pearl Girls,' who have recently transferred in from the outside.
Where Margaret Atwood's book follows Aunt Lydia's perspective, Hulu's version homes in on devout Plum Agnes (Infiniti), who completely believes in the regime and what it's trying to achieve. She hates her stepmother, however, with her Commander father also constantly absent from the home.
One day, Aunt Lydia assigns her a Pearl Girl called Daisy (Halliday), prompting Agnes' friends to think she's done something wrong. Neither trusts the other, and while Daisy arrives with Gilead with secrets, Agnes begins to see the light.
It stands to reason that a school inside a totalitarian regime creates instant intrigue, but it's the ensemble performances that elevate it. Main cast aside, our Aunts and Plums have been picked to perfection, straddling the line between deranged and oblivious as, for the first time, men begin to feel the bulk of capital punishment.
Aunt Lydia could make or break what happens in The Testaments season 2 — which I'm convinced is coming
The golden trio. (Image credit: Disney+)
Ann Dowd remains the class act that we've known she is for years, and I'm overjoyed that Aunt Lydia is the character that both Atwood and Hulu chose to continue. Season 6 saw her allegiance to Gilead finally falter, but this time around, I don't trust her.
Why? When we meet her again in The Testaments, her faith in Gilead appears to be completely restored. However, she clearly knows more than she's letting on, and that makes her completely opaque when it comes to potentially betraying the regime further down the line.
It's a slippery business, and Aunt Lydia could either help or hugely hinder Agnes and Daisy on their upcoming journey. Obviously, there are no spoilers here, but the entire season of The Testaments feels like a starter for the main course still to come, and I'm convinced season 2 already has to be being developed.
Wishing for more of a fictitious dictatorship while living through politically perilous times feels bizarre at best, but I'm hoping for as many instalments of The Testaments as I can handle.
In the meantime, what we already have is a heady and moreish binge dressed up in a coloured uniform. The soundtrack is bonkers yet effective, and you can never let your guard down — particularly when it comes to plot details fans have been theorizing might come true. Frankly, I'd stream it over The Handmaid's Tale itself any day of the week.
It's obvious that we're getting them for more reasons than I've listed, and if The Handmaid's Tale spinoff continues to live up to the level of brilliance we see across these 10 episodes, totalitarian TV will never have been better.
Take a look atThe Handmaid's TaleSeries Graph (episodes ranked by fan rating), and you'll see a near-impossible feat: back-to-back 9.0 and 5.7 ratings for the final two episodes of season 6. Translated, that's a Game of Thronesscale of reaction to the show's final-ever episode.
Given that the season 6 finale was an outright setup for new Hulu and Disney+ sequel seriesThe Testaments, things didn't look too rosy. Thankfully, the reality is completely different — and I genuinely think The Testaments is as good as season 1 of The Handmaid's Tale.
For starters, the spinoff has nailed the art of reintroducing us to somewhere we already know (the totalitarian regime that is Gilead) and making it feel fresh. There are still secrets buried beneath the surface that we're none the wiser about, and a simple anti-regime stunt from Mayday isn't going to get any answers this time.
Then there's the casting. We already knew that Ann Dowd is absolutely blistering as the impenetrable Aunt Lydia, but newbies Chase Infiniti and Lucy Halliday mould the show into their own creation. We're looking at a major star on the rise after One Battle After Another with Infiniti, people.
If that's not enough to win you over to The Testaments, its main downside (feeling like it's just getting going) gives way to its biggest positive... surprises galore.
The Testaments is the journey to revolution that The Handmaid's Tale season 6 wanted to be
Some 15 years after the events of The Handmaid's Tale, a lot has changed in the Republic of Gilead. Aunt Lydia has rescued herself from imprisonment by being handpicked to oversee the laws and uniforms governing Gilead's women in the form of a new school.
Here, students are separated into four colors: Pinks for elementary age, Plums for young tweens who haven't come of age, Greens for those who have and are eligible for marriage, and the so-called 'Pearl Girls,' who have recently transferred in from the outside.
Where Margaret Atwood's book follows Aunt Lydia's perspective, Hulu's version homes in on devout Plum Agnes (Infiniti), who completely believes in the regime and what it's trying to achieve. She hates her stepmother, however, with her Commander father also constantly absent from the home.
One day, Aunt Lydia assigns her a Pearl Girl called Daisy (Halliday), prompting Agnes' friends to think she's done something wrong. Neither trusts the other, and while Daisy arrives with Gilead with secrets, Agnes begins to see the light.
It stands to reason that a school inside a totalitarian regime creates instant intrigue, but it's the ensemble performances that elevate it. Main cast aside, our Aunts and Plums have been picked to perfection, straddling the line between deranged and oblivious as, for the first time, men begin to feel the bulk of capital punishment.
Aunt Lydia could make or break what happens in The Testaments season 2 — which I'm convinced is coming
The golden trio. (Image credit: Disney+)
Ann Dowd remains the class act that we've known she is for years, and I'm overjoyed that Aunt Lydia is the character that both Atwood and Hulu chose to continue. Season 6 saw her allegiance to Gilead finally falter, but this time around, I don't trust her.
Why? When we meet her again in The Testaments, her faith in Gilead appears to be completely restored. However, she clearly knows more than she's letting on, and that makes her completely opaque when it comes to potentially betraying the regime further down the line.
It's a slippery business, and Aunt Lydia could either help or hugely hinder Agnes and Daisy on their upcoming journey. Obviously, there are no spoilers here, but the entire season of The Testaments feels like a starter for the main course still to come, and I'm convinced season 2 already has to be being developed.
Wishing for more of a fictitious dictatorship while living through politically perilous times feels bizarre at best, but I'm hoping for as many instalments of The Testaments as I can handle.
In the meantime, what we already have is a heady and moreish binge dressed up in a coloured uniform. The soundtrack is bonkers yet effective, and you can never let your guard down — particularly when it comes to plot details fans have been theorizing might come true. Frankly, I'd stream it over The Handmaid's Tale itself any day of the week.
It's obvious that we're getting them for more reasons than I've listed, and if The Handmaid's Tale spinoff continues to live up to the level of brilliance we see across these 10 episodes, totalitarian TV will never have been better.
With its predecessor having been subjected to a creative overhaul midway through production, Born Again's debut season was the embodiment of the saying "too many cooks spoil the soup". This time, though, the show's cast and crew are all singing from the same hymn sheet — and Marvel fans won't accept any excuses if its new chapter similarly turns out to be a Frankenstein's Monster of a season.
Having watched all eight episodes, it gives me great pleasure to say that Born Again season 2 is devilishly great — but, haunted by the ghosts of its past, it's not the knock-out masterpiece that some might be hoping for.
Hell on Earth
Half a year has passed since Born Again's season 1 finale (Image credit: Marvel Television/Disney+)
Six months on from Daredevil: Born Again's season 1 finale, Matt Murdock (Charlie Cox) and his allies are engaged in a guerrilla war against Wilson Fisk/Kingpin (Vincent D'Onofrio), the dictatorial Mayor of New York City and Murdock's long-time nemesis.
Born Again season 2 is as bone-crunchingly brilliant as its forebear and Netflix's Daredevil TV series
Fisk's calculated crackdown on vigilantes like Daredevil has not only continued apace, but has also been used a smokescreen to Fisk's other criminal activities. However, when our eponymous hero and right-hand Karen Page (Deborah Ann Woll) learn of — and disrupt — a multi-million dollar arms shipment on the Hudson River, the stakes of this cat-and-mouse game grow in dramatic and violent fashion.
A show renowned for its brutality, season2 is as bone-crunchingly brilliant as its both forebear and Netflix's Daredevil TV series that Born Again is a continuation of.
From the moment our titular hero storms the arms-ferrying freighter in the season premiere's opening sequence, to this season's incredibly intense, blood-soaked finale, Born Again 2 doesn't hold back in the action-spectacle department.
Wilson Fisk takes part in a so-called charity boxing match in this season's fourth chapter (Image credit: Marvel Studios/Disney+)
Equipped with numerous in-your-face, chaotic, and smile-inducing set-pieces, I'd argue it even gives the original show's innovative action a run for its money.
Indeed, episode 3's final 15 minutes include some of my favorite fight scenes since Daredevil's infamous season 1 hallway, season 2 stairwell, and season 3 prison-escape sequences — no small feat when you remember how utterly absorbing those are. And, don't worry; Born Again 2 includes the requisite seasonal duel between Murdock's alter-ego and Fisk, albeit we're made to wait for the latest in a series of bruising, must-see showdowns between them. Enjoy it while it lasts, too, because scenes shared by the show's main characters are once again kept to a minimum.
Gruesomely entertaining as these action-packed episodes are, this season's fifth chapter is all but devoid of set-pieces — and yet, it's my favorite episode of the Marvel Cinematic Universe (MCU) project's latest season.
Episode 5's dual narratives are equal-parts sanguine, deeply intimate, poignant, and soul-crushing
An entry that splits its time between the past and present, its dual narratives are equal parts sanguine, deeply intimate, poignant, and soul-crushing. Through flashbacks, episode 5 cleverly fills in narrative gaps from the Netflix show, and serves as a timely reminder of how excellent Daredevil was.
That's particular true of the much-missed dynamic between Matt and Franklin 'Foggy' Nelson (Elden Henson), the latter of whom died in last season's premiere. With Henson's return confirmed in Born Again season 2's trailer, though, said relationship is resurrected in pleasing albeit bittersweet fashion.
On the present-day story front, it's the mark of great writing when audiences find themselves empathizing with a movie or show's villain(s). Episode 5 nails this with its current-day Fisk-led plot, with the events that transpire turning him into an even more of a terrifyingly loose-cannon of an antagonist in the season's final three chapters.
Bullseye continues to be one of the MCU's most fascinating and multifaceted characters (Image credit: Marvel Television/Disney+)
The same is true of episode 5's primary present-day subplot involving Murdock and the sociopathic Benjamin Pointdexter/Bullseye (Wilson Bethel), the latter of whom continues to be one of the most fascinating characters in this show and the wider MCU.
An individual with a superiority complex and newfound moral ambiguity who, like all great villains, views himself as the hero of his own story, Bullseye reinforces the case that Marvel should permanently adopt a returning nemesis policy. Multi-layered individuals like Bullseye and Fisk have proven it works so, if there's more than enough character-development fuel in the tank, there's no reason for Marvel not to put it into practice in future projects.
Vive la Résistance
Matt Murdock and Karen Page's dynamic is given much more screentime in season 2 (Image credit: Marvel Studios/Disney+)
With Daredevil: Born Again's first season severely underutilizing the Murdock-Page dynamic, it's great to see this pairing share much more screentime this time around, too. It's a bond that initially seems to be watertight, but cracks soon appear. Indeed, their opposing ideals become a breeding ground for lots of mandatory melodrama that, while mostly engaging, isn't explored to its full potential.
Murdock and Page's opposing ideals become a breeding ground for lots of mandatory melodrama
Regardless, it's extremely gratifying to see Woll's Page have a more substantial role in season 2, and put her extensive investigative and combat skills to use. Similarly, it's satisfying to see Murdock fully embrace his rage-filled, acrobatic vigilante persona — in his new Shadowland comic book-inspired black suit, which symbolizes this season's sobering mood, no less — after trying to avoid it for large portions of last season.
The pair aren't the only members of this cadre. Returning allies in Murdock's law-firm partner Kirsten McDuffie (Nikki James), retired NYPD cop Cherry (Clark Johnson), on-the-beat reporter B.B. Urich (Genneya Walton), and Angela del Toro/White Tiger 2.0 (Camila Rodriguez) have roles to play in fighting the good fight.
Krysten Ritter reprises her role as Jessica Jones for the first time in seven years (Image credit: Marvel Studios/Disney+)
It's the return of Krysten Ritter's Jessica Jones in Born Again season 2 that's the real headline-grabber, though. It's a homecoming previously teased by Marvel Head of TV Brad Winderbaum as being "filled with very cool surprises", although the hard-drinking private investigator disappointingly doesn't show up until this season's latter half. Nevertheless, it's terrific to not only see her back in action and at her wisecracking best, but also teaming up with Daredevil again to cause some chaos and re-forge the fun-filled dynamic they had in Netflix's The Defenders crossover miniseries.
It's terrific to see Jessica Jones back in action and at her wisecracking best
Other new characters — ones who operate in Wilson and Vanessa Fisk's (Ayelut Zurer) orbit, much to the former's annoyance — also inject fresh energy into proceedings.
The mysterious Mister Charles (Matthew Lillard), an amusingly abrasive and delightfully detestable individual brimming with chaotic energy, is a highly entertaining foil to the Fisks. Meanwhile, New York Governor Marge McCaffrey (Lili Taylor) is a serious political adversary whose administrative roadblocks regularly threaten to detail the criminal couple's activities. The Fisks, though, routinely find ways to spin the narrative in their favor, which often puts them one step ahead of everyone else in the fantastically fraught chess game that plays out in the Marvel Phase 6 project.
Mister Charles (right) inserts himself directly into the Fisks' affairs in season 2 (Image credit: Marvel Studios/Disney+)
To reiterate what I teased in my introduction, Born Again 2 isn't without fault — and, irritatingly, a lot of the issues that afflicted Daredevil: Born Again season 1 haven't been resolved, especially in episodes 1 through 4.
For starters, the oft-used harsh cuts between scenes and jarring addition of The B.B. Report, aka Urich's filmed vox pops, remain. Okay, it can be argued that the latter's inclusion is necessary from a worldbuilding viewpoint, but each installment eats up valuable time that would've been better used elsewhere.
And, hoo boy, are some side-stories and character arcs in dire need of being expanded on. From the predictable and ponderous nature of Heather Glenn's (Margarita Leveiva) journey, to the lack of discernible pay-off in Daniel Blake's (Michael Gandolfini) individual tale due to the inconsistent manner in which it's approached and told, Born Again 2 doesn't devote the necessary time to these subplots to give them the emotional weight they deserve.
My verdict
Daredevil: Born Again season 2's good aspects easily compensate for the bad, but it's arguable that the latter hold it back from being its best self.
Nonetheless, it's a higher-stakes, drama-fueled continuation of the Mayor Fisk story arc that further aligns the show with its Netflix predecessor. And, thanks to its emotionally impactful and much more cohesive back half, it builds towards an incredibly intense crescendo that's set to take the series in an intriguing new direction ahead of its already in-development third season.
Some of you might question why Born Again2 scored lower than its forebear, which I gave four and a half stars out of five in my Daredevil: Born Again season 1 review. Simply put, that evaluation didn't cover the full season — if it had, I'd have dropped its rating by a whole star.
In that sense, then, Born Again's latest installment is an improvement on what came before — and if it can raise its game next season it might finally banish its story- and production-based demons for good.
It's at times like this when I wish I could review TV via TechRadar's YouTube channel, as I'm struggling to form words after binging Paradise season 2. What would actually convey my thoughts is a series of stunned noises and facial expressions, perfectly communicating how my mind has happily turned into post-apocalyptic soup.
Last year, season 1 became one of Hulu and Disney+'s most-watched TV shows during its first few weeks, stunning everybody by transforming from a unsuspecting zero into a globally successful hero. The social media furore is going to pick straight back up where it left off, and I'm already confident that season 2 will be one of the best TV shows of 2026.
So why all the hype? Paradise has a tight craft and a strong understanding of the story it wants to tell... and frankly, it's all a nightmare that could easily become a reality. Couple that with a stellar cast who never put a foot wrong, and you've got a bold and striking end product.
Season 2 only makes all of the above more apparent. As Xavier (Sterling K. Brown) leaves the bunker behind to try and find estranged wife Teri (Enuka Okuma), we meet medical school dropout turned Graceland tour guide Annie (Shailene Woodley), who has to hide out in the King's mansion for the three years after the Doomsday event.
For me, it's our new cast who really make this season sing. Yes, we have to trudge over existing character history like we're trying to pass the time by sharing war stories in an underground bunker. But not only is this gripping in small doses, but the biggest intrigue comes from understanding the backstory behind the new kids on the block.
While some of these help put the pieces together for Xavier and Teri, others will flat-out make you sob. Sinatra (Julianne Nicholson) can't be forgotten either, and I wouldn't trust her as far as I could throw her.
We've got to thank Shailene Woodley and Elvis Presley's estate for how impeccably Paradise season 2 begins
There's no world where I imagined Riley Keough (who is now the sole trustee of her grandfather's estate) letting Hulu and Disney+ near-destroy Graceland to recreate it as a set for the main location in Paradise season 2, but clearly, pigs have flown.
The move is probably the most jarring change across the new episodes, and I'm surprised that the mansion hadn't been looted earlier. If you've ever wanted to fly to Memphis to do the tour (would recommend), you now don't have to leave your living room.
Put the absurd and surreal background of hiding there during Doomsday with Annie's personal plight and resilience, and opening episodes of season 2 are catnip. I won't lie — I'd forgotten how brilliant of an actor Woodley is, wearing her heart on her sleeve and her snotty tears all over her beautiful face. There's no way her eyebrows would have remained that pristine, but we'll move past that.
Without spoilers, the new characters are the ones who really pack the emotional punch. They're now the biggest variable in a world reconstructed to benefit the few, so any sudden tragedy or buried trauma is the ultimate sideswipe. It's incredible how quickly you become invested in people you know very little about, and Paradise season 2 makes sure they will all break your heart.
Everything else is like a duck to post-apocalyptic water
You'll see a lot of flashbacks like this. (Image credit: Hulu)
For most of both seasons, I haven't had a single clue what was going on — but to quote K.C and the Sunshine Band, that's the way I like it. There's an unexplainable rush to being swept up in something that's so much bigger than you are, but you seldom understand. It also helps that we're not the ones having to live through a climate apocalypse, even when its relatability pushes it too close to home.
Xavier and Sinatra are spearheading the tension from opposite sides, and both Brown and Nicholson slip seamlessly back into their season 2 roles. There's a greater sense of danger for them both, but also each teeter on the brink of total exposure. With one snap decision, either could shift from good to evil and back again, and the unpredictability is a thrill in itself.
Paradise season 2 is an all-rounder, as a teacher might say on parent's evening. High-value production, a tight story, well-developed narrative arc that's clearly going to end after season 3 (though this is currently unconfirmed), cast fully sending their performances to the depths of insanity, and Graceland's own horses successfully surviving at surface level. There's truly nothing else you can ask for.
It's very rare that a TV show gives me a sense of giddy excitement, like a child whizzing around on a teacup at Disneyworld, holding candy floss while trying not to puke. But Paradise season 2 effortlessly manages, and it's ridiculous how excited I am about something that resembles a 2020s retelling of Threads.
Frankly, you'd be a fool not to stream it — but get ready to gasp, scream and cry your way through it, with the tiniest ray of hope peeking through the volcanic clouds.
And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.
In 2026, theme parks are a massive part of society. There are attractions all over the globe, competing to build the biggest and best rides to entertain thrill-seekers. They've become so successful that even Disney’s newest CEO comes from a park background, solidifying their importance in modern culture.
But back in 1955, the idea of a large-scale theme park like Disneyland in Anaheim, California, was seen as ridiculous, impossible, even. Such a feat had never been attempted before, and many people thought Walt Disney's dream was simply that, and could never be realized.
It's genuinely fascinating to watch all this unfold through Disney+'s new documentary Disneyland Handcrafted. I've been to a couple of Disney parks in my life, and I'll admit I might take them for granted at times. But imagine being there to witness the first-ever Disney park, built in just over a year? It's a remarkable achievement, and it's no wonder it's gone down in history.
I loved witnessing so many iconic attractions from start to finish, like the water ride Jungle Cruise and Mark Twain, which, at the time, was the first functional steamboat built in the US in 50 years.
There are some anxiety-inducing moments, too, as workers are seen climbing to great heights without the safety equipment we have today. The construction site for Disneyland looked nothing like modern-day ones, and it's so special to have all this archive footage preserving the process.
Disneyland Handcrafted is a love letter to Walt Disney's ambition and to the way he embraced television to spread the word about his theme park. He gave progress reports and marketed its development in a way that was groundbreaking back then, leveraging new technologies and ideas.
So many people worked hard to build Disneyland, from its attractions to Sleeping Beauty's castle, a huge structure that I'm constantly in awe of even now. Immersion was everything to make Disneyland a success; without an effective theme, it would've all fallen apart.
But Walt's team of designers, builders, and more were able to bring it all together, including the first iteration of Main Street, an iconic Disney-themed land, which resembles American small towns during the early 20th century.
Even though it's all laid out in front of us, it still seems unbelievable that they were even able to pull all this off. It's an incredibly hopeful documentary that proves how far determination and hard work can take you, even if people around you doubt you can do it.
Disneyland Handcrafted is sure to give you a new appreciation for theme parks, even beyond the Disney umbrella. So much work goes into funding, design, marketing, and building attractions.
Disneyland's opening was not perfect, as they ran into issues such as a plumber's strike, which forced a choice between working water fountains and toilets, leaving guests without drinking water. But the fact that it even existed back then is monumental, and improvements were made based on the all-important first visit. Over time, it's gotten even better, blossoming into the park we know and love today.
There are a few small issues with Disneyland Handcrafted. It doesn't provide a complete timeline or a deep dive into certain areas, as its short runtime limits it. However, there is enough to keep you engaged and plenty of new things to uncover, which may encourage you to go off and read more about it.
Walt himself doesn't appear much either, beyond important television broadcasts, which could disappoint some fans. But personally, I did enjoy the fact that it focused on all the people who worked hard on the Anaheim site every day, lifting heavy equipment and following blueprints that probably felt overwhelming at first. Together as a community, they really did build something beautiful.
Disney+ is home to plenty of great behind-the-scenes looks at the parks. We Call It Imagineering focuses on how Disney Parks are designed and built in the modern day, taking you behind the scenes of the biggest attractions and new ideas.
There's plenty to explore, and as a huge fan of Disney movies and parks, it's incredible getting to see the process and how it's changed over time. Disneyland Handcrafted is a must-watch for anyone keen to see where it all began, and it's streaming now on Disney+ and YouTube.
I'm not just a Muppet Show fan; I've idolized Jim Henson for most of my life. Few shared his creative gifts. He was prolific and smart and used puppetry to tell stories in new and novel ways that we'd never seen before, and have scarcely seen since his untimely death in 1990.
Henson's Muppets helped makeSesame Streetpossible, a show I grew up watching in the 1960s and early 1970s. The original The Muppets Show, which aired from 1976 to 1981, expanded the Muppets' world and reach, introducing a new cast of characters to work with the original leader and (adult in the room) Kermit the Frog (voiced by Jim Henson).
Aimed at a more mixed audience consisting of families, The Muppet Show, set in the vaudevillian-style Muppet Theatre, offered a blend of cornball jokes and winks at the more adult audience. From the start, the mayhem revolved around a line of starry celebrity guests. Half the fun was seeing how these sometimes button-downed stars would act among the all-puppet cast.
The Muppet Show special event will stream on Disney+ soon. (Image credit: Disney/Mitch Haaseth)
Their apparent acceptance of these fabric creations as real helped the audience accept them and their antics as well. There were few shows I looked forward to more each week than The Muppet Show. It was appointment viewing for my family. I know I laughed and watched with fascination at all of Henson's incredible creations and how they extended the state of puppet art and artistry.
By the time the show went off the air, I was in high school and perhaps a little less interested in the Muppets (or perhaps I was just feeling the natural peer pressure to be less interested). Also, the Muppets had graduated to films, first with the incredible The Muppet Movie, the 1979 breakthrough film, which finally merged the Muppet Show and Sesame Street puppet casts, and it's just about perfect.
No other subsequent Muppet film quite reached those heights, though The Muppets Take Manhattan was at least memorable and I have a fondness for 2011's Muppet Movie revival.
The Muppets returned to television briefly in 2015 with the poorly received The Muppets. which tried, without success, to do for the Muppets what The Office did for corporate life. It failed.
By contrast, the new The Muppet Show is a largely faithful recreation of the original show. It is, at times, a charming and nostalgic trip back. Seeing each character, like Scooter, Fozzie the Bear, Gonzo, Beeker, and others, feels like reuniting with old friends.
Kermit remains a strong central presence, and his interplay with the self-involved Miss Piggy is as dysfunctional as ever.
For devoted Henson fans, it's not always easy to listen to the slightly different voice characterizations of Kermit over the years. Steve Whitmire did it for decades after Henson unexpectedly died. In recent years, it's been Matt Vogel. Like Whitmire before him, Vogel does his best to sound like Henson. It's close, but also distracting if you know the original. New fans will not have this problem.
Don't call it a reboot
Kermit the Frog was originally voiced by Jim Henson. (Image credit: Disney/Mitch Haaseth)
While the structure of this 'Special Event' largely follows a format set up during the second season of the original show, there is a nod here that this is, on some level, a sentimental return after a long hiatus.
As the camera pans over Muppet Theatre's backstage lighting, The Rainbow Connection plays gently on a piano in the background. We see Kermit walking past black and white photos of the original show's iconic celebrity guests. The scene shifts to a close-up of Kermits' coffee cup, and then the camera pulls back to reveal Rowlf playing the piano beside him.
"Rowlf, have you been playing this whole time?" Kermit asks before Rowlf responds: "Well, what did you think it was, some kind of sentimental montage in your head?" That forth-wall-breaking and quick shift of tone from sentiment to humor is classic Muppet Show.
The Muppets Show special event is almost the same as the original series. (Image credit: Disney/Mitch Haaseth)
The rest of the format is a virtual duplicate of the original show. There's a short bit between the celebrity guest – in this case, Sabrina Carpenter – and one or more of the Muppets, this time Miss Piggy. It, like most of the bits, is more likely to elicit a groan than outright laughs. After the iconic, giant yellow The Muppet Show curtain drops down, Kermit pops out of "O" in "Show" and enthusiastically announces: "It's the Muppet Show!"
While the show is mostly bits and musical performances, there is a storyline running through the episode in which Kermit, in an effort to please everyone, has wildly overbooked the show. Everyone is so excited to be back that they all want to participate. That returns later to inspire the show's most inspired bit.
The Studio star Seth Rogen executive produces the show, and while his brand of sharp adult humor is in short supply here, Kermit's opening monologue does sound like it might have Rogen's fingerprints on it: "We are so excited to be back on the very stage where it all started, and then ended, and then is maybe starting again, depending on how tonight goes."
The old Peanut Gallery
Waldorf and Statler are back in the peanut gallery. (Image credit: Disney/Mitch Haaseth)
Statler and Waldorf sit in their usual box and make cranky commentary that sounds right at home in a vaudeville show. The joke about the Muppets being broke might be funnier if we didn't know that Disney now owns the Muppets franchise.
Carpenter's performance of Manchild in an old-west saloon populated by Muppets is affecting mainly because of Carpenter's talents and considerable charm. The physical humor is vintage Muppets, though some parents might wonder at the violence (she hits one puppet over the head with a bottle).
There's a live audience populated with humans and Muppets who provide live applause. However, I can't tell whether the laughter is also real, a laugh track, or being prompted by the audience handlers, compelling people to laugh.
Rogen makes a brief appearance in The Muppet Show. (Image credit: Disney/Mitch Haaseth)
Rogen does appear, though he's cut from the show and is ultimately relegated to the audience.
Gonzo also appears but feels underused in his daredevil bits.
There's a Bridgerton-inspired "Pigs in Wigs" segment that falls flat. Piggy's cutting comments just sound mean, and the banter falls somewhere between confusing and uncomfortable. The recasting of Pepe the Prawn as Missy Piggy's lover is a funny sight gag, but as is often the case, the writers seem unsure what to do with Pepe beyond the initial gag.
At one point, Miss Piggy asks, "What is happening here?" and I kind of had the same question.
The less said about the all-rat performance of The Weekend's Blinding Lights, the better. it reminding me a bit of one of those Kids' Bop renditions of popular songs and not in a good way.
Saved in the end
Pepe the Prawn and Miss Piggy during the Bridgerton-inspired "Pigs in Wigs" act. (Image credit: Disney/Mitch Haaseth)
As the show starts to come apart at the seams, Kermit apologetically tells Carpenter that they're "still working out a few kinks," to which Carpenter replies: "That's alright, I love a kink." It's one of a handful of nods to the adult audience that I think it's safe to assume will sail over most kids' heads.
Maya Rudolph also appears as an audience member who falls in love with a large blue Muppet. She's also at one point declared dead. Don't worry, it's all played for laughs, though I do wonder if kids watching will be momentarily concerned as their parents are horrified.
Dr. Bunsen Honeydew and Beaker during the Muppet Labs segment. (Image credit: Disney/Mitch Haaseth)
I enjoyed the Dr. Bunsen Honeydew and Beaker Muppet Labs segment, but again, Beaker's eyes popping out might frighten younger children.
The Kemit-Sabrina Carpenter Islands in the Stream duet is particularly affecting, until Miss Piggy shows up, sabotages it, but ultimately completes the performance. This is in keeping with a show where everything goes wrong.
Scooter and Gonzo (Image credit: Disney/Mitch Haaseth)
By and large, this Muppets special event felt like a show trying desperately to find its footing, that is, until the finale, which I found surprisingly touching.
Kermit can't put on every promised act and leaves the Muppet crew feeling frustrated. Then he stands on stage and says, "I can't say the show has gone exactly as we planned....maybe we're a little rusty...I hope you at least enjoyed some of it." It sounds almost too honest, too real.
Kermit doesn't announce another act. Instead, he starts singing acapella Queen's Don't Stop Me Now. Rawlf joins in on piano and then the entire Muppets cast joins in. It becomes the most joyous number of the entire show, and, if I'm being honest, it was the first thing in the new The Muppets show that left me wanting more.
Verdict
Miss Piggy, Lew Zealand, Kermit (Image credit: Disney/Mitch Haaseth)
The Muppets Show revival is not the best version of the show that's ever existed. It's far from the worst, either. The cornball vaudeville vibe was part of its original charm, but I just don't know if it's smoothly translated into 2026.
I think the writing might need to be updated a bit as Rogen and company figure out where the show and its audience live. This is an audience raised on social video and with humor that's much smarter than what was presented in 1976, or this show 50 years later.
As Carpenter proved, celebrity star power will still help carry the day, but the core of the show remains the puppets. If jokes and performances aren't as sharp and knowing, or just as charismatic as Carpenter's, we may not see future episodes.
Disney+'s The Muppet Show special event streams to subscribers globally on February 4, 2026.
Light spoilers follow for all eight episode of Wonder Man.
2026 is a big year for Marvel. With its cinematic universe struggling to rediscover the consistency that defined its first decade, there's never been more pressure on highly-anticipated movies like Avengers: Doomsday and Spider-Man: Brand New Day to get people back onside.
And yet, it falls on Wonder Man, the comic book giant's first Disney+ show of the year, to convince casual fans that the Marvel Cinematic Universe (MCU) is worth sticking with or jumping back into. It's a wonderful thing, then, that Wonder Man is a franchise-disrupting, metatextual caper that's arguably the studio's most creative TV original since WandaVision.
I was born to play this character
Yahya Abdul-Mateen II portrays Simon Williams, a down-on-his-luck, Los Angeles-based actor (Image credit: Marvel Studios)
Produced under the Marvel Spotlight banner, Wonder Man introduces us to Simon Williams (Yahya Abdul- Mateen II), a luckless and capricious actor struggling for work in the MCU's version of Hollywood.
Williams' tortured nature is captured with pitch-perfect intensity and gravitas by Abul-Mateen II
When Williams learns that Oscar-winning director Von Kovak (Zlatko Burić) is remaking 'Wonder Man', an in-universe movie that's also his favorite film of all time, Williams vows land the lead role. Well, as long as he can keep his biggest secret – as one of Wonder Man's teasers confirmed, that he possesses actual superpowers – under wraps.
Having superhuman abilities should be advantageous for a project like this, right? Not if you're Simon Williams, a serial overthinker whose passion for his craft often makes him difficult to deal with personally and professionally.
Williams' life is falling apart when we meet him in Wonder Man's premiere (Image credit: Marvel Studios/Disney+)
His failure to secure regular work and tendency to lose the roles he does get due to a passion interpreted as overzealous interference are, unsurprisingly, emotionally destabilizing moments for Williams. Add in your demonstrably powerful abilities appearing whenever you experience negative emotions, and that's a recipe for disaster.
That's especially true if Williams' abilities ever manifest while on set. The reason? Enhanced individuals are banned from working in Hollywood, so it's not the ideal profession for Williams, whose tortured nature is captured with pitch-perfect intensity and gravitas by Wonder Man's lead star Abdul-Mateen II.
Trevor Slattery (right) has two options: help the DoDC or complete his prison sentence for his crimes as The Mandarin (Image credit: Marvel Studios/Disney+)
Wonder Man is as much Trevor Slattery's (Ben Kingsley) story as it is Williams', though.
A washed-up thespian and recovering substance abuser who we first met as fake terrorist The Mandarin in Iron Man 3, Slattery is an important cog in Williams' journey and the Marvel Phase 6 show's wider narrative.
Slattery is the uproarious fulcrum for many of Wonder Man's hijinks
Apprehended by the Department of Damage Control (DoDC) at an airport following his redemption arc in Shang-Chi, Slattery is coerced into helping the superhuman-monitoring US government agency keep track of Williams, whom it believes to be a highly dangerous individual.
Rather than position Slattery as a primary supporting character, though, Marvel installs Kingsley as the series' co-lead. It's a storytelling decision that not only allows Wonder Man to thoroughly examine this enigmatic and eccentric character's background, personality, and motives in greater detail than before, but also plays to Kingsley's strengths as an actor.
Utilizing the British icon's extensive affiliation with the Royal Shakespeare Company and penchant for playing characters as straight as possible, Wonder Man gives Kingsley a stage to really shine on. Equipped with Slattery's awkward and unfiltered persona, Kingsley is the uproarious fulcrum for the various hijinks that ensue throughout, too.
Just the two of us
Williams and Slattery are another absorbing buddy cop pairing to add to the MCU's growing roster (Image credit: Marvel Studios/Disney+)
Armed with either of these likeable albeit lost souls, Wonder Man would be an enthralling watch. The resolution to build its plot around both, then, is a match made in heaven.
The decision to build Wonder Man's plot around Williams and Slattery is a match made in heaven
From their initial encounters at a Midnight Cowboy screening and then the 'Wonder Man' auditions, where a regret-filled Slattery takes pity on Williams as he struggles to maintain his composure, they're a mesmerically mismatched pair that deserve to be added to the MCU's ever-expanding collection of charming double acts.
A two-hander in all but name, it's the kind of odd-couple dynamic that doesn't come along often, but produces all manner of on-screen fireworks from the outset.
Williams and Slattery's professional and personal lives become entwined as the story progresses (Image credit: Marvel Studios/Disney+)
It's a bond initially formed by their mutual love for their craft. Slattery sees his tactless and ego-driven self in Williams and uses his experience and calming influence to guide the less-seasoned actor through the murky world of Hollywood. It isn't long, though, before their student-teacher relationship blossoms into a genuine bromance – and, like me, you'll soon be rooting for them to individually and collectively succeed.
You'll soon be rooting for Williams and Slattery to individually and collectively succeed
That said, I'll admit my desire to root for them was strained at times. Whether it's the emotionally unavailable Williams occasionally shutting out his mentor, or Slattery's duplicity in trying to keep both Williams and the DoDC onside – honestly, at one point, I genuinely thought Slattery would fully betray his new friend – theirs is a companionship buffeted by numerous outside forces. Ultimately, though, the earnestness of their buddy-cop dynamic, plus the hardships these tragic characters have endured, is what'll make you cheer them on.
And all the world's a stage
Von Kovak (right) will ultimately decide if Williams and Slattery land roles in his 'Wonder Man' movie remake (Image credit: Marvel Studios/Disney+)
With its intimate, dual-character-study-first approach, Wonder Man plays more as a tragicomedy with sitcom elements than a biting commentary on the corporate Hollywood machine.
Wonder Man doesn't hold up a taunting mirror to Hollywood in the same way that The Studio does
Sure, Wonder Man's metatextual layers run deep, and it doesn't shy away from the cutthroat nature of the entertainment business. However, it's not a fourth-wall-breaking project in the way She-Hulk: Attorney at Law or the Deadpool films are. Nor does it hold up a taunting mirror to Hollywood in the same way that The Studio does. Laugh-out-loud funny though Wonder Man is, it's not as outrageously chaotic or toe-curlingly hilarious in its takedown of the industry as that Apple TV Original is, or as scathingly satirical of the superhero genre like Prime Video's adaptation of The Boys is.
Riveting as Wonder Man is, it isn't without its missteps (Image credit: Marvel Studios/Disney+)
I don't consider those to be faults that Wonder Man possesses, but Marvel's latest small-screen offering isn't beyond reproach.
For one, its Williams and Slattery-absent Twilight Zone-esque fourth episode provides context for one of Wonder Man's early mysteries, but brings its primary narrative to a grinding halt just as it's really beginning to build momentum. Similarly, while its circumnavigation of Williams' complicated comic book history facilitates an easier MCU introduction for the character, this source material deviation will irritate some Marvel Comics purists.
And then there's the finale, which falls foul of the same problem that's plagued other Marvel TV Originals on one of the world's best streaming services. In its favor, it foregoes the archetypal – not to mention predictable – CGI showdown between hero and villain, which is a welcome departure from the Disney subsidiary's usual TV blueprint.
Nonetheless, just another five to 10 minutes showing how Williams has grown as an individual across its eight-episode run would've helped its pacing and stopped it from racing towards an ending that may be perceived as somewhat anticlimactic.
My verdict
Ultimately, though, those niggles didn't prevent me from having a blast with Wonder Man. Pardon the pun, but it's a wonderfully executed slice of television that's both a celebration of the performing arts and an eye-opening peek behind the curtain of an industry that continues to entertain us to this day.
It might be a bit on the short side, runtime-wise, and its narrative flow is a little uneven, especially in the first half. But, armed with a charismatic leading pair firing on all cylinders, and a story that'll resonate with anyone who's set out to achieve their wildest dreams and did so, Wonder Man deserves a standing ovation for proving nothing is impossible if you put your mind to it – and if you have a little help along the way.
Wonder Man releases in full on Tuesday, January 27 (North and South America) and Wednesday, January 28 (everywhere else). To learn more about the series ahead of launch, read my guide on everything we know about Wonder Man.
I feel as though I'm going mad when I say there was once a time when Ryan Murphy TV shows were fresh, bold and innovative. Nip/Tuck was a scathing satirical putdown of cosmetic surgery culture in the early 2000s, Glee – while completely unhinged – dominated the television zeitgeist in a way no other show was daring to, and the first three seasons of American Horror Story were bona fide masterpieces.
Unsurprisingly, Murphy's track history likely means that streamers like Hulu and Disney are all but happy to throw money his way and wait for the next big thing to materialize... except, this isn't really happening anymore. While shows like 9-1-1 are getting more grandiose by the minute (Angela Bassett in space? Really), others including American Sports Story and Grotesquerie fell off the radar and were quickly cancelled.
Then All's Fair became the 0% Rotten Tomatoes stinker that took the internet by storm, guaranteeing a second season purely by fully leaning into its own stupidity. I really didn't think Murphy could top his own dreadfulness, but new FX series The Beauty easily clears any flop he's ever previously produced.
Why? Because at least All's Fair knew how terrible it was. At least Grotesquerie didn't pretend to be a success story. The Beauty is masquerading as something much more significant than it actually is, without contributing anything to the cultural zeitgeist aside from making sure you have the safest sex possible.
The Beauty on FX is The Substance-turned-STD, and everything about it is wrong
I know that you won't want to watch this series based on the above trailer, but let me set the scene for you anyway. Two FBI agents (played by Evan Peters and Rebecca Hall) travel across Europe to unravel the mysterious death of a group of supermodels. None of them appear to know each other, but all have the same symptoms – a virus, burning alive from the inside and spontaneously exploding upon death.
This either sounds like the recipe for absurd hilarity or insightful social commentary, but The Beauty is neither. After you've finished being baffled by Bella Hadid's out-of-place cameo, you're left feeling nothing aside from wondering how the series was green lit in the first place. We had The Substance last year, so we hardly need its knockoff little sister.
It doesn't take long for The Beauty to hit you over the head with its intended messaging of "what will people risk in order to be beautiful?". You could argue that a plethora of shows and movies have mulled over this age-old question already, ironically beginning with Nip/Tuck itself. Truthfully, we know what people would risk to be attractive (everything), and the critical analysis ends there.
Murphy is clearly churning out old ideas here, and there's nothing of merit or value contained within any single scene. The decision to make the killer virus a sexually transmitted disease (STD) is morally ambiguous, particularly when you consider Murphy's deft handling of the AIDS crisis in Pose. Is this meant to be an ironic nod to real-life history? Is it merely intended to shock whoever is watching? Condom sales might increase after this, but not much else will.
Go girl, give us nothing
I can't even remember their character names they are that forgettable. (Image credit: FX)
But let's put the gory gimmicks and missed narrative opportunities to one side. What else do we have left? Peters and Hall are secretly lovers, but don't have an ounce of chemistry between them. This makes flogging an already dead horse even trickier, because there's almost no incentive to watch. Murphy has already told us how our exploding supermodels die thanks to the mutant sex virus, so where's the payoff?
There's also the gauche notion that "fat is bad" that plays through the center of the story, and that's neither fitting for 2026 nor is it an original thought. 20 years ago, Murphy could have been lauded as daring by tackling body image head-on, but now it's just uncomfortable to watch slim actors in fat suits. Again, there's nothing of value to making this a worthwhile endeavor.
So we're left with a mis-matched, tone-deaf, mundane splatter of madness on our screens, and I'd rather have been blasted straight in the face with the VFX department's guts like an Italian horror movie from the 80s. Perhaps that way, I'd have felt something.
During the international press tour, I saw star Ashton Kutcher talk about The Beauty as if nobody has dared to make television like this before. I have to wonder if he's actually ever watched TV before now, and that's before I consider that his ex-wife Demi Moore examined this same topic in an infinitely more successful way.
Our only two wins are the brash pop soundtrack and a cameo role from the icon that is Isabella Rossellini. I don't know what Murphy has got on her to get this appearance, but God is she so much better than this. We all are.
A Thousand Blows steps out of the bareknuckle boxing rings of Victorian London to focus on bleaker themes in the second season of Steven Knight's historical drama. While there are still plenty of wince-inducing brawls, A Thousand Blows season 2 is less about gritty fight sequences and more about the fight for survival in an unforgiving Victorian London.
Like the first season, Knight has once again mixed fact with fiction, using real historical events to inspire the narratives throughout the series, which he describes as "stepping stones" for creating a foundation to the overall storyline. "Usually, you’ve got a date, maybe a fight that happened, a boxing bout that happened or a robbery that happened for real," he explained. "You know these things happened, and then it’s up to you to find out why they would have gone from that to that."
Knight confirmed that the second season is roughly 35% based on real-life. That formula adds a layer of authenticity to the show that it balances throughout with emotional story arcs to thread the varying narratives together, from Hezekiah Moscow’s (Malachi Kirby) journey from wanting to be a lion tamer to becoming a heavyweight champion to Mary Carr's (Erin Doherty) daring department store robberies as the leader of the notorious all-female crime gang the Forty Elephants.
In season 2, Hezekiah is seen dusting himself off from the aftermath of the fatal boxing bout at the end of the first season. Still reeling from the loss of his brother Alec (Francis Lovehall), he feels more far from home than ever before.
These emotions weigh him down, but they also act as a catalyst for a new redemption arc that ties into Knight's belief about the timelessness of basic human motivations. "It doesn’t matter how far back in time you’re going," he says. "People were the same. The same motivations, the same emotions, jealousy and passions."
Partly due to Knight's focus on these themes, season 2 has a lot less boxing than the first chapter. That gives it a more relatable feel for those with less interest in pugilism, with the series referencing real historical events like the Matchgirls’ Strike of 1888 at the Bryant & May factory. "They used white phosphorus, which was poisonous and caused horrible diseases for the workers," Kirby noted. There are also echoes of Jack the Ripper that further ground the show in a layer of authenticity of the time.
The Forty Elephants have it all to play for in season 2. (Image credit: Disney )
Doherty summed up the atmosphere of the period perfectly with: "Life was fragile then, it was easily lost… When you understand how many people would just die on the streets, the stakes are incredibly high." Adding: "When you're trying to find the human in it all, it's not too hard because it was so terrifying and bleak."
For Darci Shaw (pictured above), who plays supporting character Alice who's part of the Forty Elephants, it was digging into that bleak history that helped her to fully understand what was at stake. "I read quite a bit about the period and the state of women in homelessness at the time, and I think that just helps to understand the stakes and why these women [the Forty Elephants] are so confident and will do whatever it takes because they don't have a choice," she said.
Other supporting characters like Edward 'Treacle' Goodson are also given more depth. James Nelson-Joyce, who plays Goodson, credits Knight’s scripts for the character’s complexity in season 2. "Steven’s writing is unbelievable," he said. "You’re never playing one thing. There’s always layers, always something underneath what’s being said."
Despite one extremely heartbreaking storyline, Treacle and his brother Sugar Goodson (Stephen Graham) don't play as big of a role in the second season, leaving space for Hezekiah's and Mary's comeback act to take centre stage.
The stakes are no less serious, though. While there’s less boxing than in the first season of A Thousand Blows, the brawls remain brutal, but it's the characters' battles outside the ring that give the second season its dramatic force.
All six episodes of A Thousand Blows season 2 premiered on January 9, 2026, on Disney+ (internationally) and Hulu (US).
For the Bruce Springsteen faithful – and probably those who feel that way about Jeremy Allen White – today, October 24, 2025, has been a long time coming, as Springsteen: Deliver Me From Nowhere is finally showing in movie theaters across the globe.
Now, for lack of a better analogy, the Boss has been the soundtrack of my life – well, for most of it – so I headed to a local AMC Theatre with Dolby Cinema in the great state of New Jersey for an opening-night preview screening.
I had a lot of feelings going in, especially since Springsteen: Deliver Me From Nowhere isn’t like most biopics. But I wouldn’t even call it that, because it focuses on a very specific, short time in Springsteen’s career. Instead of portraying the many months spent on getting Born to Run just right or even Born in the U.S.A.’s release or Springteen’s rise to stratospheric stardom, it turns the spotlight onto one of his darker chapters – one that Springsteen became more open about in his memoir Born to Run and in Warren Zanes’s Deliver Me From Nowhere, which is the book that inspired this film.
So, let’s dive into it – and fair warning, I’ll have some mild spoilers ahead, though it’s kind of comical as this is based in reality, and we all know about Nebraska.
Inside Nebraska
Warning: some spoilers for Springsteen: Deliver Me From Nowhere lie ahead.
(Image credit: 20th Century Studios)
Springsteen: Deliver Me From Nowhere is a lot better than I was expecting it to be. It’s a good film that’s more like a deep character study of a specific time in Bruce Springsteen’s life. It jumps from before, during, and a bit after the recording of Nebraska, giving a deep dive into his mental health – both Bruce’s and his family’s – and his upbringing. The latter is done through black-and-white flashbacks, which at times feel a bit out of place but do an excellent job of at least rooting the pain and depression.
It opens showing a glimpse into that upbringing, but soon ties the anxiety and rush of an encounter into the rush and thrill of performing Born to Run to close out The River Tour. This is our first glimpse, and one of the few, of the E Street Band during Springsteen: Deliver Me From Nowhere.
I never really got comfortable believing Jeremy Allen White was entirely the embodiment of Bruce Springsteen, but he sure gives off the look of a rock star known for energetic performances. Maybe most importantly, Allen White doesn’t just do an imitative voice of the Boss but, in my opinion, does a lot more with body language and how he presents himself.
From there on out, we see the relationship between Jon Landau – played by Jeremy Strong – and Bruce unfold on screen, and it matches the real-life relationship. They were two friends forever, who clearly had each other’s backs, and Landau definitely does a masterclass in being an agent, manager, and friend – fighting for what the artist wants.
We see Bruce then settle into a rental in Colts Neck, dive deep into some reading, and eventually watch Terrence Malick’s 1973 film Badlands, which pushes him to research a bit more and eventually start on a track of songs dubbed Starkweather, which becomes Nebraska. Seeing this process depicted on the big screen, and the historic room with the orange shag carpet, is something of a bit of a holy grail. And Jeremy Allen White does get the singing voice pretty close, as well as the guitar playing, though there is a unique blending. I also need to give a shout to the audio quality in this Dolby Cinema theater, but also to the mixing team on Springsteen: Deliver From Nowhere, it is done excellently. And there are a few tracks where the singing shifts from Jeremy Allen White to Bruce Springsteen, and vice versa.
We also see Bruce go on a few dates with a character, Faye – who in reality is a composite, and we see that struggle as he runs away from fame and goes on some self-discovery, which in turn is himself feeling like an outsider in his own body.
The human story behind the music
(Image credit: 20th Century Studios)
Beyond the recordings, I think what really hit the most with me was the visual telling of Springsteen’s struggles with his own mental health and that of his father’s, and the repairing of their relationship. While it’s rooted in fact, director Scott Cooper certainly took some liberties here and sped up the timeline.
It’s rare, I think, for Bruce himself to be so open with showing, telling, and reliving this, and Jeremy Allen White really shines in these scenes – he depicts the feeling of an outsider in their own body perfectly, acting the build-up to a breakdown and a panic attack with realism. Allen White also shows the struggle of realizing something is up but not knowing how to seek help – remember this is in the 1980s, specifically 1982.
I think those are the most powerful moments, and even if the pacing could be slow at times, it lets these moments of the film really build up and be delivered with ample time. For those who have read Born to Run or maybe watched Springsteen on Broadway, I think this acts as a really nice introspective and deep dive into Nebraska.
Yes, it’s more niche than, say, Born to Run,Born in the U.S.A., or Springsteen’s other work, but it’s also the most raw, natural, and, in the end, more impactful. It’s an important aspect of how the Boss became the Boss, and while I had my doubts going in, the result is an impactful, good film that’s very deep, emotive, emotional, and ultimately a close character study.
(Image credit: 20th Century Studios)
Yes, it can be hard to get past the fact that Jeremy Allen White is not Bruce Springsteen, but thanks to the attention to detail, the physicality, and the close study, it’s believable – minus the looks.
Ultimately, Springsteen: Deliver Me From Nowhere explores the process of coming to terms with childhood trauma and the impacts of that, which can sit with you and become a theme of life as you move on. We’ve known Bruce’s family has had mental illness, and he's had his own demons; the art comes from that to a degree.
It may not hit every note perfectly, but I think fans will like it – it’s an honest, heavy, and deeply human look at Springsteen during arguably one of his darkest periods, one that still showcases the music-making process with just a taste of E Street Band greatness.
Ultimately, an antithesis of most biopics – a good thing.
