The Playlist Podcast Network

Apple TV’s “Lucky” joins the platform’s growing collection of prestige shows about attractive, deeply stressed people having the worst week of their lives. “Presumed Innocent,” “Hijack,” “Your Friends & Neighbors”—the streamer has become weirdly good at watching people sprint from one life-altering disaster to the next.
Anya Taylor-Joy’s title character has a slightly more complicated relationship with disaster than most. Raised by a con artist, Lucky became an exceptional one herself before spending years trying to leave that life behind. When a multimillion-dollar job goes wrong, she is forced back into the world she escaped, pursued by law enforcement, criminals, and a family history she has never completely outrun.
READ MORE: ‘The Agency’ Season 2: Jeffrey Wright & John Magaro Talk Spycraft, ‘The Batman: Part II,’ ‘Presumed Innocent’ Season 2 & More [Bingeworthy Podcast]

There is no graceful way to ask another married couple whether they would like to have sex with you. There are only varying degrees of disaster. That is the combustible premise behind “The Invite,” a sharp, funny, and increasingly bruising relationship comedy directed by Olivia Wilde. Wilde and Seth Rogen play Angela and Joe, a married couple who have become more like irritated roommates than romantic partners. Then their upstairs neighbors, Hawk and Piña, played by Edward Norton and Penélope Cruz, come downstairs for dinner and float a proposition that turns one awkward evening into an excavation of everybody’s marriage.

READ MORE: ‘The Death Of Robin Hood’: Director Michael Sarnoski Finds The Brutal Roots Of A Legend, Talks Hugh Jackman, ‘Logan’ Comparisons & His ‘Death Stranding’ Film [The Discourse Podcast]

On this episode of The Discourse, host Mike DeAngelo is joined by screenwriters Rashida Jones and Will McCormack to talk about adapting the film, rewriting it with its formidable cast, and finding the hurt underneath a premise that could have easily become a much broader sex comedy.

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.