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There is a point while trying to explain “The Beauty” where the description simply gives up. FBI investigations. Global travel. Corporate greed. A miracle cure. Bodies everywhere, beautiful and horrific. Somewhere in the middle of all that, the sentences collapse, because the show isn’t interested in being neat or easily digestible. It wants overload. It wants provocation. It wants you pausing mid-thought and realizing you’re not doing it justice.
Adapted from the graphic novel and brought to the screen by Ryan Murphy, “The Beauty” imagines a world where physical perfection is contagious. Beauty is a man-made virus, a commodity, and a power source capable of reshaping global economics and personal identity at the same time. The story jumps between Paris, Venice, Rome, New York, and beyond, moving like an espionage thriller while constantly undercutting itself with body horror and satire. The show stars Evan Peters, Rebecca Hall, Ashton Kutcher, Anthony Ramos, Jeremy Pope, and more.
READ MORE: ‘His & Hers’: Tessa Thompson On Dual Perspectives, THAT Ending, Valkyrie’s MCU Return, & ‘Creed 4’ [Bingeworthy Podcast]
On this episode of Bingeworthy, Peters and Hall talk about what it was like stepping into one of Murphy’s boldest creations yet, and why neither of them needed convincing.

Some shows live comfortably in one gear. “Landman” decidedly does not. Season 2 is best when it’s bouncing between tones, when a moment that plays like broad comedy suddenly curdles into something personal and more uncomfortable. One scene has you laughing at unchecked confidence. The next reminds you that this confidence has consequences, usually paid by family.
Set in the oil fields of West Texas, the Taylor Sheridan-created series is still very much about power, money, and leverage, but Season 2 makes it harder to separate those things from the personal damage they cause. Ego doesn’t clock out at the end of the workday. It comes home, pulls up a chair, and waits for dinner. With the Season 2 finale now aired on Paramount+, the show is officially BINGEWORTHY!
READ MORE: ‘Landman’ Review: Taylor Sheridan’s Oil Series With Billy Bob Thornton Is Mostly Entertaining & Speaks To A MAGA Worldview

Sweaty palms, bad decisions, and the creeping realization that the walls are closing in have always been Joe Carnahan’s cinematic comfort zone, from the raw nerve of “Narc” to the adrenalized chaos of “Smokin’ Aces.” With “The Rip,” Carnahan distills that obsession into its most claustrophobic form yet, a lean, pressure-cooker cop thriller that weaponizes procedure, grief, and mistrust by refusing to let anyone leave the room.
Premiering January 16 on Netflix, the film follows a team of law enforcement officers tasked with counting a massive cash seizure inside a private home, only to realize the money has placed them squarely in someone else’s crosshairs, turning routine protocol into a moral and physical siege where loyalty fractures and survival comes at a cost. The film stars Matt Damon, Ben Affleck, Steven Yeun, Teyana Taylor, Kyle Chandler, Scott Adkins, and more.
On this episode of The Discourse, host Mike DeAngelo is joined by writer-director Joe Carnahan to discuss how “The Rip” grew out of deeply personal real-life experience, why confinement can be more terrifying than scale, collaborating with Damon and Affleck as producers, and why character-driven crime stories continue to pull him back more than any franchise machinery.

There’s a certain kind of midnight movie that feels like it crawled out of an alley, brushed itself off, and dared you to follow it home. “Night Patrol,” the new wild horror stew from writer-director Ryan Prows, is exactly that. A vampire flick with cop-movie nerves, magic, and a nasty little conscience, it’s the kind of film that can play as pulpy, borderline campy fun and still leave you chewing on bigger questions about power, ideology, and what “monsters” really look like when the credits roll.
On this episode of The Discourse, host Mike DeAngelo is joined by Justin Long and CM Punk (Phil Brooks) to talk about the film, their characters, and the strange, rewarding contradictions baked into Prows’ nightmarish world.
For Justin Long, the role arrived at a time when his career seemed to be moving with wild, genre-hopping momentum, but he’s not exactly sitting at home drawing a master plan on a whiteboard.

There’s a specific perverse pleasure in watching a murder mystery show that knows exactly when to let you feel confident and exactly when to pull that confidence out from under you. Netflix's “His & Hers” does that trick over and over again. You think you’ve got a handle on it. You start building your little internal conspiracy corkboard. Then it quietly slides one detail out of place, and suddenly the whole picture looks different.
The series follows Anna (Tessa Thompson), a once‑prominent journalist who returns to her hometown just as a murder investigation begins to unravel long‑buried secrets. Told through competing points of view between Anna and her estranged husband, Jack Harper (Jon Bernthal), the show builds its tension around who controls the narrative, and what happens when truth becomes a weapon rather than a destination. The ensemble cast also includes Jon Bernthal, Pablo Schreiber, Marin Ireland, Sunita Mani, and more.