Replicube A game by Walaber Entertainment LLCDev snapshot: Godot 4.5 dev 5By: Thaddeus Crews2 June 2025Pre-releaseBrrr… Do you feel that? That’s the cold front of the feature freeze just around the corner. It’s not upon us just yet, but this is likely to be our final development snapshot of the 4.5 release cycle. As we enter the home stretch of new features, bugs are naturally going to follow suit, meaning bug reports and feedback will be especially important for a smooth beta timeframe.Jump to the Downloads section, and give it a spin right now, or continue reading to learn more about improvements in this release. You can also try the Web editor or the Android editor for this release. If you are interested in the latter, please request to join our testing group to get access to pre-release builds.The cover illustration is from Replicube, a programming puzzle game where you write code to recreate voxelized objects. It is developed by Walaber Entertainment LLC (Bluesky, Twitter). You can get the game on Steam.HighlightsIn case you missed them, see the 4.5 dev 1, 4.5 dev 2, 4.5 dev 3, and 4.5 dev 4 release notes for an overview of some key features which were already in those snapshots, and are therefore still available for testing in dev 5.Native visionOS supportNormally, our featured highlights in these development blogs come from long-time contributors. This makes sense of course, as it’s generally those users that have the familiarity necessary for major changes or additions that are commonly used for these highlights. That’s why it might surprise you to hear that visionOS support comes to us from Ricardo Sanchez-Saez, whose pull request GH-105628 is his very first contribution to the engine! It might not surprise you to hear that Ricardo is part of the visionOS engineering team at Apple, which certainly helps get his foot in the door, but that still makes visionOS the first officially-supported platform integration in about a decade.For those unfamiliar, visionOS is Apple’s XR environment. We’re no strangers to XR as a concept (see our recent XR blogpost highlighting the latest Godot XR Game Jam), but XR platforms are as distinct from one another as traditional platforms. visionOS users have expressed a strong interest in integrating with our ever-growing XR community, and now we can make that happen. See you all in the next XR Game Jam!GDScript: Abstract classesWhile the Godot Engine utilizes abstract classes—a class that cannot be directly instantiated—frequently, this was only ever supported internally. Thanks to the efforts of Aaron Franke, this paradigm is now available to GDScript users (GH-67777). Now if a user wants to introduce their own abstract class, they merely need to declare it via the new abstract keyword:abstract class_name MyAbstract extends Node The purpose of an abstract class is to create a baseline for other classes to derive from:class_name ExtendsMyAbstract extends MyAbstract Shader bakerFrom the technical gurus behind implementing ubershaders, Darío Samo and Pedro J. Estébanez bring us another miracle of rendering via GH-102552: shader baker exporting. This is an optional feature that can be enabled at export time to speed up shader compilation massively. This feature works with ubershaders automatically without any work from the user. Using shader baking is strongly recommended when targeting Apple devices or D3D12 since it makes the biggest difference there (over 20× decrease in load times in the TPS demo)!Before:After:However, it comes with tradeoffs:Export time will be much longer.Build size will be much larger since the baked shaders can take up a lot of space.We have removed several MoltenVK bug workarounds from the Forward+ shader, therefore we no longer guarantee support for the Forward+ renderer on Intel Macs. If you are targeting Intel Macs, you should use the Mobile or Compatibility renderers.Baking for Vulkan can be done from any device, but baking for D3D12 needs to be done from a Windows device and baking for Apple .metallib requires a Metal compiler (macOS with Xcode / Command Line Tools installed).Web: WebAssembly SIMD supportAs you might recall, Godot 4.0 initially released under the assumption that multi-threaded web support would become the standard, and only supported that format for web builds. This assumption unfortunately proved to be wishful thinking, and was reverted in 4.3 by allowing for single-threaded builds once more. However, this doesn’t mean that these single-threaded environments are inherently incapable of parallel processing; it just requires alternative implementations. One such implementation, SIMD, is a perfect candidate thanks to its support across all major browsers. To that end, web-wiz Adam Scott has taken to integrating this implementation for our web builds by default (GH-106319).Inline color pickersWhile it’s always been possible to see what kind of variable is assigned to an exported color in the inspector, some users have expressed a keen interest in allowing for this functionality within the script editor itself. This is because it would mean seeing what kind of color is represented by a variable without it needing to be exposed, as well as making it more intuitive at a glance as to what color a name or code corresponds to. Koliur Rahman has blessed us with this quality-of-life goodness, which adds an inline color picker GH-105724. Now no matter where the color is declared, users will be able to immediately and intuitively know what is actually represented in a non-intrusive manner.Rendering goodiesThe renderer got a fair amount of love this snapshot; not from any one PR, but rather a multitude of community members bringing some long-awaited features to light. Raymond DiDonato helped SMAA 1x make its transition from addon to fully-fledged engine feature (GH-102330). Capry brings bent normal maps to further enhance specular occlusion and indirect lighting (GH-89988). Our very own Clay John converted our Compatibility backend to use a fragment shader copy instead of a blit copy, working around common sample rate issues on mobile devices (GH-106267). More technical information on these rendering changes can be found in their associated PRs.SMAA comparison:OffOnBent normal map comparison:BeforeAfterAnd more!There are too many exciting changes to list them all here, but here’s a curated selection:Animation: Add alphabetical sorting to Animation Player (GH-103584).Animation: Add animation filtering to animation editor (GH-103130).Audio: Implement seek operation for Theora video files, improve multi-channel audio resampling (GH-102360).Core: Add --scene command line argument (GH-105302).Core: Overhaul resource duplication (GH-100673).Core: Use Grisu2 algorithm in String::num_scientific to fix serializing (GH-98750).Editor: Add “Quick Load” button to EditorResourcePicker (GH-104490).Editor: Add PROPERTY_HINT_INPUT_NAME for use with @export_custom to allow using input actions (GH-96611).Editor: Add named EditorScripts to the command palette (GH-99318).GUI: Add file sort to FileDialog (GH-105723).I18n: Add translation preview in editor (GH-96921).Import: Add Channel Remap settings to ResourceImporterTexture (GH-99676).Physics: Improve performance with non-monitoring areas when using Jolt Physics (GH-106490).Porting: Android: Add export option for custom theme attributes (GH-106724).Porting: Android: Add support for 16 KB page sizes, update to NDK r28b (GH-106358).Porting: Android: Remove the gradle_build/compress_native_libraries export option (GH-106359).Porting: Web: Use actual PThread pool size for get_default_thread_pool_size() (GH-104458).Porting: Windows/macOS/Linux: Use SSE 4.2 as a baseline when compiling Godot (GH-59595).Rendering: Add new StandardMaterial properties to allow users to control FPS-style objects (hands, weapons, tools close to the camera) (GH-93142).Rendering: FTI - Optimize SceneTree traversal (GH-106244).Changelog109 contributors submitted 252 fixes for this release. See our interactive changelog for the complete list of changes since the previous 4.5-dev4 snapshot.This release is built from commit 64b09905c.DownloadsGodot is downloading...Godot exists thanks to donations from people like you. Help us continue our work:Make a DonationStandard build includes support for GDScript and GDExtension..NET build (marked as mono) includes support for C#, as well as GDScript and GDExtension.While engine maintainers try their best to ensure that each preview snapshot and release candidate is stable, this is by definition a pre-release piece of software. Be sure to make frequent backups, or use a version control system such as Git, to preserve your projects in case of corruption or data loss.Known issuesWindows executables (both the editor and export templates) have been signed with an expired certificate. You may see warnings from Windows Defender’s SmartScreen when running this version, or outright be prevented from running the executables with a double-click (GH-106373). Running Godot from the command line can circumvent this. We will soon have a renewed certificate which will be used for future builds.With every release, we accept that there are going to be various issues, which have already been reported but haven’t been fixed yet. See the GitHub issue tracker for a complete list of known bugs.Bug reportsAs a tester, we encourage you to open bug reports if you experience issues with this release. Please check the existing issues on GitHub first, using the search function with relevant keywords, to ensure that the bug you experience is not already known.In particular, any change that would cause a regression in your projects is very important to report (e.g. if something that worked fine in previous 4.x releases, but no longer works in this snapshot).SupportGodot is a non-profit, open source game engine developed by hundreds of contributors on their free time, as well as a handful of part and full-time developers hired thanks to generous donations from the Godot community. A big thank you to everyone who has contributed their time or their financial support to the project!If you’d like to support the project financially and help us secure our future hires, you can do so using the Godot Development Fund.Donate now

AlienScreenRant, Ridley Scott explained how he’s done with the franchise, and reveals his true feelings about the franchise, beyond the films that he directed.Suggested ReadingBlasphemous 2 Developer Interview Share SubtitlesOffEnglishview videoSuggested ReadingBlasphemous 2 Developer Interview Share SubtitlesOffEnglishScott laid the groundwork for what the Alien franchise became. The first film establishes its setting, the Nostromo spaceship, as a claustrophobic labyrinth that induces more terror than the Xenomorph hunting and killing its crew members, and the moment a tiny alien bursts through the chest of Kane (John Hurt) is burned into the memory of anyone who saw it. While Scott returned to direct the 2012 prequel film Prometheus and 2017's Alien Covenant, he knows his time with the Alien franchise is likely done. “Where it’s going now, I think I’ve done enough, and I just hope it goes further.”His time with the franchise may be done, but he’s still probably the most trusted authority on what does and doesn’t work in Alien films. To him, the series “deadened after 4,” referring to 1997's Alien: Resurrection film. Part of the reason he thought there was nowhere else the franchise could go after the Jean-Pierre Jeunet-directed film is because he just didn’t think the movies after his and James Cameron’s films were that good.“I think mine was pretty damn good, and I think Jim’s was good, and I have to say the rest were not very good. And I thought, ‘Fuck, that’s the end of a franchise which should be as important as bloody Star Trek or Star Wars,’ which I think is phenomenal.” He did have very nice things to say about Noah Hawley’s Alien: Earth TV series coming to FX starting August 12. As an executive producer on the show, Scott told The Hollywood Reporter that he appreciated how Hawley definitely respected the original Alien.” As he made clear, there’s much of the Alien franchise Scott doesn’t like, so him praising the upcoming series bodes well for the saga’s upcoming earthbound chapter.

Build EngineerSharkmobMalmö Sweden 211 22 SE5 minutes agoApplyWe are looking for a Build Engineer to make sure we can deliver a world-class game on a world-class build and release pipeline.Working as part of our Engineering team, a multidisciplinary group spanning all things technology, you will play a pivotal role in enabling our teams to quickly iterate on features and content – a cornerstone in shaping a world class gaming experience. You will be supported by passionate technologists who thrive on engineering excellence and pushing the boundaries of what is possible with new technologies and innovative solutions. Together, you will make it quicker and easier to make our game better, and in the end, you’ll contribute to a better experience for gamers across the world.ResponsibilitiesWorking closely with project lead engineers to design and maintain appropriate pipelines for build (CI/CD), release and automated testing.Ensuring that the build, packaging and publishing process is as frictionless and stable as possible for all our teams.Developing your engineering skills.Selecting the appropriate tools for the job, whether that’s creating custom tooling and solutions, extending existing Unreal Engine 5 functionality, or using an off-the-shelf utility.Collaborating effectively within a AAA game development team – being service-minded, organized, and a great team player.RequirementsProven track record as a Build/Release Engineer or similar and strong understanding of Continuous Integration.Several years of programming experience (preferably C# or Python).Strong knowledge of a source control system (e.g., Perforce, Git).Several years of experience with CI/CD frameworks such as Jenkins.Passionate about improving build pipelines and reducing developer friction.An effective communicator who loves to work both independently and in collaboration with others.Bonus pointsGames industry experience.Experience using Unreal Engine.Interest in or experience with solutions for monitoring, like Datadog.Experience with configuration management systems such as Ansible.Who we areSharkmob was founded in 2017 and is headquartered in Malmö, Sweden. We are currently working on Exoborne – a Sharkmob original game. We have previously released Bloodhunt – a battle royale shooter set in the Vampire: The Masquerade universe. We develop games for PC and console, using Unreal 5 to power our vision and ambition.At Sharkmob, we are committed to building an inclusive team that represents diverse backgrounds, perspectives, and skillsets – because we believe that helps us create great games. We welcome all candidates who are aligned with our core values of shared ownership, great games, and, last but not least – having fun! We hope you want to join us on our adventure and become a part of our crew. You can find more great perks of being a crew member. If you want to know more about Sharkmob and our projects, visit our homepage.Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

It's been a long wait, but Outfit7 has revealed My Talking Tom Friends 2, a new mobile game that will bring the Talking Tom & Friends crew back.

The post إشاعة| يوبي سوفت تقرر تطوير جزء جديد من لعبة The Crew appeared first on عرب هاردوير.

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We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.Overcompensating (2025 – ) Comedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come (relatable, except for the jock part). Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarco (The White Lotus) and Rish Shah (Ms. Marvel) You can stream Overcompensating here. Étoile (2025 –, renewed for season two) Amy Sherman-Palladino and David Palladino (Gilmore Girls, The Marvelous Mrs. Maisel) are back on TV and back in the dance world (following Bunheads) with this series about two world-renowned ballet companies (one in NYC and one in Paris) that decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan (Luke Kirby), director of the Metropolitan Ballet, and Geneviève Lavigne (Charlotte Gainsbourg), director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaire (Simon Callow) to pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.Fallout (2024 – , renewed for second and third seasons) A shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre (in the world of Fallout, the aesthetic of the 1950s hung on for a lot longer than it did in ours). The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLean (Ella Purnell) emerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.Deadloch (2023 –, renewed for a second season) Both an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its many (many) imitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.Reacher (2022 – , fourth season coming) Getting high marks for his portrayal of the Lee Childs’ character (from both book and TV fans) is Alan Ritchson (Titans), playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley (Maria Stan), who's getting her own spin-off. You can stream Reacher here. The Bondsman (2025, one season) It's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The Expanse (2015 – 2022, six seasons) A pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. Smith (2024 – , renewed for a second season) One-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinating (and sometimes competing against one another) on missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good Omens (2019– , conclusion coming) Michael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. Maisel (2017 – 2023, five seasons) Mrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladino (Gilmore Girls) about the title’s Midge Maisel (Rachel Brosnahan), a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The Boys (2019 – , fifth and final season coming) There’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less (collateral damage, ya know), Wee Hughie (Jack Quaid) is recruited by the title agency. Led by Billy Butcher (Karl Urban), the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off (Gen V). An animated miniseries (Diabolical) came out in 2022. The Man in the High Castle (2015–2019, four seasons) From a novel by Philip K. Dick (whose work has been the basis for Blade Runner, Total Recall, Minority Report, A Scanner Darkly, among many others), The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of Time (2021 – 2025, three seasons) An effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred (Rosamund Pike), a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s Hour (2022 – , renewed for a third season) Jessica Raine (Call the Midwife) joins Peter Capaldi (The Thick of It, Doctor Who) for a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped Crusader (2024 – , second season coming) I know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s (no surprise, given that Bruce Timm developed this one too). With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret Level (2024 – , renewed for a second season) This is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of various (15 so far) video games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. Cross (2024 – , renewed for a second season) James Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge (Leverage, One Night in Miami...), and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. Fleabag (2016–2019, two seasons) Fleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title character (only ever known as Fleabag) in the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series (all in the same year), and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here.

We may earn a commission from links on this page.While most people think of smart cameras as just a part of their security system, they’re also a good way to monitor the things growing in your yard. In most cases, the cameras you already have set up for security can be doing double duty as a tool to keep track of what's happening in your garden.I believe we’re on the cusp of smart cameras becoming a much bigger part of the gardening experience. For the last few years, smart bird houses have exploded in popularity. One of those companies, Bird Buddy, has launched an entirely new line of cameras specifically for micro-viewing experiences in the garden. Their Petal cameras, expected to be available next year, should be positioned closer to the ground than most security cameras, and are meant to capture bees, insects, and butterflies, as well as the growth of your plants. Using AI (as a subscription service), the camera will allow you to assign names to your plants and even communicate with them. Still, there is a lot you can do with security cameras already on the market. Remote monitoring Credit: Amanda Blum In an ideal world, you could pack up for vacation and your yard would take care of itself—but a smart camera can allow you to remotely keep an eye on what’s happening and monitor for any damage. What’s impressive to me is how well my solar-powered cameras maintain their connection, even during low temperatures and freezing rain.  I've been impressed at how much detail I can get from small plants through my cameras. Credit: Amanda Blum Cameras allow you to keep an active watch on your yard. Not only will your security camera let you know if your trusted waterer drops by while you're gone as promised, but you can actually see how your plants are doing and if additional help is needed.  I’m always impressed at how good the zoom is on the cameras I use around my yard; I can actually tell if a tomato is ripe or if broccoli is ready to be picked. Last year, when I couldn’t get outside because of a sprained ankle and had someone helping in the garden, being able to see what they were doing and communicate with them via my security camera was invaluable. It’s much more effective than trying to describe what you need or want. Catch pestsGarden pests are frustrating for a wealth of reasons. To start with, you often don’t know what kind of pest you’re dealing with, and it’s nearly impossible to catch them in the act. Smart cameras are perfect for this, because they give you fly-on-the-wall ability to passively watch. Motion detection does most of the work for you. My security camera let me know I had raccoons in my yard last winter. They weren’t doing any damage (yet), but it helped influence how I design my garden and chicken coops. The cameras identified the cat that had chosen my garden to use as a litter box, checking in each night around 1 a.m. I’ve been chasing down a rat for the last two weeks, and the cameras do a spectacular job of catching his activity, which tells me where to add traps and what I may be doing that is enabling him. Other uses for smart cameras in your yard Credit: Amanda Blum The most invaluable service I’ve gotten from my cameras are how I use them to monitor backyard pets. I could not figure out how my newly adopted doberman was escaping from the yard, so I installed security cameras, and discovered she was climbing a five-foot tall chain link fence. I’ve got three cameras installed in my chicken coop, and they tell me when there are eggs to be grabbed, if a chicken is becoming broody, if everyone got into the coop at night, and if that pesky rat has cracked into the chicken food. When I first got my chickens, I couldn’t figure out which bird was laying which color egg, but the cameras helped. And now that I have a beehive, being able to see the activity going in and out of the hive is a helpful to monitor the health of the hive, and if a rodent of any kind tries to get in, I’ll know immediately. How to choose a camera for your yardI’ve tried smart cameras from almost every major brand, and I’ve figured out some things. First, in almost all cases, I want a PTZ (point, tilt, zoom) camera. These allow you to use your phone as a remote control and move the camera around, often almost 360 degrees, to zoom in on what you want. This is far superior to a fixed range camera. It’s simply annoying to have something going on just outside of the range of your camera and not be able to do anything to adjust it remotely. Additionally, I look for an app that makes it easy to watch clips. While I think Reolink cameras are affordable and functional, their app forces you to watch a horizontal clip on a vertical screen, so details are incredibly small. The Ring app has a lot of bloat, bringing neighborhood alert notifications to your phone. I enjoy the Aqara, Switchbot, and Eufy apps for getting to the video quickly and easily. Lastly, as you add cameras to your collection, being able to remain free from subscription costs is a real bonus. For that reason, I have largely switched over to Eufy cameras, which—if connected to a Home Base—don’t need a subscription. What I use in my yard: I replaced all my floodlights with this camera for overhead views Eufy Wired Floodlight Cam $199.99 at Amazon $219.99 Save $20.00 Shop Now Shop Now $199.99 at Amazon $219.99 Save $20.00 I place these wireless cams anyplace I want a 360 view of what's happening in my yard. Eufy Solar Powered Wireless Camera $259.99 at Amazon $349.99 Save $90.00 Shop Now Shop Now $259.99 at Amazon $349.99 Save $90.00 I have this epoxied into three spots in my chicken coop. Eufy Indoor PTZ Camera $34.88 at Amazon Shop Now Shop Now $34.88 at Amazon Just added this to monitor my beehive. Eufycam S3 Pro $439.99 at Amazon $549.99 Save $110.00 Get Deal Get Deal $439.99 at Amazon $549.99 Save $110.00 All my cameras sync to the homebase so I don't need a subscription. Eufy HomeBase $149.99 at Amazon Get Deal Get Deal $149.99 at Amazon SEE 2 MORE Where to place your camera Credit: Amanda Blum All security cameras are either hardwired or wireless. You might already have exterior floodlights on your home, and wired security cameras can use those connections, replacing the lights (many units come with floodlights). In this case, your connection is likely high up, and can’t be moved easily. So long as it’s high up, you likely have a good field of vision of your yard, but make sure to consider plants that grow in the summer, and if they’ll block your view. If you don’t have these connections available and don’t want to pay an electrician to create them, you need wireless cameras. But I actually prefer my wireless cameras. First, the solar power on most of them is astounding. I live in the Pacific Northwest, a place with seven months of gloom, and my cameras always stay powered. Second, being wireless means you can move your camera around to find the perfect spot. Usually all you need is to screw the base into the spot you want the camera. Don’t be afraid to try different spots, when I was chasing down how my dog escaped, I had to keep moving the camera. I attached the camera to a 2x4, and moved the wood around the yard, leaning it against whatever was near until I found the right range of vision. 

Unlike the other big streamers, Tubi only has a handful of original shows, most of them imports (their original movie selection is much larger). That's not to say it's a wasteland for TV addicts: The streamer might actually have too many shows, a vast and sometimes wild catalog that spans decades. As the likes of Netflix and HBO Max have slimmed down their catalogues, Tubi is growing, offering a mix of established hits, underrated gems, and more obscure offerings. For the sheer breadth of material on offer, it has become the first place I look for anything outside the current zeitgeist—like the following 18 shows, an entirely non-comprehensive sampling of what Tubi has to offer, crossing genres and decades.Gossip Girl (2007 – 2012) Occasionally referred to as the greatest teen drama of all time (certainly this side of 90210), Gossip Girl was a buzzy ratings champ for the CW back in the day, with its juicy, often scandalous storylines that veered so often into intentional satire that it was hard to ever get mad at the ridiculousness of any of it. Set among a group of well-heeled students on Manhattan's Upper East Side, its characters find their private lives being chronicled by the title’s mysterious master of gossip—so think of it as a proto-Bridgerton. You can stream Gossip Girl here.Babylon 5 (1993 – 1998, five seasons) J. Michael Straczynski’s wildly ambitious sci-fi epic was way ahead of its time, with a planned (more or less) five season story arc set on the titular space station. Babylon 5 is a remote outpost that becomes the last best hope for peace in the face of conflicting human and alien agendas—even more so after an ancient threat is awakened. With increasingly complex storylines that expanded over its run, this was a stab at prestige TV before that was a thing, and it still holds up (dated CGI effects notwithstanding. You can stream Babylon 5 here.Empire (2015 – 2020) Hip hop mogul and Empire Entertainment CEO Lucious Lyon (Terrence Howard) is dying, having been diagnosed with ALS at a young age. He wasn't planning to have to hand off his company so early, but nevertheless finds himself preparing his three very different sons (Trai Byers, Jussie Smollett, and Bryshere Y. Gray) to take the keys to the kingdom—by pitting them against one other. Into this already Shakespearean setup steps Lucious' ex-wife Cookie (Taraji P. Henson), just released from prison and harboring her own plans for Lucious's empire. You can stream Empire here. Mr. Robot (2015 – 2019) Social anxiety disorder, clinical depression, and dissociative identity disorder make up the potent blend of neurodivergences challenging Elliot Alderson (Rami Malek), a genius senior cybersecurity engineer at Allsafe Cybersecurity. In season one, he's recruited by an anarchist who goes by the moniker Mr. Robot (Christian Slater) to encrypt all the financial data of a global mega-conglomerate, thereby erasing massive amounts of debt (hey, real-life hackers, maybe take some notes?). The show starts strong and gets better across its increasingly labyrinthian four seasons—utterly preposterous while also feeling realistic in its technical detail. You can stream Mr. Robot here. Boarders (2024 - , two seasons) This British import feels a bit like a latter-day Skins, with a talented cast of young stars-in-waiting (including leads Josh Tedeku and Jodie Campbell) and a scholastic setting. At the (fictional) prestigious boarding school St. Gilbert’s, five Black teens are newly attending, having earned scholarships, but their integration into the existing cliques is less than smooth. The blend of coming-of-age drama with a willingness to take the piss when it comes to the whole rich private school thing makes this Tubi original a good time. You can stream Boarders here.Big Mood (2024 – , renewed for a second season) Another UK import and Tubi original (at least stateside), Big Mood stars Nicola Coughlan (Bridgerton) and Lydia West (It's a Sin) as a couple of besties in East London, living their best millennial thirtysomething lives. Well, kind of: Maggie's dealing with bipolar disorder, and unclear on whether she wants to continue with her medication as she sets out to write a play, while Lydia is doing her very best running a tanking dive bar inherited from her father. It's both a cute dramedy and an impressively frank exploration of the challenges of living with mental illness. You can stream Big Mood here. Vicious (2013 – 2016, two seasons) The old-school sitcom formula has never been executed quite this bitchily, with the inspired pairing of Ian McKellen and Derek Jacobi as Freddie Thornhill and Stuart Bixby, a couple of nearly 50 years who’ve developed a love-hate relationship. This cast, which includes Frances de la Tour and Game of Thrones’ Ian Rheon, is unbeatable, and the one-liners are hilariously nasty. You can stream Vicious here.The Haves and the Have Nots (2013 – 2021, eight seasons) Tyler Perry's old-school primetime soap was the show that practically built OWN; it was the then-new network's first scripted show, and an immediate breakout. It follows three families: The wealthy Harringtons and the Cryers are wealthy movers in Atlanta, Georgia, while the Young family is overseen by single mom Hanna, who's both a maid for the Cryers and confidante to the family matriarch. There's juicy tension galore between the three families, in no small part because of class differences, but also because they're all equally screwed. You can stream The Haves and the Have Nots here. Spartacus (2010 – 2013) Doing Ridley Scott’s Gladiator one better in terms of both narrative complexity and in hot shirtless gay arena action, Spartacus starts off as pure spectacle and grows into a juicy, high-gloss soap opera by series' end. Buoyed by performances from leads Andy Whitfield (who tragically passed away during the series' original run), Manu Bennett, John Hannah, and Lucy Lawless, it’s sword-and-sandals done right. A follow-up series is in development over at Starz, so it's a good time to catch up. You can stream Spartacus here. Broadchurch (2013 – 2017) Creator Chris Chibnall's dark crime drama didn't invent its particular sub-genre (whatever you call the one where two troubled homicide detectives butt heads in a gloomy town), but it did popularize it to the point that we've been inundated with countless imitators of wide-ranging quality. With the great pairing of Olivia Colman and David Tennant (joined by yet another Doctor Who Doctor, Jodie Whittaker), Broadchurch still stands alongside the best of its kind. You can stream Broadchurch here.Doctor Who (1963 – 1989, 26 seasons) Speaking of Doctor Who, even if you're current with the modern incarnation (if I can use "modern" for a show that started airing in 2005), you've got a lot of timey-wimey adventures to enjoy. Tubi has the entirity of the surviving 26-season original run, going all the way back to 1963 and the story of a mysterious old man living in a junkyard with his granddaughter. Seven doctors is enough to keep anyone busy for a while. Tubi has the show broken out by Doctor, but, if you want to start from the beginning you can stream The First Doctor here. Haven (2010 – 2015) Tubi is a haven for small gems like this, a five-season Stephen King adaptation originally produced by SyFy. Emily Rose stars as Audrey Parker, and FBI Special Agent sent to the small town of Haven, Maine on a routine case who gets drawn into “The Troubles," a series of harmful supernatural events that have recurred throughout the town’s history. A supernatural-case-of-the-week format gives way to a bigger mystery when Audrey comes to learn that this isn’t her first time in Haven, nor the first time she’s encountered the Troubles. You can stream Haven here.Scandal (2012 – 2018, seven seasons) Shonda Rhimes was already a powerhouse producer and screenwriter with several successful seasons of Grey's Anatomy under her belt when Scandal debuted, but its blend of political thrills and sexy, soapy drama is what solidified her brand, and her spot atop of the modern TV landscape. Kerry Washington stars as Olivia Pope, head of the DC-based crisis management firm Olivia Pope & Associates (OPA), who is the person to call when you've got a PR disaster to fix. If you want to get a sense of the stakes involved, consider that Tony Goldwyn costars as Fitzgerald Grant III, president of the United States, and also Olivia's lover. You can stream Scandal here. Buffy the Vampire Slayer (1997 – 2003) With word that Sarah Michelle Gellar (and company?) are returning to the wreckage of Sunnydale for a Hulu reboot, it’s probably not a bad time to visit (or revisit, or re-revisit) this seven-season teen vampire hunter saga. While the pacing might feel a little slow, and the effects a little janky, its blend of high school (and then college) angst, kick-ass monster fights, and genuinely laugh-out-loud comedy holds up. You can stream Buffy here.Heartland (2007 – , 18 seasons) If there’s a stereotype that middle-American viewers won’t watch foreign fare, this show puts the lie to it—at least when it comes to imports from Alberta (tariff-free!). Based on a popular book series from Linda Chapman and Beth Chambers (writing under the name Lauren Brooke), the show follows the lives of a family of horse ranchers in western Canada, led by sisters Amy and Lou (Amber Marshall and Michelle Morgan). Tubi currently has only the first 15 seasons of the drama, which has recently been renewed for a 19th. That’s Law & Order-level longevity, people. You can stream Heartland here.Highlander (1992 – 1998, six seasons) An classic of '90s-era syndicated action/adventure, Highlander stars Adrian Paul as the title hero, taking over from Christopher Lambert in the film series. Duncan MacLeod is an immortal warrior living in the modern(-ish) day, hunted by others of his own kind, whose goal is singular: to chop off Duncan's head in order to steal his power. Episodes typically involve some sort of flashback to an earlier era in Duncan's life where we first encounter the threat he'll face in the modern day. There's at least one good sword fight in every episode, and I can't imagine what more you'd want out of a series. Bonus: It carries over the films' kick-ass Queen theme song. You can stream Highlander here. Z Nation (2014 - 2019) The Walking Dead made prestige television out of the zombie apocalypse, but this SyFy channel original is all about zombies as a campy, gory good time.  Things kick off with a soldier who’s been tasked with transporting a package across country. The package in question is actually a human being, the survivor of a zombie bite who might be able to help create a vaccine (take note, The Last of Us fans). This one comes from the schlock-masters at The Asylum, purveyors of infamous B-movies like Sharknado, which should tell you all you need to know about the tone. You can stream Z Nation here.Columbo (1968 – 2003, 16 seasons) Peter Falk's sublimely rumpled detective practically invented the style that Peacock's Poker Face has recently revived: a crime (usually a murder) is committed, the viewers know whodunnit, and Columbo has to solve it. Early on in any given episode, we get to watch the crime being committed, though we don't always know the motive. The challenge isn't to figure out the culprit, but to discover exactly how TV's greatest detective is going to solve the case. You can stream Columbo here.