Photo: Kotaku, Screenshot: Build A Rocket Boy / ExtraEmily / Kotaku, Nintendo / Kotaku, Image: Marvel / AMC / Kotaku, Nintendo / Kotaku, Wizards of the Coast / Joshua Raphael, 1047 Games / Kotaku, KotakuIt’s a little funny to consider the following stories “news” given the state of the world right now. I’m tempted to explain what I mean by that, but I’m just as happy to let that sentence be an inkblot test, revealing just what type of person you are based on the first thing that pops into your mind. (If the thought of that angers you, then I guess you have your answer.)Nevertheless, read on for very important information about expensive popcorn buckets, Switch 2 settings (and astronomical sales), a disastrous launch week for MindsEye, an editorial revolt at Wikipedia over AI (okay, that one actually is kind of important), and more.

With its comfortable, laid-back decorating vibes, no room says “come and sit awhile” or “aah, I’m home” quite like a beautifully inviting rustic and cozy living room. Whether you live in a farmhouse, cabin, cottage, a new-build in the suburbs, or even a city apartment—rustic living room ideas bring a certain homespun style that ranges from downright traditional to modern and chic.Here at Country Living, we’ve discovered that the very best classic and country rustic living room ideas begin with good ol’ tried-and-true character-rich decor. We're talking reclaimed wood, stone focal points (there are so many rustic style living room ideas with cozy fireplaces!), and a casual mix of natural textures and materials (think wood and woven furniture, perfectly worn leather sofas, vintage wool rugs laid atop natural sisal). More modern rustic living room ideas include a less-is-more approach with calming neutral color palettes and clean-lined furniture. Paint colors, fabrics, and accessories in grays, browns, and greens pulled from nature make for the just-right warmth—all simple rustic living room ideas at their finest. So relax and sink into our best country rustic living room ideas from some of our all-time favorite Country Living house tours!Here are more creative ways to make your home feel rustic and cozy:1Fill the Room With CharacterSean LitchfieldFrom floor to ceiling and wall to wall, this rustic living room packs in loads of character. Comfy leather and upholstered furniture, a vintage patterned rug, and a blue and yellow painted cupboard found on Facebook marketplace sit well together against a backdrop of rustic wood.2Source Local MaterialsLincoln BarbourIn this beautifully rustic Mississippi barn. the owners sourced local wood materials from a nearby military depot to clad the walls and ceiling, bringing maximum warmth and texture. Large windows let in loads of natural light during the day, while a chandelier and mounted sconces make for a romantic glow come nighttime.RELATED: These Wood Ceiling Ideas Bring Country Charm to Any RoomTOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below3Pick a Cozy Paint ColorAlpha Smoot for Country LivingThis cozy living room has a built-in warmth, thanks to saturated navy blue walls (“It’s sort of a gentleman’s navy,” says homeowner Justin Reis). Its handsomely worn floorboards, doors, mantel, and warming cabinet above the fireplace complement the dark blue beautifully. The fire and candlelight emit a magical glow.Get the Look:Wall Paint Color: Dark Navy by BehrTOUR THE ENTIRE HOUSE4Lay a Comfy RugSara Ligorria-TrampWhat's cozier than a roaring fire on a cool night? A soft, fuzzy rug in front of it! The fireplace features mantel made from a tree felled on-site and white Zellige tile. The artwork is a vintage find paired with a contemporary painting.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below5Embrace Log Cabin DetailsLisa FloodIn this stunning Wyoming log cabin, the family usually gathers in the wonderfully rustic great room. Its cozy factor is off the charts, thanks country decorating classics like unpainted log walls and beams, a woodburning stove, textural rugs, and a sweet swing that hangs from the ceiling. Get the Look:Swing: The Oak & Rope CompanyTOUR THE ENTIRE HOUSE6Wrap a Room in WoodMarta Xochilt PerezIn this rustic and cozy cabin, an original fieldstone fireplace creates the warmest welcome. A pair of cushy leather sofas piled with pillows blankets face off, anchoring the wood-wrapped space, and providing the perfect perches for game night. TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below7Build an Rustic Stone Accent WallMarta Xochilt Perez for Country LivingThis impressive wall of moss rock surrounds the fireplace. Chiseled stone corbels provide mantel supports. On cool nights, you can count on a roaring fire! Throughout the home, carved timbers, rough-cut stone, and walls of windows reflect a combination of the homeowners’ Scandinavian heritage and Irish roots.TOUR THE ENTIRE HOUSE8Go Big in a Small SpaceEmily FollowillThis tiny living room is packed with so much character. Designer James Farmer added decorative oomph with a large tobacco basket, an art-forward fireplace screen, and natural design elements like plants. Details like arranging the paneling on the diagonal to “point” upward enhance the vertical space. Says James, “Tall ceilings, bold plant arrangements, and large light fixtures have even more impact in a small home. Play with scale to find what feels right.” Advertisement - Continue Reading Below9Mix and Match FurnitureLincoln BarbourFor the ultimate collected-over-time vibe, forgo matching furniture. Here, a wingback chair and a spool chair look right at home in this living room. Other period-appropriate decor found in this 100-year-old home: painted paneled walls, exposed ceiling beams, and a rustic mantel wood.TOUR THE ENTIRE HOUSE 10Let There Be Light (Wood)Christopher DibbleWe put this family room in the “rustic light” category. For a top-to-bottom cabin-like feel, designer Max Humphrey wrapped the space in eight-foot knotty pine planks on the ceiling and walls. A clear coat of polyurethane protects the wood while letting its natural color shine through (a stain would’ve darkened the room). Colorful national park posters, globes, camp grounds signage, and a linen modern sectional create a hip yet homey living space.Advertisement - Continue Reading Below11Customize a Focal PointHomeowners Victoria and Marcus Ford’s vision of a custom wood fireplace surround included open shelves and striking floor-to-ceiling firewood nooks (our favorite detail!). “We figured go big or go home,” says Victoria. Brass sconces provide a library-like touch, and a custom frame has the TV looking picture-perfect above the mantel.Get the Look:Wall and Trim Paint: Endless Sea by Sherwin-WilliamsCeiling Paint: Oyster White by Sherwin-WilliamsTOUR THE ENTIRE SPACE12Incorporate Rustic Furniture FindsAnnie SchlechterTopped with a plaid cushion, a rustic yellow daybed nestled in the corner makes for the coziest spot to take in lake views. The 22-foot cathedral ceilings are clad in wood, warming up this lofty open-concept space designed by Amy Meier that also includes a dining area and kitchen.TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below13Paint the FloorsDane Tashima for Country LivingWhile the homeowners of this New Jersey dairy barn were able to salvage the structure’s original knotty beams, the walls and floors in the soaring 25-foot-high space needed to be replaced. Simple poplar planks painted white got the job done affordably. A new cast-iron pellet stove warms the space with a rustic, authentic look. Get the Look:Wall and Floor Paint Color: Alabaster by Sherwin-WilliamsTOUR THE ENTIRE HOUSE14Tell the BackstorySean LitchfieldWhere possible, the original Eastern Hemlock posts and beams of this 1819 Maine barn were carefully preserved when, in 1999, the structure was disassembled and then reassembled several miles down the road. Hand-split slabs of Maine granite (some from the barn's original foundation) and brick were used to fabricate the massive woodburning fireplace. The walls and floors are lined in rough-hewn, nonuniform wood planks. The sofa table, made from an old piece of barn wood found on the farm, shows off collections of books, ceramics, and shells.Advertisement - Continue Reading Below15Use Old Materials for New BuildsBrie WilliamsIn this new build, reclaimed materials create instant patina for a warm and welcoming family room. Here’s what makes it rustic: reclaimed beams came from an 1800s mill in Massachusetts mill; log skins salvaged from old Midwest barns; North Carolina stone on the fireplace. A soft palette for the furniture and window treatments was inspired by the antique rug that covers the ottoman.TOUR THE ENTIRE HOUSE 16Balance Natural Wood with ColorNick JohnsonA pretty blue on the fireplace and in the fabrics balances the overall rustic vibe in this country house. “I wanted this room to feel rich and cozy and warm—the kind of place you’d sit by the fire to read a book,” says Erica Harrison of Detroit-based design firm Hudson and Sterling.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below17Make It WorkHelen NormanDespite the renovation challenges, this cozy sitting area situated just off the open kitchen works. The fireplace, which had to be rebuilt from the inside, was covered in stucco to balance all the exposed brick that was discovered underneath damaged drywall. For attic access, a ladder that was found in a barn on the property gets the job done in lieu of stairs. On the other side of the fireplace, a sturdy wooden bookshelf replaces an existing one that was crumbling.18Paint It WhiteZIO AND SONSFor the ultimate modern farmhouse vibe, start with an all-white palette, like in this home of designer Anthony D’Argenzio. This allows you to layer in character-rich architectural elements, like wide-planked wood floors and ceiling beams. A comfy sectional piled with pillows balances perfectly with hard elements, like the wood-and-iron coffee table, handmade oak stump side table, and a round iron chandelier. The hanging chair in the corner provides a wink to this serene design. RELATED: The Best Warm White Paint Colors For Every Room in Your HouseAdvertisement - Continue Reading Below19Leave Materials NaturalJames MerrellRustic meets cozy in this cabin that features walls constructed of hand-hewn logs, a stone fireplace, exposed ceiling beams, and a pair of comfy armchairs. Leaving all materials in their natural finish and unpainted contributes to the overall homespun feel.RELATED: The Best Places to Find or Buy Reclaimed Wood Near You20Choose Neutral FurnishingsSeth SmootIn this California living room, a comfortable collection of neutral furnishings complements the home’s rustic redwood walls. The solid sofa and barrel chairs that are upholstered in linen leave room for visual delights, like the wicker and fringe lamps, an antique rug, a patterned ottoman, and piles of pillows.Jennifer KopfJennifer Kopf is the Executive Editor of Country Living. She also covers antiques and collecting.Amy MitchellManaging EditorAmy Mitchell is the managing editor for VERANDA and Country Living, where she writes articles on a variety of topics—decorating and design, gardens, and holidays. Amy’s experience in the shelter magazine category spans more than 20 years, as she’s previously held positions at Coastal Living and Cottage Living. Her personal pursuits include cooking, gardening, and hunting her favorite tag sale spots for the next piece of Pyrex for her prized collection.

Remember that time when good ol’ Peter Parker called a drone strike on his classmates because another guy was flirting with MJ? Well, the artificial intelligence that made it happen is back, this time in snarky Canadian form! Deadline is reporting that Schitt’s Creek alum Emily Hampshire has been cast as E.D.I.T.H. in Vision Quest, the upcoming Disney+ series starring Paul Bettany as the synthezoid Avenger. E.D.I.T.H., of course, made her debut as a pair of ugly, gaudy sunglasses the late Tony Stark bequeathed to Peter in Spider-Man: Far From Home. Through E.D.I.T.H., Peter had access to vast technological resources, resources that Mysterio wanted to use for himself. At the end of Far From Home, Peter reclaimed the E.D.I.T.H. glasses and in Spider-Man: No Way Home, a screen readout assured us that they were inactive. Moreover, No Way Home ends with Peter having his secret identity wiped from everyone’s memory and a closing shot of him hand-stitching his own costume in a dingy New York apartment, suggeting that the MCU experiment of making working-class Peter Parker into the scion of a tech bro was done. That may still be true, in which case Vision Quest is a much better place for E.D.I.T.H. to exist. Created by Terry Matalas, showrunner of the Twelve Monkeys TV series and the third season of Star Trek: Picard, Vision Quest will follow the next phase in the life of the synthezoid Vision, who was killed in Avengers: Infinity War and resurrected as an initially evil clone in WandaVision. The title Vision Quest comes from a 1989-1990 arc of West Coast Avengers, written and penciled by John Byrne, in which the U.S. government dismantles Vision and recreates him into a mindless and easily controllable form, signified by his new bleach white look. Fans of the MCU will recognize that storyline from the last episodes of WandaVision, in which S.A.B.E.R. did the same thing to Bettany’s character. However, the Vision Quest comics continued to tell the story of Vision attempting to recover the humanity and personality he’d previously gained over the years, which will presumably be the plot of Vision Quest. However, E.D.I.T.H.’s casting is just the latest in a host of synthetic characters who will appear in the show. James Spader will return as Vision’s creator Ultron, and T’Nia Miller has joined the show as Jocasta, a female synthezoid originally created as Ultron’s bride. A few humans will show up as well, including the return of Faran Tahir as Raza, the leader of the Ten Rings terrorist cell, last seen in Iron Man, and frequent Matalas collaborator Todd Stashwick as a mystery man hunting Vision. That’s a packed cast, but as anyone who recalls the Picard season 3 episode in which androids Data and Lore merged, Matalas knows how to tell an interesting story about artificial intelligence. That episode also showed that Matalas knows how to add levity to heavy conversations about existence, making Hampshire’s casting as E.D.I.T.H. a wise choice. Just don’t let her anywhere near another school bus full of teenagers. Vision Quest is slated to appear on Disney+ in 2026.

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

After months of teasing the arrival of a certain human-reindeer hybrid in the next season of its live-action One Piece adaptation, Netflix has finally revealed its take on Tony Tony Chopper and the actress who will be bringing him to life. Today during this year’s Tudum event showcasing all of Netflix’s upcoming projects, the streamer announced that actress Mikaela Hoover (The Suicide Squad, Guardians of the Galaxy Vol. 3) has been cast a Tony Tony Chopper, One Piece‘s anthropomorphic reindeer who joins the Staw Hat Pirates on their search for the Grand Line. In addition to Cooper’s voice, a digital capture of her facial performance is being used to create the show’s CGI character. Iñaki Godoy (Monkey D. Luffy), Mackenyu (Zoro), Emily Rudd (Nami), Jacob Romero (Usopp), Taz Skylar (Sanji), Ilia Isorelys Paulino (Alvida), Jeff Ward (Buggy), and Michael Dorman (Gold Roger) are all returning in One Piece‘s second season. But the show is also set to introduce a number of new characters from the comics like Charithra Chandran as Miss Wednesday, Joe Manganiello as Mr. 0, Katey Sagal as Dr. Kureha, and Lera Abova as Miss All Sunday. Though Netflix has committed to quite a bit more One Piece, the second season doesn’t have a solid release date just yet. But the streamer plans for new episodes to debut some time in 2026.

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.

After a tease in Netflix’s One Piece season 2 announcement way back in September 2023, Tony Tony Chopper, the Straw Hats’ resident reindeer-doctor, has officially boarded the pirate ship. Netflix revealed the beloved sidekick’s “live-action” look during its 2025 Tudum stream. Netflix also announced that actor Mikaela Hoover (Guardians of the Galaxy, Vol. 3, July’s Superman) provided Chopper’s voice and motion-capture. One Piece creator Eiichiro Oda, who has previously gushed over his experience working on the Netflix show, calling it his “last chance” to bring the manga to the masses, previously announced Chopper’s inclusion in the season 2 cast. And what would One Piece be without the wily doc? Not only has Chopper been around for most of Monkey D. Luffy’s quest to be the greatest pirate on the high seas, but his transformations over the years have served as a foundation for Oda’s evolving vision for the long-running series. His look in the live-action series was a big question, answered with respectable levels of CG. In season 2, Hoover joins the original Straw Hats cast of Iñaki Godoy, Mackenyu, Emily Rudd, Jacob Romero and Taz Skyla. Season 2 will also see a slew of new actors and characters, many of whom will attempt to kill Luffy. Look at this list: Charithra Chandran as Miss Wednesday Joe Manganiello as Mr. 0 Katey Sagal as Dr. Kureha Lera Abova as Miss All Sunday Mark Harelik as Dr. Hiriluk Sophia Anne Caruso as Miss Goldenweek Yonda Thomas as Igaram Sendhil Ramamurthy as Nefertari Cobra Brendan Sean Murray as Brogy Callum Kerr as Smoker Camrus Johnson as Mr. 5 Clive Russell as Crocus Daniel Lasker as Mr. 9 David Dastmalchian as Mr. 3 Jazzara Jaslyn as Miss Valentine Julia Rehwald as Tashigi Rob Colletti as Wapol Ty Keogh as Dalton Werner Coetser as Dorry Rigo Sanchez as Dragon James Hiroyuki Liao as Ipponmatsu Mark Penwill as Chess Anton Jeftha as K.M. Meanwhile, Netflix has a separate One Piece adaptation in the works, a new and condensed anime from Wit Studios. So expect even more Chopper reveals in the not-so-distant future.

Credit: Ian Moore / Mashable Composite; Goodboy Picture Company / E+ / pialhovik / iStock / Getty Images May is National Masturbation Month, and we're celebrating with Feeling Yourself, a series exploring the finer points of self-pleasure. When I look back at pictures of myself in my early 20s, I see a confident young woman who was willing to talk about anything with anyone. But behind closed doors, I was hiding a secret shame that totally contradicted my public brand. I couldn't orgasm — not with a partner, not on my own.There had been fleeting attempts over the years to get the ol' engine rolling. I thought I could reason my way to climax: the internet, with its endless resources in the form of Reddit threads, message boards, and YouTube videos, seemed like the place to go. I turned online for information, emotional (first-person narratives from others who struggled) and practical (sex toys and tutorials). Nothing helped. In fact, all the accumulating knowledge only served to make me feel worse. For it to finally happen, at the age of 25, I had to strip everything back and take my sex drive fully offline for the first time.Failing to climaxThere's a scene in Eve Ensler's legendary play The Vagina Monologues when the audience hears from a woman who didn't have an orgasm until she was 72. "When she finally found her clitoris, she said she cried," the introduction goes. I remember hearing those words at the age of 18 and feeling a fluttering sense of recognition. Then came the chaser: dear god, please let me have one before I'm a septuagenarian. You May Also Like At that age, the inability to orgasm wasn't something that surprised me all that much. I'd read enough teen magazines, seen enough Sex and the City, to know all about the orgasm gap, and that 61 percent of men orgasm every time they have sex compared to 30 percent of women.Multiple studies have found that women are more likely to orgasm during masturbation than intercourse; a similarly consistent finding is that 10 percent of women never orgasm, no matter the circumstances.Yet as I moved through my twenties and failed to rectify the problem, I realised the friends I'd once bonded over this experience with weren't struggling anymore. I felt likeBut as a forthright young feminist on the cusp between the Gen Z and millennial generations, I was also unofficially educated under the tutelage of sex education YouTubers like Shan Boodram, Laci Green, and Hannah Witton. They taught me about the importance of people with vulvas knowing their bodies and having the confidence to tell sexual partners if they weren't getting them off. I spread their message far and wide. Female pleasure was so my brand that a close male friend once gave me a T-shirt with the words "The Future is Female (Ejaculation)" as a Secret Santa gift. I laughed, then went to the bathroom and cried, so deeply full of shame at the disconnect between my public confidence and inward inadequacy.Theoretically speaking, I knew just about everything there was to know about the orgasm…apart from how to have one myself. Very few people, beyond a handful of friends and former partners, knew about my struggle with anorgasmia (where people struggle to climax even with the application of sexual stimulation). I was scared of speaking the words "I can't come" into reality, or of feeling like even more of a failure if they checked in on my progress in the future and I had to tell them that no, I still couldn't.  Theoretically speaking, I knew just about everything there was to know about the orgasm…apart from how to have one myself. As Emily Nagoski writes in her bestselling book Come As You Are, so much of the female orgasm is in the mind. Nagoski theorises that female sexual pleasure has dual controls — an accelerator to turn you on and a brake to turn you off — and that balance is needed to achieve orgasm. But my brake was hyper-sensitive thanks toSex toys felt like a good starting point (god forbid I actually touch myself!), and my limited student budget meant I wanted a vibrator that gave a good bang for my buck, so to speak. I'd spend hours trawling through positive customer reviews for phrases like "can't come" or "never usually orgasm," hoping the same would happen for me if I purchased a clitoral stimulator or CBD lube. When it didn't, I felt more frustrated than ever. Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! What I was searching for was a sense of recognition — an "oh, I'm not alone in this" feeling that my friends, while empathetic, understandably couldn't provide. (Yet whenever I now mention to friends that I didn't have an orgasm until I was 25, similar stories are divulged.) So I looked further afield, scouring message board threads and online articles for narratives from people who'd not been able to come either. The snatched moments of understanding made me feel less alone, albeit not necessarily always better.The next approach was more unconventional. Two friends bought me a subscription to OMGYes, the adult sex education website dedicated to facilitating female pleasure. Initially, I was embarrassed that it had come to this, but I gave it a go. A membership provided access to a library of practical (and extremely NSFW) tutorials on different masturbation techniques. I tried to follow along, but lacked perseverance and was quick to abandon the mission when things didn't happen immediately.At every stage, my attempts to orgasm were hindered by these deeply rooted feelings of shame and inadequacy, and a fear of feeling like even more of a failure should I try and not succeed. I knew I was missing out on an integral part of the human experience, but once the terrifying words "you're going to be on your deathbed never having had an orgasm" enter the mind, they're hard to shake. In order to halt this nihilistic spiral, I stopped trying altogether. It wasn't all bad. The sex, with both long-term and casual partners,So the problem bubbled away beneath the surface, rectifying it as simply not a priority. As with much of life, the arrival of COVID-19 changed things. I remember turning 25 and looking down the barrel of a new year and a third lockdown in the UK. I'm officially in my mid-twenties, I thought. If not now, when? Those interconnected feelings of embarrassment and failure were clearly holding me back. If I was going to figure out how to orgasm, that would only be achieved by removing expectation; expectation that, I realised, was coming directly from the internet aids I'd sought out for help. I needed to strip away the technological trappings and do the one very simple thing I'd been so scared to do: touch myself, and do it consistently. Related Stories What finally helped me orgasmI set myself a challenge. Every day, I would put my phone on the other side of the room and masturbate without sex toys.think these faint flutters were orgasms, and briefly returned to the message boards to see if others had experienced anything similar. Nobody described my exact feelings, but I kept at it.It was a conversation with a close friend, a doctor, that made the most marked difference. I told her about my current state, where I wasn't sure whether I was experiencing an orgasm or not. "You know if you want that to count, it counts," she told me. For the first time, someone was saying that I was on the right path, and not crashing into a wall. Without being dramatic (although said friend still laughs about how I credit her with my first orgasm), those words triggered a switch in my brain. As soon as I stopped feeling like I was foolish for even attempting to fight what I'd always perceived to be a losing battle, orgasms — proper ones, I was sure — came. I didn't cry or rush to text the friends greatly invested in my journey. Don't get me wrong, I was thrilled, but it felt like a wholly personal achievement, and one I wanted to sit in for a while. SEE ALSO: What is a ruined orgasm? Mostly, the feeling was one of relief, the lifting of a huge weight from my chest and the dissipation of so much secret shame. I remember thinking that if I never had an orgasm again, I would be happy. Given how easy I was now finding it once that bridge was crossed, though, I was pretty sure that wasn't going to be the case. I remember thinking that if I never had an orgasm again, I would be happy. If there's one thing I now know, it's that you can't intellectualise, let alone buy, an orgasm. Sure, products and internet resources may help, and in those most isolating moments, it was undoubtedly useful to see my experience reflected back in others. But over time, I found the accumulation of all this knowledge only added to my feelings of failure. I had to remove it all from my mind and do the thing I was most scared to — confront my own body — to make it happen. Given all that, I'm aware of the irony of writing my own "how I finally had an orgasm" narrative. But I know a story like mine, as long as it wasn't dwelled on too long or used as a point of comparison, would have helped my younger self. It's why I keep far less personal aspects of my life out of my work, yet have always known I wanted to write about this experience someday. There are so few narratives about a total inability to orgasm out there. If you're reading this now and see something of yourself in my story, I hope it can provide some. It can happen for you — I truly believe that — whether you're 25 or 72. You'll get there. Isobel Lewis Isobel Lewis is a freelance culture and lifestyle journalist based in London. Formerly of The Independent, she now regularly writes for The New York Times, Service95, and Time Out.

You Can Now Visit the Small House Where Charlotte, Emily and Anne Brontë Were Born The newly renovated Brontë Birthplace in Bradford, England, was the three sisters’ home until 1820, when the family moved to a nearby parsonage The Brontë children were born near this fireplace, pictured mid-renovation. Matt Gibbons / Brontë Birthplace In the early 19th century, three sisters were born in a small house in northern England: Charlotte, Emily and Anne Brontë. Each one would grow up to become a pivotal figure in English literature, with Charlotte writing Jane Eyre (1847), Emily writing Wuthering Heights (1847) and Anne writing The Tenant of Wildfell Hall (1848). Now, that house in Bradford, England, where they were born has been restored and reopened to the public as a museum—and soon-to-be hotel. On May 15, Queen Camilla visited the village of Thornton to open the Brontë Birthplace in an official ceremony. After a year and a half of fundraising and renovations, the house is now a functioning educational center. Come July, its bedrooms will also be open to overnight guests, according to the Guardian’s David Barnett. The Brontë Birthplace pictured in 2008 Tim Green via Wikimedia Commons under CC BY 2.0 “This house is no longer just a place of literary history,” says Katharine Barnett, chair of the Brontë Birthplace, in a statement from the museum. “It is a living, breathing space filled with creativity, education and community pride.” The novelists’ parents were Patrick and Maria Brontë, an Irish clergyman and a Cornish gentlewoman who married in 1812. They had two daughters, Maria and Elizabeth, before moving to the Thornton house in 1815. Charlotte was born in 1816, Emily in 1818 and Anne in 1820. A brother, Branwell, was also born in 1817. When Anne was just three months old, Patrick was appointed the reverend of a nearby church, and the family moved to the Haworth parsonage. The two eldest children died soon after, but the younger four children survived. As they grew older, they also thrived as playmates, inventing “invented imaginary worlds together and [writing] about them in tiny books,” per the Brontë Parsonage Museum. Queen Camilla and Christa Ackroyd touring the Brontë Birthplace on May 15, 2025 Matt Gibbons / Brontë Birthplace By the mid-19th century, the three sisters were publishing novels under the pseudonyms Currer, Ellis and Acton Bell. Jane Eyre and Wuthering Heights would become two of the most renowned books ever written in English. After the family left the sisters’ birthplace, the building was repurposed several times. It has served as a butcher’s shop and a cafe, which shuttered during the pandemic, according to the Guardian. With the building up for grabs, a group of advocates—including journalist Christa Ackroyd and Brontë relative Nigel West—raised the £650,000 (more than $700,000) needed to purchase and renovate it. Every four years, the United Kingdom chooses a “City of Culture,” and this year’s selection is Bradford. Camilla opened the Brontë Birthplace as part of her honorary visit to the chosen city. A crowd gathered to welcome her. As Tom Golesworthy, a resident of Leeds who attended the opening ceremony, tells the Telegraph & Argus’ Brad Deas, “It makes you proud to be British.”The Haworth parsonage already attracts nearly one million visitors each year, per the Guardian. The Brontë Birthplace team hopes that those visitors will now add the Thornton house, which is only six miles away, to their itineraries. When the Brontës lived in the home, all six children likely slept in the house’s largest upstairs bedroom, while their parents slept next door, reports the Guardian. Both rooms, as well as a third that was added to the house later, will be available for overnight stays. “This will be the only place in the world where you can sleep in the same room that the Brontës slept in,” West tells the Guardian. Get the latest stories in your inbox every weekday.