Independent cinema is having quite a moment in the wake of Anora‘s Oscar dominance, but those who make a point to chum up to the world of film know that indies are almost always having a moment. Granted, that moment tends to come by way of artistic satisfaction rather than monetary compensation, but I digress.

One of these moments was the small but mighty New Life, the John Rosman-penned-and-helmed horror thriller that wowed at the 2023 Fantasia International Film Festival before sneaking into theaters in May of the following year. Needless to say, it made far less of a splash than it deserved to make in cinemas, but in a remarkable turn of events, indie justice is being served at the hands of Hulu subscribers.

Per FlixPatrol, New Life has ascended to second place on the United States’ Hulu film charts at the time of writing, leapfrogging a quartet of mighty Pixar players in The Incredibles (sixth place), Finding Nemo (fifth place), Ratatouille (third place), and WALL-E (eighth place). It’s a new life, indeed.

The film stars Sonya Walger as Elsa Gray, a contract problem solver (yes, that kind of problem solver) who gets put on the trail of a mysterious young woman named Jessica Murdock (Hayley Erin). Dragging her ALS-ridden body across the Pacific Northwest in pursuit of Jessica, Elsa’s mission appears straightforward — if difficult — at first, but the audience soon bears witness to revelations that change the game entirely.

To speak candidly, New Life rivals the likes of Oppenheimer in the realm of technical achievement, give or take several tens of millions of dollars worth of equipment. As both scribe and director, Rosman exhibits remarkable wisdom over which cards need to be kept to New Life‘s chest, and which ones need to be played so as to advance the plot while keeping enough unknowns in play to keep the audience hooked. Together with the revelatory score from Mondo Boys, New Life is a masterclass of mechanical plotting prowess.

And that’s just the cake. The frosting of New Life‘s technical achievement is made up of utterly scrumptious practical effects — whose divulged details would risk too many spoilers — together with an innovative twist on its oft-trodded subject matter that Hollywood will probably end up stealing once enough time has ed. There will, however, always be a reason to bemoan Hollywood, and so this time should be spent celebrating New Life‘s streaming success.

The film’s birthright, the aforementioned Fantasia International Film Festival, is hosted every summer in Montréal, Québec, Canada, and plays host to a myriad of genre films ranging from sci-fi and fantasy to horror and many combinations of the three. The 2023 edition, which New Life debuted at, also played host to such horror gems as Talk To Me, Late Night with the Devil, and Red Rooms, the latter of which won the festival’s top jury prize.

Other prominent indies in the mix were Stéphan Castang’s Vincent Must Die, Where the Devil Roams by John Adams, Zelda Adams, and Toby Poser, and Femme by Sam H. Freeman and Ng Choon Ping. There, I just stocked your watchlist for free. Have fun!

Whenever the Oscars swing around, one of the quieter questions is whether the ceremony will go off without a hitch or not. This year’s ceremony has been chugging along pretty smoothly — complete with Conan O’Brien’s apparent new beef with the entire country of Estonia — but it might need to do a better job of vetting its distributors next time.

Indeed, at approximately 4:24 P.M. PST (per Variety), Hulu — famously billed to be streaming this year’s Oscars — suffered a widespread technical problem that left at least 34,000 s in the literal and proverbial dark.

Fifteen minutes, later, the platform’s X tweeted “Having issues logging in? If so – we’re on it! Our team is actively investigating, and we hope to have things back up and running soon,” while also advising affected s to restart the app and keep an eye out for updates.

Having issues logging in? If so – we’re on it! Our team is actively investigating, and we hope to have things back up and running soon.

— Hulu (@hulu_) March 3, 2025

At approximately 5:48 P.M. PST, the Hulu brain trust has reportedly found the problem and since corrected it. The damage, however, was already done for many.

Holding so much space for this! https://t.co/vfRR6lr8uD

— Hulu (@hulu) February 24, 2025

Indeed, the ceremony kicked off with the highly anticipated and about as inevitable reunion of Cynthia Erivo and Ariana Grande, the two nominated leading ladies of Wicked who honored their newfound Oz roots with their already-legendary vocal chords.

Full performance of “Defying Gravity” by Cynthia Erivo and Ariana Grande at the #Oscars pic.twitter.com/h9flMlgiVI

— Wicked News Hub (@wickednewshub) March 3, 2025

Suffice to say there were a lot of Hulu s/Wicked fans who were none too pleased about missing their personalized highlight of the night on of one of what might be the most poorly timed technical error in streaming history.

Hulu is down and I missed the only thing I actually wanted to see tn pic.twitter.com/T2vUFNj7TI

— k (@hrryt0pia) March 3, 2025

I am so pissed #Hulu app switched to 20/20 and wasn’t letting me watch!

— Kdrop (@Kdroppp) March 3, 2025

Luckily for them, there was still plenty of Wicked to go around, even if the night didn’t shake out quite as successfully as they hoped. Jon M. Chu’s beloved adaptation of the hit fantasy musical was up for 10 awards — picking up wins for Best Costume Design and Best Production Design, but losing out on Best Visual Effects (Dune: Part Two), Best Sound (Dune: Part Two), Best Original Score (The Brutalist), Best Actress (Mikey Madison, Anora), Best ing Actress (Zoe Saldaña, Emilia Pérez), Best Film Editing (Anora), Best Makeup and Hairstyling (The Substance), and Best Picture (Anora).

There are few sweeter victories than an indie film managing to snag success in the grossly competitive Hollywood market. Pixar, with its near-endless supply of elite family films, has little trouble staying above the line, while James Cameron’s Titanic remains one of cinema’s crown box office jewels with its lifetime gross of $2.2 billion.

Longlegs — Osgood Perkins’ sensational exercise in dread — comparatively grossed just $126.9 million following its theatrical release last summer. But, in doing so, it became the highest-grossing independent film of the year; a feat it partly owes to its idiosyncratic marketing campaign that only a film like Longlegs could have. And now, it’s even the main Hulu course, ahead of both Pixar and Titanic.

Per FlixPatrol, the Nicolas Cage-backed supernatural horror thriller is charting at the top of Hulu’s offerings at the time of writing, beating out an all-star trio of Pixar titles in Finding Nemo (second place), Ratatouille (third place), and The Incredibles (fourth place). Also bowing down to the Longlegs regime is a ninth-place Titanic; oh how the tides change in the Wild West of streaming charts.

Longlegs stars Maika Monroe as FBI agent Lee Harker, who gets assigned a case involving a string a family murder-suicides in Oregon. Her key clue is the name “Longlegs,” which is left at every crime scene. With every layer that gets peeled back on her increasingly personal hunt for the perpetrator, her arc becomes a one-way ticket to a reality most sinister.

Cage produces and stars in the film as the titular Longlegs — a role he infuses with a controlled-yet-gonzo ticking time-bomb energy. It wouldn’t be inaccurate to say that he steals the show, although the film’s standout performance could be more honestly attributed to writer-director Osgood Perkins.

Say what you will about the myriad of plot elements Perkins includes in this film, but if one pays attention to the actual story beats and visual presentation of Longlegs, it’s easy to see why the film has become so revered.

Every shot composed by Perkins (and/or the film’s cinematographer, Andrés Arochi) is an attempt to instill discomfort in the viewer. This includes what the camera is capturing, and the angle/depth from which it captures those subjects. The audience, of course, welcomes this discomfort because it’s a horror movie.

But, without giving anything away, the slaughter-happy expedition undertaken by Longlegs is directly related to the impulse to ignore discomfort, rather than confronting or even acknowledging it, which is necessary to our humanity. This parallels the film’s own necessity to evoke the uncomfortable so as to be the best version of itself.

Indeed, Longlegs is among horror’s most elite modern orchestrations, and its commercial success means the spotlight has made some much-deserved space for Perkins. His next two films, The Monkey and Keeper, arrive in theaters on Feb. 21 and Oct. 3 this year, and if they manage to stick a landing even similar to that of Longlegs, we just might find ourselves in the vicinity of the next great horror bastion.

This year’s cinematic accolades are due to be distributed amongst the most eclectic group of films in quite some time. Where the big ceremonies tend to favor serious dramas like the seeming frontrunner The Brutalist, there’s a wealth of genre creativity in the running as well, from The Substance, to Wicked, to Emilia Pérez.

Comedy is having a moment as well, with Jesse Eisenberg’s sophomore filmmaking effort A Real Pain having made leaps and bounds in the conversation as of late, with one Kieran Culkin having already picked up a Best ing Actor win at the 82nd Golden Globes; a win that’s bound to be just the first of many for the actor. For now, the buddy dramedy is enjoying the less-lucrative but equally-exciting honor of being the king of the Hulu castle.

Per FlixPatrol, A Real Pain continues to soar above the Hulu competition on both the film charts and the overall rankings, eclipsing such titles as Abbott Elementary, Hell’s Kitchen, and all five Twilight movies. Indeed, if you thought Edward’s eyes were the eyes of a killer, just wait until you see Culkin’s.

A Real Pain stars Eisenberg and Culkin as David and Benji Kaplan, two cousins who go on a heritage tour through Poland in honor of their late grandmother. During their trip, they navigate personal, interpersonal, and familial drama/trauma, bicker and reconcile, and come to with their pain against the backdrop of their Jewish ancestry.

A Real Pain‘s not-so-secret weapon is Benji, who imposes himself upon the world with an incomparable intensity. Whether that intensity takes the form of charming geniality or aggressive sensitivity depends on the moment you find him in. This contrasts with David, who’s much more reserved and anxious and wallflower-coded, often apologizing for the breakneck nature of his cousin.

In this way, Benji is the driving force of the film’s comedy. We know he’s always dialed up to much more extreme levels than anyone around him, but we never know which emotion — be it sarcasm, friendliness, or anger — he’s going to unleash from one minute to the next. This makes for a self-sufficient tension loop that allows his one-liners to land consistently (because we’re always waiting for him to do something), and this loop is given another element in the form of David, whose reactions to Benji’s behaviors are just as comedically and dramatically significant as Benji himself. In many ways, the audience lives vicariously through David.

The entirety of the film’s comedy, meanwhile, stands in balance with A Real Pain‘s emotional weight. In other words, this already well-constructed comedy framework is made even more potent by serving as the cheeky levity to the film’s gutting explorations of trauma, pain, envy, and mental health.

At just 90 minutes and sporting a rather simple narrative, A Real Pain seems like one of the humbler films populating the awards circuit this year. But beneath that unassuming front is one of the most intelligent screenplays to have come to life in the last few years, and coupled with Kieran Culkin’s domineeringly cutthroat performance, A Real Pain has more than earned its reputation as one of the foremost titans of this latest accolades race.

Whenever we catch wind of an Americanized remake of a non-English film, a variety of questions spring to mind: “Why are we doing this">and Chastain are mothering the film, guiding it along with their subtle intensity and anxiety-inducing body language, single-handedly breathing emotional life to these characters the film only seems half-interested in accommodating. It’s a parent-child relationship that was supposed to be a collaborative artist-art relationship, and one can only imagine how restless that dynamic would be for the actresses.

And really, that might be the most effective lens to view this movie through. Céline and Alice are facing psychologically torturous turmoil from their predicament, and that turmoil is inseparable from their identities as mothers — mothers, of course, oft being burdened with many a thankless responsibilities and expectations. Simultaneously, the effectiveness of Mothers’ Instinct as a film hinges squarely on Hathaway and Chastain’s performances; a thankless responsibility all its own that could easily reflect in the dwindling mental states of their characters.

This, however, is mostly undercut by the overwhelming likelihood that the film’s failures outside of these performances were not intentional, and even if they were, it’s not exactly the easiest filmmaking strategy to get behind. Sincerity has always and will forever be the cornerstone of great cinema, and while an intentional version of the aforementioned failures would hold quite a bit of cheeky weight that we’d be wise to dissect, movies are at their best when they move you emotionally and challenge you to reconsider things about your life.

And yet, Mothers’ Instinct remains an example of the latter; presumably, it will challenge you to reconsider diving into a movie just because it has Anne Hathaway and Jessica Chastain in it.

Since its debut on Dec. 7, 2021, Abbott Elementary has built a strong and loyal fanbase with the sitcom steady rising ABC’s comedy pipeline to fill the void left by Modern Family.

Season 4 kicked off earlier this fall on Oct. 9 with the core cast – Quinta Brunson, Tyler James Williams, Lisa Ann Walter, Sheryl Lee Ralph, Janelle James, Chris Perfetti, and William Stanford James – back roaming the halls. While Abbott perhaps hasn’t been around long enough yet to rise to the level of comedic predecessors Modern Family or The Office, this season promises one epic arc that could vault it into the upper echelon of 21st-century sitcoms.

When is the Abbott Elementary and It’s Always Sunny in Philadelphia crossover episode?

While speaking at San Diego Comic-Con this summer, Abbott creator Quinta Brunson revealed that this season of Abbott Elementary would feature a crossover episode with a beloved series. On Oct. 3, It’s Always Sunny in Philadelphia star and co-creator Rob McElhenney revealed that his cast had filmed the episode with the cast of Abbott.

McElhenney did not offer any details about the episode of even caption the photos he shared on social media. Besides Brunson and McElhenney, the photos feature Abbott stars Tyler James Williams, who plays Gregory, and William Stanford Davis, who portrays Mr. Johnson. Always Sunny actors Danny DeVito and Charlie Day are also in the photos. Since then, its been confirmed that the crossover episode will be the ninth episode of this season. And though we have official release dates for the first eight episodes of this season — episodes seven and eight will air on Dec. 4 — we do not yet have details for the rest of season 4.

After weeks of speculation, the air date for the crossover episode was revealed to be Thursday, Jan. 8. In an interview with the Los Angeles Times published Jan. 3, McElhenney told the outlet that the crossover allowed the Always Sunny cast to play with their characters a bit to fit with Abbott’s documentary-style format. “That’s what allowed for us to still be authentic and step into the world of Abbott because these characters are going into a school and they’re constantly monitored by cameras, so they would put on an act,” he explained. “If we’re not acting the way that our Sunny characters would, it’s because we know we’re being filmed and we’re putting it on the show.”

“We might not use the same language. We might not make our intentions so obvious or known. We might not be wearing our id on our sleeves. Conversely, when they came over to us, we thought it would be fun to see what their characters would be like when the bell rings and the cameras are not on them,” he continued.

Will Abbott Elementary characters also appear on It’s Always Sunny?

Yes! In a fun twist, Variety reported that what was once believed to be one crossover episode will actually be two, and Abbott Elementary characters will also visit It’s Always Sunny in Philadelphia.

It’s Always Sunny star Kaitlin Olson told the outlet that the show’s teams enjoyed their work together. “It was very fun,” she said, “And they’ll be jumping into our world in a couple of weeks, which is very exciting. So it’s been really fun for both of our casts to be able to do, them a cable show and us a network show.” New episodes of Abbott Elementary air Wednesdays on ABC at 9:30 pm ET. Fans can stream also stream it live on Sling or watch the next day on-demand on Hulu. All 16 seasons of It’s Always Sunny in Philadelphia are streaming on Hulu.

Throughout the history of Hollywood, many fictional heroes have seen their odysseys drift in and out of the pop culture zeitgeist, but it’s the serialized plights that tend to stick out the most. From the Man with No Name and Marty McFly, to Frank Drebin and Max Rockatansky, the great cinematic protagonists and the worlds built around them have captured imaginations across generations.

Arguably, the man of the current moment is John Wick, the latest and greatest of action heroes to have tucked themselves into Keanu Reeves’ back pocket over the course of his career. His adventures have consistently scored high with critics and ticket sales since 2014, and the train won’t be stopping any time soon. Even now, he’s dominating the Hulu sphere with not one, not two, but three different excursions.

Per FlixPatrol, John Wick, John Wick: Chapter 2, and John Wick: Chapter 3 — Parabellum are all charting together on Hulu’s film rankings in the United States at the time of writing. A respective third, fourth, and 10th place finish for the noir-tinted, body-dropping epics are sizing up against the likes of Twilight (sixth place), The Twilight Saga: New Moon (eighth place), and The Twilight Saga: Eclipse (ninth place) for one of the most biblical streaming wars yet.

The John Wick films follow Jardani Jovonovich (also known as John Wick, Baba Yaga, and The Bogeyman), a retired hitman who built himself a mythical reputation within the international assassin community. But when a group of Russian-American gangsters kill his dog, John snaps back into action and sets off on a vengeful journey, which leads to greater and greater conflict with the assassin underworld.

The special sauce of the John Wick films lies in their elite technical prowess, rather than any true narrative brilliance. Although, it’s not completely lacking in the latter department, either. There’s a thesis established in the first film regarding the rules that assassins must follow, lest they be no different from bloodthirsty animals. This, of course, serves to highlight how these rules make the act of killing even more disturbing, as though murder can be justified by following the rules like a sports match, and also by carrying it out on those who break said rules.

But, again, it’s the way that John Wick presents itself that makes it so effective, rather than what it’s presenting. Disciplined camera work and neon dystopias make for visual treat after scrumptious visual treat, and the worldbuilding — always shown and never told — is refreshingly organic to the point of being world-class. It helps, of course, that the world itself has so many curious bells, whistles, and backstories occupying it, and even better is how they all ultimately end up in service to John and his plight rather than anything self-indulgent.

Indeed, you’re never going to see a John Wick film thrive on realistic combat, sturdy intrigue, or revelatory emotions, but you’ll also be hard-pressed to find a franchise that not only does what John Wick does, but accomplishes it so robustly and consistently time and time again. To channel the man himself: “Good, lots of good.”

It wouldn’t be inaccurate to say that horror is having a moment right now, but it would be more accurate to say that horror has been having a moment for the last couple of years. Indeed, with the emergence of bodies like A24 and Neon, as well as internet sketch comedians entering the feature filmmaking space, gorehounds and thinkers alike have maintained a fulfilling horror diet for some time now.

The transgressive nature of the genre tends to pave the way for delightfully weird proceedings, and Cuckoo fits that bill pretty firmly. Narratively speaking, Tilman Singer’s sort-of-monster movie had the world in the palm of its hand, and subsequently suffered a bit from what might have been decision overload. Luckily, the rawness of its story is the perfect cult status springboard, and its recent streaming success may be step one on that journey.

Per FlixPatrol, Cuckoo has debuted as the fourth most-watched film on the United States’ Hulu film charts at the time of writing (with a cheeky fifth place overall finish to boot). Competing against it are the likes of an eighth-place Christmas with the Kranks — the Tim Allen-led Christmas movie that’s actually a horror movie and has enjoyed an enduring cult status of its own — and No Way Up, one of the latest knockoffs of a knockoff of a knockoff of Jaws, and certainly not one of the greatest.

Cuckoo stars Hunter Schafer in her first leading film role as Gretchen, an American teenager who just lost her mother and is subsequently sent to live in the Bavarian Alps with her dad, stepmother, and half-sister Alma. Between her grief, lack of familiarity with her surroundings and other people, and her desk job that comes with some very strange rules, Gretchen is having a pretty miserable time. Things get far worse, however, when she gets wrapped up in a conspiracy involving her family, her boss, and an unseen monster with perverted intentions.

Cuckoo is a supremely curious case in the sense that it entertains a number of thematic and tonal personalities without really full-sending any of them. Throughout its runtime, it wears many different combinations of dread, humor, familial estrangement, uncanny isolation, and a large dollop of queerness. But Cuckoo never quite decides on a combination to well and truly dig into, instead preferring that you taste all of its potential identities.

Indeed, it’s a nest of cinematic odd ducks all coming of age together under the watchful eye of a B-movie sheen, seemingly frightened that if it chooses a favorite tone or theme, the rest will be rendered emotionally extinct. Some may chalk this up as indecisive storytelling that tries to be everything and is therefore nothing, and that’s not a completely unfair characterization.

Nevertheless, when you consider the literal events and revelations of the film in the context of the above description, it’s just as easy to conclude that Singer was operating with far more intention than a first glance may suggest.

The film first premiered at the 74th Berlin International Film Festival in February, and took its sweet time making it to theaters, which it eventually did in August. It landed on Hulu Dec. 17.

After years of delays since the project was first announced in 2017, King of the Hill fans finally have some good news regarding a first look at the Hulu revival series.

The project went through development hell as the animated comedy series’ co-creators, Mike Judge and Greg Daniels, shopped for a potential buyer to produce the sitcom. Eventually, Hulu—likely bolstered by the fact it had been acquired by Disney, who went on to purchase King of the Hill’s former network, Fox— struck a deal with the showrunners to develop the series for the streaming service.

The synopsis was revealed shortly into the revival series’ fruition, featuring a rarity in animation – a time-jump several decades on, aligning with the 1997-present jump of approximately 20-something years. The reboot also faced a significant, tragic hurdle when Johnny Hardwick, the voice actor of Dale Gribble and producer for the series, died in 2023, prompting several re-writes to overcome this unexpected absence.

King of the Hill‘s reboot also had to work around the deaths of various voice actors since the series wrapped in 2009. Notably, the deaths of Hill family Luanne Platter and Lucky Kleinschmidt —voiced by Brittany Murphy and Tom Petty, who died in 2009 and 2017, respectively —required the core dynamic of the series to be radically reshaped.

The revival was given a vague “early 2025” premiere by Greg Daniels, with little sign of a teaser or first look, until October 25th, 2024, when voice actress Grey DeLisle posted a framed photo of a now-adult Bobby Hill, who was 12-13 years old in the original series.

Sporting some stubble and looking taller and generally more “grown up,” B0bby sports a chef’s outfit, with an accompanying short biography of his new life. Although not easy to discern from the photo’s reflection, the bio reads:

Chef Bobby Hill has loved food his whole life.

From weeknights around the dinner table eating his mom’s “Spa-Peggy and Meatballs,” to overindulging in lutefisk at church potlucks, to celebrations with family and friends at Luly’s Cafeteria, food and the people it’s enjoyed with are the foundation for his best memories. In fact, his career as a robata chef was inspired by his most cherished memory of all-weekends spent grilling with his dad.

A self-taught chef and one of the youngest contestants on King of the Grill, Chef Hill believes “good food can solve any problem.” He draws on the influences of his childhood by combining classic Texas dishes with flavors from around the world. With Robata Chane, Chef Hill hopes to honor the art of Japanese robata and the German heritage of the Texas Hill Country while pushing culinary boundaries through his innovative fusion dishes.

The bio contains several references to classic jokes from the original series, including the incident where Bobby accidentally burns down the church after trying to clear the smell with a match after scarfing – and quickly regretting – eating an entire serving of lutefisk, as well as Peggy Hill’s famous “Spa-Peggy and Meatballs”.

Bobby’s new job as a chef is in-keeping with the original run’s finale, “To Sirloin With Love,” where father and son Hank and Bobby Hill finally bond over their love of barbecuing meat. With this new, in-depth look at a major character from the series, fans will likely be treated to more insight very soon.

Tegan and Sara are the twin sisters behind one of the most popular indie-pop acts of the early 2000s — and they were also victims of a wild case of identity theft that’s been shared in the new Hulu documentary Fanatical: The Catfishing of Tegan and Sara.

Though Tegan was an early adopter of the internet and using social media to connect with fans, the experience shared in the documentary has hardened her against the internet. As she told Billboard in an interview published Oct. 17, “If we’re being truthful and honest, then I have to say that I’m afraid of our audience.”

WATCH: Fanatical: The Catfishing of Tegan and Sara, now streaming on Hulu

“It was such a part of indie and punk culture to bro down with the people in the audience, to go sell merch and have a beer with your fans after the show,” Sara added. “To then say at some point that you don’t want to stand outside in the dark with strangers after we’ve played a show and done press all day … those were such small changes we made, but they had such a big cultural punch within our community.”

Here is a look into the documentary about Tegan and Sara’s experience with identity theft.

What is Fanatical: The Catfishing of Tegan and Sara?

Fanatical: The Catfishing of Tegan and Sara is a new Hulu documentary about the pair’s experience with identity theft, which began in 2008. Tegan’s personal files were hacked that year, and she soon had to deal with the fact that her identity had been stolen and was being used to convince the pair’s family and their fans that they were interacting with the real Tegan.

The doc explores details Tegan and Sara’s efforts to uncover the identity of Fegan (Fake Tegan), an accused stalker. The pair have contended with this problem for nearly 20 years.

Who are Tegan and Sara?

Canadian twin sisters Tegan and Sara started their indie-pop duo in 1995 when they were still teenagers. The pair, who both identify as of the LGBTQ+ community, spent a lot of time online connecting with fans — something that Tegan did more of than Sara.

The duo have sold over one million records and won several awards over the years. Their albums So Jealous (2004) and The Con (2007) were especially successful.

What happened to Tegan and Sara?

Problems began in 2008 when a fan identified as Julie messaged “Tegan” on a social media profile page and began exchanging messages with the person she thought was the singer. Variety reported that the so-called Tegan began to send her demos and private messages; in 2011 she shared a link to a collection of documents and photos that included the real Tegan and Sara’s port photos. Julie got in touch with Tegan and Sara’s management, who told her the real Tegan didn’t know her.

Tegan kept the ordeal a secret out of fear that it would all get worse. She began to write down what was going on, and soon connected with documentary director Erin Lee Carr. From there, the Hulu project was born.

Is Fanatical: The Catfishing of Tegan and Sara on streaming?

Yes, the documentary begins streaming on Hulu on Oct. 18, 2024.

Cable cutting is quickly becoming the norm in countries with vast streaming options, despite how bumpy the landscape has been in the early 2020s. One of streaming’s drawbacks used to be the lack of sports coverage, but problems still exist now that rights have been acquired.

Hulu is the perfect example of this, considering how many baseball fans missed out on crucial MLB playoff moments during the platform’s live coverage on Oct. 17. Around 83,000 outages were recorded during multiple sporting events on Thursday, according to Downdetector.

Fans were quick to take to social media with incensed reactions to missing out on events they spent lots of money to be able to access, “I pay $100s of dollars and you go down during playoff baseball">grant access to NHL games and next-day WWE streams if that’s more your jam.

Like a lot of other millennials, I grew up watching horror shows aimed at kids like Are You Afraid of the Dark? and loved all the cheesy jump scares (and bad fashion choices).

But there was one perfect show that featured episodes about haunted cameras and terrible masks, and now there’s a teaser for the second season of the Hulu/Disney+ reboot of this popular ’90s series. Of course, I’m talking about Goosebumps. Season 2, which is subtitled The Vanishing, will come out Jan. 10th, 2025.

The creepy trailer suggests creatures/villains that “seem to with a host”… and also stars David Schwimmer. He’s moved on from dorky Ross Gellar and is now in his dad era. According to Bloody Disgusting, Schwimmer plays Anthony, who is now a single parent to twins, Cece and Devin. The twins discover that four high schoolers disappeared back in 1994 and try to find out the truth. I’m totally in!

What’s even better than watching a beloved Friends actor star in season 2 of the Goosebumps reboot? Learning that the whole season will drop at the same time. All you need is popcorn and you can enjoy a scary binge-watching session. January can be such a dull, dreary month, and this is just the news I need to look forward to the first month of the new year.

Fans posted their reactions on X and are excited to come back to this scary small town.

Season 1 of the Goosebumps reboot premiered on Oct. 13th, 2023 and followed Mr. Nathan Bratt (Justin Long), who moved into a haunted house. While the episodes told a brand new story, they did include familiar and nostalgic elements, from Slappy the Dummy to the iconic haunted mask and the evil Kanduu. I’m a sucker for a horror story in a small town, from the down-on-its-luck Millwood in the Pretty Little Liars reboot to the Woodsboro-set Scream franchise, and I’ll be checking out season 2 as soon as it’s streaming.

While the first season ended mysteriously and that would have made for a compelling constitution of this new Goosebumps story, Variety reported in February 2024 that the second season would start from scratch, officially making this an anthology series. However, when season 1 concluded, even the cast weren’t sure that season 2 would tell a new creepy tale. Will Price, who portrayed Lucas Parker, told Us Weekly, “We have a very dark, gloomy and dreary first season” and he wanted “to switch that up and do a slasher.” Maybe Schwimmer as a twin dad is the next best thing!

With a 74% rating on Rotten Tomatoes and some, let’s face it, bad reviews, some weren’t on board with Goosebumps season 1. Sure, it wasn’t perfect by any means, but if reboots are vehicles of nostalgia, it delivered more than enough of R.L. Stine’s world. Some fans wish that each episode was a more faithful adaptation of Stine’s enduring and legendary horror books. But since that’s what the original series, which aired from 1995 to 1998, accomplished, I’m not sure that’s the right approach. Goosebumps season 1 embraced the cheesy enjoyment of the OG, and it looks like season 2 will do the same. I don’t want it to be January just yet because we still need to celebrate Halloween, Thanksgiving, and Christmas, but at least we know something fun and scary is on the horizon to get rid of any post-holiday blues.