The second hero leading a DCU film isn’t Batman, Wonder Woman, or even Swamp Thing; it’s Supergirl. Since her debut in 1959 in the pages of Action Comics #252, Supergirl has been a major part of the DC Universe. The character has, at times, had a complicated origin and was depicted as a shapeshifting android or even a literal angel. The most classic version of Supergirl that most audiences know is the first origin story about Kara Zor-El, cousin of Kal-El, aka Superman.

Since Supergirl is one of the most famous supporting players in Superman’s cast, the character has been adapted numerous times in live-action media. In fact, more people have played Supergirl in live-action than Wonder Woman. While every version of Supergirl that has appeared in live-action has maintained similar backstories, they are all drastically different takes on the Woman of Tomorrow, often reflecting the wider world around them. So, with the new Supergirl film in theaters now, here is my ranking of every live-action version of the hero.

5

Laura Vandervoort (‘Smallville’)

Despite Smallville​​​​​​’s focus on the early years of Clark Kent before he dons the Superman mantle, the series features many familiar DC faces. Season 7 introduces Kara Zor-El/Supergirl, played by Laura Vandervoort. Vandervoort was a main cast member in Season 7 but left after one season and returned in Season 10 for a guest episode in the final season.

The Smallville incarnation of Supergirl is a fascinating snapshot of where DC Comics stood in the mid-2000s, as Kara Zor-El had only been reintroduced to the comics three years before her live-action television debut. This version of Kara Zor-El is a mentor figure to Clark Kent and helps him learn about his powers and his Kryptonian heritage. Since she’s a fish out of water who needs her cousin’s years of experience growing up on Earth to guide her, she creates a fun and unique dynamic that puts the two of them on equal footing. Vandervoort’s Supergirl is the only one on this list who acts as a supporting player to her more famous cousin.

4

Helen Slater (‘Supergirl)

TriStar Pictures

Helen Slater was the first actor to play Supergirl in live-action and headlined the 1984 solo film, Supergirl. Slater even beat Brooke Shields and Demi Moore (who was later cast as Lucy Lane before dropping out) for the lead role. Despite Supergirl flopping at the box office, Slater’s depiction of Supergirl has been warmly received over the years. Future DC adaptations have recognized her contributions to the wider Superman legacy, as Slater played Clark Kent’s Kryptonian mother, Lara-El, on Smallville. She also played the adopted mother of Kara Zor-El on the CW’s Supergirl.

Part of what makes Slater’s depiction of Supergirl so wonderful is that it is a snapshot of the character as she was in the Silver Age; a year later, DC’s Crisis on Infinite Earths event killed off the original Supergirl. When watching Slater’s version of Supergirl, it feels like she stepped right off the page of her early DC Comics appearances. She even adopts the mild-mannered Linda Lee persona that would be dropped in subsequent adaptations. While future adaptations of Supergirl would pull from more modern source material, Slater’s Supergirl perfectly captures the tone and spirit of the original Pre-Crisis version of the character.

3

Sasha Calle (‘The Flash’)

Warner Bros.

Despite only appearing in one film — and notably one of DC’s biggest flops — Sasha Calle’s depiction of Supergirl was an absolute highlight of The Flash. This incarnation of Supergirl merges elements from Superman’s Flashpoint story and Superman: Red Son onto the classic Kara Zor-El Supergirl, while visually drawing from the Cir-El incarnation. She is much a gender-flipped version of Henry Cavill’s brooding take on Superman in the DCU.

Calle is magnetic on-screen and makes the most of her limited screen time. It is no surprise that Warner Bros. and DC considered building a new slate of DCEU projects around her. This alternate version of Supergirl was set to survive the events of The Flash and be brought into the main DCEU timeline, eventually meeting her cousin and leading her own spin-off film. Sadly, those plans were scrapped once James Gunn and Peter Safran became the heads of DC Studios, who instead opted for a fresh start with Supergirl. That is unfortunate for Calle, whose time as Supergirl was cut short. Hopefully, in DC’s vast multiverse, she can return one day and share the screen with her replacement, Milly Alcock.

2

Milly Alcock (DCU)

After her brief one-minute cameo at the end of Superman, Milly Alcock’s version of Supergirl became an instant favorite. Even though reviews for Supergirl have been mixed, the one thing everyone seems to agree on is that Milly Alcock is a perfect Supergirl. While most live-action versions of Supergirl tend to be gender-flipped versions of Superman, Alcock’s depiction of Kara Zor-El is notably distinct from her cousin. That makes her a unique hero.

She is cynical and hardened, which is a notable departure from what most audiences expect from Supergirl. This depiction not only helps her stand apart from past incarnations but also defines Supergirl as her own unique character. This is a Supergirl for the current moment, one who has lived through horrors and is just looking to numb the pain. However, Alcock’s Supergirl still maintains her sense of goodness, even if she isn’t always nice. Her depiction showcases the broad umbrella of superheroism and the many forms it takes.

1

Melissa Benoist (Arrowverse)

The CW

It is hard to deny that Melissa Benoist has redefined Supergirl for an entire generation. Part of that is the fact that the series has 126 episodes (not counting multiple crossovers) over six years; Benoist’s version of Supergirl is the one we have spent the most time with. Benoist’s charisma allowed Supergirl to not only lead her own series but also naturally fit into the ensemble of the larger Arrowverse superhero community, serving as part of the franchise trinity alongside The Flash and Green Arrow.

Melissa Benoist is a warm and comforting Supergirl, as we would expect from a member of the Superman family, and she feels relatable. The mid-20s character struggles with family, dating, and work, all while shouldering the pressures of being a superhero. The Arrowverse Supergirl series has been called a Superman series with a gender-flipped lead; the character is a blend of the classic Superman archetype and many elements from the Supergirl comics. This version feels both familiar and new.

Even the Supergirl feature film seems to acknowledge Benoist’s impact on the character, because many choices about how the DCU incarnation behaves seem to pivot away from the Arrowverse version. One could argue that the recent Supergirl film and the Supergirl: Woman of Tomorrow comic it is based on owe their existence to DC capitalizing on the popularity of Benoist’s Supergirl. That is a level of impact on a character that is difficult to argue with. Melissa Benoist was the right hero for the moment; she meant a lot to many and will continue to inspire.

Who was your favorite Supergirl? Let us know in the comments!

Release Date

2015 – 2021-00-00

Network

The CW, CBS

It’s pretty remarkable to consider how far Bob Odenkirk’s acting career has come since his days as a sketch comedian on HBO’s Mr. Show. After landing the plum role of Jimmy McGill, the shady lawyer in Breaking Bad who commanded his own spin-off series in Better Call Saul, Odenkirk has flashed bona fide dramatic acting chops in everything from Steven Spielberg’s Lincoln and The Post to Alexander Payne’s Nebraska.

Even more impressive is Odenkirk’s credible transition as a one-man action hero in the 2-part film series created by John Wick‘s Derek Kolstad. Indeed, with John Wick 4 running its course into an overlong repetitive loop of mirthless, mind-numbing shootouts, the mordant humor featured in Odenkirk’s Nobody action series elevates the Kolstad formula and makes for a far more amusing and consistently entertaining product. But will there be a third franchise entry?

‘Nobody’ is Half as Short & Twice as Strong as ‘John Wick’

Written by John Wick franchise creator Derek Kolstad, Nobody refines the vengeful, vigilante action-thriller template through additive humor. Unlike the brooding, unfunny John Wick that is far too serious for its own good, Nobody relies on the witty charms of Bob Odenkirk’s Hutch Mansell, a seemingly dull suburban dad held hostage by a boring daily routine. But when his daughter’s kitty-cat bracelet is stolen during a home invasion, Hutch’s true identity as a former elite government assassin comes to light, pressing him onto a vengeful path of destruction as he relentlessly pursues Russian mobsters to get that damn bracelet back.

Of all the riveting action set-pieces in the first Nobody film, few top the brutal bus bashing, in which Hutch single-handedly waylays a gaggle of drunkards with his bare hands. Between the harrowing realism of Odenkirk performing most of his own stunts after bulking up for the role, the hilarious slapstick humor of Hutch regaining his footing, and the hysterical one-liners Odenkirk delivers, Nobody adds a dose of much-needed levity sorely lacking in the John Wick movies.

With Nobody running for a brisk 92 minutes and its equally entertaining sequel, Nobody 2, running for 89, you can watch the entire franchise in nearly the same amount of time it takes to sit through the mercilessly droning John Wick 4 (169 minutes) alone. As such, Nobody is half as short and twice as strong, rarely saddled with a dull moment in its nonstop pace, keeping you glued to the screen from beginning to end with one viciously violent salvo after another.

Will There Be a ‘Nobody’ 3?

Before addressing the fate of the Nobody franchise, it’s worth drilling down on the crowd-pleasing appeal of Nobody 2. The action movie sequel finds Hutch taking his family to a low-rent amusement park for vacation, where he’s inevitably dragged into another bloody bout. Instead of Russian mobsters, Hutch brains and bashes his way through a throng of corrupt cops and overprotective locals, using such fun-filled theme park iconography such as arcade hammers and anvils to subdue his assailants.

Akin to the brutal bus fight in the original, a standout scene in Nobody 2 comes when Hutch is accosted by a horde of baddies on a duck boat during a wildlife tour. Using everything from the life jackets to wrangle an enemy to the boat’s anchor and fire extinguisher to thwart the attacking thugs, the hilarious dark humor organically springs from Hutch’s surroundings, giving the movie a fun, old-school vibe that harks back to the halcyon days of R-rated ’80s action movies.

Of course, we’d be remiss not to mention the wildly droll interplay between Hutch, his gun-toting father David (Christopher Lloyd), and his adopted, katana-wielding brother Harry (Rza). The sight of these three joining forces in both movies to kick, punch, stab, and shoot their way through an overpowering parade of goons is one of the main reasons why the killer comedy lands just as hard as the intense action.

While Universal has yet to officially green-light Nobody 3, Odenkirk has expressed interest in returning and has already begun laying out stories for a third and fourth film. As the studio continues to evaluate the commercial viability of the franchise moving forward, Nobody remains among the best action franchises of the decade.

Ever since the early 1800s, with novels like Mary Shelley’s Frankenstein and the works of Jules Verne and H.G. Wells, the sci-fi genre has flourished, capturing the imagination of millions with its power to create dystopian futures, confront alien life, imagine advanced artificial intelligence, and even bend the very fabric of reality and challenge audiences to question their perception of space, time, and even their own existence.

When it comes to television, The Twilight Zone and Doctor Who elevated sci-fi to new heights with their groundbreaking and imaginative takes on the genre during the early 1960s. Ever since, it’s gone from strength to strength, leading to the sci-fi boom we’re currently experiencing, with shows like Stranger Things, Severance, The Mandalorian, and Fallout dominating streaming platforms and breaking all manner of viewership records.

Here, I’m looking at all shows that fall under the sci-fi umbrella – from epic space operas to gritty dystopian thrillers – and recommending the very best the genre has to offer. These shows are all 10/10 masterpieces that will have you hooked from the opening scene to the closing credits.

Honorable Mentions

Doctor Who (1963 – 1989) (2005 – 2025) – Blending sci-fi and adventure with an undercurrent of distinctly British humor, Doctor Who manages to be playful and whimsical whilst also delivering deeply thoughtful and emotional moments of introspection, social commentary, and heart. With one of the most devout cult followings in television history, Doctor Who first premiered in 1963 and has broadcast nearly 900 episodes, more than any other sci-fi series in history. While generally critically acclaimed, people will always have their favorite doctors and eras, and also eras they might not be so fond of.

Black Mirror (2011 – Present) – Often set in near-future dystopias, Black Mirror presents an unflinching exploration of the grim consequences of technology on human life. It touches on hyper-relatable issues – such as our obsession with social media and our increasing reliance on AI – with each episode feeling like a haunting look into a crystal ball filled with dystopian dread and despair. Due to its anthology format, though, there’s the occasional but inevitable dip in quality for certain episodes among its generally terrific output.

Twilight Zone (1959 – 1964) – Easily one of the most influential shows of all time, The Twilight Zone blends horror, mystery, and mind-bending sci-fi. Each episode tells a standalone story in which characters find themselves dealing with disturbing, bizarre, or unworldly events, an experience described as entering the “Twilight Zone”. Like Black Mirror, which it clearly influenced, the anthology format of the series resulted in a few episodes feeling not quite as great as others.

‘The X-Files’ (1993 – 2002) (2016 – 2018)

When The X-Files debuted in 1993, it quickly became the defining sci-fi series of the decade with its blend of conspiracy, paranoia, ‘monster-of-the-week’ thrills, and one of the most iconic partnerships in television history. From the moment the world was first introduced to Fox Mulder and Dana Scully, audiences were consistently exhilarated by shadowy government conspiracies, extraterrestrial encounters, and unexplainable events. It’s deep-rooted sci-fi paranoia made for a compelling watch, but its underlying humor and cast of eccentric characters ensured it was always just light enough to never feel overwhelming or a chore to watch.

Watch This If: You’re looking for a ‘monster-of-the-week’ type show that stands head and shoulders above its peers due to the legendary chemistry of its two leads and its seamless blend of sci-fi paranoia, dark humor, and occasional campy fun.

Skip This If: Your idea of a good sci-fi is “hard” and scientifically grounded, The X-Files revels in the paranormal and occasionally slips into pure escapism.

‘Star Trek: The Next Generation’ (1987 – 1994)

Paramount

The third series in the Star Trek franchise and set in the latter third of the 24th century, when Earth is part of the United Federation of Planets, The Next Generation introduces an entirely new cast of characters aboard its Starfleet starship, the USS Enterprise – most notably the addition of Patrick Stewart as Jean-Luc Picard, a role so iconic it rivals that of William Shatner’s in the original.

Premiering in the ’80s – an era synonymous with excess and attitude – The Next Generation dared to be different. Featuring a diverse cast taking a diplomatic approach to conflict, its exploration of the morality of war, its philosophical musings, and its exploration of serious, real-world issues such as mental health, gender identity, and digital ethics stood out as particularly progressive at the time.

Watch This If: You’re a fan of sci-fi that focuses on intergalactic exploration but favors character development and compelling narratives over dogfights, alien attacks, and explosions.

Skip This If: You’re a die-hard fan of the original Star Trek series and have already decided that nothing will come close to the Shatner-led Starship Enterprise you so fondly remember.

‘Lexx’ (1996)

City TV

Revolving around a crew of misfits aboard a living spaceship, which also happens to be the most powerful weapon in the universe, Lexx reveled in unapologetic weirdness, sexual themes, and low-budget aesthetics, making it a hard sell for a mainstream audience used to more polished alternatives such as Star Trek and Stargate. However, it has since garnered a dedicated cult following.

One thing that can’t be taken away from Lexx is its commitment to its absurdity, maintaining an amazing, uncompromised streak of bold sci-fi originality from start to finish. Looking back, it’s easy to argue that it was ahead of its time, especially when considering the success of more recent sci-fi shows of its ilk, like Rick and Morty and The Orville.

Watch This If: You like your sci-fi mixed with a drop of humor, a splash of silliness, and a whole lot of B-movie charm.

Skip This If: You’ve grown accustomed to the cinematic Hollywood sheen of recent sci-fi mega hits like Stranger Things, Andor and Alien: Earth.

‘Twin Peaks’ (1990 – 1991)

ABC

Perhaps a controversial choice for some, David Lynch and Mark Frost’s cult classic Twin Peaks isn’t a straightforward sci-fi like most on this list. In fact, the show – which follows an investigation led by FBI special agent Dale Cooper into the murder of a local teenager – defies classification. Part soap opera, part crime drama, and part sci-fi horror, it begins as a grounded detective mystery before spiraling into something entirely different as Dale finds himself exploring other dimensions and fighting evil spirits. It is this constant unpredictability that makes it a truly exhilarating experience from start to finish, though,

Now regarded as among the most influential TV shows ever made, Twin Peaks helped usher arthouse sensibilities into primetime TV. Its cinematic direction, surreal imagery, and emphasis on atmosphere over conventional plotting laid the groundwork for modern ‘prestige’ television, influencing everything from The Sopranos and Mad Men to Stranger Things and Lost.

Watch This If: You’re familiar with and are a fan of the trademark “Lynchian” approach to filmmaking and television: an unconventional blend of hypnotic surrealism and visceral storytelling. You’re looking for the absolute “peak” of what he can do in a long-form series.

Skip This If: You expect a conventional narrative structure, clear answers, or traditional resolution; if you prefer tightly plotted storytelling, straightforward character arcs, or find surreal, abstract, and deliberately ambiguous storytelling frustrating rather than fascinating.

‘Mr. Robot’ (2015 – 2019)

Mr. Robot follows IT expert Elliot Alderson as he becomes embroiled with an anarchist group of hacktivists aiming to destroy all debt records by encrypting the financial data of the world’s largest conglomerate. Featuring a talented cast including Rami Malek, BD Wong, Christian Slater, and Carly Chaikin, the show received critical acclaim and developed a strong cult following for its layered storytelling and psychological depth.

Mr. Robot never shies away from shedding light on the raw and often painful realities of living with mental illness. Elliot is a complex and deeply layered character who is constantly evolving, keeping viewers captivated as we witness him struggling with social anxiety, depression, and dissociative identity disorder. At the same time, through Elliot’s new line of work, audiences are exposed to the bleak realities of societal decay, corporate control, and media manipulation.

Watch This If: You’re looking for an anxiety-inducing techno-thriller based around a complex and layered protagonist as he takes on corruption and corporate control.

Skip This If: You’re looking for some light-hearted comfort viewing or an easy-to-follow linear plot. Elliot’s unreliable narration and the increasingly complex conspiracies may feel overly disorientating to a casual viewer.

‘Battlestar Galactica’ (2003 – 2009)

Sci-Fi Channel

Battlestar Galactica is a dark military sci-fi drama following the galaxy’s last known surviving humans as they flee extinction after a devastating nuclear attack at the hands of a cybernetic race called the Cylons. Reimagining the original campy ’70s series with a modern cinematic sheen, added emotional depth and a compelling new cast of characters, the Battlestar Galactica ’00s revival is widely considered among the greatest ever sci-fi shows to grace our screens.

Renowned for its complex political allegories and gritty approach to storytelling, it was praised for its ability to anchor sci-fi fantasy with vivid and recognizable human psychology and expertly juggle multiple overarching storylines over the span of multiple seasons. Never once does the intrigue, psychological tension, or character development dip, making it one of the few shows that’s genuinely a treat to experience from start to finish.

Watch This If: You want to experience one of sci-fi’s biggest success stories, packed with morally grey characters, escalating political tensions, and high-stakes, existential paranoia.

Skip This If: You like your sci-fi with added humor in the vein of Red Dwarf, Futurama, or even the witty quips of The X-Files. Battlestar Galactica can feel intensely dark, gritty, and even stressful in comparison.

‘Andor’ (2022 – 2025)

Disney+

Serving as a prequel series to the anthology film Rogue One: A Star Wars Story (2016), itself a prequel to the original 1977 Star Wars movie. The series revolves around thief-turned-rebel spy Cassian Andor during the five formative years leading up to the events of the two movies. It follows her radicalization against the Galactic Empire as well as the formation of the wider Rebel Alliance.

Not only is it one of the biggest streaming successes of the ’20s, but it was also a huge critical success and is considered among the most compelling, mature, and well-written entries in the entire Star Wars franchise. Nearly 50 years after the release of the original movie, things are kept fresh and exciting by grounding the story in political intrigue, adding elements of espionage, and introducing a far more morally complex style of storytelling compared to what we’re used to from the series. The show was also praised for the strong performances of its core cast and its impressive cinematic visuals.

Watch This If: You are a fan of Star Wars. Even if you’ve begun to experience franchise fatigue, Andor provides a unique and refreshing take on the series and significantly expands on the existing lore of its galaxy far, far away.

Skip This If: The most appealing parts of Star Wars, for you, are dogfights, lightsaber duals, and explosive gunplay. Andor is a slower, more character-driven series compared to other traditional Star Wars movies.

‘Severance’ (2022 – 2025)

Apple TV

Severance is a psychological sci-fi thriller that blends workplace drama and mystery with an undercurrent of pitch-black humor. Primarily directed by Ben Stiller and starring the likes of Christopher Walken, Adam Scott, John Turturro, Patricia Arquette, and Sarah Bock, it follows employees at Lumon Industries, a sinister biotechnology corporation that has undergone “severance” – a procedure that splits a person’s memories between work and their personal life, with no communication between the two.

Premiering on AppleTV+ back in 2022, it gradually gained attention and momentum, becoming a slow-burning word-of-mouth phenomenon that has gone on to become one of the most popular and lauded shows in recent history. With a staggering 41 Primetime Emmy Award nominations under its belt, it is now the most-watched series in the history of Apple TV+, praised for its masterful cinematography, intriguing mystery premise, and relatable workplace themes.

Watch This If: You have ever wondered what it would look like if the mind-bending mystery of shows like Lost and Black Mirror and the corporate satire found in the likes of Mad Men and Just Shoot Me were to collide.

Skip This If: You’re looking for the kind of blockbuster explosive spectacle found in movies like Avatar, Star Wars, or Inception.

‘The Expanse’ (2015 – 2022)

Prime Video

Set in a future where humanity has colonized the Solar System, The Explanse follows a disparate crew of highly trained individuals as they unwittingly stumble upon a far-reaching conspiracy that threatens the system’s fragile balance of power, while also dealing with escalating political tension and shifting alliances.

Praised for its hard sci-fi accuracy, meticulous world-building, and intricate political landscape, it is a rare example of a series that delivers a flawless, gripping story arc from the very first episode to the breathtaking finale. With an overall Rotten Tomatoes average of 95%, each of its 6 seasons received widespread acclaim, with seasons 3, 4, and 5 all landing a perfect 100% score.

Watch This If: You are looking for unmatched scientific realism and a meticulously crafted world that feels incredibly lived-in and culturally distinct, or if you’re a fan of the original books by James S. A. Corey and intrigued by the prospect of a remarkably faithful adaptation.

Skip This If: You’re looking for pure, easy-to-watch escapism because, while The Expanse’s story is undeniably gripping, the show adheres strictly to real physics, meaning space exploration is dangerous, claustrophobic, and slow, not fast-paced or fantastical,

A romantic comedy that spent years waiting for its moment has suddenly become one of Netflix’s biggest titles worldwide. The film’s rise is notable because it arrives after several other Netflix titles had already dominated the platform in recent weeks. Maternal Instinct previously held the No. 1 spot for two full weeks, while Little Brother and The Killer have also remained strong performers (via FlixPatrol).

Against that backdrop, the rise of Voicemails for Isabelle, written and directed by Leah McKendrick, gives Netflix a new word-of-mouth romance at a time when lighter, character-driven films often have to fight for attention. The movie is also performing well with viewers and critics. Voicemails for Isabelle currently has a 7.4 rating on IMDb and an 84% critics’ score on Rotten Tomatoes, a solid response for a streaming rom-com built around emotional intimacy.

Netflix’s New No. 1 Rom-Com Has A Long Hollywood Backstory

Voicemails for Isabelle builds its romance out of an act of grief that was never meant to be heard. Jill, played by Zoey Deutch, cannot quite stop talking to her late sister. She keeps calling Isabelle’s old number, using the voicemail box as a private place for grief, jokes, and confessions. Only it isn’t private anymore: The number now belongs to Wes, played by Nick Robinson, and the messages slowly turn a stranger into someone who feels unusually close.

The setup gives Voicemails for Isabelle a high-concept hook, but its origins are more personal. McKendrick told Forbes that the story came from her own feelings about sisterhood, saying, “It was based on a love for the fact that my sister taught me how to love. And she taught me how to identify true love in the world. And when you have a soul mate, from four years old, when my sister was born, you know what that looks like. You know what that feels like, and what it doesn’t feel like.” She added:

“It’s my love letter to sisterhood, even the sisters that we choose.”

McKendrick wrote the script more than seven years before the movie’s Netflix debut. The project first became public in 2019, when The Hollywood Reporter announced that Sony had picked up the spec script. At that point, Hailee Steinfeld was attached to star, and Bridget Jones’s Diary director Sharon Maguire was set to direct. The script’s industry reputation grew later that year when it landed on the 2019 Black List, the annual list spotlighting admired but unproduced screenplays. Still, like many buzzy spec scripts, Voicemails for Isabelle didn’t immediately make it to cameras. The project stalled, and McKendrick moved on to other work, including the 2017 thriller M.F.A., the 2023 indie comedy-drama Scrambled, and story work on Sony’s I Know What You Did Last Summer.

The version that eventually arrived on Netflix looks different from the one first announced in 2019, but it’s found a clear lead in Deutch. Her turn as Jill brings the film a familiar rom-com anchor, especially after her work in Set It Up, Zombieland: Double Tap, and Netflix’s The Politician. The rest of the cast includes Nick Robinson as Wes, Ciara Bravo as Isabelle, Nick Offerman as Chef Bastien, Lukas Gage as Arthur, Harry Shum Jr. as Andy, Leah McKendrick as Breeda, Toby Sandeman as Tyler, and Gil Bellows and Tanis Dolman as Mr. and Mrs. Shaw.

Netflix’s live-action reimagining of Nickelodeon’s celebrated animated saga Avatar: The Last Airbender received generally positive reviews upon its release in 2024, thanks in large part to a concentrated effort to maintain authenticity to the original show. While it did an admirable job of adapting the 20-episode animated series down to just eight episodes, some changes to the overarching narrative were required due to time and budget constraints. That trend continued with season 2, which followed the general storyline covered in the animated show’s second season, which explored the Earth kingdom after focusing largely on the Water tribes in season 1.

The 20 episodes of season 2 were condensed down to just seven hour(ish)-long extravagant episodes for the live-action series. While showrunner Albert Kim and his team did an admirable job including many of the best subplots from Book Two of the original show, many characters, circumstances, and settings were adjusted to fit a more seamless season-long narrative. I’ve highlighted seven of the biggest changes to the story that long-time Avatar fans know and love, some of which work far better than others.

7

Aang Is Older Than His Animated Counterpart in Season 2 Thanks to a Big Time Jump

Aang actor Gordon Cormier grew significantly between seasons.

What Netflix Changes: Avatar: The Last Airbender immediately ran into a problem that many shows that feature children do: the cast aged quickly between season 1 and season 2. As a result, Aang actor Gordon Cormier emerged at the beginning of season 2 as a full-blown teenager, having already mastered waterbending in the year (in-universe) between the battle at the North Pole and where season 2 picks up. The show wisely doesn’t shy away from that fact, and Suki even notes how much taller Aang is than when she last saw him.

Why It Doesn’t Work: Part of what makes Aang so special as a character is that he both looks and feels like a small child throughout the animated series. His childish nature is a key component of his personality, and the juxtaposition between the goofy airbending prodigy and the awesome might of the Avatar state is all the more impactful because of it. It also plays a role in his relationship with Katara, who views him more as a little brother than anything for much of the show. By aging Aang, his entire character is drastically altered, and not for the better.

6

Season 2 Gives Iroh a More Prominent Role

The former Fire Nation general is a major player in season 2.

Netflix

What Netflix Changes: Uncle Iroh has his moments in the second season of the animated show, but the Netflix version really gives the character a chance to shine, which is exactly what happens thanks to a stirring performance from the incomparable Paul Sun-Hyung Lee. Iroh’s past, specifically related to his infamous failure at Ba Sing Se, is briefly discussed in the original show, but it takes center stage in the Netflix adaptation.

Why It Works: Any reason for Paul Sun-Hyung Lee to get more screen time is a good one, and the way the show delves into Iroh’s deep-seated guilt over his crimes as a Fire Nation general is engrossing. The now-peaceful man is forced to come face-to-face with the atrocities he unleashed upon both the people of the Earth kingdom and upon his own soldiers, one of whom was the son he lost. It’s a welcome change for one of the very best characters from the original show, and Lee has certainly made that the case again with the live-action.

5

Major Subplots of Books 2 and 3 Are Concentrated in Ba Sing Se

The Painted Lady, the Library Quest, and Appa’s Kidnapping all occur within the walls.

Netflix

What Netflix Changes: In an effort to include some of the most important and beloved side quest stories of the animated show, season 2 of Netflix’s Avatar: The Last Airbender relocates some of them within the walls of Ba Sing Se. Three of the biggest include Katara’s masquerade as the Painted Lady spirit, the quest to find Wan Shi Tong’s library, and Appa’s kidnapping and subsequent solo travels. In the live-action show, Katara helps people in the streets of Ba Sing Se as the benevolent spirit, while Wan Shi Tong’s library is moved to within the city walls. Appa is still kidnapped, but by Long Feng and the Dai Li, not sandbenders, and as a result he is simply locked away as opposed to embarking on his own journey back to Aang.

Why It Works: It’s admirable that Albert Kim and co. found a way to include the fan-favorite subplots, as the Painted Lady and Appa’s kidnapping at the very least seemed like they would be easy to leave out of the script with no real bearing on Aang’s quest to defeat the Fire Lord. The journey to Wan Shi Tong’s library is positively essential to that, however. The fact that they found a way to not only include the concepts with relative authenticity to the original show but also adapt them to serve a greater purpose to the live-action show’s plot should be considered a success.

4

Azula and Zuko’s Sibling Dynamic Is Very Different

Their motivations regarding their mother and each other are given more depth.

Netflix

What Netflix Changes: In the Netflix show, Azula is tasked with bringing Zuko back to the Fire Lord to be pardoned, which is a fairly drastic change from the animated show, which saw her hunting Zuko and Iroh as Fire Nation traitors. Via brief flashbacks, the new show also alters the siblings’ dynamic with their mother, with Ursa caring for both her children equally, and attempting to flee Fire Lord Ozai with both of them, resulting in her disappearance (and presumed death or exile).

Why It Doesn’t Work: Azula’s long-standing mental instability and rivalry with her brother was originally brought about by her belief that her mother loved Zuko more, which drove her closer to her father as she grew. It’s a major key to her mindset, and how she was molded into a perfect weapon by the Fire Lord as his de facto heir. By changing this dynamic, there really isn’t a reason for Azula’s madness bubbling to the surface in season 3, which likely means the Netflix show has very different plans for her arc. There’s nothing wrong with departing from the original story in a big way like this, but the problem is the motivations of Zuko, Azula, and Fire Lord Ozai himself were pretty great to begin with.

3

Jet’s Entire Season 2 Role Changes

The former freedom fighter still gets a heroic end.

Netflix

What Netflix Changes: After his vengeance-fueled near-atrocity in season 1, season 2 of the animated show saw freedom fighter Jet return as Team Avatar makes their way to Ba Sing Se. This happens in season 2 of the Netflix show as well, but this time his hatred for the Fire Nation flares up again in the form of an attack on a borough of Fire Nation defectors within the walls of the Earth Kingdom capital. While he’s captured by the Dai Li and brainwashed in the original series before helping Team Avatar find Lake Laogai, he instead accompanies them to Wan Shi Tong’s library, where he meets his end at the spirit’s talons as opposed to Long Feng’s.

Why It Works: Jet doubling down on his hatred for the Fire Nation with another attack in Ba Sing Se strengthens his redemption arc in the live-action show. His heroic actions in Wan Shi Tong’s library are a fitting end for the character, and they certainly do play as more cinematic for the purposes of the show.

2

Aang Is a Lot Angrier Than His Animated Counterpart

The live-action teenager is a lot more anxious and quick to anger.

Netflix

What Netflix Changes: Aang is a teenager in season 2, and with that comes a lot of teenage angst—or Aangst (I’m sorry). He has many moments of anxiety, anger, and even distrust in his friends, which is drastically different from the goofiness of his animated counterpart. One scene in particular involves Aang tearing down his friends’ actions and blaming them for the position they’re in, backed into a corner without Appa and at the mercy of Long Feng and the Dai Li.

Why It Doesn’t Work: While acknowledging that Netflix is intentionally trying to do something different with Aang’s character, it doesn’t have anywhere near the impact or entertainment of his more childish animated counterpart. An angry teenage Aang simply isn’t a version I, or many other die-hard Avatar fans, are interested in. His immaturity and joyful spirit is a key component of what makes him such a unique protagonist, and dragging him down in the muck with other gloomy modern-day heroes doesn’t work.

1

Aang Masters the Avatar State With No Help

Aang’s work with the Guru Pathik is skipped entirely.

Netflix

What Netflix Changes: When season 2 opens, Aang has already mastered waterbending, which is somewhat forgivable given that a year of show time passed between seasons. However, season 2 completely glosses over Aang’s grappling with the Avatar state, which is a massive part of his character’s journey. It doesn’t go anywhere near as deep into his insecurities over his lack of control and the damage he causes in that state, and skips his time with the guru during which he attempts to open his chakras and master the state. Part of that process involves letting go of his attachments, even to his friends (and Katara in particular), which he refuses to do.

Why It Doesn’t Work: Aang fights Azula in the crystal caves of Lake Laogai beneath Ba Sign Se seemingly in control of the Avatar state, and even demonstrates his control before Azula strikes him with her lightning. First off, that implies that Azula was capable of beating Aang in the Avatar state outright, which completely betrays what the Avatar state is and means. Second, Aang’s internal struggle as a peace-loving airbender forced to bring about destruction and death in the Avatar state is far too significant to skip entirely. It allows for a showy bit of Avatar state action in the season finale, but it’s a major miss in the reimagining.

Release Date

February 22, 2024

Network

Netflix

Showrunner

Albert Kim

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The future of Doctor Who is uncertain. After 60 years, it’s fair to say the hit show has had its ups and downs, but right now things feel particularly bleak for the “mad man with a box.” Although we don’t know what will come next for the Doctor, it isn’t the first time the show has had a long hiatus, and previously, that break helped it come back stronger than ever. When Doctor Who was revived in the early 2000s, the new era produced some of my favorite episodes in its entire history, with emotional stories and ambitious season-long arcs.

As we await the next iteration of the iconic sci-fi series, there’s never been a better time to look back at its highlights. Revisiting the Doctor’s adventures through space and time reminds us why it’s bound to endure for generations to come. At the end of the day, there are a few reasons why I love Doctor Who: ambitious storytelling, emotional character arcs, terrifying villains, and, of course, the actors who have brought the Doctor to life. These factors are considered for each entry.

Honorable Mentions

Rosa (Series 11, Episode 3)— “Rosa” is among the strongest Doctor Who historical episodes, educating viewers about the life of civil rights icon Rosa Parks, while treating her story with respect within the context of a sci-fi series. It’s a delicate balance that the show hasn’t always navigated successfully. Jodie Whittaker’s Doctor brings a sense of empathy as she leads her companions through the Civil Rights Movement, without overshadowing any of the real-world heroes who were a part of it.

Boom (Season 1, Episode 3)— Russell T. Davies’ second era as showrunner was far from perfect, but “Boom” was a standout bottle episode that showcased Ncuti Gatwa’s charm as the Doctor. The episode did what the sci-fi series has always done best: forcing the Doctor into an impossible situation, while delivering thoughtful commentary on complex topics.

Father’s Day (Series 1, Episode 8)— Christopher Eccleston’s Doctor often gets overlooked, but his era included the tragic episode “Father’s Day,” which remains one of the show’s most underrated stories. It added a new emotional layer to both the Ninth Doctor and Billie Piper’s Rose Tyler, after they crossed paths with her late father on the last day of his life. There are few storylines in Doctor Who that pull at the heartstrings based on their premise alone.

The Day of the Doctor (50th Anniversary Special)— Although “The Day of the Doctor” is more of a celebration of the show than a typical episode, it perfectly encapsulates Doctor Who’s boundless sense of adventure, as it unites the Eleventh and Tenth Doctors with the War Doctor. It also managed to deliver a shocking payoff to a long-running storyline, balancing fan service with consequential storytelling.

‘Hell Bent’ (Series 9, Episode 12)

After Matt Smith departed the show and Peter Capaldi stepped into the role of the Doctor, Jenna Coleman’s Clara continued to travel across time and space in the TARDIS. But the series was still evolving, and the companion received deeper, more complex characterization, leading to a close bond between her and the Twelfth Doctor. “Hell Bent” brought a devastating conclusion to her tenure, which I’m still not quite over.

Unlike other companions who met their fate in just one sudden episode, Clara’s ending was stretched out across three episodes, making her final moments feel even heavier. Capaldi’s performance emphasizes the Doctor’s grief and anger, as he’s forced to come to terms with the loss, after becoming unhinged and trying everything in his power to cheat death. The choice to make him lose every memory he ever had of Clara feels like a gut punch— and that’s something only the best Doctor Who episodes can pull off.

‘The Zygon Invasion’ / ‘The Zygon Inversion’ (Series 9, Episodes 7 and 8)

BBC

It’s long been said that many of the greatest Doctor Who stories are two-parters, and that’s certainly true of the Capaldi years. For that reason, it’s impossible to discuss “The Zygon Invasion” without “The Zygon Inversion,” as these two episodes are linked through more than their alien invasion premise.

They serve as a bold political allegory when the shapeshifting Zygons wage war on humanity, and it’s up to the Doctor to settle the rising tension. The episode crescendos when Capaldi gives an epic speech about the absurdity of war, which, in my opinion, is one of the show’s most powerful scenes.

‘World Enough and Time’ / ‘The Doctor Falls’ (Series 10, Episodes 11 and 12)

BBC

It’s rare for a show to deliver fan service that also feels right for its story, but John Simm’s surprise return as the Master after several years was exactly that. And pairing him up with Michelle Gomez’s iteration of the Master, Missy, added to the fun as they matched each other’s chaotic energy.

“World Enough and Time” and “The Doctor Falls” proved to be a masterclass in character‑driven storytelling, while introducing original sci‑fi concepts— strong enough to be their own movies— as the Doctor is aboard a ship where time moves differently on each level. The two-parter added to the lore of the 60-year-old canon, while the Doctor bid farewell to his companion Bill and even gave Missy a redemption arc. I can’t think of many other episodes that did so much in such little time.

‘Human Nature’ / ‘The Family of Blood’ (Series 3, Episodes 8 and 9)

BBC

David Tennant is famous for the emotional human edge he brought to his take on the Tenth Doctor. When the two-parter “Human Nature” and “The Family of Blood” pushed that idea to its logical conclusion, it resulted in one of the most memorable episodes of his era. After rewriting his memories, the Doctor believes he’s an ordinary man named John Smith living in the year 1913, and within that time, he fell in love and created a life for himself— so when his true self is restored, he realizes he isn’t able to stay and be happy. It’s the sort of episode that’s impossible not to cry over, as the Doctor is forced to sacrifice a life he just isn’t allowed to have.

‘Dalek’ (Series 1, Episode 6)

BBC

When Doctor Who returned in 2005 after years off the air, there were a few key things it had to reintroduce, and one was the classic villains, the Daleks. The episode “Dalek” showed a new generation of viewers why the species should be feared, and I still think it’s one of the show’s most intense episodes. When the last surviving Dalek escapes into an underground bunker, casually exterminating anyone who stands in its way, the Ninth Doctor nearly loses Rose. Few episodes feel like such an organic mashup of the sci-fi and horror genres.

‘A Christmas Carol’ (2010 Christmas Special)

BBC

How can anyone not love Doctor Who’s Christmas specials? “A Christmas Carol” reimagines Charles Dickens’ classic by introducing time travel, with Matt Smith’s Doctor guiding Kazran Sardick, a stand-in for Scrooge, on a life-altering journey that leaves him deeply changed for the better. It isn’t the first time that Dickens’ story has been adapted to a vastly different setting, but it stands out as one of the most inventive. Murray Gold’s beautiful score, paired with the special’s visuals, makes it feel like watching a fairy tale, capturing the sense of hope and wonder the show is known for.

‘The Eleventh Hour’ (Series 5, Episode 1)

BBC

If you’ve ever wondered how to start watching Doctor Who, “The Eleventh Hour” is a great entry point, with Smith’s debut as the Eleventh Doctor effectively serving as a soft reboot for the show. Although it still maintains a level of light-hearted camp, Series 5’s increased budget gives it a cinematic quality, evident through its action and visuals, right from the moment the newly regenerated Doctor crashes his TARDIS. Meanwhile, the introduction of Amy Pond, played by Karen Gillan, expertly establishes her as an emotional anchor for years to come.

‘Listen’ (Series 8, Episode 4)

BBC

Capaldi’s Doctor is at his best when he’s dealing with the philosophical, and “Listen” is among the finest examples as he goes across space and time to chase a monster which may or may not exist. The episode turns mundane moments into high-stakes terror, even something like lying in your bed. And while it wraps up a satisfying story, it also directly connects to “The Day of the Doctor” in a surprising way, making the War Doctor an intrinsic part of its ethos. The final few minutes solidify the episode as one of my favorites from Capaldi’s run, closing with Clara’s resonating line: “Fear makes companions of us all.”

‘The Empty Child’ / ‘The Doctor Dances’ (Series 1, Episodes 9 and 10)

BBC

There’s a good reason why this two‑parter has been hailed as a modern classic for Doctor Who ever since it first aired in 2005. “The Empty Child” and “The Doctor Dances” feel like a horror movie, which just so happens to star the Doctor. It also incorporates some simple, yet terrifying imagery, as a zombie-like child wears a gas mask, repeatedly asking a question: “Are you my mummy?” However, the story builds toward an emotional catharsis when Eccleston’s Doctor finally manages to save the day against all the odds. The two-parter balances the dread of wartime with the joy of life, leading to the Ninth Doctor’s most beloved story.

Few authors have seen their work adapted as often as Stephen King. William Shakespeare has him beat, but in modern times, the horror master behind works like The Shining, It, and Pet Sematary is absolutely one of the leading figures when it comes to having one’s written work brought to life onscreen. And in such a crowded field, can you name the single best King adaptation?

There’s obviously room for disagreement, but it’s hard to top the very first. 1976’s Carrie, directed by Brian De Palma, was adapted from King’s first novel. Starring Sissy Spacek as the titular teenager with telekinetic powers, Carrie is a genre-defining movie that still feels relevant as a bloody revenge tale, 50 years after it originally arrived in theaters.

‘Carrie’ Is The Perfect Revenge Movie

Carrie follows a teenager who has always been the victim of bullying. Her classmates humiliate her when she has her first period, and constantly drive her into submission. The problem is that it doesn’t stop there. Her mother Margaret, an extremely devoted religious woman, also forces Carrie into living a life of absolute sacrifice. That’s why when Carrie gets asked to the prom by the most handsome guy in school, everything feels off.

In reality, this is just part of a plan by Carrie’s bullies. While Tommy Ross is just following his girlfriend Sue’s plan to give Carrie a break, things don’t go great. The school prom becomes the stage for a prank so vile that it will bring out the girl’s true nature. She’s hiding a strange and potentially deadly power, and it’s one she’ll inevitably use when everyone in her world turns on her.

Stephen King’s ‘Carrie’ Is His Highest-Rated Adaptation

Upon release, Carrie was very well received inside and outside the horror community. It received a limited theatrical release, but it became a blockbuster by box office standards in the 1970s, grossing nearly $34 million against a production budget of $1.8 million while putting Stephen King firmly on the map as an outstanding new voice in horror.

The critical reception was also strong, and it earned a couple of nominations at the Oscars the following year. Spacek, of course, received a Best Actress nod, but Piper Laurie was also part of the Best Supporting Actress lineup for her role as Margaret White.

So is Carrie Stephen King’s best film adaptation? Fifty years later, everyone’s entitled to their own opinion, and with a catalog as vast and diverse as King’s, it’s only natural that opinions differ. However, critics still regard Carrie highly, and with a score of 94%, it remains the author’s highest-rated project on Rotten Tomatoes. That’s higher than a list of classics that includes Stand by Me, The Shawshank Redemption, and The Dead Zone.

The thriller masterpiece is currently streaming for free on Pluto TV, but fans of King’s work should run and revisit it as soon as possible. While the streamer doesn’t provide exact dates for when titles will be removed from the library, we can assume that Carrie will leave on July 1.

Over the 21st century, Jonah Hill became one of the most recognizable faces in Hollywood through a wide variety of roles on the big screen. First breaking through with his role as Seth in 2007’s Superbad, he then joined two of the biggest animated franchises of the 2010s with a role as Snotlout in the How to Train Your Dragon trilogy and a pair of credits as the voice of the Green Lantern in 2014’s The Lego Movie and 2019’s The Lego Batman Movie. This does not even take into account his casting in hit films like 2011’s Moneyball and 2013’s The Wolf of Wall Street, both of which earned him Oscar nominations for Best Supporting Actor.

In recent years, Hill has stepped back from being in front of the camera, moving into new projects as a director. This includes credits on two feature films (2018’s mid90s and 2026’s Outcome) and a 2022 mental health documentary called Stutz; he also sat in the director’s chair for the second episode of HBO’s Winning Time: The Rise of the Lakers Dynasty Season 1. While he looks to continue adding projects to his directorial resume, his latest efforts seem to have hit a snag.

According to Puck insider Matt Belloni (per World of Reel), Warner Bros. has removed the movie Cut Off, directed by Jonah Hil, from its schedule ahead of its expected Jul. 27, 2026 release. The movie finished filming in Sept. 2025 after replacing original star Jennifer Lawrence with Kristen Wiig. Reportedly, test screenings did not go well for this movie, with one attendee bluntly claiming that it was “unwatchable.” Belloni also reported that Warner Bros. believes the movie is “unreleasable” and hinted that its fate may only be set in stone after Paramount’s deal to purchase Warner Bros. is complete, which will also decide the fate of film chiefs Michael De Luca and Pam Abdy.

This news is certainly a disappointment for Hill ahead of his third directorial efforts, which only compounds the lack of success he had with 2026’s Outcome for Apple TV. The movie earned an awful 27% Tomatometer score on Rotten Tomatoes, with critics lamenting its tonal inconsistencies and an approach to Hollywood satire that did not land well humor-wise. Even with A-list talent like Keanu Reeves and Cameron Diaz, this movie could not land with audiences. Now, the worry is that Cut Off will meet the same fate if it is even released, with major stars like Chelsea Peretti, Bette Midler, and Nathan Lane seemingly being unable to make the story watchable.

Thankfully, a recent update should shine some light on Hill’s future, as 24 Jump Street was officially confirmed for development in Jun. 2026, coming over a decade after 22 Jump Street hit theaters. Skipping over 23 Jump Street entirely, this movie is expected to reunite Hill with co-stars Channing Tatum and Ice Cube, giving Schmidt and Jenko another wild and crazy case to take on as undercover cops.

Birthdate

December 20, 1983

Birthplace

Los Angeles, California, USA

Birthname

Jonah Hill Feldstein

Supergirl, the second film in James Gunn’s DCU, has finally arrived in theaters. Despite Supergirl getting solid social media reactions, once the critical embargo was lifted, reviews were far less kind. Even though most critics have praised star Milly Alcock’s depiction of Supergirl, the film itself has been criticized for a weak script, poor action direction, and one notably bad needle drop. Even though Supergirl might not have won over critics, the real test will be how it fares with general audiences.

The Rotten Tomatoes audience score for Supergirl currently sits at 76% fresh, based on over 1,000 certified user reviews. This contrasts with the critical score for Supergirl, which is 58% on Rotten Tomatoes. That is about a 18% gap in critics and audiences. In terms of DCU, Superman also had a higher audience rating (90%) than critics (83%), though the difference was only 7%. That also means audiences generally preferred Superman to Supergirl by at least 14%.

The idea of audiences enjoying a movie, particularly a superhero movie, more than critics is not that notable. However, in Supergirl‘s case, the gap between critics and audiences is relatively modest. A more notable gap was 2025’s Captain America: Brave New World, which earned 46% on Rotten Tomatoes, while the audience score was 75%, resulting in a 29% difference. Supergirl actually has a similar audience-and-critic divide to Wonder Woman 1984. That DCEU sequel is at 57% on Rotten Tomatoes, though audiences gave the movie a 73%.

Audience score is a more nebulous metric, as it can just as easily be manipulated to skew a rating in a specific way. In most cases, female-centric projects are the target of review-bombing campaigns. This led Rotten Tomatoes to take steps to curb review-bombing by implementing more detailed verification processes for users to log reviews. Yet the same tools that can cast a film in a negative light can, in theory, also be used to bolster its popularity among a dedicated fanbase.

Warner Bros. and DC Studios are hoping the kinder audience reaction will translate into box-office word-of-mouth. Supergirl debuted to $7.8 million in previews, and is aiming for an opening weekend between $39 and $50 million. With a budget of $170 million, Warner Bros. reportedly will be happy if Supergirl can make $300 million worldwide. However, with mixed critical reception, a positive yet lukewarm audience response, and competition from the likes of Toy Story 5 and Minions & Mayhem, Supergirl faces many obstacles at the box office.

Release Date

June 26, 2026

Runtime

108 minutes

Writers

Ana Nogueira

Producers

James Gunn, Lars P. Winther, Nigel Gostelow, Peter Safran

For ten years, Outlander gave Starz something most networks would kill for: a romance-fantasy tentpole with a devoted following, reliable streaming numbers, and a built-in book pipeline that kept the story coming. Its seven seasons racked up roughly 1.2 billion hours watched on Netflix between 2023 and 2025 alone. With the time-travel saga having aired its eighth and final season this spring, the network has a flagship-sized hole to fill, and it has spent the past year courting something to fill it.

That search now has a result, though it isn’t the one casual viewers might expect. Rather than reach for another historical epic, Starz has gone feral, steamy, and very much of the moment, betting that the booming romantasy genre can do for it what Diana Gabaldon’s Highlands once did.

According to Deadline, Starz has acquired the rights to The Wolf King, Lauren Palphreyman’s bestselling romantic fantasy trilogy, and put it into active development as a drama series. Vida creator Tanya Saracho is attached as showrunner and executive producer, with Palphreyman executive producing. The network has optioned all three books, giving itself the multi-season runway that served Outlander so well.

The Wolf King follows Aurora, a captive princess abducted by a brooding werewolf alpha and dropped into a bloodthirsty war between humankind and her feral captors, where a lethal love triangle forces her to decide whether she is a prize to be claimed or the author of her own fate. Palphreyman self-published the first book in 2023, followed it with the Sunday Times bestseller The Night Prince in 2025, and has the trilogy’s closer, The Wolf Queen, arriving in November.

For Saracho, the move is a genuine departure. She built her reputation on Vida, the Mexican-American sister drama that ran on Starz for three seasons from 2018 to 2020 and became a landmark of Latino representation and queer storytelling on premium cable. Werewolves and romantasy sit a long way from that register, but Saracho called the reunion a “full-circle moment,” having lovingly championed Palphreyman’s book since she found it as an indie release.

Whether The Wolf King can actually inherit Outlander‘s crown is, for now, an open question. Starz hasn’t explicitly billed it as a replacement, and the Outlander world isn’t going anywhere regardless, with the prequel Outlander: Blood of My Blood already renewed for a second season.

The project is also early, with no series order yet, no cast, and no premiere date. What the network does have is a clear appetite for this lane, with recent originals like the steamy Three Women and the gladiator follow-up Spartacus: House of Ashur keeping its genre slate stocked. If the romantasy boom holds, and Starz can summon the heat its logline promises, Aurora may yet give Outlander‘s streaming faithful somewhere new to go.

Release Date

2018 – 2020-00-00

Network

Starz

Directors

Jenée LaMarque, Catalina Aguilar Mastretta, Gandja Monteiro, So Yong Kim, Alonso Ruizpalacios

Writers

Nancy C. Mejia, Mando Alvarado, Sierra Santana, Jenniffer Gomez, Elena Crevello, Gladys Rodriguez, Esti Giordani