• Hacks ended its five-season run on May 28 with a series finale on HBO that critics called a worthy conclusion to one of television’s most acclaimed comedies — the Emmy-winning show starred Jean Smart as Deborah Vance and Hannah Einbinder as Ava Daniels
• The finale opens with Deborah revealing her cancer has spread and that she plans to end her life at an assisted-suicide facility in Europe, bringing Ava along for the journey — the episode delivers a major fakeout that co-creators say was always the intended ending
• Co-creators Lucia Aniello, Jen Statsky, and Paul W. Downs told Collider they had the ending planned from the very beginning of the show, which premiered in 2021: “We always knew this was the ending”
• The finale drew widespread critical praise, with Vulture, Time, and the A.V. Club all calling it a fitting close to the show’s legacy-and-comedy-obsessed run

Spoilers below for the Hacks series finale.

Hacks is over — and it went out on its own terms. The series finale of the HBO comedy aired May 28, ending the five-season story of Deborah Vance (Jean Smart) and Ava Daniels (Hannah Einbinder) with the kind of precision that suggests co-creators Lucia Aniello, Jen Statsky, and Paul W. Downs knew exactly where they were going the whole time. It turns out they did. “We always knew this was the ending,” they told Collider in a post-finale interview, per Collider.

The episode begins with Deborah telling Ava that her cancer — a lumpectomy that hadn’t been fully successful — has spread. Rather than pursue treatment, Deborah reveals she wants to travel to a European assisted-suicide facility, and she wants Ava with her. The setup plays as a genuine gut-punch for most of the episode’s running time. Then comes the fakeout: Deborah was never going to go through with it. The creators describe it as the ultimate dark joke from a character who has spent five seasons teaching Ava — and the audience — that comedy lives in the gap between what you expect and what actually happens, per E! News.

How It All Ends

The finale is built on callbacks and full-circle moments. The episode opens with a one-shot of Ava walking through her new comedy pilot, mirroring the show’s own origin. Deborah’s cancer plot traces back to a detail introduced in Season 1 — a risk associated with her Tahitian grapefruit-flavored progesterone packets — giving the finale a sense of long-laid groundwork finally paying off. Every major character gets a resolution, with the show landing on what Time called “the perfect dark joke” — bittersweet but earned, per Time. Critics at Vulture and the A.V. Club called it a series finale that honored what Hacks had always been about: the cost of legacy, the comedy of survival, and the strange, combative love between two women at very different points in their lives, per Vulture.

The post ‘Hacks’ Ends After 5 Seasons With a Finale That Was Planned From the Beginning — Here’s How It All Wrapped Up appeared first on Cream.

• Marvel Animation has released the first trailer for X-Men ’97 Season 2, confirming that the Emmy-nominated Disney+ series will return on July 1 — two years after the first season concluded
• The trailer confirms Deadpool will appear in Season 2, making it his first animated appearance in the current Marvel continuity; the character’s inclusion had been teased ahead of the trailer’s release
• Season 2 also introduces Danger — a character from the X-Men comics — and features new character costumes; the episode count for the season has been revealed alongside the premiere date announcement
• X-Men ’97 has been described as the most-watched Disney+ animated series; the Season 2 trailer dropped to significant fan response

The X-Men are back — and they brought Deadpool. Marvel Animation released the first full trailer for X-Men ’97 Season 2 this week, and it confirmed what many fans had been hoping for: Deadpool will appear in the new season, marking the character’s return to animation in Marvel’s current continuity, per Collider.

The season premieres July 1 on Disney+. The trailer is dense — new costumes for the core team, the introduction of Danger (a synthetic being from X-Men comics lore capable of generating lifelike simulations), and what appears to be a substantially elevated threat scale from Season 1. Season 1 ended on several unresolved cliffhangers that the second season will be expected to address, per Comic Book Movie.

Deadpool in the Animated Universe

The Deadpool confirmation is the headline grab. Ryan Reynolds voiced the character in the live-action films, but this appearance is in the animated context of X-Men ’97 — a separate continuity. Two years after Season 1 wrapped, the show returns as one of Marvel’s more critically lauded recent projects, per MovieWeb. The July 1 premiere drops X-Men ’97 into a crowded summer streaming landscape — but given the response to that trailer, it has the attention it needs.

The post X-Men ’97 Season 2 Trailer Confirms Deadpool — and a July 1 Premiere Date on Disney+ appeared first on Cream.

• Halle Berry, 59, appeared on Today with Jenna & Sheinelle on Thursday, May 28, and during the show’s “Pink Chair Questionnaire” segment, misheard Jenna Bush Hager’s question about her “biggest ick” as something considerably more explicit
• Berry burst out laughing and began to answer the question she thought she’d heard before Sheinelle Jones slapped her with her cards; “I was like, ‘What?’ It sounded like that, didn’t it?” Berry said — Jones shot back: “No! You are naughty!”
• Bush Hager, insisting she had said “ick,” was briefly censored when she repeated the supposed phrase on-air: “Ick! I said ick!” The show cut to a commercial through nonstop laughter
• Berry shared the clip on her own social media; the moment went viral during a busy press stretch for the actress, who has been promoting her 2026 film Crime 101 alongside Chris Hemsworth and Mark Ruffalo

Halle Berry came to play on Thursday’s Today with Jenna & Sheinelle — and accidentally created one of the better live TV moments of the year. The 59-year-old Oscar winner joined Jenna Bush Hager and Sheinelle Jones for a segment called the “Pink Chair Questionnaire,” a breezy game of questions about guilty pleasures, secret nicknames, and trending topics, per Today.

Things were going fine until Bush Hager asked Berry about her “biggest ick.” Berry did not hear “ick.” She heard something else entirely, processed it for a beat, and then started to answer. The studio caught on immediately. Jones slapped Berry with her cards. “I was like, ‘What?’ It sounded like that, didn’t it?” Berry said, still laughing. Jones’s response: “No! You are naughty!”

Bush Hager tried to clarify — but when she repeated the word she’d actually said, she was censored on air. “Ick! I said ick!” she insisted, per OK Magazine. The segment ended with the show cutting to commercial as the laughter continued. Berry later posted the clip herself.

The Clip in Context

The moment landed during a particularly busy stretch for Berry, who has been doing the rounds to promote Crime 101, her 2026 film co-starring Chris Hemsworth and Mark Ruffalo. Per The Wrap, the viral exchange also landed in good company: the segment highlighted Today‘s history of live TV slip-ups, including Valerie Bertinelli’s recent accidental on-air cursing. Berry’s version may have been accidental, but her reaction — and her willingness to post it — suggested she wasn’t exactly mortified about it.

The post Halle Berry Thought Jenna Bush Hager Asked Something Very Different on Live TV — and the Whole ‘Today’ Set Lost It appeared first on Cream.

• CBS News editor-in-chief Bari Weiss appointed Nick Bilton — a former New York Times tech columnist, Vanity Fair investigative journalist, and filmmaker — as executive producer of 60 Minutes, marking the latest major shake-up at a program that has been in near-constant turmoil since Weiss’s arrival
• Bilton, who directed the 2021 HBO documentary Fake Famous about influencer culture and has written books about technological disruption, has no prior broadcast television experience — an unprecedented background for the EP chair at America’s longest-running prime-time news magazine
• He replaces Tanya Simon, who had been in the role for less than a year; Simon had spent three decades at the program before being named EP in 2025
• The appointment comes after Anderson Cooper announced his abrupt departure from 60 Minutes and CBS declined to renew correspondent Sharyn Alfonsi’s contract months after pulling her segment on widespread torture in Salvadoran prisons; Christiane Amanpour has publicly criticized the show’s new leadership
• In his introductory memo to staff, Bilton called the position “the best job in journalism” and framed his mandate around modernization: “The world we are reporting on, and the world we are reporting to, has moved. And if we don’t move with it, in the ways that matter, we won’t be here for the next sixty years”

60 Minutes, the CBS News program that has been America’s most-watched news magazine for 52 consecutive seasons, has a new executive producer — and he’s never worked in broadcast television before.

CBS News editor-in-chief Bari Weiss announced Thursday that Nick Bilton, a tech journalist and filmmaker, will take the EP chair, per The Wrap. Bilton spent years writing about Silicon Valley and technological disruption for The New York Times, then moved to investigative journalism at Vanity Fair. He directed Netflix and HBO documentaries, most notably Fake Famous, a 2021 HBO film examining influencer culture. He will replace Tanya Simon, who had been in the role less than a year — she had worked at the program for three decades before being elevated to the top job in 2025.

Weiss described Bilton as “one of the most entrepreneurial and ambitious journalists working today.” Bilton called the appointment “the honor of my career.”

‘Evolving or Dying Isn’t a Threat. It’s Simple Math.’

In his introductory memo to the 60 Minutes staff, Bilton made clear that modernization is the assignment. “The world we are reporting on, and the world we are reporting to, where people consume their news, has moved,” he wrote. “And if we don’t move with it, in the ways that matter, we won’t be here for the next sixty years.” He framed the challenge in characteristically tech-journalist terms: he’s spent his career watching industries get “obliterated” by technological change, and he intends 60 Minutes to be one of the institutions that adapts rather than disappears.

What that evolution actually looks like, he declined to say — not yet. “I have a notebook full of ideas,” he wrote, teasing changes to the show format, the correspondent pipeline, and the program’s relationship to a media landscape that no longer runs on Sunday-night appointment viewing. He said he’d spend his first 30 days listening and share a direction after that.

The appointment lands at a genuinely difficult moment for the show. Anderson Cooper announced his abrupt departure from 60 Minutes earlier this year. CBS declined to renew the contract of longtime correspondent Sharyn Alfonsi six months after pulling her segment on conditions inside El Salvador’s Cecot prison. Christiane Amanpour has publicly criticized the editorial decisions made under the new leadership, per HuffPost/Yahoo. The network’s owner, David Ellison of Paramount Skydance, has drawn criticism from journalists and media observers who see the changes as ideologically motivated. Weiss has disputed that characterization.

Bilton addressed the trust question directly in his memo, invoking the show’s very first broadcast: “On the very first episode of 60 Minutes, Mike Wallace said: ‘If this broadcast does what we hope it will do it will report reality.’ I can’t think of a better north star for 60 Minutes than that. Above all, that means a commitment to fairness — in story selection, in the edit room, and in the broadcast.” The show first aired in September 1968. Whether Bilton can bring it into 2026 intact is the question everyone in the building is now waiting to see answered.

The post CBS Taps Tech Journalist Nick Bilton to Run ’60 Minutes’ — His First TV Job, and a Defining Bet for the Embattled Show appeared first on Cream.

• Spider-Noir launched on Amazon Prime Video on May 27 and has set an all-time Marvel audience score record on Rotten Tomatoes: 91% from critics and 92% from audiences — higher than X-Men ’97, the original Netflix Daredevil, and every MCU series
• Nicolas Cage plays Ben "The Spider" Reilly, a seasoned private detective in 1930s New York who moonlights as a masked superhero; the show is not an MCU series but connects to the larger Marvel multiverse
• The supporting cast includes Lamorne Morris, Li Jun Li, Karen Rodriguez, Abraham Popoola, Jack Huston, and Brendan Gleeson; the show was produced by the producers of the Spider-Verse films
• Reviews highlight Cage’s physical comedy and character work — he does in-character impressions of Peter Lorre and Humphrey Bogart as disguises — as a major factor in the show’s success
• The Financial Times gave it 4/5: "well-crafted enough, adult enough, and just about original enough, to offer a deserved moment of reprieve"; the Daily Telegraph also gave it 4/5

Nobody quite knew what to make of Spider-Noir before it launched. A 1930s noir take on Spider-Man, starring Nicolas Cage, on Amazon Prime Video — it was ambitious in the specific way that can go either beautifully right or memorably wrong.

It went right. The series debuted Wednesday on Prime Video and has already done something no Marvel project has done before: it set the all-time audience score record on Rotten Tomatoes across all Marvel properties. Per Forbes, Spider-Noir sits at a 91% critic score and 92% audience score — placing it above every Marvel series including the beloved X-Men ’97 (91% audience), the original Netflix Daredevil (90%), and Agents of SHIELD (91%).

The show stars Cage as Ben Reilly, a world-weary private eye working in Depression-era New York who leads a secret life as the city’s only masked superhero, known as "The Spider." The series leans hard into its noir influences — black-and-white-tinged visuals, voiceover narration, jazz-era New York — and uses the aesthetic as a foundation rather than a gimmick.

What the Critics Are Saying

The Financial Times gave it four out of five stars: "Audiences have had enough of the churn of movie sequels and their declining quality. But shows like this are well-crafted enough, adult enough, and just about original enough, to offer a deserved moment of reprieve." The Daily Telegraph matched the score: "Spider-Noir is as much a tribute to the golden era of sleuthing flicks as it is to caped crusaders getting their tights in a twist."

Not every review was glowing — per Just Jared’s roundup, Vulture called it "just another disposable exercise in IP maintenance," and the LA Times described it as "something of a stunt." But those were outliers in an otherwise strong reception.

The Cage Factor

Multiple reviews single out Cage’s performance as the engine that makes the show work — specifically, the physical and vocal creativity he brings to Ben Reilly’s habit of adopting disguises. In one episode, he slips into a full Peter Lorre impression — voice, posture, the hand on the back of the head — to talk his way past a suspicious doctor. In another, he channels Humphrey Bogart, flipping up his hat brim, donning thick glasses, and inventing a character called Pete the maintenance man. In a third, he becomes a bumbling Jimmy Stewart type to get past hospital staff.

It’s the kind of unhinged, committed Cage performance that audiences tend to reward, and in this case it’s calibrated to the material in a way that doesn’t feel like a joke.

The show was produced by the team behind the Spider-Verse animated films and, per early analysis of the series, does quietly connect to the broader Marvel multiverse — though it’s not part of the MCU proper. Season 1 is streaming now on Prime Video.

The post Nicolas Cage’s ‘Spider-Noir’ Just Broke a Marvel Record on Rotten Tomatoes — and the Reviews Explain Why appeared first on Cream.

• The autopsy report for Storage Wars star Darrell Sheets, obtained by Us Weekly, shows his toxicology analysis came back completely negative
• Officials tested for benzodiazepines, cocaine, fentanyl, and other substances — none were found in his system
• The Mohave County Medical Examiner’s Office ruled Sheets’ death a suicide
• His son Brandon shared a tribute on social media: “I love you Dad and I will do my best to live in your honor and respect our Family”

The autopsy report for Storage Wars star Darrell Sheets has been released, and it answers one of the questions that followed his death: there were no drugs in his system.

The report, obtained exclusively by Us Weekly, states that Sheets’ toxicology analysis came back negative. Officials tested samples of his blood for benzodiazepines, cocaine, fentanyl, and other substances — none were detected. The Mohave County Medical Examiner’s Office, which handled the examination, has ruled his death a suicide.

The report describes Sheets as “a well-developed, well-nourished adult male” and notes several tattoos — including a female figure, the number 58, a joker, and a checkered flag — though these were not relevant to the cause of death.

His son Brandon paid tribute to his father on social media after the news. “I love you Dad and I will do my best to live in your honor and respect our Family,” Brandon wrote. “Let’s all continue to build those memories.”

Sheets was one of the original cast members of Storage Wars, the A&E reality series that followed bidders competing at storage unit auctions. He appeared on the show for years and became one of its most recognizable personalities, known for his enthusiasm and his son Brandon’s involvement in the business alongside him.

If you or someone you know is struggling, the 988 Suicide and Crisis Lifeline is available 24/7 by calling or texting 988.

The post Storage Wars’ Darrell Sheets Had No Drugs in His System, Autopsy Reveals appeared first on Cream.

• Joy Behar, 83, announced on The View’s Behind the Table companion podcast that she’s taking a brief hiatus starting next week
• She’s flying to Paris for a week, then taking the Eurostar tunnel to London — a proper European vacation
• The show made her pre-record (“bank”) weekend episodes before leaving so she’ll still appear on air while traveling
• Producer Brian Teta broke the news on the podcast; Behar jokingly said the show had made her “bank” the shows even though she won’t be there
• The hiatus is temporary — Behar has been a View co-host since 1997 and is currently in her 29th season

Joy Behar is going to Europe, and she made sure everyone knew about it.

On Tuesday’s episode of Behind the Table — The View’s companion podcast — executive producer Brian Teta let it slip that Behar would be taking some time off. “This is your last podcast for a little bit, because next week you’re not going to be here,” Teta said. “Are we talking about this?”

Behar was ready. “Well, they made me bank the weekend shows even though I’m not here,” she said. “You better tell people why I’m not here.”

The reason: she’s flying to Paris this week, staying for a week, then hopping the Eurostar through the Channel Tunnel to London. It’s the kind of itinerary that sounds like it was planned the moment the season calendar cleared.

The “banking” detail is the practical reality of live television — Behar recorded her weekend show appearances in advance so viewers at home would see her on screen while she was actually somewhere in the 8th arrondissement. It’s not the first time a View host has pre-taped around travel, but Behar’s particular insistence on telling the audience exactly what the show was doing with her recorded segments had a very Joy-being-Joy energy about it.

The hiatus is short. Behar, who turns 83 this year, has been a co-host on The View since its premiere in 1997 — which makes this her 29th season. A Paris trip barely registers as an absence by those standards.

She’ll be back. The croissants, meanwhile, are not going to eat themselves.

The post Joy Behar Is Taking a Paris-to-London Trip — and ‘The View’ Made Her Pre-Record First appeared first on Cream.

• Ella Bright, 19, addressed the nearly 10-year age gap between her and Off Campus co-star Belmont Cameli, 28, on the Not Skinny But Not Fat podcast
• She was 18 when she filmed the Prime Video series and has been fielding questions about the dynamic ever since
• Bright said she came into the role “with more than enough information and knowledge” and that she never felt uncomfortable
• She also addressed scenes involving partial nudity, dismissing any suggestion she was blindsided
• Off Campus — based on Elle Kennedy’s hockey romance book series — has already been renewed for a second season

Ella Bright has heard the concern. She’s addressed it now. And she’d really like to move on.

The 19-year-old British-American actress, who plays music major Hannah Wells opposite Belmont Cameli’s hockey player Garrett Graham in Prime Video’s Off Campus, sat down with Amanda Hirsch on the Not Skinny But Not Fat podcast Tuesday and tackled the question that’s been following the show since it premiered: what does she make of the nearly decade-wide age gap between her and her on-screen love interest?

“Listen, I came into this job — and during the chemistry reads — with more than enough information and knowledge and understanding of what this role required,” she told Deadline. “I just fell in love with Hannah and these scripts immediately. Like, there was never a question that I wouldn’t want to do this.”

Then, directly: “I get people’s concern. But not once did I feel uncomfortable.”

She Was 18 When She Filmed It

That context matters. Bright was 18 years old when cameras rolled on Season 1 — old enough to make her own choices, but young enough that the discourse around the production was always going to happen. The Wrap noted she came into the project with “more than enough” awareness of what it involved, and she’s been consistent on that point every time it’s come up. There was no surprise. There was no pressure she didn’t knowingly walk into.

Cameli is 28. The gap is real. Bright’s position is essentially: she’s a professional who understood the assignment, and holding her to a lower standard of agency than she’s actually demonstrated isn’t doing her any favors.

US Magazine reported she also addressed the show’s scenes involving partial nudity — another point viewers had flagged — and was equally unbothered. “I couldn’t be more comfortable,” she said, The Wrap noted.

What the Show Actually Is

For those who haven’t watched yet: Off Campus is based on Elle Kennedy’s wildly popular hockey romance book series, and the Prime Video adaptation has leaned into the steamy, emotionally charged tone of the source material. Hannah Wells is an introspective songwriter; Garrett Graham is the Briar University star athlete who falls for her. It’s earnest, it’s romantic, and it’s already been renewed for a second season — which means the discourse will continue whether Bright wants it to or not.

The cast skews young — Hollywood Life rounded up the ages and found the main players ranging from their early to late twenties — which is accurate to the college-set story. Bright is the youngest lead, and that’s where the scrutiny lands.

Her Answer Is Done

What comes through in everything Bright has said on this is that she’s not defensive about it — she’s just clear. She knew what she was doing. She chose to do it. She’s glad she did. “There was never a question,” she said.

Season 2 is coming. She’ll probably be asked again.

The post Ella Bright on the Off Campus Age Gap Debate: ‘I Couldn’t Be More Comfortable’ appeared first on Cream.

• Part 1 of the Summer House Season 10 reunion aired May 26, and it was exactly as explosive as the leaked audio promised
• Kyle Cooke found out about Amanda Batula and West Wilson’s relationship in real time, on camera, during confessional filming
• Ciara Miller confronted both Amanda and West directly, calling out the betrayal from two people she considered close
• The reunion was filmed April 23 — less than a month after Amanda and West confirmed their relationship publicly
• Two more parts are still to come

“I think you need to check your phone.”

That’s how Part 1 of the Summer House Season 10 reunion opens. Kyle Cooke says it to Lindsay Hubbard, interrupting her confessional interview just seconds in. Both their phones start buzzing at the same time. Somewhere in the building, a Bravo producer is watching this happen and feeling very good about their job.

What follows is the moment the entire season has been building toward: Kyle and Lindsay reading Amanda Batula and West Wilson’s relationship confirmation statement in real time, on camera, while the rest of the cast starts blowing up their phones. Jesse calls Lindsay. Then Mia. The reactions cascade in real time, all of it captured, none of it scripted. NBC News called it a can’t-miss event, and honestly, that’s an understatement.

The Scandal, Layered

To understand why this reunion hits so hard, you have to understand how many layers of betrayal are baked into the Amanda-West situation. West is Ciara Miller’s ex. Amanda is — was — Ciara’s close friend. Amanda had only just announced her split from Summer House cast member Kyle Cooke in January. And for weeks before they went public, viewers had been watching West and Ciara on screen while Amanda and West were apparently already together off it.

The reunion was filmed April 23, less than a month after the joint statement dropped. The wounds were not healed. They were not even close to healed.

Ciara Miller, who has been careful and measured in how she’s talked about this in press, did not hold back on that couch. She confronted both Amanda and West directly about how betrayed she felt — by her ex, yes, but also and maybe especially by her friend. That’s the part that stings most in the New York Times’s breakdown of the episode’s four biggest takeaways: the friend code violation hits differently than the ex situation, and Ciara made sure that landed.

Amanda on the Hot Seat

One journalist covering the reunion wrote something that captured the mood perfectly. She had interviewed Amanda back in February, left feeling like she’d made a new friend, and spent the months since — through the blind items, the leaked reunion audio, the resurfaced podcast clips — feeling “confused, unsettled, and like I’ve been played a fool.”

That’s essentially the energy of the entire Part 1. Amanda and West went to Italy the day the reunion aired — a trip for his cousin’s wedding, sources confirmed — but the tape doesn’t care where you are when it airs. The confessional rooms caught everything: the moment the news broke, the real-time reactions, the phone calls, and the looks on faces when people realized just how long this had apparently been going on.

New York Magazine put it best: “The devil works hard, but a Bravo producer works harder.”

What’s Still Coming

Part 1 is just the beginning. Two more reunion episodes are on the way, which means there’s still room for more confrontations, more timeline questions, and whatever else the producers are saving for the finale of the finale. Based on what Part 1 delivered, the bar is already high.

Kyle Cooke, for what it’s worth, had to find out his marriage was publicly over while sitting in a confessional chair. That image alone will live in the Summer House canon forever.

The post The Summer House Reunion Delivered Everything We Needed — and Then Some appeared first on Cream.

• Tom Hanks’s documentary series World War II With Tom Hanks just dropped three new episodes
• The series airs on Sky History and follows his long history with WWII storytelling — from Saving Private Ryan to Band of Brothers to Masters of the Air
• Hanks says he has been “wrestling” with why he keeps returning to the war for “poetry, solace and enlightenment”
• His 2020 film Greyhound is also seeing a resurgence on Apple TV+

Tom Hanks has now made more WWII content than most history professors, and he’s apparently not done thinking about why.

Three new episodes of his documentary series World War II With Tom Hanks just dropped, adding to what has become one of the most personal projects of his career. The series airs on Sky History, and Collider called it a must-watch for anyone who’s followed his decades-long relationship with the subject.

“When I was a kid, every adult I knew shared one thing in common,” Hanks says at the top of the series — and from there it builds into exactly the kind of expansive, immersive documentary you’d expect from the man who produced Band of Brothers and Masters of the Air.

Why He Keeps Going Back

In a recent interview, Hanks reflected on his first WWII project — being cast in Saving Private Ryan in 1998 — and what’s kept him returning ever since. “I’ve been wrestling with this just recently,” he said, trying to articulate why the war continues to give him “poetry, solace and enlightenment.”

It’s a fair question. Between Saving Private Ryan, The Pacific, Band of Brothers, Masters of the Air, Greyhound, and now this documentary series, Hanks has spent more of his career exploring the Second World War than almost any other filmmaker or actor working today. The answer, he suggests, has something to do with how the war shaped the adults who shaped him — a generational through-line that he’s still tracing.

Meanwhile, Greyhound Is Having a Moment

Separately, his 2020 Apple TV+ film Greyhound — a lean, efficient naval thriller that got lost in the pandemic shuffle — is apparently back in heavy rotation on the platform. If you’ve never seen it, the new episodes of the documentary series are a good reminder to fix that.

The post Tom Hanks Can’t Stop Making WWII Content — and His New Series Just Got Better appeared first on Cream.