Netflix

If you are over the age of, say, 14, you might not be familiar with daughter-father duo Salish and Jordan Matter. But if you are a parent of a Gen Alpha kid, it can feel like you hear about nothing but Salish and Jordan Matter. Their YouTube videos — a high-octane mix of zany challenges, games and hijinks — are admittedly hard to resist, which may be why they rake in millions of views as soon as they blast into the social media universe.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Sixteen-year-old Salish was in elementary school when she started appearing in her father’s YouTube videos and the channel is like a time capsule of her childhood — or, well, the most public, heavily produced version of it. There’s the day Salish turned her house into a waterpark (73 million views) or the night she had a secret sleepover in a mall (31 million views) or the time she survived 100 babysitters in 24 hours (61 million views). “A blessing and a curse for me is that we’ve documented it all,” says Jordan, whose background is in photography. “I have these beautiful videos of her when she was 10. I was just watching them 30 minutes ago and was like, oh wow, it feels like yesterday.”

Now their creator journey is taking a new turn. Salish and Jordan recently signed a deal with Netflix to develop, produce and star in original projects — it’s the largest such creator partnership for the streaming giant. Their show, “Salish & Jordan Matter,” reached Netflix’s Top 10 this month. Beyond the screen, the duo co-founded the popular teen skincare brand Sincerely Yours. (The launch of one glossy lip balm brought 2,000 fans to the Santa Monica Pier earlier this summer.)

It’s been a wild ride for the pair, but despite their snowballing fame, they swear they’re like any other dad and daughter who bicker, joke around and simply enjoy each other’s company.

“I think we’re pretty chill, right?” Jordan says.

“Yeah, we’re pretty chill,” Salish agrees.

Here they share what they’d do together on a Sunday Funday around their South Bay home, noting that a perfect day would involve the whole family, including mom Lauren Matter and Salish’s 20-year-old brother, Hudson Matter.

This interview has been edited for length and clarity.

10 a.m.: Wake up and debate the day’s options

Jordan: Salish, what time would you actually wake up?

Salish: Probably like 10.

Jordan: OK, so we’re sleeping in until 10. Then why don’t we go get breakfast? We’ll go to Ocean Diner in Hermosa Beach. We’ll both get huevos rancheros and fresh orange juice. And then I would love to go get coffee at Boy and the Bear in Redondo Beach.

Salish: Or Two Guns!

Jordan: No, I prefer Boy and the Bear.

Salish: Oh, I prefer Two Guns.

Jordan: Well, if we go to Two Guns, Salish would get the avocado toast.

Salish: No, the chai! It’s so good!

Jordan: OK, well, if Salish has an opinion, that’s what we’re doing. But later today, one thing I would love is a bike ride on the beach. Are you still down?

Salish: [High-pitched voice] Yeah.

Jordan: Did you hear that voice?! That tone is like, “Yeah, but not for much longer.”

Salish: [Laughs] No, I like doing bike rides with you! It’s just that I don’t know how much of a “biker” I am.

Jordan: You’re not one.

Salish: I’m not.

Jordan: But you have an electric bike! You just have to go like [makes e-bike revving motion] vvrrrrrruurr.

11:15 a.m.: Shopping and soup dumplings

Jordan: The next thing we’re going to do is …

Salish: Go to the mall! I like picking out new outfits for him because every day he just wears a black T-shirt.

Jordan: OK, and if we’re going to go to Del Amo mall, we’ll have lunch at …

Salish: Oh, Din Tai Fung.

Jordan: Which means we’ll have to put our name on the waiting list.

Salish: It’s like a two-hour wait.

Jordan: So we’ll put our name down right after breakfast. And then we’ll shop for clothes before our reservation.

Salish: I’ll go to Aritzia and probably Garage. And then you’ll go to Express and Levi’s. I go to PacSun a lot too but normally I don’t find anything there. I always wear sweats and hoodies — literally just sweats and hoodies.

Jordan: Also tank tops. Salish doesn’t like to repeat outfits on videos, so she does need at least one new outfit a week.

And I’ll just follow her around. I’ll be like, ‘Oh, that looks good.’ And she’ll be like, ‘No, it doesn’t.’ And I’ll be like, ‘No, it looks really good.’ And she’ll be like, ‘You’re just saying that.’ And then she’ll ask, ‘Which color?’ I’ll say the blue, and then she’ll get the pink. And I’m like, ‘I’m glad I could be helpful.’ So that’s how shopping with Salish goes. Then finally, there’s Din Tai Fung.

3 p.m.: An afternoon by the ocean

Jordan: Then we would leave the mall because I’m not gonna be there all day. We’re gonna go paddleboarding in Long Beach, in the Naples Canals area. We love anything with water, right? We love vacationing in Lake Tahoe, swimming and boating.

Then we would probably go for a bike ride along the Strand. I would vote for pulling over and having dinner. There’s a really good taco place right near the Hermosa Beach Pier called Palmilla Cocina Y Tequila.

Salish: [Winces slightly] I’m not gonna lie. I don’t really like tacos.

Jordan: Salish is an absolutely impossible eater. All she eats is Chipotle. She’s a vegetarian but she’s a picky vegetarian, so that combo makes it almost impossible for her to find food anywhere. But she’d get the black beans and rice and tortillas and cheese and mix it all together.

Salish: Yeah.

Jordan: See, I basically know everything about you.

Salish: And you would get the chicken!

Jordan: Yes.

Salish: I knew it. But you have to make sure it’s white meat.

Jordan: White meat chicken, mole, enchiladas — yum!

8 p.m.: Family hang time

Jordan: Now if there’s a good horror or suspense movie out, I might convince Salish to go. But that would be a tough sell. So maybe we’ll go back home. We just got a pool, so that’s exciting. And late nights in the pool has become a thing. We might play ping pong or a board game.

Salish: Then my brother and I would probably just chill and talk in one of our rooms. He doesn’t live here so we try to talk as much as we can while he’s home.

Jordan: Our family isn’t looking for big things to have fun — just time together. We just talk and hang out. With Salish, we talk about work but I’m also super interested in what her everyday life is like. You know, from the time she was young, I feel like I treated her like an adult in a way and we’ve always had real conversations. That’s made it easier as she’s grown up. It feels comfortable having these types of conversations.

Salish: Also, I’m a great kid, so like …

Jordan: Of course, of course. You are such a great kid. But you were a spitfire when you were little, I’ll say!

Salish: [Laughs]

Jordan: It’s a joy. It’s a joy to be with her every day.

The three-episode documentary includes bodycam footage, texts and interviews with the victims’ loved ones.

Netflix viewers have branded the streamer’s latest true crime documentary “a hard watch”. The Idaho Murders: College Nightmare is on Netflix and the harrowing factual series investigates the horrifying murders of four University of Idaho students.

The students were fatally stabbed in an off-campus house in the early hours of the morning, but the motive behind the killings has never been disclosed.

The tragic deaths were covered extensively in the press and the case has been revisited in a number of TV shows, including Prime Video’s One Night in Idaho: The College Murders.

Viewers have already shared their thoughts on the Netflix documentary, with one saying on Reddit: “This show does a really good job of looking at the victims as people. It’s really heartbreaking.”

Another commented on Instagram: “This is going to be a very hard watch,” while another shared: “This case still haunts me.” Here is all you need to know about what happened.

When did the Idaho Murders happen?

The murders took place in the early morning hours of November 13, 2022, in an off-campus house in Moscow, Idaho.

Five roommates, plus a partner of one of the students, were in the house by 2am after spending the night at various locations.

Bethany Funke and Dylan Mortensen were two of the students who survived the attack, both hiding in the same bedroom.

In February 2023, a friend of the survivors spoke to PEOPLE about how the roommates were still impacted by the murders, saying: “They feel a lot of survivor’s guilt.

“Their friends are gone and they’re still here. It’s been really rough on them. They’re going to be dealing with this for the rest of their lives.”

Who were the Idaho Murders victims?

Kaylee Goncalves, Madison Mogen, Xana Kernodle and her boyfriend Ethan Chapin were the four victims and they had all been close friends. On the night they were killed, survivor Dylan, who was a junior at the time and living in a room off the side of the kitchen, heard someone scream in the house.

She recalled how she thought she overheard an unfamiliar male voice saying: “It’s okay. I’m going to help you”. Feeling nervous, she ran to her door and locked it, trying to call all of her roommates, but nobody was answering.

She went over to her door and opened it to see a man dressed in all black, but he did not approach her. She returned to her room, where she called Bethany Funke, later joining her in her bedroom, where the two locked themselves in.

The Netflix documentary’s director, Skye Borgman, said she was keen for the film to focus on the victims and not their killer.

She said: “When I was able to sit down and talk to the families, both before we started shooting and during the shooting, that’s one thing that they really wanted to get across: They weren’t just victims.

“They were alive, bright, happy, amazing people. And it was really important for them to tell this story and to put that message forward — what we lost.”

Who was charged for the killings?

On December 30, 2022, police arrested Bryan Christopher Kohberger on four counts of first-degree murder and one count of felony burglary.

At the time of the murders, he was a PhD student completing his first semester at Washington State University in Pullman.

In July 2025, the doctoral student in criminology was sentenced to four consecutive life sentences in prison without parole, as well as another ten years for burglary, after issuing guilty pleas.

In July 2026, Kohberger filed a handwritten petition seeking to withdraw his guilty pleas and proceed to trial. The Idaho Murders: College Nightmare is on Netflix

Other than “The Odyssey,” the biggest news in Los Angeles film circles last week was the return of the Cinerama Dome.

The iconic theater, which has been closed since March 2020, will be restored and reopened by Sony Pictures Entertainment and its Alamo Drafthouse theater chain. As my colleague Cerys Davies reported, renovations begin next month and will continue until early 2028.

For more than 60 years, the dome has been a landmark on Sunset Boulevard. With its 86-foot-wide curved screen, it has premiered such iconic Hollywood films as 1977’s “Close Encounters of the Third Kind,” and made a cameo of its own in 2019’s “Once Upon a Time … in Hollywood.”

Ever since the dome closed at the start of the COVID-19 pandemic, there have been questions about whether it would return. Filmmakers like “Anora” director Sean Baker and “Baby Driver” director Edgar Wright publicly called for its reopening, while a “Save Your Cinema” preservation campaign led by Benjamin Steinberg kept the geodesic icon in the public eye.

“It was definitely the capital of, like, the movie-going experience in L.A.,” Steinberg told my colleague, adding that he plans to visit the theater two to three times a week when it reopens. “I can’t wait to go back inside the Cinerama Dome and watch movies.”

The theater will be operated by Alamo Drafthouse, though Sony says it plans to keep the “Cinerama” name and exterior branding, as well as the dome’s “traditional concession experience” — meaning you won’t be able to order food and drinks to your seat. (Cinephiles recently have criticized the chain for changing its in-seat ordering system to require use of mobile phones in the theater.)

Alongside traditional theatrical showings, the dome also will include some Alamo Drafthouse specials, including repertory screenings, premieres, events and filmmaker series.

Adjacent to the dome, the 14-screen former ArcLight Cinemas will reopen as an Alamo Drafthouse, Sony said, offering dine-in food and beverages, as well as karaoke rooms and “fan celebrations.”

Sony was interested in the dome even before the Culver City-based studio acquired Alamo Drafthouse in 2024.

“It’s such a great location,” Ravi Ahuja, chief executive and chairman of Sony Pictures, told me. “It’s historic, people love it and the theater was successful before it closed. It’s one of a kind, which is the kind of experience we’re after.”

The move also highlights the opportunity Sony sees in the experiences business — an increasingly important strategy for Hollywood.

The Alamo Drafthouse acquisition was part of this, as was the studio’s recent $100-million investment and minority stake in Cosm, a virtual reality venue operator that has a location at Inglewood’s Hollywood Park.

The studio also has “Wheel of Fortune Live!,” a touring version of the popular game show, “Jeopardy! Bar League,” which was incubated at Alamo Drafthouse, and events for its streaming service Crunchyroll at anime conventions.

“It’s another leg of the franchise stool,” Ahuja said. “Fans want to engage in person with each other. It’s part of a human need when you have deep fandom around something.”

As the theatrical market waxes and wanes and the television business has become more unpredictable, it makes sense that studios like Sony increasingly look to diversify and attract fans in new ways.

After all, people have a lot of things they can do with their time and money. And after a period of slow returns since the pandemic, they’ve increasingly been coming back to in-person activities. To keep loyal fans in the fold, studios need to give them more ways to interact with the stories and entertainment they love, or they’ll move on.

Betting on the experiences business isn’t new. Walt Disney Co. makes the majority of its operating income not from its theatrical movies or streaming service, but from its theme parks and cruise line division. Last year, Universal opened Epic Universe, a major investment in its Orlando theme park resort that indicates the importance of this business for the company and owner Comcast.

But not every company wants or needs to start a theme park business. For one, it’s expensive. And for a studio like Sony, which doesn’t have a lot of kid-focused franchises, it doesn’t really make sense.

As a result, some are getting into the experiences space in more specific and limited ways, such as studio tours or branded attractions.

For Sony, that’s meant building a business around these in-person offerings that align more with its adult-leaning audiences. Lionsgate has a “John Wick Experience” in Las Vegas, while Warner Bros., among other things, recently debuted “Harry Potter: A Hogwarts Express Adventure” train event at the Southern California Railway Museum in Perris. (Universal licenses Harry Potter from Warner Bros. for inclusion in its parks.)

For most studios without a major theme park presence, this kind of location-based entertainment is still likely a relatively small part of their corporate revenue, potentially less than 1%, said Dennis Spiegel, founder and chief executive of the International Theme Park Services, Inc. consulting firm. But what these experiences do is help lengthen the life of a franchise by keeping licensing revenue flowing and keeping brands relevant between film releases, he said.

“Hollywood increasingly sees it as an essential part of maximizing the lifetime value of its intellectual property,” he wrote in an email. “In many ways, we have seen how these experiences have become as much of a marketing engine as they are a profit center.”

As for the Cinerama Dome, don’t take it as a sign that Sony is looking to build out an exhibition empire. The studio is looking for only special and selective deals like the dome, Ahuja said, and there are no plans to add more L.A. exhibition locations.

Stuff We Wrote

Film shoots

Number of the week

Christopher Nolan’s “The Odyssey” continued its dominance at the box office in its second outing with a three-day domestic haul of $90 million, down only 27% from its debut weekend.

Internationally, the Universal Pictures film raked in $137.6 million for a worldwide total of $652 million.

The big box office performance came as an unauthorized copy of the film leaked online over the weekend. The studio said it “immediately initiated takedown protocols” once it became aware of theillegal posting on X and “will pursue all appropriate remedies to protect our content and intellectual property rights.” The post was viewed more than 2.1 million times before a takedown notice replaced the copy of the film.

What I’m watching

I did not expect Amazon MGM Studios’ “The Sheep Detectives” to deliver a profound message on death and grieving when I sat down to watch it with a friend, but those talking ovine sleuths really got to me.

Need to know

Elize: Shadows of a Woman tells the true story of Elize Matsunaga, who murdered and dismembered her husband.

Everything you need to know about what happened to Elize Matsunaga and her daughter

1. Netflix’s new crime drama Elize: Shadows of a Woman is a chilling retelling of a real-life Brazilian murder case. The series explores the true story of Elize Matsunaga, who shocked Brazil in 2012 when she shot and dismembered her husband, Marcos Kitano Matsunaga, after discovering his infidelity.
2. Netflix describes the drama as showing how “a former escort discovers her wealthy husband’s infidelity and struggles to cope as betrayal poisons their marriage.” The series, which is a fictionalised retelling of the true story, follows on from the 2021 documentary Elize Matsunaga: Once Upon a Crime, which featured her first interview after the crime.
3. Matsunaga, a trained nurse, had hired a private investigator to gather evidence of her husband’s cheating before confronting him about the affair. The confrontation had fatal consequences, and after the tragic event, she initially reported her husband missing but confessed to the murder weeks later.
4. Convicted in 2016, she was sentenced to almost 20 years in prison, later reduced to 16 years in 2019. Having served 10 years, Matsunaga has been on parole since 2022. The Netflix documentary reveals the Matsunaga family wishes to disassociate themselves by “removing Elize’s surname.”
5. Matsunaga had a daughter, who was only one year old when the murder occurred, and she was keen to keep in contact with her only child. However, her daughter remains in the care of Marcos’ parents with full custody. Tragically, Elize has had no contact with her daughter since the crime and has not even seen photographs of her.

READ THE FULL STORY: Where is Elize Matsunaga now?

Aitch has released a brand new documentary and it can be streamed today

Manchester rapper Aitch has shared his heartwarming relationship with his family as he embarks on his toughest challenge yet.

Aitch: Don’t be afraid has today (Sunday, July 26) been released on Netflix as it chronicles the rapper’s journey up Africa’s highest peak with friends and family. Aitch has climbed Mount Kilimanjaro to raise awareness for the Down’s Syndrome Association in honour of his sister Gracie.

An official synopsis reads: “Inspired by his sister, rapper Aitch scales Mount Kilimanjaro to raise funds for people with Down syndrome and to fight for greater inclusivity.”

Already, Netflix subscribers are tuning in as one person wrote on social media: “Defo be watching @OfficialAitch netflix documentary! Such a great guy.”

Another replied: “Can’t wait to see this. Congratulations team!” As the brand new documentary airs, here’s all you need to know about Aitch’s sisters as well as the star’s incredible net worth.

Aitch’s relationship with his sisters

Aitch, whose real name is Harrison Armstrong, has an inspiring bond with his younger sisters Hattie and Gracie, often stating he makes music to support them. With a strong bond with both of his siblings, he has a publicly documented relationship with one sister, Gracie, who has Down syndrome.

In the brand new release, Aitch shares his special relationship with Gracie as he tells the cameras: “It’s just the best relationship ever. If there’s a blueprint of what a human should be, it probably is her.

“She couldn’t love the people around her more if she tried, she smothers you with love.”

Hattie and Gracie are non identical twins, but equally have a loving bond with their older brother, who worships everything they do.

Previously speaking at the Pride of Britain, the star said his sisters were his personal heroes, before paying special tribute to Gracie who he said was an “absolute soldier”.

Previously appearing on I’m a Celebrity Get Me Out of Here last year, he held pictures of his younger siblings near his camp bed as he said his sisters were his “whole heart”.

In one episode, speaking about Gracie he told his campmates: “She’s the GOAT honestly. There’s not one person that’s ever met her that’s said a bad word.”

In his 2022 song My G, featuring Ed Sheeran, there was a touching tribute to Gracie as all profits went to the DSA, which Aitch is also an ambassador for.

The star often takes to social media to share heart-warming videos, with fans loving his close bond with his siblings.

Just recently, teasing the new documentary, Aitch wrote on Instagram: “GRACIE, THIS IS FOR YOU AND THE OTHER 40,000 BEAUTIFUL PEOPLE JUST LIKE YOU DONT BE AFRAID! 26/07/26 @netflixuk.”

The support came pouring in as one person replied: “GRACIE WE LOVE YOU”, as another echoed: “You’re an inspiration . Your sisters are so lucky to have such an amazing big brother.”

Aitch’s net worth

Aitch’s net worth was estimated to be around £3.5million in 2025, which has been accumulated through his skyrocketing career as a rapper.

However, Heat’s 2025 Rich List, as reported by Bauer Media, Aitch found himself number 9 with an estimated £14.4m.

Aitch: Don’t be afraid can be streamed on Netflix now

Netflix has just released a trailer for a brand new period drama, but some are not impressed

Netflix trailer for a remake of a “brilliant” Sam Neill film has left some fans fearing the worst.

Sumptuous six-part period drama My Brilliant Career will be launching globally on Netflix next month and takes its cue from Australian author Miles Franklin’s 1901 classic novel of the same name, reports the Express.

The autobiographical book follows Sybylla (played by Philippa Northeast) as she rails against her family’s wishes to marry and instead pursues her dreams of becoming a published author.

My Brilliant Career also stars Pride and Prejudice icon Anna Chancellor, Genevieve O’Reilly from Andor, and Slow Horses actor Christopher Chung.

Netflix recently shared a trailer from the tongue-in-cheek show that sees Sybylla pushing back against society as she daydreams, writes and spends time with the swoon-worthy Harry (Chung).

The new adaptation comes after the beloved 1979 film version of My Brilliant Career starring Judy Davis as Sybylla and Sam Neill as Harry.

Many fans of the 1979 movie shared their thoughts about the forthcoming iteration of My Brilliant Career on YouTube.

One person said: “Nice try Netflix, but the original movie version with a young Judy Davis portrayed this brilliant novel written in 1901 Australia with way more authentic adolescent sass and much less millennial pop star angst.”

A second wrote: “I’m scared this new one will butcher a beloved story, like ’Anne with an E’ did for me.”

A third commented: “Nothing beats Julie Davis and Sam Neill. I wish that remakes would stop being made unless you’re going to adhere to the original story.”

However, others hit back at the detractors as one person noted: “The original will always have its place. This is just another take on it. Like all the other classic remakes. You don’t need to watch it if it’s not your cup of tea.”

Someone else said: “This series going adding more details that Miles Franklin wrote [sic].”

A third wrote: “I look forward to this. I so enjoyed the ’79 version with Judy Davis…this looks to be just as entertaining. ”

A fourth compared it to many other costume dramas: “This is like if they combined every single period piece into one movie it’s got little women, pride and prejudice, Bridgerton etc. I don’t know how they managed to fit every single trope into one.”

Yet another added: “Looks great. Loved the 1979 adaptation and not gonna miss this one.”

My Brilliant Career has been adapted numerous times, with the 1979 movie only being the first one.

The story was also adapted for the stage in a 2020 play and later turned into a musical in 2024.

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

Netflix’s TV series is just another retelling of the well-loved story of following one’s heart over the strict rules of society.

Treasured star Neill died aged 78 from pneumonia on July 16. His career spanned back to the 1970s and some of his biggest roles include Jurassic Park, Peaky Blinders, ITV’s Tutankhamun, and Event Horizon, among many others.

My Brilliant Career will be released on Netflix on August 13

As performers protest and studios sue in their war on artificial intelligence, the entertainment industry is deepening its dependence on it.

Although few places are better than Hollywood at crafting a narrative and concealing what happens off-frame, a Los Angeles Times survey of job postings sheds light on what is happening offstage.

Among hundreds of job postings in late June, more than one in 10 was likely connected to AI. The top studios’ public postings suggest they have been recruiting people to build AI tools. They are also recruiting teams to defend their intellectual property against unauthorized AI use.

“There are plenty of studios that are hiring [for AI] but never talk about it in public,” said Yoland Yan, a co-founder of ComfyUI, a company that helps studios juggle different AI tools.

Companies have been hesitant to detail how they use generative AI in film production — partly because they are concerned about consumer and union backlash.

The Walt Disney Studios complex on May 3 in Burbank.

(Eric Thayer/Los Angeles Times)

Some in Hollywood described AI use as the new cosmetic surgery, where everyone knows it is happening, but few will admit to it.

Recent want ads show Amazon MGM Studios trying to find a principal AI executive and Walt Disney Studios advertising for a production innovation technologist job.

“What you’re seeing in those job postings is that adoption is already happening,” said Bryn Mooser, chief executive of Asteria, an AI film studio.

Netflix recently posted a job that didn’t exist a year ago.

The streamer was hiring for the role of “Manager, Generative Workflows,” a job to help integrate more AI into Netflix films. It promised hands-on experience with the cutting-edge technology.

“The industry is flooded with speculative GenAI roadmaps, but few are battle-tested in production,” the post said, referring to generative AI. The post said the role will work on introducing AI into Netflix’s slate of films being released in the U.S. and Canada.

Although some companies may be shy about sharing their AI plans, big stars who don’t have to answer to others have been more open about their embrace of the new technology for storytelling.

An exterior view of the Netflix sign at Netflix on Vine in Hollywood in 2025.

(Allen J. Schaben/Los Angeles Times)

Rejecting AI is like picking a horse and buggy over a car, said “Star Wars” creator George Lucas.

“Artificial intelligence means it’s much easier for us to make movies,” he told a trade magazine earlier this year. “There’s nothing you can do about it. That’s progress. It’s the future.”

Some in Hollywood have a softer stance on artificial intelligence, with studios cutting deals with AI companies, and filmmakers like Martin Scorsese backing AI companies.

Ben Affleck launched an AI film tech company then sold it to Netflix for half a billion dollars.

When launching InterPositive, Affleck said he wanted to keep “storytelling human” by building AI tools that could fix lighting, generate missing shots and other things while “keeping creative decisions in the hands of artists.”

The Times’ survey turned up two senior InterPositive roles to update the programming to apply AI to visual effects .

The Culver Studios on Feb. 12 in Culver City.

(Kayla Bartkowski/Los Angeles Times)

To gauge what is happening behind the scenes, The Times used Claude Code to build a scraper to identify job postings at Disney, Universal, Paramount, Warner Bros., Sony, Netflix and Amazon MGM. It found around 250 film studio job postings that were still public as of late June. Around 30 of those seemed to be connected to AI.

Disney, Netflix and Amazon had job postings that were about using AI on the creative side of the business. Universal, Paramount, Warner Bros. and Sony had job ads suggesting they were also using AI but for marketing, distribution and audience analytics.

The postings suggest the Disney, Netflix and Amazon studios are building repeatable AI workflows for visual effects, animation, sound and dubbing. The companies also seem to be building in-house teams to develop custom generative-AI models, while also using third-party software.

None of the jobs advertised were to create AI that wrote scripts or created AI actors.

Disney’s ten or so AI jobs showed the century-old studio building out its AI research and production muscle, while protecting its vault of beloved characters.

Mouse House is hiring PhD-level talent to study “computer graphics and AI” for Pixar and Disney films, people to “bridge the gap between research and practical studio application.”

Industrial Light & Magic, the Disney-owned visual effects shop, was searching for supervisors to “explore emerging technologies (including AI/Machine Learning)” to develop new production workflows.

The company’s audio post-production unit, Skywalker Sound, seemed to be recruiting to build proprietary AI models for soundtracks, voice separation, and voice transfer, the process of taking a speaker’s tone and pitch, and applying it to new content.

Disney was also hiring to defend itself. Three of its jobs were for “content security” to assess AI tools and guard against piracy, watermarking and rights-protection work.

The company’s public posture has so far been pursuing lawsuits against AI companies for inappropriate use of copyrighted material, and it pulled out of its plans to invest $1 billion in an equity investment deal with OpenAI.

Netflix’s posts suggested it is bringing more AI to the creative side of its business.

Netflix’s senior director of creative innovation, Girish Balakrishnan, outlined at the Runway AI film festival how AI was used to create soccer fans in “Brazil ’70” and establish shots for fight scenes in “Glory.”

Amazon, an early adopter, was hiring a principal AI executive to drive AI-tool adoption across production, plus roles in operations automation and LLM content classification, the listings revealed.

The Seattle-based streamer has been the most aggressive AI adopter in studios, and commissioned three AI animation series through its GenAI creator fund in May. Amazon has also bankrolled a Manhattan Beach production services company, Innovative Dream.

Even as studios build bigger AI teams, many in the industry are resisting, and some film fans are concerned.

The actors’ guild SAG-AFTRA in June ratified a new four-year contract with special protections against synthetic performers, and the union has backed a national bill designed to protect individuals from unauthorized, AI-generated digital replicas.

Studios have met with the union twice a year since 2023 to provide a confidential report on their AI-related activities. The studios tell the union they aren’t yet using AI that would entirely replace humans, said a person familiar with the discussions.

The union says it has no evidence that generative AI is being used to create performances, and the studios are supposed to notify the union if that happens.

Actors, writers, production staff and movie fans are still resistant to the overuse of AI and defining when and where it is acceptable, so studios are treading lightly, said AI film studio CEO Mooser.

“It’s been really a challenging thing to adopt both socially, ethically and legally, but we are seeing more adoption of it than we’ve ever seen before,” he said.

It took an ancient Greek epic to ignite a fire at the box office last weekend, as Christopher Nolan’s adaptation of “The Odyssey” became one of the biggest movie events of the year.

The film, led by Matt Damon as Odysseus, hauled in $123.5 million in the U.S. and Canada on its way to a global total of nearly $264 million — the biggest-ever global opening for one of Nolan’s films.

In many ways, “The Odyssey” is a throwback to old-school Hollywood filmmaking, with Nolan’s use of practical effects and numerous on-location shoots. It’s also a sign that audiences will still pack theaters for the right kind of movie.

The Universal Pictures film also outperformed studio expectations of a $117-million domestic premiere and set a record for the highest-grossing opening weekend for a live-action or R-rated film this year.

“Audiences always want to be thoroughly immersed in the theatrical experience and engulfed by the story and the production, and Christopher Nolan’s ‘The Odyssey’ is a perfect example of that,” Jim Orr, Universal’s president of domestic distribution, said Sunday. “When you have a very substantial opening, and you have those kinds of audience scores, it only points to what should be a remarkable run throughout the summer and into the fall.”

That’s good news for the summer box office, which lately has seen a bit of ebb and flow.

“The Odyssey” now ranks as the third-largest domestic opening of the year, trailing only kid-friendly films such as Walt Disney Co. and Pixar’s “Toy Story 5” and Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie.” Though family-friendly films have become power players for theaters, the two most recent flicks — Disney’s live-action “Moana” and Universal and Illumination’s “Minions & Monsters” saw softer openings.

After the big weekend for “The Odyssey,” the summer box office is up 7.3% compared with the lackluster 2025 season, according to entertainment data firm Rentrak. More encouraging, the year-to-date domestic box office is now 10.4% higher than for the same period last year.

That’s been helped not only by big blockbusters such as “The Odyssey,” which had a production budget of $200 million to $250 million, but also by the success of smaller-budget films such as A24’s “Backrooms” and Focus Features’ “Obsession.”

The common denominator is the draw of directors who have cultivated strong fan bases. “Obsession” director Curry Barker, 26, and 21-year-old Kane Parsons, who helmed “Backrooms,” have been building their reputation on YouTube among Gen Z audiences, and that loyalty is starting to count for something at the box office.

Nolan, of course, is one of the masters of building a faithful following over more than two decades. Fans started grabbing Imax 70 millimeter tickets for “The Odyssey” when they first went on sale a year ago, and the film ended up driving record presales for the Canadian entertainment tech company, which operates out of Playa Vista.

The film has notched a 95% on aggregator Rotten Tomatoes and an A CinemaScore rating.

“His films have tapped into the cultural zeitgeist,” said Shawn Robbins, director of movie analytics at Fandango and founder of the website Box Office Theory. “That’s what keeps bringing people back. They know they’re going to get a different experience; there’s always going to be a watercooler conversation around his movies, and they’re part of the cultural fabric.”

For “The Odyssey,” part of that conversation was Nolan’s old-school movie magic, including the puppetry, animatronics and robotics he used in scenes with the Cyclops, as well as the real Viking ship that the actors learned to sail.

The film also has driven interest in 70mm screenings from film buffs and casual moviegoers.

Ahead of the premiere of “The Odyssey,” Allen Michaan, owner of Oakland’s Grand Lake Theater, knew the weekend would be very busy for his four-screen movie palace. He is showing the film both in standard digital format and on 70mm film.

Michaan has made 70mm showings a priority since 1982, when the projector was installed for the release of Steven Spielberg’s “E.T. the Extra-Terrestrial.” He said the theater played that movie for 45 weeks that year. Due to the demand at the time, he installed two more 70mm projectors, making three of his four screens capable of the old-fashioned format.

Demand for the 70mm showings of “The Odyssey” has significantly outperformed their digital screenings, he said.

“We’re thrilled to get any 70mm print because it’s a gift from the filmmaker and the studio,” Michaan said.

Enhanced format screenings for “The Odyssey” made up 53% of the domestic weekend box office, with Imax film and digital revenue accounting for nearly 24%.

Imax 70mm accounted for about 4% of that total, with Imax digital making up the rest. Non-Imax 70mm film screening revenue totaled 3%, while 35mm showings made up 0.3%.

The nearly three-hour epic also marked the first feature film shot entirely on Imax cameras, a feat that required extensive collaboration between Nolan and Imax.

Nolan first told Imax Corp. Chief Executive Rich Gelfond in early 2024 that he was considering making an entire film with Imax cameras and laid out what he’d need for that to happen, including a quieter and lighter camera, a way to make film reloads easier and getting enough trained projectionists.

“It took a fair amount of time and investment” to figure out those challenges, Gelfond said. But by August 2024, the Imax team put together a series of tests to show cinematographer Hoyte van Hoytema. Two months later, Nolan saw the tests and was impressed.

“As filmmakers and studios integrate Imax, we become an increasingly important part of the ecosystem,” Gelfond said. “When a film is released in Imax or shot in Imax, I think it’s a signal to audiences that it’s somewhat special, and the filmmaker is really leaning in in a unique way.”

Times staff writer Cerys Davies contributed to this report.

Stuff We Wrote

Film shoots

Number of the week

Streaming giant Netflix narrowed its 2026 revenue forecast to $51 billion to $51.4 billion from its previous, larger range of $50.7 billion to $51.7 billion in its last Thursday’s second-quarter earnings report, renewing concerns among investors and equity analysts about the Los Gatos-based company’s future growth.

On the Friday morning after the earnings call, Netflix stock slid 13% to $65.08 a share, marking a new 52-week low. Shares eventually closed that day at $68.95.

As my colleague Wendy Lee has reported, investors are growing nervous that in recent months, Netflix’s share of TV viewing time in the U.S. has been decreasing, while YouTube’s share has increased, according to Nielsen data. Investors are concerned that if consumers are watching Netflix less, they’ll cancel their subscriptions, and that will put pressure on the company’s ability to raise prices in the U.S.

Netflix has said its engagement rates are healthy.

What I’m watching

I love a good teen mystery show, especially when it has a bit of a “Veronica Mars” vibe, so I binged Paramount+’s “School Spirits” last weekend.

Where Veronica Mars was solving realistic crimes around her local beach city, “School Spirits” tries to dig into why so many teens have died at (and haunt) a Wisconsin high school. At times, they’re hitting at a lot of different themes and storylines, but I loved the colorful ensemble of ghost characters from different decades, and Jennifer Tilly makes for an incredible villain.

A mother who faked a pregnancy after suffering several miscarriages is the subject of a harrowing Netflix documentary.

Netflix’s latest docu-drama unravels an elaborate lie that saw a woman to cross an irreversible line.

Streaming giant Netflix has just unveiled an emotional trailer for a tragic docu-drama perfect for Maternal Instinct fans, that tells the story of a Mexican woman named Alejandra.

Based on real events that shook all of Mexico in 2009, the film, which features both dramatisations and real home footage, tells of how Alejandra had always wanted to be a mother. However, after suffering multiple miscarriage and noticing the distain from her family, she decided to fake a pregnancy.

The trailer features the voice of Alejandra, who says: “I felt so special. From the moment that the people close to you start treating you lovingly, expectantly, with that joy.

“The way they come up and touch your belly…Many times I wanted to say ‘This isn’t happening, I’m not pregnant’.”

Alejandra explained the tragic reasoning behind her actions, sharing: “When I got married, I felt pressured to please his family.”

Being only 25 at the time, she felt burdened by family and societal expectations and despite her efforts to conceive, she struggled numerous times.

Alejandra then recalled how she met a young woman named Mayra, who she claimed was pregnant but did not want to have the baby. Fixated on the knowledge she knew somebody who did not want to keep their baby, Alejandra began orchestrating her elaborate plan to abduct a child.

She is heard saying: “When I started gaining weight, everything started to change. I wanted someone to burst that balloon of lies.”

In June 2009, she went to the Hospital General de México, where she was employed, and left with a newborn girl, tucking the baby into a bag. Contributors offering their testimony in the film are heard saying: “This was very hard to believe. Yet, it happened.”

Reflecting on her actions, Alejandra said: “What did I do wrong? Breaking the law. Deceiving. Hurting. I think my desire to be a mum was to please others.”

Her story was told in a book by Randall Fuquay called A Child to Call My Own: A True Story of Desperate Love, a Stolen Child, and the Nine Months that Changed Everything. Now, the story has been adapted for the small screen by Oscar-nominated filmmaker Maite Alberdi.

A Child of My Own comes to Netflix on August 13

Music sensation – and I’m A Celeb star – Aitch will feature in a huge new Netflix documentary later this month. The show follows the star as he undertakes a monumental challenge for charity.

Rap sensation Aitch will star in a new Netflix documentary, chronicling his gruelling quest to climb Mount Kilimanjaro. The 26-year-old rapper – real name Harrison James Armstrong – took on the challenge last year with the special doc streaming later this month.

Aitch rose to fame in 2018 with his hit track Straight Rhymez – and went on to unleash his number 2 album Close to Home in 2022. While reality TV fans will recognise the rapper from Manchester thanks to his star turn in the 2025 season of ITV’s I’m a Celebrity…Get Me Out of Here! – where he finished in fourth place.

Fans will soon have a chance to see Aitch endure a trial more challenging than anything he faced in the jungle – by climbing the biggest mountain in Africa. The task was not just for fun, however; he also raised a substantial amount of money for charity in the process.

The musician took on Mount Kilimanjaro alongside his closest friends, family members, and team, and the climb was recorded on film as they undertook the monumental task. The resulting footage has been edited into a brand-new Netflix documentary titled Aitch: Don’t Be Afraid.

Directed by Aaron Fitzmaurice and Harry Tatem, the BRIT Award-winning star is shown taking on the unforgiving conditions as he makes his way up the huge mountain, which stands 19,341 feet above sea level. The Taste (Make It Shake) rapper raised over £160,000 following his challenge, with the funds going to the Down’s Syndrome Association, for which he is an ambassador.

The documentary promises emotional scenes as cameras captured every moment of the challenge. Fans will see “the physical and emotional realities of the journey”, a press release about the special stats.

“As the altitude rises and the conditions become increasingly unforgiving, viewers witness the determination, vulnerability and camaraderie that carry the group towards the summit,” it continues.

“Through candid moments on and off the mountain, the documentary explores the motivation behind the challenge, highlighting the strength of family, resilience, and the importance of raising greater awareness and creating opportunities for people with Down syndrome. More than a story of endurance, Aitch: Don’t Be Afraid, which was shot last year, shines a light on a cause deeply personal to Aitch, celebrating his younger sister Gracie’s impact on his life while encouraging audiences to support the Down’s Syndrome Association and the work it does for individuals with Down’s syndrome and their families across the UK.”

Aitch’s 16-year-old sister, Gracie, frequently features in his social media output – and his 2022 song, My G, featuring Ed Sheeran, is dedicated to her. The star has opened up about his special relationship with his younger sibling – and has previously stated he makes music to support both Gracie and her twin sister Hattie.

Opening up about their relationship at the Pride of Britain Awards last year, he said: “Gracie is my hero because she’s just an absolute soldier. Just what she’s been through and all that. She just lights up every room she walks in.”

And heaping praise on Hattie, whom he branded “the superstar in my family”, he added: “Them two are my heroes, even though they do my head in sometimes.”

Fans were touched to hear the singer open up about his sisters while in the I’m A Celeb camp last year. He gushed to fellow contestants – including Shona McGarty and Jack Osbourne: “My baby girls, my two sisters, everything I do is for them two… Bottom line, I’m on this show for them two. I make music for them two. I try to make a living for them two. Yeah, they’re my girls.”

And during a previous appearance on Made In Chelsea star Jamie Laing’s podcast, Aitch explained how Gracie had helped shape his life. He said: “I wouldn’t even be half the person I am if [Gracie] wasn’t here.

“She actually teaches you lessons that you don’t realise till after. It’s taught me, and this sounds bad, but it taught me more to treat everyone the same. And to understand that everyone is a human.”

Aitch: Don’t Be Afraid will be available to stream via Netflix from Sunday, 26 July.

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Netflix stock plunged 9% on Friday morning to $67.74 a share, after the streamer’s second quarter earnings report renewed concerns among investors and analysts about the streamer’s future growth.

The Los Gatos-based company on Thursday narrowed its 2026 forecast to $51 billion to $51.4 billion from $50.7 billion to $51.7 billion, causing equity analysts to cut their estimates. The stock reached a new 52-week low on Friday and is down 49% from a year ago.

“This outlook likely reinforces investor concerns,” wrote analysts from Guggenheim Securities in a research note on Friday, which has a “buy” rating on the stock.

Netflix did not immediately respond to a request for comment on its declining stock price.

Investors have been skittish about the amount of time people spend on the streaming platform. Netflix’s share of TV viewing time in the U.S. has steadily declined in recent months as YouTube has gained market share, according to Nielsen data.

Investors are concerned that if people spend less time watching Netflix, it could cause people to cancel their subscriptions and make it more challenging for Netflix to raise prices in markets like the U.S.

Netflix said engagement is healthy on its platform and its programs continue to draw large audiences with popular shows like crime drama series “I Will Find You.”

Netflix said subscribers watched more than 97 billion hours on the streaming service in the first half of the year, up 2% from a year ago.

“We are increasingly concerned that younger generations are less interested in long form content as their time migrates to ‘free’ social media platforms,” wrote Jeffrey Wlodarczak, CEO of Pivotal Research Group in a report on Friday, who has a hold recommendation on Netflix stock. “We believe this will result in slower subscriber growth and attempts by the company to offset this via more aggressive price increases and investment in content.”

Netflix executives in a Thursday earnings presentation emphasized that measuring engagement at the company goes beyond hours spent watching the streaming service.

“There is not a linear relationship between view hours and revenue and profit because all hours are not created equal,” said Greg Peters, Netflix co-CEO on an earnings presentation on Thursday. “All hours don’t provide the same kind of value to the business.”

The streamer said it plans to allocate just over 5% of its content spend on live programming this year. Live content has been a key driver for subscriptions, accounting for six of the top 10 new member sign-up days over the last five years, the company said, even though it makes up roughly 1% of overall watch time this year.

The company is also diversifying the content it offers on its platform, adding live sports games and video podcasts, in addition its large library of TV shows and movies.

Netflix revenue rose 13% to $12.6 billion in the second quarter. Net income was $3.4 billion, up 9% from a year ago.

The company said its advertising business is on track to reach $3 billion in revenue this year, double the amount in 2025.

Netflix on Thursday reported higher revenues and profit in the second quarter as it sought to assure investors about its growth prospects.

The streaming giant reported revenue of $12.6 billion in the second quarter, up 13% from a year ago. Net income during the period rose 9% to $3.4 billion.

Netflix said it expects revenue to grow 12% in the third quarter, but lowered its 2026 revenue forecast to $51 billion from $51.4 billion.

The results were roughly in line with what analysts had predicted and were driven by recent price increase and growth in advertising revenue. The latter is expected to reach $3 billion this year, the company said.

In a presentation with analysts, Netflix executives touted global expansion plans.

“We’re entertaining an audience approaching a billion people with still lots of room to grow into our addressable market on every measure,” said Spencer Neumann, Netflix’s chief financial officer, in the earnings presentation. “We believe we’ve got lots and lots of runway for solid growth ahead of us.”

Those comments appeared intended to assuage investors who’ve grown concerned that people could be spending less time on the streaming service as rivals like YouTube gain market share.

Netflix’s share of TV viewing time in the U.S. has steadily declined in recent months as rivals have gained market share, according to Nielsen data.

The streamer represented 7.8% of all TV viewing in the U.S. in April — the lowest percentage since May 2025. It was 7.5% in April 2025, Nielsen said.

By comparison, YouTube has seen its share of the streaming audience grow. YouTube’s TV viewing share in April rose to 13.4%, up from 12.4% a year earlier, Nielsen said.

Some investors fear that if viewership is down, subscribers could cancel the service, which would negatively affect the platform’s growing advertising business. It could also undercut Netflix’s ability to raise prices in the U.S. and other countries.

Those worries have caused Netflix’s stock price to plummet 41% in the last year. The stock closed on Thursday at $74.35 a share, up 1%. In after hours trading, the stock fell 8%.

“The engagement elephant continues to rear its head and investors are on edge that an earlier price hike in a seasonally tough period and lighter content slate could have driven more churn than usual,” wrote Morgan Stanley Research analysts in a research note.

On Thursday, Netflix said in a letter to shareholders it has a sophisticated understanding of its consumers and “we know not all hours are equal” and that engagement on its platform is “healthy.”

“The entertainment industry remains dynamic and competitive,” Netflix told shareholders. “We aim to stay ahead by executing against our three areas of focus: delivering more entertainment value, leveraging technology to improve every aspect of our service, and improving monetization.”

The Los Gatos-based company said it plans to allocate more than 5% of its content spend on live programming this year. Live content has been a key driver for subscriptions, accounting for six of the top 10 new member sign-up days over the last five years, the company said.

In the first half of 2026, Netflix said members watched more than 97 billion hours, up 2% from a year ago. Among the most popular shows: the crime thriller “I Will Find You,” which had 87 million views; and the romantic comedy film “Voicemails for Isabelle,” which garnered 71 million views.

Netflix has been adding new types of content to its platform, including video podcasts to help increase engagement with subscribers during the day.

As part of the diversification efforts, the platform has expanded its portfolio of live programming over the years, including adding NFL games and streaming Major League Baseball’s opening day game.

In 2022, Netflix had also faced investor pressure when it reported declining subscribers for the first time in more than a decade. That pushed the company to delve into other areas including advertising, gaming and cracking down on password sharing.

Netflix viewers meet grown-up versions of Charlie and Nick in Heartstopper Forever

Heartstopper fans should prepare for more steamy scenes in the new Netflix film.

The young adult show returns with one final chapter called Heartstopper Forever tomorrow (July 17), which sees Joe Locke and Kit Connor reprising their roles as Charlie Spring and Nick Nelson.

Based on Alice Oseman’s popular graphic novels, the film picks up as Charlie and Nick face the prospect of a long-distance relationship ahead of going to university.

We’ve watched their romance blossom over three seasons, during which they were completely inseparable. So this new milestone poses a new hurdle they haven’t faced before.

As well as a new challenge, though, fans will notice that Charlie and Nick are more intimate in the new film than in previous seasons.

When asked about the final chapter featuring “a lot more sex,” Connor told The Guardian: “It’s a line that you have to walk: ‘How far are we going to take this?'”

He went on to explain that the inclusion reflected a natural progression in the characters’ romance.

“But at the end of the day, it did feel like these two guys are really attracted to each other at the age where they probably would have been doing it,” Connor added.

Locke agreed, explaining: “It would be weird if we hadn’t shown it. Just because our show is a more earnest version of a queer representation doesn’t mean that sex [shouldn’t be shown]. It’s still a big thing for anyone in the world.”

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

The new coming-of-age drama includes traditional sex scenes as well as segments depicting masturbation, which is pretty standard for the genre.

However, Heartstopper has previously centred on the less-explicit elements of young queer relationships.

The actors were actually eager to push the envelope even further with their characters, Connor revealed.

He said: “If I’d had my way, I would have had Nick and Charlie cheating on each other and doing all those stupid things.

“Because young people do that and don’t necessarily need to be villainised for it. Heartstopper Forever takes a step in that direction of not being so rose-tinted about being human.”

Heartstopper Forever premieres on Netflix this Friday, July 17.

Need to know

The Costa Concordia disaster is one of the biggest maritime disasters since the Titanic, and the captain of the luxury cruise ship was at the centre of the tragedy

Everything you need to know about Costa Concordia captain Francesco Schettino

1. Netflix’s Shipwrecked: Nightmare at Sea delves into the harrowing 2012 Costa Concordia disaster that claimed 32 lives. The film features never-before-seen footage and survivor accounts from the luxury cruise ship that struck a rock near Giglio Island on 13 January 2012.
2. More than 4,000 passengers and crew were plunged into their worst nightmare as the vessel took on water and began to tilt. Captain Francesco Schettino delayed over an hour before ordering passengers to abandon ship and failed to provide authorities with accurate information.
3. The media branded him “Captain Coward” after footage emerged showing he had abandoned the bridge and boarded a lifeboat himself. Schettino told the court he had ordered the ship off course to please the vessel’s head waiter, whose family hailed from Giglio. Prosecutors alleged he steered too close to the island to show off to a dancer accompanying him at the helm.
4. Schettino was ultimately convicted of manslaughter and abandoning ship, and was sentenced in February 2015 to 16 years behind bars. He began serving his term in 2017 at Rome’s Rebibbia prison.
5. The term consisted of ten years for manslaughter, five years for causing the shipwreck, and one year for abandoning passengers, to be served consecutively. Having exhausted every avenue of appeal and with his conviction upheld, he began his sentence in 2017.
6. Schettino is not due for full release until 2033, according to Maritime Executive.

READ THE FULL STORY: Costa Concordia Captain Francesco Schettino sentence explained and year of release

Netflix has released its highly anticipated reboot of Little House on the Prairie – and fans of the original series have been left wondering what happened to the beloved cast

It’s one of the most beloved TV shows of the 1970s – and now it’s getting a modern makeover. Netflix has finally released its highly anticipated reboot of Little House on the Prairie today (July 9), with fans eager to see whether it can live up to the original.

Based on the iconic books by Laura Ingalls Wilder, the new series promises to retell the family’s story for a new generation while staying true to its roots. Netflix’s official synopsis reads: “Part hopeful family drama, part epic survival tale, and part origin story of the American West, this fresh adaptation of Laura Ingalls Wilder’s iconic semi-autobiographical Little House books offers a kaleidoscopic view of the struggles and triumphs of those who shaped the frontier.”

Set in 1869, the reboot followed the Ingalls family as they left their cabin in Wisconsin’s Big Woods and headed to Kansas in search of a better life.

Along the way, they built new friendships, overcame hardships and worked to create a home in the town of Independence.

While the new cast steps into some of TV’s most iconic roles, many viewers have been left wondering what happened to the original stars who made the 1970s series such a success.

Here’s what became of the Little House on the Prairie cast:

Michael Landon (Charles Ingalls)

While Little House on the Prairie was based on the books by Laura Ingalls Wilder, Michael Landon quickly became the driving force behind the hit TV series.

As well as starring as Charles ‘Pa’ Ingalls, the devoted husband, father and hardworking farmer, Landon also worked behind the scenes as a producer, writer and director, helping shape the show throughout its nine-season run.

However, fans were surprised when he stepped away as a main cast member ahead of the final season, despite continuing to work behind the scenes.

Before finding fame, Landon shot to stardom as Little Joe Cartwright in Bonanza after landing the role at just 22 years old.

His acting career had started a few years earlier with I Was a Teenage Werewolf and several guest appearances on TV.

After Little House came to an end, Landon went on to star in the popular TV series Highway to Heaven. He was also due to write, direct and star in a new CBS drama called Us, but sadly never got the chance.

In 1991, Landon died from pancreatic cancer at the age of 57, before the show’s two-hour pilot had aired.

Away from acting, Landon was married three times. His third wife was Little House makeup artist Cindy Clerico, who he met on set.

He was also a father to nine children, including filmmaker Christopher Landon and Jennifer Landon, who is best known for playing Teeter in Yellowstone.

Karen Grassle (Caroline Ingalls)

Karen Grassle became a household name playing Caroline ‘Ma’ Ingalls, the loving matriarch of the Ingalls family and Charles’ devoted wife.

While Little House on the Prairie remains by far her best-known role, Grassle was already an experienced theatre actress before landing the part and returned to the stage after the series ended.

She later stepped away from mainstream Hollywood, moving out of Los Angeles to focus on theatre work around the US.

Although she appeared in a handful of films over the years, including Wyatt Earp alongside Kevin Costner, as well as Lasso and Not to Forget, she largely stayed out of the spotlight after Little House ended.

Away from acting, Grassle has been married three times and is mum to two children – a son and a daughter.

In 2021, she released her memoir, Bright Lights, Prairie Dust: Reflections on Life, Loss, and Love from Little House’s Ma, which revealed she and Michael Landon had a difficult working relationship during parts of the show’s run.

However, she has since said the pair reconciled before his death in 1991.

Melissa Gilbert (Laura Ingalls Wilder)

Melissa Gilbert was just 10 years old when she was cast as Laura Ingalls Wilder, the adventurous, animal-loving daughter at the heart of Little House on the Prairie.

She remained on the show until it ended nine years later, by which point she was 19. Her performance made her one of the series’ biggest breakout stars, earning her a Golden Globe Awards nomination in 1981.

While starring in Little House, Gilbert also built an impressive career away from the show. She appeared in TV adaptations of The Diary of Anne Frank and Splendor in the Grass, while her portrayal of Helen Keller in The Miracle Worker earned her an Primetime Emmy Awards nomination.

After Little House came to an end, Gilbert remained a familiar face on television for decades, starring in numerous TV films and series. She also served as president of the Screen Actors Guild from 2001 to 2005 and even launched an unsuccessful bid for Congress in 2016.

She later returned to her Little House roots by taking on the role of Ma Ingalls in the touring production of Little House on the Prairie, The Musical, before appearing on Dancing with the Stars.

More recently, Gilbert made headlines in 2025 after responding to comments from Megyn Kelly about Netflix’s upcoming Little House reboot, after Kelly said she hoped the streaming giant wouldn’t “wokeify” the beloved series.

Gilbert replied: “Ummm… watch the original again,” arguing the show had always tackled difficult subjects including racism, addiction, misogyny and domestic abuse.

Away from acting, Gilbert has two sons – one with her first husband, Bo Brinkman, and another with her second husband, Bruce Boxleitner.

She has been married to Timothy Busfield since 2013 and is also stepmother to his five children.

Melissa Sue Anderson (Mary Ingalls Kendall)

Melissa Sue Anderson played Mary Ingalls, Laura’s intelligent older sister whose life changed forever after losing her sight following a bout of scarlet fever.

The emotional storyline earned Anderson an Primetime Emmy Awards nomination and remains one of the most memorable moments from the series.

Mary endured some of the show’s toughest storylines, including blindness, being held hostage, suffering a miscarriage and tragically losing her baby in a fire.

Away from Little House, Anderson starred in Midnight Offerings and Happy Birthday to Me, while also appearing in TV favourites including Murder, She Wrote, The Equalizer and X-Men: The Animated Series.

In more recent years, the actress has largely stepped away from the spotlight, making only the occasional on-screen appearance.

She married TV writer and producer Michael Sloan in 1990 and the couple had two children before becoming Canadian citizens. Sloan sadly died in 2025.

Rachel Lindsay and Sidney Greenbush (Carrie Ingalls)

Identical twins Rachel Lindsay Greenbush and Sidney Greenbush shared the role of Carrie Ingalls, the youngest member of the Ingalls family until baby Grace arrived in season four.

The sisters were just three years old when they joined the show. Before landing their breakthrough role on Little House on the Prairie, the twins appeared in the TV film Sunshine.

After Little House came to an end, the pair stepped away from acting to focus on school and have largely stayed out of the spotlight ever since.

Away from Hollywood, Sidney married veterinarian and horse breeder William “Rocky” Foster in 2000 before he sadly died in 2009.

Rachel later reconnected with childhood friend Danny Sanchez – who she first met on the Little House set – and the pair married in 2014, more than 30 years later.

Dean Butler (Almanzo Wilder)

Dean Butler joined Little House in season six as Almanzo Wilder, the farmer who eventually won Laura Ingalls’ heart.

Butler landed his first major role in the 1978 adaptation of Forever by Judy Blume.

After Little House ended, he went on to star in The New Gidget, performed on Broadway in Into the Woods and later appeared in Buffy the Vampire Slayer as Buffy’s father, Hank Summers.

Away from acting, Butler has been married to actress Katherine Cannon since 2001. The couple first met while auditioning for Michael Landon’s TV series Father Murphy.

Katherine MacGregor (Harriet Oleson)

Katherine MacGregor became one of Little House’s most memorable stars thanks to her portrayal of Harriet Oleson, the shopkeeper who quickly became one of TV’s most love-to-hate villains.

Harriet was originally only meant to appear as a guest character, but proved so popular with viewers that she was promoted to a series regular.

Prior to Little House, MacGregor performed on and off Broadway and she appeared in a handful of TV movies and guest starred on All in the Family and the original Ironside.

She was a convert to Hinduism and very devoted to her faith. She was unable to appear in the Little House finale because she was on a pilgrimage to India at the time.

She died in 2018 at the age of 93.

Victor French (Isaiah Edwards)

Victor French played Isaiah Edwards, the ‘rugged mountain man’ and one of Charles Ingalls’ closest friends.

Although fiercely loyal and kind-hearted, the character also battled depression and alcoholism, giving viewers some of the show’s most emotional storylines.

After Little House ended, French reunited with Michael Landon to co-star in Highway to Heaven.

He enjoyed a long television career, with roles in popular series including Gunsmoke, Carter Country and Get Smart.

French also appeared on the big screen alongside Elvis Presley in Charro! and starred opposite John Wayne in Rio Lobo.

Away from Hollywood, French was married twice and had three children. He died from lung cancer in 1989 at the age of 54.

Richard Bull (Nels Oleson)

Richard Bull played Nels Oleson, the long-suffering husband of Harriet Oleson and the patient co-owner of Oleson’s Mercantile.

While the pair constantly clashed on screen, Bull and Katherine MacGregor were said to be close friends in real life.

Little House on the Prairie was one of Bull’s longest-running television roles, alongside his stint as Doc on Voyage to the Bottom of the Sea.

Across a career spanning more than four decades, Bull appeared in countless hit TV shows, including The Fugitive, The Andy Griffith Show, Bewitched, Mission: Impossible and Hill Street Blues.

He also appeared in films including The Thomas Crown Affair, The Andromeda Strain, High Plains Drifter and The Parallax View.

Away from acting, Bull was married to actress Barbara Collentine for more than 65 years, from 1948 until his death.

He died from pneumonia in 2014 at the age of 89.

Netflix is going bite-sized. In a pivot toward the short-form content dominating TikTok and YouTube, the streaming giant announced it will start hosting three- to 20-minute videos from top digital publishers right on its homepage starting Aug. 3.

The streamer said U.S. customers will see “fan-favorite videos” from brands run by digital publishers, including BuzzFeed Studios, Condé Nast, Hearst Magazines, PMX (a subdivision of Penske Media), People Inc. and Tastemade. The videos will cover a variety of topics, including gardening tips, travel and celebrity profiles.

The rollout comes as Netflix competes for audience time from YouTube and social media platforms such as TikTok that have viral videos that can occupy users for hours. By bringing series such as BuzzFeed Celeb’s “30 Questions,” on which celebrities provide answers, or Vanity Fair’s “Lie Detector,” on which celebrities are hooked up to polygraph machines, Netflix users can learn more information about the people they already watch on the streamer, but in shorter videos.

“Members don’t just want to watch a show or film and move on. They want to keep exploring the stories and personalities they love long after the final credits roll,” said John Derderian, a Netflix vice president overseeing the initiative. “These partnerships help us deepen fandom and create more ways for members to carry those stories with them throughout their day.”

Netflix said it will offer licensed archival and ongoing series, including Harper’s Bazaar’s “Burning Questions,” Billboard’s “24 Hrs With” and People’s “My Life in Pictures” that provide an inside look at celebrities.

The videos from digital publishers will also be available to Netflix customers in Canada, the United Kingdom, Ireland, Australia and New Zealand on Aug. 3.

The Los Gatos, Calif., streamer over time has been expanding its library of content, adding games, live programming such as boxing matches and football games, alongside movies and TV shows.

Netflix fans say the gripping drama is the best true crime show they’ve ever watched

Fans are begging for even more episodes of a true crime drama sitting quietly in Netflix‘s library.

Viewers might have missed a harrowing docuseries that is hiding in plain sight on the streaming platform.

Homicide first hit screens in 2024 with five episodes diving into chilling murders that have taken place in Los Angeles. Seasons 2 and 3 closely followed with a fresh focus on New York crimes.

The series comes from Law & Order creator Dick Wolf and examines gruesome killings from the perspectives of those directly impacted. Viewers hear from detectives and prosecutors, as well as the families of the victims.

It offers a complete overview of how law enforcement approached the cases, and how citizens were forced to mourn their loved ones.

Season 3, which is titled Homicide: New York, focuses on a serial offender who targeted victims in Central Park, a suspicious drowning at Soho House, and an unfiltered recounting of 9/11 from the officers who were at Ground Zero.

While many Netflix subscribers may have missed the show, those who caught it upon its release were thoroughly impressed.

An IMDb user raved “we need more,” before writing: “Amazing!! The editing was simply perfect, but the true stories oh my they were so sad but very interesting to hear.

“The people behind all the hard work to find out the results were brilliant and very well spoken about the cases and families involved! Need another 5 episodes!!!”

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

Someone else agreed with the praise, adding: “In True Crime Drama…This one STANDS ABOVE. There are a lot of documentaries out there regarding true crime. Dick Wolf has done an extraordinary job on bringing this one to the screen. I would say it’s one of the best written, true crime dramas ever made.”

While an X, formerly Twitter, user urged others to tune in. “If anyone’s looking for a good murder mystery, definitely recommend Homicide New York on Netflix,” they said.

Yet another fan agreed, stating: “Homicide: New York is insaneeeeeee. if you’re into true crime, you definitely want to watch it.”

All fifteen episodes of Homicide are available to stream now on Netflix

Call Me by Your Name fans need to watch this “sexy” upcoming Netflix drama.

A “magnificent and sexy” Netflix drama is poised to star two Hollywood icons.

Book and film fans were captivated by Andre Aciman’s Call Me By Your Name, and now another of his bestselling novels is being transformed for television.

Aciman’s 2017 work Enigma Variations centres on “Paul, a man remade by the lovers who ignite and undo him across six transformative years”.

Netflix further describes it as an “intimate yet sweeping portrait of masculinity, sexuality and modern love.

“And in a world of endless choices, it asks the question: will we know when we’ve found the one?”

Taking the lead role as Paul is none other than Aaron Taylor-Johnson, renowned for 28 Years Later, Kicka**, Nosferatu and Nocturnal Animals.

Taylor-Johnson has also remained consistently amongst the bookmakers’ top picks to be cast as the next James Bond, alongside other contenders such as Callum Turner and Jacob Elordi.

He’ll be appearing opposite Alicia Vikander, celebrated for The Danish Girl and Tomb Raider, who plays Claire, one of Paul’s principal love interests throughout this period.

An official launch date hasn’t been revealed yet, but the Netflix adaptation is anticipated to mirror the books by being set across multiple locations including Italy, New York and New England.

Enigma Variations was hailed as a “magnificent living thing” by The New York Times Book Review, which added that “Aciman writes arousal so beautifully”.

The book has also garnered enormous praise from readers, with one commenting on Good Reads: “This book is staggeringly beautiful. Powerfully emotional, haunting, frank in its sexuality and its romanticism, this is a book about love, infatuation, longing, and lust.”

Another agreed that the “book blew me away”, while a third added: “Evocative, poetic and hopelessly romantic, Andre Aciman has written a cerebral narrative of love undefined.”

Enigma Variations is arriving on Netflix

NETFLIX host Natalie Joy, best known for presenting Age of Attraction, has given birth to twins with her Bachelor star husband Nick Viall.

The couple took to Instagram to announce the safe arrival of the babies, revealing their names in their heartwarming post.

Under an adorable snap of the babies lying together asleep, the caption read: “Dove Tomlin Viall & Iris Parker Viall – our rainbow babies!!!!!”

The couple are already parents to daughter River Rose, who was born two months before they got married in April 2024.

Nick gained fame through his appearances on The Bachelorette and as The Bachelor himself, with him meeting his wife through Instagram years later.

The happy news comes after Nick revealed that Natalie suffered a third devastating miscarriage last year on his podcast, The Viall Files.

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Natalie was absent from the episode, usually featuring alongside her husband during recording.

Nick addressed Natalie’s unusual absence, saying: “As you can see, Natalie is not with us.

“There’s no really easy way to talk about this…”

He then got candid with his listeners as he revealed the heartbreaking news.

“Sadly, Natalie experienced another miscarriage. It is her third this year, our third this year…

“There’s no really good way to say it, it f**king sucks.

“She’s obviously at home resting, healing, both physically and emotionally.”

Natalie first suffered a miscarriage in January 2025, before enduring a second pregnancy loss just two months later.

Nick explained to his listeners: “When it happens the first time, the doctors and everyone kind of acknowledge that, while terrible, this is that something that can happen.

“And everyone’s just… don’t freak out, there’s nothing wrong, it sadly can be a part of this process.”

Nick went on: “And then it happened the second time, you know, obviously we have a lot of amazing blessings in our life, first and foremost being River, minus like some morning sickness and things like that, we were very lucky to have a fairly easy pregnancy…

“Really no complications, which was such an amazing blessing.

“Despite what’s going on right now with us, our doctor keeps reminding us that that is the best sign of our future ability to grow our family.

“But right now obviously there’s a little bit of uneasiness. It’s far less normal to have two and three back to back.

“Now we’re kind of in that very scary process of running tests and finding out more about ourselves, and it’s like this weird thing of like you want them to find something, but you don’t want them to find something.

“Because if they find something, you don’t know what that means. We’re in this kind of very uncharted territory of fact finding. Which sucks.”

Nick also said: “I really just wanted to be transparent with you guys ’cause I know she wasn’t there yesterday, people started to notice, and we’re already getting messages with like a lot of concern.

“So overall, Natalie is doing OK physically and healing and she’s OK in that respect and emotionally, we’re currently dealing with that.”

Viewers need to be quick if they want to catch the harrowing tale exploring the “twisted depth of maternal love”

There are now just days left to stream a film viewers believe “everyone should watch” once in their lifetime.

Currently available on Netflix, the story centres around two children, Victoria and Lily, who are found abandoned in a dilapidated house in the woods years after the death of their parents. Experts are left completely baffled as to how they have survived with seemingly no food or resources around them.

The sisters are brought in to a safe facility where they are monitored by childhood behaviourists who believe they have likely been alone for five years.

In order to reintroduce them into society, the girls are taken in by their uncle Lucas (Nikolaj Coster-Waldau) and his partner Annabel (Jessica Chastain) who intend to provide them a safe and loving environment at home. However, they soon learn there is more to the case than first meets the eye.

The film in question is 2013 horror, Mama, which will be leaving Netflix at the end of the month. Viewers have until July 25 to stream it before it’s gone for good.

As per the official synopsis: “Annabel and Lucas are faced with the challenge of raising his young nieces that were left alone in the forest for five years…. but how alone were they?”

Alongside Oscar-winner Chastain and Game of Thrones alum Coster-Waldau, the cast also includes revered horror actor Javier Botet. Mama was directed by Andy Muschietti, famed for his work on the IT horror franchise, with Guillermo Del Toro also on board as an executive producer.

At time of writing the film has a Rotten Tomatoes score of 63 per cent from critics and 55 per cent from audiences.

“Mama expands a chilling short film into a full-length feature exploring the dark, twisted depth of maternal love,” penned one viewer, as a second declared: “Everyone should watch this movie at least once.”

“This is actually a pretty good movie,” said another. “I don’t understand the hate from some critics. I haven’t seen this movie in many years, but it has aged very well. It also has a lot of great scenes and creepy moments.”

Meanwhile a fourth watcher added: “I don’t know what it is about it, but this film somehow stuck with me. In my opinion, it does not get the credit it is due. Very atmospheric movie.”

Mama is now streaming on Netflix. It will leave the platform on July 25.

Streaming service Netflix has started early production on your next thrilling TV obsession

Another bestselling thriller is coming to screens soon.

Netflix has lined up an adaptation of Lucy Clarke’s bestselling thriller The Surf House with a familiar name behind the scenes.

No casting has been announced just yet, but the upcoming drama is being helmed by director Ed Lilly, who was behind episodes of major TV titles such as Industry and Tell Me Lies.

Clarke’s novel is set in Morocco and follows a woman named Bea seeking sanctuary amongst a community of travellers.

However, Bea’s travels soon take a dark turn when she uncovers a sinister secret at the heart of the commune.

A synopsis via Deadline reads: “The Surf House is set high on the cliffs of Morocco and is based in a sanctuary for surfers and travellers chasing sunshine and waves.

“But the idyll hides a dark mystery, and when Bea washes in, seeking refuge after a dangerous encounter in Marrakesh, she soon gets caught in the current.

“A woman her age – who stayed in the same area, walked the same beaches, met the same guests – disappeared one year earlier, vanishing without trace, and her last known whereabouts was The Surf House.”

Author Clarke is quickly becoming a household name for thriller fans, with Deadline’s report describing her as a “British Liane Moriarty” (author of Big Little Lies and Nine Perfect Strangers).

Two of her novels, The Castaways and No Escape, have already been adapted by Paramount+, the former starring Sheridan Smith.

Another book, The Hike, has also been optioned by Urban Myth Films, which is backed by Studiocanal, so a big screen adaptation could be imminent.

In the meantime, The Surf House is shaping up to be another must-watch thriller for Netflix based on the original novel’s rave reviews from readers.

One Goodreads user gushed: “This is the perfect thriller. It had everything going on. The scenic beach front hostel in Morocco as the setting was amazing.”

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Another wrote: “I felt like I could not put this one down. I needed to keep reading to see what was going to happen. Also the last 60 percent has several twists and turns. Once I thought I had it figured out it kept changing up on me.”

“I could not get enough of this book,” someone else said. “I am going to buy all of this author’s books now. Such a perfect 5 star for me.”

And a final fan recommended: “If you like fast paced thrillers, multiple mysteries wrapped up in one story all in the back drop of a gorgeous destination and travel setting then this is absolutely for you.”

Netflix’s The Surf House does not yet have a release date.