As global quarantine mode continues, Netflix continues to release content to make sheltering in place a little easier. There’s a sun-soaked murder-mystery series from the creators of The Crown and Money Heist, and the latest goofy movie from Adam Sandler’s Happy Madison Productions is on tap. Earlier this week, the streaming giant released a psychedelic documentary, Have A Good Trip, along with Unbreakable Kimmy Schmidt‘s interactive special. In other words, there’s plenty of TV to keep us all busy.

Here’s everything coming to (and leaving) Netflix this week of May 15.

White Lines: Season 1

This Spanish-British mystery thriller series revolves around the murder of a legendary Manchester DJ who disappears from Ibiza. His body surfaces decades later in Ibiza, which sends his sister deep into the heart of the Spanish island’s club scene. There, she unearths dark truths about the community that lives life on the edge, along with lies and cover-ups involving the fate of her brother. There’s some self-examination going on there as well in this story from the creators of The Crown and Money Heist.

The Wrong Missy

Well, no one ever accused Adam Sandler’s Happy Madison Productions of making high art, but this movie is sure to be at least a little bit funny. This installment stars David Spade as an average white-collar dude who decides to woo his dream girl over text, only he’s texting the wrong lady (portrayed by Lauren Lapkus), who shows up to his island retreat invitation unaware that, well, she’s “The Wrong Missy.” In other words, it’s a blind date from hell, so expect plenty of farty shenanigans and a Rob Schneider appearance.

Here’s a full list of what’s been added in the last week:

5/15
Chichipatos
District 9
I Love You, Stupid
Inhuman Resources
Magic for Humans: Season 3
She-Ra and the Princesses of Power: Season 5
White Lines

5/16
La reina de Indias y el conquistador
Public Enemies
United 93

5/17
Soul Surfer

5/18
The Big Flower Fight

5/19
Patton Oswalt: I Love Everything
Sweet Magnolias
Trumbo

5/20
Ben Platt Live From Radio City Music Hall
The Flash: Season 6
Rebelión de los Godinez

5/22
Control Z
History 101
Just Go With It
The Lovebirds
Selling Sunset: Season 2
Trailer Park Boys: The Animated Series: Season 2

And here’s what’s leaving next week, so it’s your last chance:

5/15
Limitless
The Place Beyond the Pines

5/17
Royal Pains: Season 1-8

5/18
Scandal: Season 1-7

5/19
Black Snake Moan
Carriers
Evolution
The First Wives Club
It Takes Two
Love, Rosie
She’s Out of My League
What’s Eating Gilbert Grape
Young Adult
Yours, Mine and Ours

Katy Perry has kept busy over the past few years with a slew of singles, and now we know what it has all been building up to. This week, she revealed that her next album, the title of which has not yet been revealed, will be released on August 14. Now she has shared her first new song since making that announcement, “Daisies.”

The track is an empowering anthem about sticking to your guns when faced with adversity. The song is produced by The Monsters & Strangerz, who produced and co-wrote Zedd, Maren Morris, and Grey’s hit “The Middle,” as well as more recent tunes by Dua Lipa, Halsey, and Selena Gomez.

Perry explained the meaning behind the single in an Instagram post, writing, “I wrote this song a couple months ago as a call to remain true to the course you’ve set for yourself, regardless of what others may think. Recently, it has taken a new meaning for me, in light of what the whole world is experiencing. Each of us is one in more than seven billion, with our own story of strength and resilience to tell. DAISIES is out now. I hope it will be the soundtrack to going for your dreams now… especially the ones we left behind.”

Watch the “Daisies” video above.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Because your efforts to organize should basically be immortalized.

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👏👏👏.

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Could you imaging working out next to Barack Obama?

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Knives Out didn’t win the Academy Award for Best Costume Design (Little Women did, rightfully so), but Chris Evans’ sweater in Rian Johnson’s modern-day whodunnit won our hearts. The white cable-knit sweater became A Thing on the internet, and it’s not hard to understand why: it’s Chris Evans… in a sweater… what don’t you understand?

Unfortunately for Captain America (and us), though, the sweater has been retired.

Appearing on Thursday’s The Tonight Show, Evans was asked by host Jimmy Fallon whether he’d ever break the sweater out of the Smithsonian, where I assume it’s being held, and wear it again. Think of all the thirsty Instagram likes! “I can’t wear the sweater. I mean, it’s a shame, I love cable knits,” Evans said. “But now I feel like when I wear them people are like, ‘Urgh.’ I don’t know if it works anymore.” It works. Trust me.

“I didn’t realize it was going to be a sweater game until we started putting them on him. I don’t remember the brands of them, because I was just grabbing so much from all over the place,” Knives Out costume designer Jenny Eagan told us about Evans’ look in the film. “The fact that it takes place on the East Coast really set a tone. I wanted him to feel very relaxed, as you can see he has a lot of attitude and is too cool for everyone. He spends a lot of money on his clothes but he could care less about taking care of any of them. That is why I thought this cable-knit sweater looked great with the hole.”

You can watch the rest of The Tonight Show interview below.

The Snowpiercer TV series knew that it would never be able to match up to Bong Joon Ho’s 2013 film, and to be fair, the show embraces this certainty. It’s almost the opposite of Watchmen in that way. Remember how a lot of comic book fans felt, at best, ambivalent about the HBO series (because Zack Snyder made such an underwhelming flick) before it landed as a successful reimagining? Whereas Snowpiercer is rebooting a masterpiece, and that’s also tough stuff. Comparisons are inevitable, but the notoriety of the movie (and the source material, Jacques Lob and Jean-Marc Rochette’s graphic novels) will bring viewers into the fold. Yet the show pushes hard to be something almost entirely different than the film, which pulled off a deeply dark parable with an absolutely frigid take on class warfare and social uprisings. Starring an unusually gritty Chris Evans and a deliciously bonkers Tilda Swinton, the film also threw down (as I wrote in our Best Films Of Last Decade list) a fiercely confident and savage mating dance between an action dream and an art-house hard-on, one that still chills to the bone.

Bong Joon Ho’s now gained even more respect with the multi-Oscar-winning Parasite, currently one of Hulu’s most-watched titles. If those viewers hadn’t watched yet Snowpiercer, they sure as hell have done so by now and are familiar with a story that’s so compelling that the “babies taste best” line couldn’t ruin the vibe. Expectations must be managed, though, for there’s only a superficial resemblance between and movie and TV show. Yes, TNT’s series is still set in the same place: a post-apocalyptic, globe-circling train, which can never stop and contains the last survivors of humanity. Almost everything else is tweaked, other than the same basic class structure (wealthy, ticketed passengers enjoy opulent luxury near the front, whereas “The Tail” occupants began as stowaways) and the talk of a mysterious benefactor, Mr. Wilford. Within his almost mythic feat of engineering, rules must be followed, lest one lose a limb or two.

Speaking of appendages, this show’s first season (it’s already renewed for a second one) never finds solid footing, although it’s plenty entertaining.

Look, reboots happen, but should one reboot a masterpiece? It’s a dilemma and a valid question on whether this series can justify its own existence after fighting to do so for many years. This Snowpiercer, while striving to be different, doesn’t seem to know what it’s trying to be. At first, the series adopts a Law and Order-esque, procedural framing that later evaporates into campiness that doesn’t quite reach the level of the movie’s schlocky thrills. It does tackle power structures and questions why humans choose what leaders to worship, but the show doesn’t go broadly philosophical like the movie. And things get kinda saucy when people fall into train-sex mode with former lovers and new ones. It’s kinky and strange! And soap-operatic. At least it’s not dull.

Running this version of Snowpiercer would be Melanie Cavill (Jennifer Connelly, doing the ice-queen thing), chief of hospitality and messenger for Mr. Wilford. Melanie is carved from stone but capable of great cruelty and brutality. Her adherence to order is threatened by a murder mystery, and Andre Layton (Daveed Diggs of Hamilton) gets pulled out of The Tail because someone up in third class remembered that he used to be a homicide detective. Can he abandon his people and pledge allegiance to Wilford? It’s a question that’s posed oafishly when Andre gets to eat a grilled cheese sandwich for the first time since the apocalypse. The scene is overplayed, almost sensually, like so many others in this season, as a contrast to the very clinical feel of Melanie’s hopes for how this train should operate. It sounds f*cking weird for me to single out a grilled cheese sandwich scene, but that’s when I (first) sensed that this show was going to overdo things for the sake of overdoing them.

It’s almost so intentionally clumsy that I have to admire all of it. My gut feeling is that much of the show’s jam-packed feel (although in a literal sense, the TV series sets feel far less claustrophobic than the movie did) means to overcompensate for the absence of Tilda’s Mason character and her enormous, scenery-chewing chompers. Of course, Mason did not exist in the graphic novel, so I can accept that she doesn’t exist in the show’s take on the story (even though she should be on the train, since it takes place 7 years after the extinction event, as opposed to the movie’s 15 years), but the show feels like it’s tossing in wacky sh*t to make up for Mason’s omission. It can’t pretend to be hiding Mason somewhere in a corner, but the character’s spirit haunts the TV show in an incomplete way. Blame Bong Joon Ho for putting such an indelible stamp on this franchise, right? One can’t forget the genius of the movie after witnessing it.

Still, I do think it’s possible for the TV series to find a forgiving audience. As I said earlier, the show quickly dispenses with the procedural framing, and Diggs’ Andre later starts striving toward mutiny. That’s where we’d expect a Snowpiercer show to go, and hopefully to thrilling places in the process, but the show is too confused about its own identify and kind-of disorganized, even while attempting the opposite effect. Multiple framing devices exist, including how each episode begins with a different character monologuing about their life on the train, but the show still can’t wrap its arms around a bigger picture. Again, this reboot isn’t bad at all. It’s fine, but man, this train’s fighting an uphill battle for acceptance. It slip-slides all over the ice while simultaneously attempting to live up to and dodge expectations laid down by Bong Joon Ho’s work of art. That takes guts, so perhaps this less-artsy-train-that-could can grip the tracks and find a fanbase of its own.

TNT’s ‘Snowpiercer’ premieres on Sunday, May 17th at 9:00pm EST.

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