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Last month, My Morning Jacket announced plans to release their ninth studio album, following last year’s The Waterfall II. Their self-titled effort drops October 22 via ATO and features the expansive lead single, “Regularly Scheduled Programming,” which the guys performed last night on Jimmy Kimmel Live! with plenty of pomp, circumstance, and a bombastic light show. Check out the set above.

“This song really hits home for me after what we’ve gone through with the pandemic,” James said about “Regularly Scheduled Programming” upon it release. “But even before then, it felt like so many of us were trading real life for social media, trading our own stories for the storylines on TV, trading our consciousness for drugs. We need to help each other wake up to real love before it’s too late.”

James continued, “I hope this album brings people a lot of joy and relief, especially since we’ve all been cooped up for so long. I know that feeling you get from driving around blasting music you love, or even lying in bed and crying to the music you love. The fact that we’re able to be a part of people’s lives in that way is so magical to us, and it feels really good that we’re still around to keep doing that.”

My Morning Jacket is out 10/22 via ATO Records. Pre-order it here.

In Venom: Let There Be Carnage, there’s a scene about midway through where Venom (Tom Hardy), without his host Eddie Brock (also Tom Hardy) attends a rave. At this rave Venom gives a (surprisingly) heartfelt speech to everyone in attendance and then goes off on a tangent about how much he misses Eddie, because the two just had a bad argument and have, well, broken up. I asked director Andy Serkis about this scene and I was surprised how forthcoming he was that the party in question was based on a LGBTIA festival. And Serkis is a smart guy and wouldn’t, right after saying that, use the wording, “this was Venom’s coming out party,“ without knowing exactly what that implies. (To make sure, I followed up. Serkis then goes on to describe Eddie and Venom’s relationship as a “love affair.” He’s not wrong. It very obviously is.)

Serkis takes over the direction of the Venom franchise from Ruben Fleischer. And it wasn’t entirely a secret that Fleischer and star Tom Hardy didn’t see eye to eye on the movie they were making. And what resulted was chaos, but very entertaining chaos. So how does Serkis keep that onscreen chaos and keep things calmer when the camera isn’t on? And, now, he’s got (his former War for the Planet of the Apes co-star) Woody Harrelson as Cletus Kasady, aka Carnage, and Naomie Harris as Shriek on board to give Eddie and Venom some trouble. But, in the end, we know this movie is about (as Serkis says) the “love affair” between Eddie and Venom. And, ahead, he explains…

So I’m trying to get into your mindset a little bit. Because, the first film, I don’t think it’s a secret that Ruben and Tom didn’t always see eye to eye on how the movie should be. But it also strangely created this chaos that worked. So entering this, how do you create a dynamic where on-screen it’s still chaos, but behind the scenes it’s not?

That’s a very diplomatic way of putting it.

Thank you. I tried my best to be diplomatic.

No, no. It’s great. No, it’s great. So, look, the thing is Tom and I knew each other a bit – have known each other for years and years and years and have wanted to work together for quite some time. And whether it be as actors or whether it was me directing. In fact, he called me before the first Venom and said, “Andy, I’m going to be doing this character and it’s going to be a digital character, and I wondered if I could come down to the Imaginarium,” which is a performance-capture studio, “and do some sort of practice with performance capture.” And at that time he was thinking of using it. But then I never heard from him again for a while. And then Venom 1 came out and I thought, “Oh, that was the character he was talking about.”

Well, I’m curious, when you saw the first Venom, what was your reaction? It is very unique.

It is. Absolutely. And I think that’s the thing. Tom and I have quite similar sensibilities in a way – definitely swimming in the darker end of the swimming pool. Sort of grungy kind of sort of dysfunctional characters that are outsiders. The fact that, I mean, his Eddie Brock is such a confused, mucked up guy, fraud guy…

He also has an alien living in him who calls him a loser.

Right. Exactly that. Exactly. In many ways, I think that’s why he wanted me to get involved. He phoned me up and he said, “Look, we’d really love you to throw your hat in the mix for directing this.“ Of course, everybody loved the lobster tank moment. That’s the touchstone moment. That’s the sort of the starting point for this next film and I knew that things had been rocky on the movie. He told me the whole story of differences of opinion and all of that. I knew it all. And I know Tom’s a very strong-willed actor…

Speaking of diplomatic, there you go. “Strong-willed,” that’s a good way to put it.

Yeah. He is. And of course, look, and I am too. But there are different ways of skinning a cat. Put it that way. But, look, the fact is also, we had some other great forces on set this time, one of which was Woody Harrelson, and one of which was [Cinematographer] Bob Richardson. And also, the way I wanted to take this story on, apart from the fact that I inherited it at a really interesting moment – which is this The Seven Year Itch, The Odd Couple phase of Eddie and Venom’s relationship – I get the opportunity to introduce one of the greatest Venomverse villains, Carnage, and design that and create that, and a palette for that. Just I knew it was going to be a shot of red through the entire movie.

And so in terms of visualizing it, the first film is very monotone and dark, and I wanted this to be really controlled by the color of Carnage and the saturation of that. And then with Bob, we talked a lot about shooting the CG characters as shallow-focused as possible so that they always felt part of the environment and integrated, not overly celebrating them as CG characters, because they’re quite unforgiving. Their designs are very unforgiving.

Well, it’s interesting you said the jumping-off point was the lobster tank scene because that was a point of contention for Ruben and Tom. I don’t think Ruben was a fan of that scene.

For me, that was the moment the film kind of took off.

Yes, I agree.

So that was like, wow, if we’ve got that, and then you’ve got the introduction of Carnage? And you’ve got death by lethal injection one minute, and then Carnage coming into being out of that – that kind of level of surreality for me was really, really interesting, fertile material, you know?

So I do want to ask too, you toned down Cletus’s haircut a bit from what we saw in the first movie.

Yes.

So what happened?

That was quite a major discussion actually, but it was really about it being too kind of distracting in a way. And there were so many comments about it not feeling believable. And so we wanted to find a look for him that felt like that, logically, he could have had that all cut off and that we didn’t want to make a big deal about the hair that it would become a thing.

So it was a big discussion.

It was a discussion for sure, because it could have been very distracting. And although there are images of Cletus Kasady in the comics where he has kind of wild hair, we felt it would have just become a thing. And that was something that we didn’t want to dwell on, particularly when there were so many other real issues to deal with.

I am curious how it works with an actor like Woody, who obviously he’d done Zombieland with Ruben, and when he signed on it was with Ruben. How does that discussion work?

Well, the fact of the matter is I’ve worked closely with Woody Harrelson…

I mean, yes, obviously you worked with him on War for the Planet of the Apes…

Yeah, so we were good buddies and he was thrilled that I was directing it. I mean, he really was. He was really happy and we got on like a house on fire. And then he was so willing to be directed and to try different things. And, of course, he’s exceptional as an actor and comes up with… he’s just so inventive. But, equally, he’s very open to pushing things in different directions, which is joyful.

There’s no fat in this movie. Was that a conscious decision? And there’s very little exposition.

We always wanted to make this a real thrill ride, but a ride that… Sometimes when you’re on a rollercoaster ride movie, it sort of doesn’t stop for the character moments and it just becomes exhausting. We wanted to create the moments where it really we really earned our character moments and character stories and backstories…

Well yes, because most of the movie is Venom and Eddie arguing. So it definitely has its character moments, but it’s always entertaining.

Sure, sure. Well, good. But even things like, for example, when Cletus’ backstory is told it’s through cartoons that he would have drawn – that, you know, the logic is always there that’s got to underpin the whole story, the whole way of storytelling. So, yes, I mean, we really wanted to make it a thrill ride and get to the moment where Carnage is unleashed without too much exposition. So that was certainly always on the cards. I mean, in the director’s cut there was probably about, I don’t know, 10 or 15 minutes more, but that’s not much.

I’m curious why you wanted to play Alfred in The Batman movie coming up? I assume working with Matt Reeves again is a big reason.

It was definitely to work with Matt. I’d love to be able to talk about it, but I can’t talk anything about it. I’ve been forbidden to talk about Alfred!

Oh, I didn’t mean to put you in an awkward position. I didn’t know it was secret to talk about Alfred.

Well, no, only that I can’t really talk about The Batman.

So during this movie Venom goes to the rave. That’s a very interesting scene.

It was originally going to be a carnival of the damned and it ended up being Tom had got to know Little Simz, who’s a brilliant rapper and also stars in the movie. And she actually had made a song, unbeknownst to her, called “Venom” that connected very much with the first movie. And so Tom got in touch with her and that song became sort of the focus. Well, Tom and [co-writer] Kelly [Marcel] were always about Venom coming out and going to a party that was a very sort of an LGBTQIA kind of festival, really, I’d call it, and so this is his coming out party basically. This is Venom’s coming-out party.

Well, like actually coming out? Because that’s very interesting.

Well, coming out, being out…

Well, you just compared it to LGBTQIA. That’s very interesting.

Well, what is interesting is that it’s just like, here he is kind of, he says in the movie, “We must stop this cruel treatment of aliens.” He said, “You know, we all live on this ball of rock,” you know? And so he inadvertently becomes a kind of… he’s speaking for the other. He’s speaking for freedom of the other.

And it’s very obvious that Eddie and Venom are in love. Like we all know that. They are. They are in love.

Absolutely they do love each other and that’s the kind of the center of the movie is that love affair, that central love affair.

‘Venom: Let There Be Carnage’ opens October 1st. You can contact Mike Ryan directly on Twitter.

After arriving on the scene with a blend of influences their 2020 debut album Whatever, Man, Blackstarkids instantly became ones to watch. Less than a year later, the Kansas City trio are already gearing up for their sophomore LP, Puppies Forever. Following the upbeat track “Juno” and the playful song “Flight Club,” Blackstarkids are back to address injustice in their fiery new single “All Cops Are Bastards.”

In true Blackstarkids fashion, “All Cops Are Bastards” kicks off with fuzzy guitars and a catchy hook. As a crashing beat arrives, the trio fire off verses making it clear that they’re no friend of the police. The Babe Gabe’s honeyed voice melts over a hazy swirl of instruments at the song’s chorus, singing about how “times are changing” for the better.

Ahead of the single’s release, the band sat down for an interview with Zane Lowe on Apple Music 1. Discussing their reason for penning the political-leaning track, bandmember Ty said it was written in response to the injustices witnesses in Kansas City during the George Floyd protests last summer:

“We live in Kansas City, so after the George Floyd situation specifically, there was a lot of protests and we went to a couple of days protesting and just saw the way that people were being treated. The interactions between the Kansas City police department specifically, and the citizens of Kansas City who were just peacefully asking for justice and change. In that moment, I just remember, we all kind of came back to the studio where we make our stuff at and we were sitting down and the feeling was just there. We knew we had to say something about it.”

Ty continued that the song isn’t mean to act as a “voice of the people,” it’s just giving their personal perspective. “It’s not like we’re making the grandest statement or anything like that,” he said. “We’re not here trying to be the voice of the people or put ourselves on a pedestal. It’s simply just giving our perspective and our experience on the situation that affected everybody in the country.”

Echoing Ty’s statement, Deoindre continued that Blackstarkids aimed to make the song “bright” and “bold.” “We just knew this topic that we want to make a song about,” he added. “We just wanted it to be bright and also just loud and bold too. And just carry that same tone that we’re carrying throughout the song with what we’re talking about and just being at the forefront.”

Listen to Blackstarkids’ “ACAB” above and watch their interview with Lowe on Apple Music here.

Puppies Forever is out 10/15 via Dirty Hit. Pre-order it here.

As the highly anticipated Venom: Let There Be Carnage gets ready to barrel into theaters next week, Woody Harrelson has opened up about giving Carnage his live-action debut and going toe-to-toe with Tom Hardy’s Venom. According to Harrelson, while he was all aboard for portraying serial killer Cletus Kasady, a convicted serial killer who becomes infected with an alien symbiote, which turns him into the classic Marvel comics villain, he was less on board with actually voicing Carnage the same way that Hardy pulls double-duty as Venom and Eddie Brock.

In a new interview with Comic Book, Harrelson revealed how he was so reluctant to do the voice work that he tried to get director Andy Serkis to jump in, which was a reasonable ask given Serkis’ critically-acclaimed motion capture performances in The Lord of the Rings and the recent Planet of the Apes trilogy. However, Serkis wanted to stay behind the camera, so he eventually convinced Harrelson to embrace the voice work, which the actor now agrees was the right call. Via Comic Book:

“It’s wild, because in a way, you’re playing two characters in one. So there was a lot of discussion about the voice and also discussions with Tom, but obviously with Andy [Serkis], who directed it. And I just kept messing with the voice, and I was thinking to myself, ‘Who’s going to know the difference, if Andy Serkis did the voice, who’s a master of voices? Why don’t you do it, Andy?’ And no, he was insistent that I do it, but I really… I like how it turned. Obviously, effects are put on the voice, but I really like how it all turned out.”

While fans of the first 2018 Venom film have been patiently waiting for the sequel to arrive as the pandemic continued to push it further and further away, they received some surprising news earlier in the month when Sony announced that it’s actually moving up Venom: Let There Be Carnage‘s release date after seeing Shang-Chi‘s huge opening numbers. The Venom sequel was on the verge of being punted into January when Sony made the surprising call to release it earlier.

It’s an interesting gamble as the Delta variant continues to surge across the country, but as Shang-Chi showed, theatergoers are willing to show up when Marvel characters are on the big screen.

Venom: Let There Be Carnage opens in theaters on October 1.

(Via Comic Book)

Peril, the new book from veteran journalists Bob Woodward and Robert Costa, sure has yielded a lot of entertaining tidbits about the Trump administration. From details on the ex-president reportedly being “enthralled” at the sound of his own failed MAGA coup to word that Joe Biden had a “f*cking” priceless reaction to all of Trump’s White House “toys,” the book keeps on giving. The newest tidbit to slide out involves Mitch McConnell, who did more than his fair GOP-share of presidential butt kissing for four years.

Behind the scenes, though, after Trump’s failed election and all of the Jan. 6 fallout? McConnell, who is also featured in the book for his reported glee with ex-Secretary of State Rex Tillerson calling Trump a “moron,” reportedly has no hesitation with his desire to wipe the GOP clear of Trump taint. That’s likely not possible in the near future since plenty of Republicans are still ride-or-die for Trump, but nonetheless, McConnell is quoted in Peril as describing Donald Trump as “a fading brand. Retired. OTTB as they say in Kentucky — off-the-track Thoroughbred.” Further, here’s what else McConnell said, via the Lexington Herald-Leader:

“There is a clear trend moving,” McConnell said, toward a place where the GOP is not dominated by Trump. McConnell added, “Sucking up to Donald Trump is not a strategy that works.”

Granted, the “as they say in Kentucky” is a telling touch, but Mitch needs to get his perspective straight, too. His back-and-forth on supporting Trump as a 2024 candidate is a bit exhausting to watch, yet he sees the writing on the wall regarding Trump 2024, and it ain’t good.

(Via Lexington Herald-Leader)

Yesterday, Netflix shared the trailer for its upcoming Britney Spears documentary, Britney Vs. Spears, which is naturally focused on her conservatorship and the legal battle it has spawned. It turns out that Spears’ fiancé Sam Asghari has some thoughts on it.

Commenting on Netflix’s Instagram post of the trailer, he wrote, I hope the profit from these docs go towards fighting [against] injustice #freebritney.”

Meanwhile, Lady Gaga’s manager, Bobby Campbell, also offered a comment, which Asghari endorsed with a 100 emoji. Campbell wrote, “How much money is being made by third parties from this documentary leveraging Britney’s personal story and its value in the media? There needs to be transparency about how or whether the filmmakers are profiting from this doc, or if they are donating their fees to Britney’s legal defense, or to legal defense funds to aide those who do not have the financial resources to fight against undue conservatorships. Even if it is in support of freeing Britney, this appears that it could be exploitative.”

Spears herself has yet to speak on the new documentary, but she did previously address Framing Britney Spears, writing on Instagram, “My life has always been very speculated … watched … and judged really my whole life !!! […] It takes a lot of strength to TRUST the universe with your real vulnerability cause I’ve always been so judged… insulted… and embarrassed by the media… and I still am till this day !!!! […] I didn’t watch the documentary but from what I did see of it I was embarrassed by the light they put me in … I cried for two weeks and well …. I still cry sometimes !!!!”

Check out Netflix’s Instagram post of the trailer below.

Las Vegas Raiders kicker Daniel Carlson had a huge game this past week in the team’s 26-17 win over the Pittsburgh Steelers. Carlson went 4-for-4 on field goals and banged in both of his PATs, which led to him getting named the AFC’s Special Teams Player of the Week, the third time in his career that he’s received this honor.

There’s only one drawback to this performance: Carlson’s big game means he lost in his fantasy football matchup this week. As he explained to the assembled media, Carlson went up against a team that had himself on it in his league with friends, which didn’t bode particularly well for him.

“I actually played against myself in fantasy this week in my own friend group fantasy,” Carlson said. “And so that was tough, because I took a loss, and I definitely contributed to that.”

Carlson went on to say that he is a big fan of playing fantasy football and that he likes how it “gets people more involved in specific players and football in general.” It’s a good outlook for anyone to take, let alone someone who just lost in fantasy, which is a thing that usually leads to people hating the sport of football for a few days before they have to set their lineups for the coming week.

“One of the special things about our friendship is, nine times out of ten we are on the same wavelength,” Solange told the New Yorker when asked about working with music video director, Melina Matsoukas. “Her being a black woman being able to tell those stories in such a bold, unique way is really rare.” Black women, like Matsoukas, are outnumbered, often overlooked, and frequently pigeonholed in the music industry. This is particularly true for the world of music video direction and storytelling, where roles available to Black women often reinforce stereotypes and typecast them as video vixens or background characters in stories that don’t reflect their experience.

However, when the person behind the direction, story, or camera of a music video is in fact a Black woman, the ability to tell more nuanced and multifaceted stories, or reach the same “wavelength” of Black artists that Solange described, is more readily available. From Beyoncé’s “Formation” to Drake’s “God’s Plan,” the following five women have proven the necessity of Black direction in Black storytelling. Through their creative direction, skill, and unique perspective, they have not only told the authentic and artistic stories of artists through the music video format but made space for the Black female directors and creatives to come up behind them.

child.

Director and artist child. grew up surrounded by music in Shreveport, Louisiana, thanks to her churchgoing family and mother who child. shares “used to color and listen to gospel music while I was in her womb.” That foundation of art and spirituality never left her, pushing her into a career as a photographer and creative director. Leaning into her upbringing, and bringing dreamlike imagery to her work in videos she’s directed for Big Sean, Janelle Monáe, Nas, and H.E.R., child. draws inspiration from the Black experience, biblical stories, and even artists like Jean Michel Basquiat. Though her work pays homage to her past, child. has her eyes set on the future, sharing, “I plan to impact the art world like nothing they’ve ever seen before. I see myself going beyond the stars.”

Lacey Duke

Growing up in Toronto, Lacey Duke knew she wanted to be a music video director. She conquered her dream step by step, attending film school, then interning at a production company in London, and eventually moving to New York where she worked with smaller artists. But then, hard work crossed paths with opportunity when she met Janelle Monáe after a show. Eventually, Monáe asked her to direct her music video for her track “I Like That,” launching Duke into a career where she’s brought authentic portrayals of Black womanhood onto the small screen. Since then she’s directed award-winning videos for SZA, Bryson Tiller, and H.E.R. Speaking to Complex about her work with Black women, she shared, “I have a responsibility in a sense, and I don’t feel pigeonholed by it at all. I think there’s something beautiful about my subjects just being black women, that’s not some little shit.”

Karena Evans

Known for her cinematic, authentic, and narrative-heavy visuals, music video director Karena Evans got her start at a Toronto-based film school but eventually dropped out after getting frustrated by the curriculum’s slow pace. So, she took matters into her own hands, shooting a cold text to Canadian filmmaker Director X and landing an internship at his production company. That longshot paid off, and now she’s known for directing several of Drake’s music videos, including the altruistic “God’s Plan,” the fun-centric “I’m Upset,” and the star-studded “Nice for What.” Evans also understands what her work means to up-and-coming Black female directors and the importance of making space for those creators. She told Teen Vogue, “I think the first thing to realize is that there are in fact a lot of female directors. There are a lot of women of color who are here and present. The unfortunate part is that we were not always given a place. It took the Melina Matsoukas, the Ava DuVernays, and others who have paved the way for me, and the next generation of young Black female filmmakers, to help us understand that we do have a place, and to also break down those barriers so we can be heard.”

Melina Matsoukas

Melina Matsoukas’ resume speaks for itself, she’s responsible for creating some of the most critically acclaimed and award-winning music videos of the past decade. She’s brought her blueprint to Rihanna’s MTV Best Music Award-winning video for “We Found Love,” (she was the first female director to receive this honor) Solange’s “Losing You,” and even nabbed a Grammy for her direction of Beyoncé’s “Formation.” She’s also known for highlighting the Black experience through her film work, including her debut Queen & Slim. Matsoukas is credited for executive producing and directing Issa Rae’s successful HBO series Insecure, which notably gives an authentic, positive, and culturally resonate portrayal of Black women. In speaking on her career thus far, Matsoukas told Rolling Stone, “I am who I am because of Black women,” adding, “We’re beginning to redefine our community — and hopefully our version of Hollywood.”

Laurieann Gibson

Laurieann Gibson may be known for her choreographing dance numbers for legends like Michael Jackson and Beyoncé, but her focus on creative direction has also allowed her to become a successful music video director. Her direction credits include Lady Gaga’s “Judas” and “You and I,” and Keri Hilson’s “The Way You Love Me.” Gibson, who has appeared on multiple reality shows providing straight-forward dance direction, is cognizant of how her experience has differed from her white counterparts. She spoke to The Grio, about how her intensity as a Black woman is often seen as intimidating, sharing, “I absolutely have endured the lack of fairness as a young Black woman and as a professional woman. There is a difference. When we react or we are dramatic or intense then we’re intimidating.” She added, ”It is really difficult and I have had to find a way to evolve the conversation. Yes I’m intense because I’m passionate.“

Young Nudy may have already put out his second project of 2021, Rich Shooter, but he apparently remains just as dedicated to promoting the first, Dr. Ev4l. When the album first dropped, the song “Child’s Play,” which features Nudy’s cousin 21 Savage, was tabbed as an early standout. Today, the terrifying twosome releases the video for their collaboration, teaming up to share a taunting visual component to the spooky single.

As always, when these two link up, they bring the best of each other lyrically, as they compare themselves to the doll villain from the film series “Child’s Play” is named after. Throughout a series of eerie, fog-filled night shots, the duo cruises through an abandoned junkyard, the rusting husks of the automobiles looming like tombstones over the moonlight scene.

While Nudy has geared the majority of his videos this year toward the Dr. Ev4l album, including “2Face” and the title track, he hasn’t neglected Rich Shooter. In August, he shared the surreal video for “Green Bean” shortly after the album’s release as he toured both albums at the same time, playing up the competition with a “Dr. Ev4l Vs. Rich Shooter” theme.

Watch Young Nudy’s “Child’s Play” video featuring 21 Savage above.

Sorry to all the other streaming platforms this month but HBO Max is winning the binge-watching game right now.

Their October lineup just dropped, and it’s stacked. Like, a Sopranos prequel plus a sci-fi blockbuster premiere plus a new season of TV’s most-talked-about drama kind of stacked. The Many Saints of Newark debuts first, giving us a look at a young Tony Soprano’s road to his eventual crime-boss reign before Denis Villeneuve’s Dune arrives to take us on an intergalactic adventure with some Shakespearean undertones. Speaking of, season three of Succession is just around the corner as the Roy family slowly implodes on itself while fighting for Waystar Royco’s number one spot. And Insecure’s final season rounds out the month, giving fans some much-needed closure to the Issa-Molly-Lawrence triangle.

Here’s everything else coming to (and leaving) HBO and HBO Max this October.

The Many Saints of Newark, 2021 (Warner Bros. Film Premiere streaming 10/1)

Michael Gandolfini inherits the role his father made famous on HBO’s fan-favorite crime series, The Sopranos, in this prequel that follows a young Tony Soprano coming of age during a tumultuous time in his city. Gandolfini plays the soon-to-be-mob-boss, just learning the ropes from his Uncle Dickie Moltisanti as the family becomes embroiled in a gang war with far-reaching consequences.

Succession: Season 3 Premiere (HBO series streaming 10/17)

The Roy family is back and more divided than ever in the show’s highly-anticipated third season. Kendall (Jeremy Strong) has declared war on his father and Waystar Royco honcho Logan (Brian Cox), forcing family members like Shiv (Sarah Snook), Roman (Kieran Culkin), Tom (Matthew Macfayden), and Cousin Greg (Nicholas Braun) to choose sides. A couple of billionaire newcomers (played by Adrien Brody and Alexander Skarsgard) pop in to stir the pot, so expect the drama to reach Shakespearean level heights when it returns.

Dune, 2021 (Warner Bros. Film Premiere streaming 10/22)

Director Denis Villeneuve adapts this sci-fi epic, splitting it into two parts — the first of which drops this month. Timothee Chalamet plays the story’s prodigal hero, Paul Atreides, a young man gifted with supernatural abilities and burdened with the terrible responsibility of one day leading his all-powerful house. Oscar Isaac plays his father, Leto, while Rebecca Ferguson plays his mother, Jessica — a member of a powerful faction of women who also possess superhuman abilities. When a rival house declares war on the Atreides, Paul and his family must go to extreme lengths to protect the desert planet they’ve inherited and its coveted spice.

Insecure: Season 5 Premiere (HBO series streaming 10/24)

The show’s fifth and final season drops this month as Issa and Molly continue to work on mending their broken friendship as new romances emerge. Issa needs to make a decision about her future with Lawrence — and his baby mama — while Molly ponders her next moves, in her personal and professional life.

Here’s what’s coming to HBO and HBO Max this October:

Avail. 10/1
Admission, 2013 (HBO)
A Royal Affair, 2012 (HBO)
After the Thin Man, 1936
All The President’s Men, 1976 (HBO)
American Gigolo, 1980 (HBO)
American Graffiti, 1973 (HBO)
Argo, 2012 (Alternate Version) (HBO)
Bad Boys II, 2003
Bad Boys, 1995
Bad Words, 2013 (HBO)
Ballet 422, 2014 (HBO)
Being Flynn, 2012 (HBO)
Best Man Down, 2013 (HBO)
Beverly Hills Cop, 1984 (HBO)
Beverly Hills Cop II, 1987 (HBO)
Beverly Hills Cop III, 1994 (HBO)
Bill And Ted’s Excellent Adventure, 1989 (HBO)
Bill And Ted’s Bogus Journey, 1991 (HBO)
Billy Elliot, 2000 (HBO)
Black Christmas, 2019 (HBO)
Black Hawk Down, 2001 (HBO)
Blades Of Glory, 2007 (HBO)
Blazing Saddles, 1974
Blood Father, 2016 (HBO)
Bloodsport, 1988 (HBO)
Blue Crush, 2002 (HBO)
Bridget Jones: The Edge Of Reason, 2004 (HBO)
Bridget Jones’s Diary, 2001
Broken City, 2013 (HBO)
Caddyshack II, 1988
Cake, 2005 (HBO)
Cats, 2019 (HBO)
Child 44, 2015 (HBO)
City of God, 2002 (HBO)
Clash of Titans, 1981
Client 9: The Rise And Fall Of Eliot Spitzer, 2010 (HBO)
Culpa, 2021 (HBO)
Danny Collins, 2015 (HBO)
David Lynch: The Art Life, 2016
Desperately Seeking Susan, 1985 (HBO)
Dinner For Schmucks, 2010 (HBO)
Doubt, 2008 (HBO)
Down A Dark Hall, 2018 (HBO)
Downhill, 2020 (HBO)
Drop Zone, 1994 (HBO)
Dying Young, 1991 (HBO)
El Cantante, 2007 (HBO)
El Profugo, 2020 (HBO)
Emma., 2020 (HBO)
Endless Love, 2014 (HBO)
Entre Nos: The Winners 2, 2021 (HBO)
Entre Nos: What She Said, 2021 (HBO)
Family Matters
Fifty Shades Of Black, 2016 (HBO)
For A Good Time, Call…, 2012 (Alternate Version) (HBO)
Full House
Gangs Of New York, 2002 (HBO)
Gangster Squad, 2013 (HBO)
Goodbye, Mr. Chips, 1969
Hacksaw Ridge, 2016 (HBO)
Harold & Kumar Escape From Guantanamo Bay, 2008
He Said She Said, 1991 (HBO)
Hearts In Atlantis, 2001 (HBO)
Hitch, 2005
Hitman, 2007 (Alternate Version) (HBO)
Hooper, 1978
Hostage, 2005 (HBO)
House of Wax, 2005
House, 2008 (HBO)
Imagine That, 2009 (HBO)
Ingrid Bergman: In Her Own Words, 2015
J. Edgar, 2011 (HBO)
Johnny English Strikes Again, 2018 (HBO)
Journey to the Center of the Earth, 2008
Just Mercy, 2019 (HBO)
Kill Bill: Vol. 1, 2003 (HBO)
Kill Bill: Vol. 2, 2004 (HBO)
Kin, 2018 (HBO)
Leap Year, 2010 (HBO)
LEGO DC Shazam: Magic and Monsters!, 2020
Less than Zero, 1987 (HBO)
Like Water for Chocolate, 1992 (HBO)
Little Man, 2006 (HBO)
Lincoln, 2012 (HBO)
Lottery Ticket, 2010 (HBO)
M*A*S*H, 1970 (HBO)
Mama, 2013 (HBO)
Marathon Man, 1976 (HBO)
Misery, 1990 (HBO)
Monster’s Ball, 2001 (Alternate Version) (HBO)
Moonrise Kingdom, 2012 (HBO)
National Lampoon’s Christmas Vacation, 1989
National Lampoon’s Vacation, 1983
Natural Born Killers, 1994
Never, Rarely, Sometimes, Always, 2020 (HBO)
Night Catches Us, 2010 (HBO)
Orphan, 2009
Parental Guidance, 2012 (HBO)
Pariah, 2011 (HBO)
Police Academy, 1984
Poltergeist II: The Other Side, 1986 (HBO)
Poltergeist III, 1988 (HBO)
Private Parts, 1997 (HBO)
Proof Of Life, 2000 (HBO)
Racing Stripes, 2005 (HBO)
Reservation Road, 2007 (HBO)
Say Anything…, 1989 (HBO)
Sergeant York, 1941
Shaft, 1971
Shall We Dance?, 2004 (HBO)
She’s All That, 1999 (HBO)
Sherlock Holmes And The Great Escape, 2019 (HBO)
Sherlock Holmes, 2009
Shrek The Third, 2007 (HBO)
Six Degrees Of Separation, 1993 (HBO)
Sliver, 1993 (Alternate Version) (HBO)
Snitch, 2013 (HBO)
Speedway, 1968
Step by Step
Stigmata, 1999 (HBO)
Strange But True, 2019 (HBO)
Superstar, 1999 (HBO)
Super 8, 2011 (HBO)
Talk To Me, 2007 (HBO)
Teen Titans Go! vs. Teen Titans, 2019
The Banger Sisters, 2002 (HBO)
The Blind Side, 2009 (HBO)
The Bonfire of the Vanities, 1990
The Book Of Eli, 2010 (HBO)
The Campaign, 2012 (Alternate Version) (HBO)
The Cider House Rules, 1999 (HBO)
The Cincinnati Kid, 1965
The East, 2013 (HBO)
The Eichmann Show, 2015 (HBO)
The Internship, 2013 (HBO)
The Invisible Man, 2020 (HBO)
The Harvey Girls, 1946
The High Note, 2020 (HBO)
The Hours, 2002 (HBO)
The Legend Of Hercules, 2014 (HBO)
The Many Saints of Newark, Warner Bros. Film Premiere, 2021
The Outsiders, 1983
The Perfect Storm, 2000
The Poseidon Adventure, 1972 (HBO)
The Quarry, 2020 (HBO)
The Rite, 2011 (HBO)
The Running Man, 1987 (HBO)
The Way Way Back, 2013 (HBO)
The 15:17 To Paris, 2018 (HBO)
Things We Lost In The Fire, 2007 (HBO)
Tim Burton’s Corpse Bride, 2005
Tinker, Tailor, Soldier, Spy, 2011 (HBO)
Trance, 2013 (HBO)
Tully, 2018 (HBO)
Twelve Monkeys, 1995 (HBO)
Underwater, 2020 (HBO)
Up In The Air, 2009 (HBO)
Wall Street, 1987 (HBO)
Warm Bodies, 2013 (HBO)
Wendy, 2020 (HBO)
XXX, 2002

Avail. 10/3
Simmer, 2020

Avail. 10/4
Laetitia, Limited Drama Series Finale (HBO)
Niña Furia
Sublet, 2020

Avail. 10/5
American Masters: Mike Nichols, 2016
American Masters: Nichols and May: Take Two
El Verano Que Vivimos, 2020
Level Playing Field, Documentary Series Finale (HBO)

Avail. 10/6
Muy Gay Too Mexicano (Short), 2020
The Republic of Sarah, Season 1
Rosa (short), 2020

Avail. 10/7
15 Minutes of Shame, Max Original Series Premiere
Craftopia, Max Original Season 2A Premiere
The Not-Too-Late Show with Elmo: Amber Ruffin / Bebe Rexha

Avail. 10/8
Voyagers, 2021 (HBO)

Avail. 10/9
Birdgirl, Season 16
To Your Eternity, Season 1 (Subtitled) (Crunchyroll Collection)

Avail. 10/10
It: Chapter 2, 2019
Nuclear Family, Documentary Series Finale (HBO)
Scenes From A Marriage, Limited Series Finale (HBO)

Avail 10/11
We’re Here, Season 2 Premiere (HBO)

Avail. 10/14
Aquaman: King of Atlantis, Chapter One: Dead Sea, Max Original Series Premiere
Little Ellen, Max Original Season 1B Premiere
Love Spells (aka Amarres), Max Original Series Premiere
Teen Titans Go!, Seasons 1-6
The Missing, (aka Os Ausentes), Max Original Series Premiere
The Not-Too-Late Show with Elmo: Jenna Bush Hager / Sophie Fatu
Phoebe Robinson: Sorry, Harriet Tubman, Max Original Special Premiere
Welcome to Utmark (aka Utmark), Max Original Series Premiere
What Happened, Brittany Murphy?, Max Original Series Premiere

Avail. 10/15
In the Line of Fire, 1993
Point Break, 1991 (HBO)
Tu Me Manques, 2019 (HBO)

Avail. 10/17
Succession, Season 3 Premiere (HBO)

Avail. 10/18
El Huésped Americano (aka The American Guest), Limited Drama Series Finale (HBO)
Women is Losers, 2021

Avail. 10/19
Real Sports with Bryant Gumbel (HBO)

Avail. 10/20
Entre Hombres (aka Amongst Men), Limited Series Finale (HBO)

Avail. 10/21
Aquaman: King of Atlantis, Chapter Two: Primordius
Reign of Superwomen, Max Original Documentary Premiere
The Conjuring: The Devil Made Me Do It, 2021
The Not-Too-Late Show with Elmo: Ames McNamara / Leslie Odom Jr.
Tuff Money (aka Bani Negri), Max Original Series Premiere

Avail. 10/22
Dune, Warner Bros. Film Premiere, 2021

Avail. 10/24
Insecure, Season 5 Premiere (HBO)

Avail. 10/26
Maricon Perdido, Max Original Series Premiere
The Mopes, Max Original Series Premiere
The Truth of Dolores Vazquez (aka The Caso Wanninkhof), Max Original Series Premiere

Avail. 10/28
Aquaman: King of Atlantis, Chapter Three: Tidal Shift
In The Heights, 2021 (HBO)
Love Life, Max Original Season 2 Premiere
A Thousand Fangs (aka Mil Colmillos), Max Original Series Premiere
The Not-Too-Late Show with Elmo: Dani & Dannah Lane / AJR

Avail. 10/29
Victor and Valentino, Season 2

Avail. 10/31
The Bachelorette, Season 16

What’s leaving HBO and HBO Max in October:

Leaving 10/10
Malignant, 2021

Leaving 10/11
Meatballs, 1979

Leaving 10/17
Cry Macho, 2021

Leaving 10/18
The ABCs of Back to School: A CNN/Sesame Street Town Hall for Families, 2020
Sabrina: Magic of the Red Rose, 2015

Leaving 10/20
HBO First Look: The Eyes of Tammy Faye, 2021 (HBO)

Leaving 10/25
The Artist, 2011

Leaving 10/27
The Hangover Part III, 2013

Leaving 10/28
Tracey Ullman’s Show, (HBO)

Leaving 10/31
Abraham Lincoln: Vampire Hunter, 2012 (HBO)
A Little Princess, 1995 (HBO)
All Is Lost, 2013 (HBO)
All-Star Superman, 2011
Alpha And Omega: Journey To Bear Kingdom, 2017 (HBO)
Alpha And Omega: The Big Fureeze, 2016 (HBO)
Antwone Fisher, 2002 (HBO)
A Star Is Born, 1976
A Time To Kill, 1996
Backdraft, 1991 (HBO)
Bad Education, 2004
Bandits, 2001 (HBO)
Barefoot, 2014 (HBO)
*Batteries Not Included, 1987 (HBO)
Battleship, 2012 (HBO)
Black Dynamite, 2009
Blood And Wine, 1997 (HBO)
Broken Embraces, 2009
Cats & Dogs, 2001
Cesar Chavez, 2014 (HBO)
Chasing Amy, 1997 (HBO)
Christmas In Compton, 2012
Clerks, 1994 (HBO)
Conspiracy Theory, 1997
Cool Hand Luke, 1967
Critters 4, 1992
Darkest Hour, 2017 (HBO)
Dirt, 2017
Dirty Harry, 1971
Dreamcatcher, 2003
El Pacto (aka The Pact), 2018 (HBO)
Empire Of The Sun, 1987
Eulogy, 2004 (HBO)
Final Destination, 2000
Final Destination 2, 2003
Final Destination 3, 2006
Final Destination 5, 2011
Firewall, 2006
Flight Of The Intruder, 1991 (HBO)
Flying Leathernecks, 1951
Frantic, 1988
Freaks, 1932
Ghoulies, 1985 (HBO)
Ghoulies II, 1987 (HBO)
Gone Baby Gone, 2007
Good Morning, Vietnam, 1987 (HBO)
Gothika, 2003
Gun Crazy, 1950
High Fidelity, 2000 (HBO)
House Of Wax, 2005
How To Be A Latin Lover, 2017
How To Be Single, 2016 (HBO)
How To Make An American Quilt, 1995 (HBO)
I’m So Excited!, 2013
Ice Age: Continental Drift, 2012 (HBO)
Immigration Tango, 2011 (HBO)
Irresistible, 2020 (HBO)
It, 2017 (HBO)
Jay And Silent Bob Strike Back, 2001 (HBO)
Just Before I Go, 2015 (HBO)
King Kong, 1976 (HBO)
Lars And The Real Girl, 2007 (HBO)
Lego Dc Batman: Family Matters, 2019
Lego Dc Shazam: Magic And Monsters!, 2020
Long Gone By, 2019 (HBO)
Magnum Force, 1973
Man Up, 2015 (HBO)
Mccabe And Mrs. Miller, 1971
Message Erased, 2019 (HBO)
Monkey Shines, 1988 (HBO)
Nitro Circus: The Movie 3D, 2012 (HBO)
Norbit, 2007 (HBO)
One More Time, 2016 (HBO)
Pajaros De Verano (aka Birds Of Passage)2019 (HBO)
Pale Rider, 1985
Pepi, Luci, Bom Y Otras Chicas Del Monton, 1980
Professor Marston & The Wonder Women, 2017
Red Dawn, 1984 (HBO)
Risky Business, 1983 (HBO)
Santa Buddies, 2009 (HBO)
Save The Last Dance, 2001 (HBO)
Save The Last Dance 2, 2006 (HBO)
School Dance, 2014 (HBO)
Serpico, 1974 (HBO)
Snow Buddies, 2008 (HBO)
Something To Talk About, 1995
Space Buddies, 2009 (HBO)
Spawn, 1997
Stand Up Guys, 2013 (HBO)
Sudden Impact, 1983
Summer Rental, 1985 (HBO)
The Bucket List, 2007
The Color Purple, 1985
The Conjuring 2, 2016
The Dead Pool, 1988
The Debt, 2011 (HBO)
The Family Man, 2000 (HBO)
The Final Destination, 2009
The Five-Year Engagement, 2012 (Alternate Version) (HBO)
The Fugitive, 1993
The Great Caruso, 1951
The Human Voice, 2020
The Imaginarium Of Doctor Parnassus, 2009
The Kingdom, 2007 (HBO)
The Last Mimzy, 2007
The Lego Batman Movie, 2017
The Sand Pebbles, 1966 (HBO)
The Shack, 2017 (HBO)
The Shadow, 1994 (HBO)
The Skin I Live In, 2011
The Switch, 2010
The Tuxedo, 2002 (HBO)
The Voices, 2015 (HBO)
The Quiet Ones, 2014 (HBO)
The Witches, 1990
Thirteen Ghosts, 2001
Troy, 2004
Trust Me, 2014 (HBO)
Volver, 2006
Wait Until Dark, 1967
Westworld (Movie), 1973
When Harry Met Sally, 1989
Women On The Verge Of A Nervous Breakdown, 1988
XXX: State Of The Union, 2005