Owensboro to host 2025 All-American Fourth of July celebration
City officials say festivities will kick off at 5 p.m. at Smothers Park on the downtown riverfront. Live music will begin with Flat Stanley at 5 p.m., followed by The Downtown Band at 7 p.m. At 9:15 p.m., a fireworks show will light up the sky, launched from barges on the Ohio River for everyone to enjoy along the riverfront.
The Salvation Army to celebrate National Donut Day
According to Owensboro officials, in addition to the downtown festivities, three other fireworks displays will be launched simultaneously across the city at:
Southern Little League Fields
Owensboro Sportscenter/Moreland Park
Owensboro Warehouse Leasing, also known as the former GE plant
Officials say for safety reasons, these fireworks launch sites are closed to the public. Any attempts to access them will result in that show being canceled.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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Atlantic
4 hours ago
- Atlantic
Why No One Knows What's Happening Tonight
About a year and a half ago, I was scheduled to play a concert in Vermont when word came that the gig would be canceled due to an approaching nor'easter. I checked out of the hotel early, lobbed my suitcase into the rental car, and hightailed it to New York as menacing clouds darkened the rearview mirror. Brooklyn had been home for the better part of two decades, but after a move to the Pacific Northwest, I was returning as a tourist, and the show's cancellation augured a rare free evening in the city. There was just one problem: How was I going to figure out what to do with my night on the town? This used to be easy. You grabbed The New Yorker, The New York Times, Time Out New York, or The Village Voice and checked out the event listings. When I graduated from college and moved to the city in 2003, Time Out quickly became my bible, syllabus, and road map. The listings guided me through the cobwebbed bowels of St. Mark's Church and into the Ontological-Hysteric Theater hidden within, where Richard Foreman's mind-bending plays made an indelible impression on me. The listings brought me to Southpaw to hear Neko Case's bloodshot voice; to the Village Vanguard for Jason Moran or Paul Motian; and to a tin-ceilinged basement bar in Park Slope, where I saw a baby-faced Sharon Van Etten sing her earliest songs, and then bashfully hand out CDs burned with her demos, rich with high-frequency hiss from the tape deck onto which she'd recorded them. But over the past decade, event listings have all but disappeared. The New York Times killed its weekly arts listings at the end of 2016, and its online arts-and-entertainment guide remains frozen, like a butterfly pinned and dried, in March 2020: 'New York Arts Institutions Closed Because of Coronavirus' reads the top headline. The Village Voice folded in 2018. (It has recently been revived but has no listings section to speak of.) The New Yorker 's Goings On About Town section was slashed in 2023 to just a page or two, now offering one recommendation per discipline. And Time Out, that veritable doorstop of weekly listings, now previews one or two concerts a month. From the June 2025 issue: Is this the worst-ever era of American pop culture? This is, in part, a familiar story about declining ad revenue, about changing pressures and priorities in the journalism business. When listings began to disappear, many imagined that the internet would simply fill the void—that artists and their fans (as well as nonprofit institutions and their audiences) would find new ways to connect. But a world in which clicks are dollars has led to an ouroboros of cultural journalism in which what is already popular must be written about—which increases its popularity, which means it must be written about, which increases its popularity—and a social-media ecosystem in which artists, no longer able to rely on legacy media for visibility, must create content to please an algorithm instead of their fans or themselves. As mainstream culture grows ever narrower, once-robust subcultures are struggling for survival. Perhaps social-media influencers are today's critics and curators, but even as our feeds promise 'discovery,' they mostly serve us what we already like. We have no idea what we're missing. The listings were my lodestar. And that star's orbit was maintained, at least in part, by a journalist named Steve Smith. Smith was a music editor at Time Out New York from 2001 to 2014. He'd gotten his start at a classical radio station in Houston, introducing Brahms symphonies by day and playing in a rock band in biker bars—he was the drummer—by night. This stylistic mishmash would become a trademark of his sensibility. When we spoke last month, Smith mentioned Karlheinz Stockhausen; the Clash; Billy Idol; John Zorn; John Coltrane; Scandinavian metal; Kronos Quartet; Kiss; Steve Reich; Emerson, Lake & Palmer; and Beethoven—all within the first 10 minutes of our conversation. Time Out 'was a magazine that was basically nothing but the listings,' Smith told me. 'Nobody said, 'Oh, that obscure thing that's happening on a loading dock in Tribeca? No, that's too weird.' I was basically told, 'List what's interesting; list what people will want to know about.'' A coveted red asterisk denoted a critic's pick. 'I had the privilege,' he said, 'of making a difference in the lives of a number of composers and performers. And that, to me, was the most gratifying piece of the job.' One of the lives he changed was mine. The first review I ever received as a singer-songwriter, for a set at Tonic, was written by Smith, for his blog Night After Night. A 33-word listing in Time Out came soon after—a blurb that would remain in my press kit for years. In 2009, he interviewed me for a New York Times Sunday Arts & Leisure profile. The morning after the story ran, Lincoln Center called my manager and offered me a debut on its American Songbook performance series. Who reviewed that concert for the Times? None other than Steve Smith. These listings weren't just a boon for artists like me—they were also a teeth-cutting opportunity for cub journalists, one that demanded brutal concision. Smith, a master of the miniature, stood on the shoulders of those such as Robert Christgau, a longtime Village Voice music editor and the self-proclaimed dean of American rock critics. About a Patti Smith show, from the April 7, 1975, issue: 'Funny, frightening, and just polished enough, Smith shifts from rock and roll to poetry reading like someone who really believes in street literature.' In its heyday, the Voice 's newsroom reverberated with the chaotic counterpoint of freaky choristers, all covering New York City with an obsessive commitment to hyperlocalism: Scenesters haunted hardcore shows at warehouses in Brooklyn; theater nerds ventured to East Village basements for experimental one-acts; dance lovers frequented Lower East Side nightclubs to cover bawdy performance art and contortionist spectacles. Here was a newspaper that, through dogged documentation of small and sometimes-fragile artistic microclimates, came to wield wide-reaching influence over national aesthetic trends as it championed unknown artists like Smith, the Talking Heads, Philip Glass, and so many others. That New York media have turned away from the local in favor of established celebrities may ultimately result in its irrelevance. Sixteen years after that first profile in the Times, I am fortunate to still be making a living playing music. But mine was a transitional generation: I came of age just in time to benefit from the old models and media apparatuses, only to watch them crumble around me. Few emerging musicians today could dream of a two-sentence blurb previewing a Monday-night set at a small club on the Lower East Side, let alone a thousand-word profile. The demise of listings is 'tangled up with the erosion of review coverage,' the jazz critic Nate Chinen told me, while stressing that 'the fundamental utility of a publication is bringing people out' to see a gig: 'The immediate danger is that artists play and people don't know about it.' Chinen would know. He wrote the jazz listings at The New York Times from 2005 until 2016. Those blurbs, he understood, could mean the difference between a standing-room-only show and one where the musicians outnumbered the audience. Today, it's harder than ever for aesthetically adventurous artists to make ends meet. Some have left the business, and others limp along, subsidizing their income with teaching gigs and odd jobs. Meanwhile, pop stars are doing great. The decline of listings followed the broader trend toward 'poptimism,' a critical movement that began as a corrective to the white-male-dominated popular-music journalism of the late 20th century. In a now-canonic broadside published in 2004, the critic Kelefa Sanneh argued that the snobbery of those white-male critics was bathed in racism and sexism, and often resulted in the neglect of music by women and people of color. Poptimists believed that music that was actually popular—the guilty-pleasure radio hits we wail in the car, many of them performed by nonwhite, nonmale artists—ought to be treated with the same reverence granted to the art rockers. Fair enough! But what Sanneh and like-minded critics could not have anticipated was the extent to which their goal would collide with the economic imperatives of internet-based journalism. In the 21 years since Sanneh's essay was published, poptimism has become the status quo in mainstream music criticism, reaching its apotheosis in 2023 with USA Today 's hiring of a full-time Taylor Swift reporter, Bryan West, who would go on to file—you may want to sit down— 501 articles about Swift during her Eras Tour. In such a climate, it's easy to forget that poptimism was once driven by the impulse to lift up marginalized voices. Indeed, much of today's cultural coverage reflects a different societal more, one in which, as the political philosopher Michael J. Sandel has written, we measure the value of people's contributions to the common good solely by 'the market value of the goods or services they sell.' In other words, covering what's popular doesn't just serve journalism's economic bottom line; it also expresses our beliefs. In a society in which dignity and status accrue to the powerful, it's no wonder that outlets once dedicated to nurturing subcultures now publish endless paeans to celebrities. A reader might object: Aren't you just complaining about the cultural version of natural selection? If niche genres can't hack it in today's algorithm-driven world, maybe they deserve extinction. But if they are allowed to die, popular music will also suffer. The terms highbrow and lowbrow conceal a broader ecology in which the raw materials of art move easily from one genre to another. Classical composers have long ransacked folk music to furnish their symphonies with great tunes. Similarly, there would be no Beatles' White Album without Karlheinz Stockhausen's tape music, no Rosalía's Motomami without the vocal arrangements of the Pulitzer Prize–winning composer Caroline Shaw. If we want the next Billie Eilish to be able to work with the next Attacca Quartet, we should ensure that lesser-known artists enjoy a bare minimum of support. To look at a page of event previews was to understand how a collection of artists related to one another. This, according to the opera critic Olivia Giovetti, was one of Smith's great gifts as an editor. 'He crafted listings,' Giovetti told me, 'in such a way that drew out and illuminated the connections between artists, so that the reader came to understand that if they enjoyed that Victoire show at Le Poisson Rouge, they might also dig a yMusic concert at Rockwood Music Hall.' You may not have heard of either group, but you likely know the Metropolitan Opera, where Victoire's founder, Missy Mazzoli, is headed with her adaptation of George Saunders' Lincoln in the Bardo, and you've probably heard of Paul Simon, who tapped yMusic to join him on his farewell tour in 2018. The loss of listings is, in this sense, the loss of a whole world, which historians, too, will have to contend with. Take any issue of The New Yorker from the first 98 years of its existence, and the Goings On About Town section offers a rich snapshot of the city and its subcultures. The same was true of the Times. 'On any given day,' Chinen told me, 'there would be a review of a New York–based dance company at the Joyce Theater, a Ben Ratliff review about a koto player at Issue Project Room, Jon Pareles reviewing an indie-folk artist at Joe's Pub. It was this incredibly robust account of a thriving arts community in a city that, right or wrong, considers itself to be the center of the universe. That's the garden. That's the plant mix that existed.' How will historians write the story of a city that no longer maintains a record of its own cultural life? In this new paradigm, I, like so many others, feel shackled to my Instagram account, resentful that it has become my personal marketing and public-relations departments, yet resigned to its relative efficacy as a mouthpiece. (I tried to opt out, taking a full year off from the internet and another six months away from social media, returning only when my manager begged me to do so. 'The phone has stopped ringing,' he said bluntly.) So yes, amid the gallimaufry of links, photos, and screen caps, I post bite-size songs: here, a William Carlos Williams–inspired lament for the tariff-burdened penguins of Heard Island; there, a setting of a Craigslist ad for free reptiles. A lot of my work is sober and politically minded, but I think it's important to hold on to laughter and absurdity too. Still, those miniature tunes, delivered algorithmically, often bypass my own Instagram followers, landing instead in the feeds of total strangers. For them, these songs are divorced from the broader footprint of my work, which has included oratorios about homelessness and railway travelogues documenting a divided America. Cultural journalism once created that context. Spencer Kornhaber: Taylor Swift is having quality-control issues What's to be done? Performing-arts institutions could work together to underwrite their own weekly listings website or print publication, with their financial contributions scaled according to their budget so that small operations aren't left out. Sure, there would be challenges, namely a blurring of the line between advertising and editorial. Ideally, a group of writers and editors would produce listings with total independence, shielded from pressure by funders. The other solution—plausible or not—is for outlets such as the Times and The New Yorker to reverse course: to recognize that their listings were a public good serving artists, audiences, and arts presenters alike. The societal benefit of a comprehensive guide to the cultural sector can't be readily calculated on a balance sheet. For now, Smith is still serving as the secretary, the minute keeper, the town historian for the creative-music community in New York. After Time Out, he spent two years at The Boston Globe as an arts editor, and then bounced between various jobs covering music back in the city, including a five-year stint writing listings for The New Yorker. He's now a copywriter at an arts institution. Still, he maintains a Substack newsletter, Night After Night, which shares the name of his old blog, the one on which he gave me my first review. Each week, Smith compiles a roundup of notable events in music that lives beyond that narrow mainstream. When I asked him when he returned to writing listings, he said, 'I never really stopped.' Although a comprehensive digital archive of Time Out does not exist, The New Yorker is searchable back to its inaugural issue, published in February 1925. Like any good elder-Millennial narcissist, I did a quick search of my name to look for its first mention in Goings On About Town. There it was, in the issue for April 27, 2009. What else was happening? That week, Nathan Lane and Bill Irwin were starring in a production of Waiting for Godot; Steve Wilson was at the Village Vanguard; Judy Collins was at Café Carlyle; Carnegie Hall featured appearances by Zakir Hussain, Kronos Quartet (playing the compositions of Terry Riley, Philip Glass, and Osvaldo Golijov), and the soon-to-be opera superstar Eric Owens; Chick Corea was leading an all-star band at Lincoln Center; and Lou Reed was holding court at the Gramercy Theatre.
Atlantic
5 hours ago
- Atlantic
A Gritty and Genuinely Readable Book
This is an edition of The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. Welcome back to The Daily's Sunday culture edition, in which one Atlantic writer or editor reveals what's keeping them entertained. Today's special guest is Luis Parrales, an assistant editor who has written about what the border-hawk Catholics get wrong and why the papacy is no ordinary succession. Luis is a new fan of the author Mario Vargas Llosa and a longtime listener of the singer-songwriter Jorge Drexler. His other recommendations include 'Femininomenon,' by Chappell Roan; The Bear; and anything by Conan O'Brien—whom he deems 'the king of American comedy.' The Culture Survey: Luis Parrales Best novel I've recently read, and the best work of nonfiction: I was embarrassingly unfamiliar with the Peruvian novelist Mario Vargas Llosa before his death, in April, besides some high-level lore—his role in the Latin American Boom, his failed presidential bid, the time he socked Gabriel García Márquez in the face. Soon after, I decided enough was enough and picked up his historical novel The Feast of the Goat, published in 2000. Through the brutal regime of Rafael Trujillo, who ruled the Dominican Republic until his assassination at the hands of revolutionaries, in 1961, Vargas Llosa explores how the wounds inflicted by a dictatorship remain long after it officially ends. But as gritty and dark as the novel gets—and it gets dark — The Feast of the Goat is one of the most readable books I've ever encountered. That's both because Vargas Llosa's crisp prose makes the 400 or so pages fly by and, more important, because his novel never loses sight of the power of human resilience. I was a bit more familiar with the moral philosopher Alasdair MacIntyre, who also passed away earlier this year. Although best known for his 1981 book, After Virtue (if you haven't already, read David Brooks's reflections on how its arguments help explain President Donald Trump's appeal), MacIntyre also wrote Dependent Rational Animals. The book offers one of the most persuasive cases I've read against treating individual autonomy as the highest ideal, as well as a plea to view our limitations—aging, illness—and dependence on one another not as failings but as constitutive elements of human nature. Oh, and MacIntyre dedicates long stretches of his book to the intelligence of dolphins. Which is great. A quiet song that I love, and a loud song that I love: Quiet: 'If I Don't Hear From You Tonight,' by Courtney Barnett. Loud: 'Femininomenon,' by Chappell Roan. Something I recently rewatched: Before earning box-office cachet with the Dune series, Denis Villeneuve directed Incendies, a modern Sophoclean tragedy set during a civil war in the Middle East. Nearly 15 years after its release, the film remains one of the most sobering portrayals of familial ties on-screen—of how they can at once inflict unspeakable pain and inspire courage and selflessness. The television show I'm most enjoying right now: The latest season of FX's exquisite The Bear. The last thing that made me snort with laughter: For my money, Conan O'Brien is the king of American comedy, though part of his greatness is that he's always reveled in playing the fool. He doesn't have the commanding swagger of a Dave Chappelle or Bill Burr, opting instead for a style that my colleague David Sims has described as a 'mix of silly surrealism with an old-timey flair.' I've been keeping up with O'Brien since his Late Night days, when I would get home from school and play the previous night's episode, so watching him get the Mark Twain Prize for American Humor earlier this year felt plenty nostalgic. The full ceremony is on Netflix now, and it's a comedic cornucopia for any Team Coco stans. The last thing that made me cry: A few weeks before Independence Day, while visiting New York City, I ended up going to mass at Ascension Church, which has a jazz liturgy on Sunday evenings. Most of my favorite church music leans traditional, yet to my surprise, I felt incredibly moved by the unconventional reverence of melodies with echoes of Art Blakey and Miles Davis. One highlight: the jazz mass's version of the hymn 'This Is My Song.' These lines in particular felt providentially relevant for anybody searching for a more warmhearted patriotism: This is my home, the country where my heart is; here are my hopes, my dreams, my holy shrine; but other hearts in other lands are beating with hopes and dreams as true and high as mine. The last museum or gallery show that I loved: Museo Nacional de Historia, in Mexico City. A musical artist who means a lot to me: The Uruguayan singer-songwriter Jorge Drexler isn't super well known in America—though he did write the first Spanish-language song to win an Oscar for Best Original Song—but he's pretty acclaimed in Latin America and Spain, especially for his lyricism. He can use scientific principles (the law of conservation or the evolution of cells, for example) as metaphors for love, or meditate on weighty political questions (migration, the Israeli-Palestinian conflict) without coming off as preachy. No musician means more to me than Drexler, whose art teems with the wonder of a wide-eyed humanist. Only I discern— Infinite passion, and the pain Of finite hearts that yearn. Here are three Sunday reads from The Atlantic: The Week Ahead The Naked Gun, an action-comedy film starring Liam Neeson as a hapless yet determined detective (in theaters Friday) Season 2 of Twisted Metal, a postapocalyptic action-comedy series with murderous clowns and a deadly demolition tournament (premiering Thursday on Peacock) Black Genius, an essay collection by Tre Johnson that identifies overlooked examples of genius in the Black community (out Tuesday) Essay The Mistake Parents Make With Chores Each September at the Montessori school I run, the preschoolers engage in an elaborate after-lunch cleanup routine. They bustle through the room with sweepers and tiny dustpans, spreading crumbs all over the floor and making a bigger mess than they started with … Contrast this with my own house—where, in a half-hearted effort to encourage my children to take responsibility for our home, I've been known to say, 'You live here!' as they ignore the pile of dishes in the sink. After years in Montessori classrooms, I assumed that a culture of taking responsibility would develop spontaneously in my family. And it might have, had I not made some early mistakes. More in Culture Catch Up on The Atlantic Finally, a Democrat who could shine on Joe Rogan's show Trump's Epstein denials are ever so slightly unconvincing, Jonathan Chait writes. ChatGPT gave instructions for murder, self-mutilation, and devil worship. Photo Album planned wedding date.
Tom's Guide
12 hours ago
- Tom's Guide
New on Netflix in August 2025 — every movie and show coming this month
Netflix has announced everything coming to the streaming service in August 2025, and there's one big name that will be dominating Netflix this month: "Wednesday." Yes, the hit horror comedy is back for season 2 this month, though only just the first part of the season. For the rest of season 2, you'll have to wait until September. On the Netflix movies front, there are a couple of titles to keep an eye on. "My Oxford Year" comes first, and stars Sofia Carson as an American abroad who falls in love with a charming local boy. Then, towards the end of the month, we get "The Thursday Murder Club," a murder mystery starring Pierce Brosnan and Helen Mirren, the latter of whom is thankfully not doing their accent from "MobLand." Aside from these top picks, I've got the full slate of everything new on Netflix this month listed below. Plus, we have a roundup of what's leaving Netflix in August 2025, so you have one last chance to watch. Here's everything coming to — and leaving — Netflix this month. "Wednesday" season 2 is undoubtedly the most anticipated show or movie on Netflix this month. It's likely one of the most anticipated shows of the year. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. For those who didn't catch season 1, this horror comedy series stars Jenna Ortega as the iconic Wednesday Addams. In the first season, she was tasked with solving a murder mystery at her new school, Nevermore Academy. This season, though, she needs to solve a murder before it happens, because she might be the perpetrator. Check out the first six minutes of this gloriously unhinged season if you dare. Stream on Netflix starting Aug. 6 "My Oxford Year" stars Sofia Carson as Anna De La Vega, a New York City girl freshly arrived at Oxford University. Not long after arriving, she meets Jamie (Corey Mylchreest), and they begin a whirlwind romance. But Anna plans on returning to New York and Jamie never planned on going with her. So, as that fateful day of departure approaches, things start to get messy. This movie might not be for everyone, but if you love a rom-com, our Senior Writer Alix Blackburn thinks this movie "looks like pure comfort wrapped in charm" and could be one of the must-watch movies of the summer. Stream on Netflix starting Aug. 1 Some people get together for a book club or jigsaw puzzles. These elderly amateur sleuths? They get together to solve unsolved murders. "The Thursday Murder Club" stars Helen Mirren as Elizabeth, a retired spy, Pierce Brosnan as Ron, a retired union leader, Ben Kingsley as Ibrahim, a retired psychiatrist and Celia Imrie as Joyce, a retired nurse. That's an incredible cast in its own right, but the list of amazing actors doesn't stop there. David Tennant, Jonathan Pryce, Tom Ellis and Richard E. Grant also all feature in what looks to be a charming murder mystery. Stream on Netflix starting Aug. 28 What happens when you gather all the singles from Netflix's stable of hot reality shows together? You get the reality dating series "Perfect Match." In this show, contestants from "Love Is Blind," "Too Hot To Handle," "Temptation Island" and more all gather under the watchful eye of host Nick Lachey and try to see if they're a perfect match — or if they can set others up on the perfect date. This season, though, there's a twist. "Perfect Match" season 3 will also feature former contestants from non-Netflix shows like "The Bachelor and "Love Island." You won't want to miss it. Stream on Netflix starting Aug. 1 Fans of "The Diplomat" and "The Night Agent," Netflix has a new political thriller for you: "Hostage." The show stars Suranne Jones as Abigail Dalton, the Prime Minister of the U.K. She's in a tense border standoff in a summit with the French President, Vivienne Toussaint (Julie Delpy), when suddenly she gets the call — her husband has been abducted. Now, Abigail faces the ultimate choice: give up her power and get her husband back, or refuse to negotiate and risk losing him. Stream on Netflix starting Aug. 21 COMING SOON "Aema" (KR) (Netflix series) A-list actress Hee-ran and newcomer Ju-ae fearlessly confront the realities hidden behind the spotlight amid the production of an erotic film that shook up the Korean film industry in the 1980s. "Bon Appétit, Your Majesty" (KR) (Netflix series) A chef (Im Yoon Ah) is sent back in time to the Joseon Dynasty, and must now serve a tyrant king (Lee Chae Min) in order to survive. "Christopher – A Beautiful Real Life" (DK) (Netflix documentary) Pop icon Christopher is on the brink of global stardom, but the birth of his second child challenges his priorities. Is the dream worth the cost? "Dinner Time Live With David Chang" season 3 (Netflix live event) Chef David Chang says, '99% of all cooking on television and social media is a lie,' and now he's ready to show how it's really done — live and unfiltered. From his kitchen in downtown Los Angeles, David creates a customized dining experience in real time for his celebrity friends with no swap-outs, no stylists, and no edits. It's real cooking—mistakes and all. With co-host Chris Ying a.k.a. 'The Voice of the Internet' lending his trademark insight and levity, this season invites viewers into the kitchen with a new offering, real-time interaction — including live Q&As and audience-driven decisions. "Katrina: Come Hell and High Water" (Netflix documentary) This is the story of a brutal coastal hurricane turned cataclysmic through human error and neglect. Over the course of a gripping and emotional three episodes, the people of New Orleans recount their past, extoll their present and lean into the future of what they and their beloved city survived and have become 20 years later. The series sets the stage for a tragedy - whose man-made elements expose the systemic governmental neglect that led to the city being defenseless in the face of the storm - and Katrina's devastating impact that changed New Orleans irreparably. Detailed, harrowing and triumphant first-person accounts and never before seen archive illustrate the magnitude of Katrina, the aftermath of the levees breaking and the bungled recovery. This is the story of a brutal coastal hurricane turned cataclysm through human error and neglect. Over the course of a gripping and emotional three episodes, the people of New Orleans recount their past, lay bare their present and lean into the future of what they and their beloved city survived and have become 20 years later. The series sets the stage for a tragedy - whose man-made elements expose the systemic governmental neglect that led to the city being defenseless in the face of the storm - and Katrina's devastating impact that irreparably changed New Orleans. Detailed, harrowing and triumphant first-person accounts and never-before-seen archive footage illustrate the magnitude of Katrina, the aftermath of the levees breaking and the bungled recovery. From executive producer Spike Lee and the team that brought you the Emmy and Peabody award-winning series When the Levees Broke: A Requiem in Four Acts, Katrina: Come Hell and High Water puts you in the eye of the storm and elucidates how that storm still rages 20 years later "Love Untangled" (KR) (Netflix film) In this mission of crushes and curls, a lovestruck teen is determined to win over the school heartthrob with the help of a resourceful transfer student. AUGUST 1 "My Oxford Year" (Netflix film) When Anna, an ambitious young American woman, sets out for Oxford University to fulfill a childhood dream, she has her life completely on track until she meets a charming and clever local who profoundly alters both of their lives. "Perfect Match" season 3 (Netflix series) Singles from the Netflix Reality Universe and beyond scheme and strategize their way to a lasting love connection in this spicy dating competition. AUGUST 2 "Beyond the Bar" (KR) (Netflix series) A young, rookie lawyer with a strong sense of justice joins a top law firm — navigating the complex legal world under a cold, demanding mentor. AUGUST 5 "SEC Football: Any Given Saturday" (Netflix series) Follow college football's most elite players and coaches in this unfiltered documentary series that goes behind the scenes of the 2024 SEC season. AUGUST 6 "Wednesday" season 2 part 1 (Netflix series) Wednesday Addams returns to prowl the Gothic halls of Nevermore Academy, where fresh foes and woes await. AUGUST 8 "Stolen: Heist of the Century" (GB) (Netflix documentary) Antwerp, 2003. A gang of thieves rob the impenetrable Diamond Center. Who was behind one of the world's biggest heists — and how did they pull it off? AUGUST 10 AUGUST 11 AUGUST 12 "Final Draft" (JP) (Netflix series) Twenty-five athletes, most retired, compete to win 30M yen to launch their second career. Can they overcome tough physical and psychological challenges? "Jim Jefferies: Two Limb Policy" (Netflix comedy special) Comedian Jim Jefferies unleashes his thoughts on tiny mustaches, straight-guy struggles and why acting doesn't count as a real job. AUGUST 13 "Love Is Blind: UK" season 2 (GB) (Netflix series) A new batch of singles in the UK search for love sight unseen. Who will make it from the pods, to living together, to all the way up the aisle? "Fixed" (Netflix film) After learning he's getting neutered, a dog has 24 hours to squeeze in one last balls-to-the-wall adventure with the boys in this raunchy adult comedy. "Saare Jahan Se Accha: The Silent Guardians" (IN) (Netflix series) A resilient Indian spy must defeat his counterpart across the border in a battle of wits and tradecraft to sabotage their nuclear program. "Songs From the Hole" (Netflix documentary) Songs from the Hole is an innovative documentary/visual album composed by JJ'88, a musician incarcerated at 15 and serving a life through first-person narration and lyrical journal entries, the film explores his identity and untangles the complex emotions stemming from his crime and the loss of his brother. "Young Millionaires" (FR) (Netflix series) Four teen friends in Marseille win the jackpot and see their peaceful lives spiral into chaos — who knew that being young and rich could be a nightmare? AUGUST 14 "In the Mud" (AR) (Netflix series) Five women in a ruthless prison forge a unique bond after a near-death experience... until corruption and turf wars threaten to destroy them. "Miss Governor" season 1 part 2 (Netflix series) As she tries to shine in politics, Mississippi's first Black lieutenant governor must manage her zany family and overcome a boss who's stuck in the past. "Mononoke The Movie: Chapter II - The Ashes of Rage" (JP) (Netflix anime) The Medicine Seller returns as the Edo harem faces a new crisis, with family feuds, inner turmoil and fiery envy igniting the birth of a raging spirit. AUGUST 15 "The Echoes of Survivors: Inside Korea's Tragedies" (KR) (Netflix documentary) This documentary series reveals the harrowing tales of those who survived Korea's gloomiest chapters, shedding a light on long-hidden truths. "Fit for TV: The Reality of the Biggest Loser" (Netflix documentary) Fit for TV: The Reality of The Biggest Loser is a three-part documentary series that takes an inside look at the making of the hit reality TV competition, exploring the good, the bad, and the complicated. Featuring interviews with former contestants, trainers, producers, and health professionals, the documentary examines the show's approach to transformation, the support systems in place, and the unique challenges of filming reality television. The series explores how the experience shaped the lives of those involved with the show long after the cameras stopped rolling and invites viewers to reflect on the balance between entertainment and well-being, and what it truly means to pursue lasting change. "Night Always Comes" (Netflix film) Based on the best selling novel by Willy Vlautin, Night Always Comes follows Lynette, a woman who risks everything to secure the house that represents a future for her family. On a dangerous odyssey through a single night, Lynette is forced to confront her dark past in order to finally break free. AUGUST 16 AUGUST 18 "CoComelon Lane" season 5 (Netflix family) The CoComelon Lane kids are back, exploring their world and embracing their imaginations on fun field trips to the airport, an apple orchard and more! AUGUST 19 "America's Team: The Gambler and His Cowboys" (Netflix sports series) Through never-before-seen footage and interviews, this series tells the definitive story of the Dallas Cowboys and Jerry Jones' impact on NFL history. AUGUST 20 "Rivers of Fate" (BR) (Netflix series) When a teen is kidnapped by a sex trafficking ring, a river pirate and a fierce mother embark on separate quests to find her — until their paths cross. AUGUST 21 "Death Inc." season 3 (ES) (Netflix series) When the founder of Torregrosa Funeral Home dies, his scheming right-hand man is poised to take over the business. But the owner's widow has other plans. "Fall for Me" (DE) (Netflix film) Lilli is suspicious of her sister's new fiancé, but when an attractive stranger enters her life, she's suddenly distracted by the thralls of desire. "Gold Rush Gang" (TH) (Netflix film) At the tail end of World War II, a bandit leader and his crew go up against his sworn enemy and the Japanese army to rob a train full of gold. "Hostage" (GB) (Netflix series) When the British prime minister's husband is kidnapped and the French president starts receiving threats, both leaders must face an impossible choice. "One Hit Wonder" (PH) (Netflix film) These two singers never had much luck with their careers. Now, they're risking everything for a chance at stardom — and love. AUGUST 22 "Abandoned Man" (TR) (Netflix film) After serving time in prison for his brother's crime, a man warily reunites with family, finding hope and healing in a life-changing bond with his niece. "Long Story Short" (Netflix series) From the creator of "BoJack Horseman" comes this animated comedy about a family over time, following siblings from childhood to adulthood and back again. "The Truth About Jussie Smollett?" (GB) (Netflix documentary) From RAW, the producers of Don't F**k with Cats and Tinder Swindler, comes The Truth About Jussie Smollett?, a shocking true story of an allegedly fake story that some now say might just be a true story. Featuring interviews with police, lawyers, journalists, investigators who claim to have uncovered new evidence about the case, and with Jussie himself, this compelling documentary invites the audience to decide for themselves who is telling The Truth About Jussie Smollett? AUGUST 27 "Fantasy Football Ruined Our Lives" (IT) (Netflix film) When a member of their fantasy football league vanishes on his wedding day, a motley group of friends recount the lead-up to his chaotic bachelor party. AUGUST 28 "Barbie Mysteries: Beach Detectives" (Netflix family) Brooklyn and Malibu's summer plans take a turn for the spooky when the podcast hosts stumble upon a series of beachside mysteries. "My Life With the Walter Boys" season 2 (Netflix series) Hoping for a fresh start in Silver Falls, Jackie discovers second chances aren't guaranteed when unresolved feelings and small-town tensions resurface. "The Thursday Murder Club" (Netflix film) Based on Richard Osman's international bestselling novel of the same name, THE THURSDAY MURDER CLUB follows four irrepressible retirees - Elizabeth (Helen Mirren), Ron (Pierce Brosnan), Ibrahim (Ben Kingsley) and Joyce (Celia Imrie) - who spend their time solving cold case murders for fun. When an unexplained death occurs on their own doorstep, their casual sleuthing takes a thrilling turn as they find themselves with a real whodunit on their hands. Directed by Chris Columbus, the film is the latest to be produced through the Netflix and Amblin Entertainment partnership. AUGUST 29 "Two Graves" (ES) (Netflix series) When the disappearance of two teen girls shocks a quiet coastal town, a bereft grandmother risks everything to uncover the truth and seek revenge. "Unknown Number: The High School Catfish" (Netflix documentary) Vulgar, taunting texts blow up the phones of a Michigan teen and her boyfriend. Who's sending them — and why? This twisty documentary investigates the shocking answer. Leaving 8/1/25 "Conan the Destroyer""The Birds""The Breakfast Club""Dawn of the Dead""Dunkirk""Everest""Field of Dreams""For Love of the Game""Hitchcock""Holey Moley" seasons 1-4"The Lego Movie""Lucy""Matilda""Mid90s""Psycho""Smokey and the Bandit""Smokey and the Bandit II""Sniper""Sniper: Ghost Shooter""Spanglish""The Town""The Wedding Planner""Ugly Betty" seasons 1-4"Uncle Buck" Leaving 8/5/25 "My Wife and Kids" seasons 1-5 Leaving 8/15/25 "Ballers" seasons 1-5 Leaving 8/16/25 "Baby Mama""Ouija: Origin of Evil" Leaving 8/17/25 "Thanksgiving" Leaving 8/19/25 "Gangs of London" seasons 1-2"Into the Badlands" seasons 1-3"Kevin Can F**k Himself" seasons 1-2"Preacher" seasons 1-4"Un-Real" seasons 1-4"The Walking Dead: The Ones Who Live" season 1 Leaving 8/21/25 "Kung Fu Panda 4" Leaving 8/22/25 "The Boss Baby" Leaving 8/25/25 "Melancholia" Leaving 8/31/25 "The Hitman's Bodyguard""The Hitman's Wife's Bodyguard" Follow Tom's Guide on Google News to get our up-to-date news, how-tos, and reviews in your feeds. Make sure to click the Follow button. Malcolm has been with Tom's Guide since 2022, and has been covering the latest in streaming shows and movies since 2023. He's not one to shy away from a hot take, including that "John Wick" is one of the four greatest films ever made. Here's what he's been watching lately:
