New on Apple TV Plus in July 2025 — all the shows and movies to watch
This coming month will see the addition of several high-profile titles to Apple TV Plus's already sprawling streaming library, including the third season of ambitious sci-fi saga "Foundation," documentary adventure series "The Wild Ones," and the first Peanuts musical in more than three decades.
Elsewhere, you've got the fourth and final installment of the hit bilingual comedy series "Acapulco," which closes out the rags-to-riches story of Maximo (Eugenio Derbez) as he returns to Las Colinas to restore it to its former glory before the grand reopening.
You can find more info about all the new Apple TV Plus releases coming your way in July 2025 below.
Entering its third season this July, "Foundation" is based on the award-winning novels by Isaac Asimov, a sci-fi epic that chronicles a band of exiles on their monumental journey to save humanity and rebuild civilization and the fall of the Galactic Empire.
Led by Emmy-nominated actors Jared Harris, Lee Pace, and star Lou Llobell, the 10-episode new season will pick up 152 years after the events of season 2. Apple's official synopsis reads: "The Foundation has become increasingly established far beyond its humble beginnings while the Cleonic Dynasty's Empire has dwindled.
"As both of these galactic powers forge an uneasy alliance, a threat to the entire galaxy appears in the fearsome form of a warlord known as 'The Mule' whose sights are set on ruling the universe by use of physical and military force, as well as mind control. It's anyone's guess who will win, who will lose, who will live and who will die as Hari Seldon, Gaal Dornick, the Cleons and Demerzel play a potentially deadly game of intergalactic chess."
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Watch on Apple TV Plus from July 11
This six-part adventure docuseries sees a dedicated trio of wildlife filmmakers — including expedition leader Aldo Kane, wildlife and camera trap expert Declan Burley and wildlife cinematographer Vianet Djenguet — travel through the world's most remote and unforgiving environments to track and protect critically endangered animals from extinction.
All six episodes will premiere globally in one fell swoop, with each installment featuring crafty camerawork and survival skills as the team races to locate, record and protect these elusive creatures before it's too late.
Watch on Apple TV Plus from July 11
It's been more than 30 years since audiences have been charmed by a Peanuts musical special, and luckily that wait will end this July with "Snoopy Presents: A Summer Musical," a 40-minute streaming event "about the joy and magic of summer camp and the importance of preserving what you love," per the streamer.
"Charlie Brown loves camp and is determined to make his final year special, but Sally, a first-time camper, is nervous and skeptical of the new and unfamiliar place," reads the special's official description. "While everyone settles into camp, Snoopy and Woodstock discover a treasure map that takes them on a wild adventure nearby."
Along with the return of those beloved Peanuts characters, the new musical will feature original songs by Emmy Award nominees Jeff Morrow and Ben Folds.
Watch on Apple TV Plus from July 18
"In 1984, Maximo Gallardo's dream comes true when he gets the job of a lifetime at Acapulco's hottest resort, Las Colinas, but he soon realizes that working there will be far more complicated than he ever imagined" reads the series descriptor of the acclaimed Apple TV Plus comedy "Acapulco," which will debut the fourth and final chapter on the streamer this July.
Led by Emmy and SAG Award-winning star and executive producer Eugenio Derbez, season 4 will see present-day Máximo (Derbez) work tirelessly to restore Las Colinas to its former glory before the grand reopening. Back in 1986, however, young Máximo (Enrique Arrizon) will do whatever it takes to get back on top and secure Las Colinas's future when a competitor claims the number one spot in the annual ranking of the destination's best hotels.
Watch on Apple TV Plus from July 23
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Yahoo
9 hours ago
- Yahoo
Your Cheat Sheet for How ‘F1' Was Actually Shot
Audiences will likely be surprised by two things when they see Joseph Kosinski's 'F1.' One, that a huge percentage of the film's drama and actual running time, especially compared to the standard Hollywood sports movie, takes place on the race track. Two, that the racing footage is incredibly realistic. As has been widely reported and publicized, the Apple-backed film produced by legendary driver Lewis Hamilton (for non-racing fans, this is the equivalent of LeBron James producing a basketball movie featuring actual NBA players and teams), did strike a partnership with Formula One to shoot during its biggest races, including some time with the film's stars, Brad Pitt and Damson Idris (who spent months of preproduction learning how to drive a 200 mph race car), behind the wheel. More from IndieWire David Koepp on Why It Took Him Almost 30 Years to Return to the 'Jurassic Park' Franchise He Helped Create 'The Running Man' Trailer: Glen Powell Sprints to Survive in Edgar Wright's Take on Dystopian Stephen King Novel And while all that is true, and a key aspect of how the film was made, it does not quite explain how our heroes' fictional APXGP, or Apex, race team was integrated into the 2023 and 2024 Formula One seasons. What follows? A breakdown of what you need to know about how 'F1' was actually made. And if you want to listen to director Joseph Kosinski discuss the making of 'F1,' the full conversation is below, or subscribe to the Filmmaker Toolkit Podcast on Apple, Spotify, or wherever podcasts are found. Once the 'F1' creative team, led by Kosinski, Pitt, Hamiliton, and producer Jerry Bruckheimer convinced the racing league they were trying to realistically capture the speed and behind-the-scenes work of Formula One, the sports league approached the film as a true partnership, opening the doors to a multi-faceted collaboration to create a film they believed would promote the sport. Tim Bampton, who worked for three decades in professional sports, was hired as an executive producer to oversee and lead the integration of the film and racing. The access was truly unprecedented, with the enormous Apex team traveling from city to city, building their garage, and getting ready for the next week's race alongside the other racing teams. This allowed 'F1' to stage its movie against the electric atmosphere of the world's fastest cars roaring past crowds of 300,000-plus on legendary courses that uniquely weave through iconic locales like Las Vegas and Budapest. It's production value that even a $200-plus million film like 'F1' can't afford, and that visual effects can't replicate. 'F1' features nine actual races, and racing fans will recognize memorable moments, like Checho's turn one collision in Mexico, or Ocon and Gasly colliding on the first corner in Hungary, that were integrated into the film. Kosinski promised drivers his fictional film would preserve each (with one notable exception) of the real races' leaderboards, which wasn't a sacrifice for a story about an underdog team at the bottom of the standings, fighting for its very survival. The original plan was to shoot the entire movie during the 2023 race season, but the actors' strike hit right as production had started. The SAG work stoppage meant Kosinski's team would shoot 38 days of racing during the 2023 season, then return for the 2024 season to shoot with the actors. While at the time, the strike was a devastating blow to the already expensive production, Kosinski told IndieWire the film benefited from the split season approach, allowing them to edit in between seasons and return to the famous tracks in 2024, knowing how, where, and what exactly was needed to finish the film. Bampton established one guiding rule for the production: It could never interfere with the integrity of the sporting competition. This meant the 'F1' team needed to be to take advantage of every five to 15-minute pause in the action. Actors and crew needed to be prepared to quickly do a shot in one take. 'It's like doing a live show. Brad and Damson would be in the cars, tires warm, engines warm, at the gates ready to come out. As soon as the practice or qualifying session ended, they'd pull out onto the track and shoot their sequences,' said Kosinski. The director also pointed to an important dramatic scene that takes place at the grid (where race cars are positioned before the race begins) right before the start of a race, that they had one eight-minute window to shoot. 'It meant rehearsing with the camera crew with a stopwatch for weeks beforehand, knowing where everyone needed to stand, so that the actors step right into our coverage. It was a completely different style of filmmaking.' One of the keys to the success of Kosinski's 'Top Gun: Maverick' was putting the audience in the actual cockpit to experience the speed and force of an FA-18 plane. The goal for 'F1' was similar, but a key difference being a plane flying Mach 1.6 is unphased by the weight of 50 pounds of camera equipment (the trick there was how to securely attach it), but that is not the case for the formula race cars in which every add pound and adjustment to its aerodynamics really matters. Kosinski would need a multi-camera system that could get multiple angles, and that was extremely small and lightweight, and he could move (pan and tilt to reframe compositions). To achieve this, cinematographer Claudio Miranda collaborated with Sony to create a new piece of camera technology now known as 'Carmen,' which, according to Kosinski, is essentially a 'sensor on a stick.' Fifteen Sony Carmen camera sticks were placed in different positions around the Apex cars to capture Pitt and Idris driving. The camera bodies, batteries, and RF equipment (to send out the radio signal with video village) were then built into the floor of the car itself. One camera angle racecar fans will be familiar with from television is the onboard camera pods, which are placed behind the driver's helmet, facing out the windshield. The 720P quality broadcast footage, which has a slightly hidden camera-like feel on TV, is not of a quality 'F1' could use on the big screen, but the filmmaking team worked with Apple to use the iPhone camera sensor, chip, and iOS software to build a camera that was similar in size to the onboard camera pod. And then — and this is huge — Formula One actually let the filmmakers put the new Apple camera inside two to three of the real race cars (not just the fictional Apex cars) during the races. Kosinski could count on having between 30 to 35 camera angles of the race itself. Approximately 16 of those came from the production's cinema cameras, but utilizing TV broadcast cameras presented challenges. Like many sports, they Formula One races are shoot at a high frame rate with fast shutter speed to avoid motion blur (which is twice as important for Formula One, which needs to keep all the various sponsors' logos visible). There is hyper reality and clarity to the image that is not particularly cinematic, to say nothing of how it gets compressed so it can be beamed in real-time across the globe. 'I got them to change their shutter angle for me, and we were able to intercept the 4K feed before it was broadcast, or sent over air and compressed,' explained Kosinski. 'We were able to put raw recorders on those cameras, and do up to 20 of their track cameras in an uncompressed format, which we did at every race.' To integrate the Apex team's two cars into the actual races, the 'F1' VFX team would 're-skin' (a technique developed for 'Top Gun: Maverick') one of the real race cars into one of the black and gold Apex cars. After each race, the editorial team would comb through and log every event of the race, so that when editor Stephen Mirrione needed, for example, a shot of a car passing another car on the right side, he would be able quickly access the various options from that particular race (Kosinski said that Lewis Hamilton was far too eagle-eyed and knowledgable of each track to let the filmmakers get away with cheating by repurposing footage from different races). 'We would cut the real footage from the real race [into the movie] and we would put these little 'bugs,' these little tiny logos, on the car that we were going to turn into an Apex car,' said Kosinski. 'And that's how I watched the movie for a year-and-a-half, with all these little floating logos everywhere, which to anyone else would be completely indecipherable, but once I had committed to those shots, visual effects would re-skin.' Each of the movie's races has a narrative arc, which often hinges on the viewer understanding the nuances and strategy of car racing. While the goal was to make a film racing fans could appreciate, it was equally important for the summer blockbuster not to lose the casual movie-goer. Therefore, 'F1' was constantly faced with exposition problems — taking time to explain things to an audience can bring a story to a halt and remove the viewer from the immersive experience. To solve the exposition problem, the filmmakers recruited Sky Sports announcers David Croft and Martin Brundle to play themselves. 'I noticed [Croft and Brundle] do this amazing thing where they mention the fundamentals, so that if someone is tuning in for the first time, you're getting those tidbits you need to know,' said Kosinski. 'But for the diehard fans, they're the voice of the sport, so it feels authentic.' The announcer were brought in during post-production and recorded 19 hours of voiceover for the filmmakers to then play with in the editing room. Using real F1 cars for the Pitt and Idris' Apex team was impossible. 'A Formula One car requires about 30 people to start it, and costs about $250,000 a day to run it,' said Kosinski. 'A Formula Two car can be started by two people and costs about $30,000 a day to run, and you're getting 90 percent of the performance [of an F1 car].' As Kosinski explained, 90 percent of the performance was plenty — pointing out stars Pitt and Idris had no business operating in that upper 10 percent of performance. So the production purchased six F2 cars and shipped them to the Mercedes F1 factory so its engineers and technicians could modify them to look like F1 cars and equip them for filmmaking purposes. 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F1 Box Office Win Fuels Apple Studios' Cinematic Future
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Given the huge response the F1 movie received, earning $146.3 million in its first weekend since its global release on 25 June, it marks Apple Studios' first theatrical success, paving the way for a bright future for the studio, even though the movie is yet to break even on its reported $250 million budget. After delivering several flops since its inception in 2019, such as Napoleon and Killers of the Flower Moon, the future of Apple's foray into movies remained doubtful. Now, F1, starring Brad Pitt, may have given Apple Studios enough momentum to choose among four possible directions for its future, according to a report by Variety. The first option could be a full-fledged movie production route, where Apple releases multiple projects in a year through a full-scale distribution model. However, this process is very expensive and complicated, but it could offer a major hold over marketing its products, especially Apple TV. Tim Cook attends the Apple Original Films & Warner Bros. Pictures "F1" World Premiere in Times Square on June 16, 2025 in New York City. Tim Cook attends the Apple Original Films & Warner Bros. Pictures "F1" World Premiere in Times Square on June 16, 2025 in New York City. Arturo Holmes/WireImage/Getty Images The second option could be to only pick selected movie projects and work with high-profile celebrities and partners for theatrical releases. However, the incentives for distributors would suffer in case the movies don't perform. But if the movies do well, they would only add to the goodwill and promote other select projects, pushing Apple to prioritize quality over quantity. The third approach Apple Studios could adopt is to produce docuseries, a model similar to Netflix. This could help Apple offer consistent content to its users and streaming exclusivity. In addition, this model would help minimize costs and attract talent from a larger pool. However, following this approach could prevent Apple from working with high-profile celebrities and filmmakers, given the potentially smaller scale of projects. Lastly, Apple could also purchase an existing Hollywood studio or entertainment library with its $30 billion cash reserves and continue to run it with its existing resources. This could lead to the generation of new, instant ideas, access to intellectual property, and a fully functioning revenue-generating model. However, this route seems unlikely for Apple, considering the institutional challenges that come with such studios and the efforts required to make necessary modifications. Many believed that Apple would exit the movie business if F1 failed to meet expectations. But with the success it witnessed with the motorsport-based project, and with ongoing projects in the pipeline, such as Mayday - an action-adventure movie featuring Ryan Reynolds, and a UFO feature from the makers of F1- producer Jerry Bruckheimer and director Joseph Kosinski, it is only a matter of time before Apple chooses a direction to grow into.
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