Like the Bosch spinoff ‘Ballard'? Then Watch These 3 Shows Right Now on Prime Video and More
That means this Bosch spinoff is probably going to get a second season. But since Prime Video dropped all 10 episodes at once, what are you going to watch when it's over?
Fortunately, the Watch With Us team has you covered with three shows to watch if you liked Bosch.
20 Must-Watch TV Shows on Amazon Prime Video Right Now (July 2025)
'Long Bright River' (2025)
is at the center of Long Bright River as Mickey Fitzpatrick, a police officer in Philadelphia. Mickey's been on the force a long time, but it's not really her place to be looking into the murders of three local women in the Kensington neighborhood.
However, Mickey's interest in the case is more than just personal. Her sister, Kacey Fitzpatrick (Ashleigh Cummings), has gone missing, and trying to solve the murders may be her way of coping with that potential loss. This is one of Seyfried's best roles to date, and the show's central mystery will keep you as hooked as Ballard's case-of-the-week plots.
Long Bright River is streaming on Peacock.
'Crossing Jordan' (2001 - 2007)
Jill Hennessy made her name on Law & Order before NBC gave her a crime drama of her own. Crossing Jordan features Hennessy as Dr. Jordan Cavanaugh, a forensic pathologist who somewhat oversteps her role in order to help the police solve murder cases.
4 Must-Watch Thrillers on Peacock Right Now (July 2025)
Before he became a leading actor, Mahershala Ali played one of Jordan's colleagues, Dr. Trey Sanders, in season 1. Jordan does have her own team of confidants to turn to for support, but one of the most prominent was Detective Woody Hoyt (Jerry O'Connell). NBC aired six seasons and 117 episodes of this show during its run, and it's ripe for a very long binge-watch.
Crossing Jordan is streaming on Prime Video.
'Mare of Easttown' (2021)
HBO's Mare of Easttown has an outstanding cast of supporting players, including Jean Smart, Guy Pearce, Evan Peters, Angourie Rice, Julianne Nicholson and Cailee Spaeny. But it's carried by an Emmy-winning performance by Kate Winslet as Marianne "Mare" Sheehan, a detective sergeant in Easttown, Pennsylvania.
Mare is kind of a local celebrity thanks to her heroics in a high school basketball game 25 years ago. In the present, Mare has been unable to find a missing girl for over a year and the community has lost faith in her. Mare is also dealing with a nasty divorce, the death of her son and a custody battle for her young grandson, Drew, with the boy's mother, Carrie Layden (Sosie Bacon). That's enough pressure to crush anyone, but Mare still has a job to do.
Mare of Easttown is streaming on HBO Max.
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TechCrunch
a minute ago
- TechCrunch
With her app Smash, Kesha can be whoever she wants – even a tech CEO
Kesha – yes, brush my teeth with a bottle of Jack Kesha – is now a startup founder. But if you think her journey from raunchy pop star to CEO is unexpected, then you haven't been paying attention. Kesha has always embraced contradictions. She exploded onto the pop scene in 2010 with irreverent ear candy like 'Blah Blah Blah' and 'TiK ToK,' stylizing her name with a dollar sign despite throwing shade at the egregious wealth of Hollywood. She didn't let people dismiss her as a one-dimensional, glitter-clad party girl. As beleaguered high schoolers studied for exams amid Kesha's rise to fame, they whispered in frustration about how the world's most famous party girl got a near-perfect score on the SAT, but turned down a full-ride to Barnard College to sing about peeing in champagne bottles. The biggest contradiction of Kesha's story is that despite living the dream of a pop star on the surface, her years in the spotlight were nightmarish behind the scenes. Now, drawing from her own experience suffering at the hands of predatory record contracts, Kesha is building an app called Smash, which is a way for musicians to find one another, make music together, and establish clear, artist-friendly contracts among collaborators. Smash aims to set itself apart by using a built-in system to generate contracts between artists. The terms of the contracts depend on what each artist decides — for example, a musician may decide to license a beat for set fee, or request a percentage of royalties over time. Smash would fund itself by taking a small cut of payments made through the app. 'One of the pieces of leverage, especially over younger music creators, is you need a way into the club,' Kesha's brother and Smash co-founder Lagan Sebert told TechCrunch. 'With Smash, we want to give music creators the keys to get into this club of professionals and other creators without them feeling like they have to sign anything away, or make any large decisions about the rest of their lives.' After establishing herself as a powerhouse pop star, Kesha sued her producer Dr. Luke in 2014 for alleged sexual, physical, and emotional abuse. He immediately countersued her for defamation, sparking a high-profile legal battle and reckoning with the dark side of pop music. Though Kesha sought to get out of her recording contract with Dr. Luke, the court ruled against her, forcing her to release three more albums with him. Techcrunch event Tech and VC heavyweights join the Disrupt 2025 agenda Netflix, ElevenLabs, Wayve, Sequoia Capital — just a few of the heavy hitters joining the Disrupt 2025 agenda. They're here to deliver the insights that fuel startup growth and sharpen your edge. Don't miss the 20th anniversary of TechCrunch Disrupt, and a chance to learn from the top voices in tech — grab your ticket now and save up to $675 before prices rise. Tech and VC heavyweights join the Disrupt 2025 agenda Netflix, ElevenLabs, Wayve, Sequoia Capital — just a few of the heavy hitters joining the Disrupt 2025 agenda. They're here to deliver the insights that fuel startup growth and sharpen your edge. Don't miss the 20th anniversary of TechCrunch Disrupt, and a chance to learn from the top voices in tech — grab your ticket now and save up to $675 before prices rise. San Francisco | REGISTER NOW It was only this month — on July 4, a date chosen very intentionally — that Kesha released an album without Dr. Luke for the first time. But regaining her own artistic agency isn't enough. Now that she is a fully independent artist, she wants to help ensure that other young musicians don't fall victim to exploitative record deals like she did. 'One of the things that really motivated her was when she went through this long legal battle to regain the rights to her voice, regain rights to her music,' Sebert said. 'I think the motivation behind Smash more than anything was to try to give music creators access to the community they need to create music independently.' Building the Band If Kesha and her brother were going to build an app, they were going to need some technological expertise. Years ago, Kesha attended an ACTAI Ventures event and met Lars Rasmussen, who co-founded Google Maps and was one of the first investors in design unicorn Canva. The two stayed in touch, and when it came time to build Smash, Rasmussen introduced her to Alan Cannistraro, who would become the app's CTO. Cannistraro spent over 12 years at Apple, where he worked on products for creatives like Final Cut; he also managed a team of engineers to build the first ever apps for iOS, like Remote, iBooks, iTunes, and Podcasts. He went on to start Rheo, a social video startup, but he has always had an interest in music. 'In the late '90s, when my friends were all using Napster, I was saying to them, 'What the hell, you like this music, why are you screwing the artist?'' Cannistraro told TechCrunch. 'It's always just been in my value system that artists need to be supported.' When Kesha, her brother Lagan, and Cannistraro started working together, Rasmussen became one of their first investors. Kesha even announced the app as part of Rasmussen's Panathēnea festival in Greece. 'Smash is a community platform for music creators. It's a place where you can go to connect, to create, and to hire, all while retaining the rights to what you create,' Kesha said at the festival. 'The goal is to shift the power back to the hands of the creators.' 'The contracting is safe — it's all transparent, and then you get to choose, and you get consent over where your art and where your voice goes, and how it goes into the world, all while retaining the rights to what you have just created,' she added. The Smash app remains a work in progress, intending to open to some artists later this year. But to test some of the tech tools that the company has created thus far, Smash hosted a contest where artists could submit remixes of Kesha's song 'Boy Crazy' — the five winners of the contest will have their remixes released on Kesha's record label for what Sebert calls an 'industry standard remix fee.' 'I regained the rights to my voice back for the first time in my adult life about one year ago, as a 37-year-old woman,' Kesha said at Panathēnea. 'Predatory deals like that are normal.'
Gizmodo
a minute ago
- Gizmodo
Netflix Is Doubling Down on Ads and Dabbling in AI
When Netflix debuted its video streaming service back in 2011, it seemed like it would usher in the end of the television commercial. Fast-forward 14 years, and Netflix is now working on growing its own ad network and it thinks this is the future of the business. Well, that and AI. Netflix execs told investors on Thursday that it is on track to double its advertising revenue this year. They did not say whether they would follow in the footsteps of other streaming networks and increase the ad load for existing customers, but they did announce that the service will be injecting interactive promotions into its content. The company first introduced its ad-supported plan in late 2022. Since then, the more budget-friendly subscription tier has grown to 94 million users, and Netflix is now eager to cash in on those eyeballs. In the first half of 2025 alone, viewers watched 95 billion hours on Netflix. The platform's most-viewed series was the British drama Adolescence, which garnered 145 million views. Other top-performing shows included Squid Game, Ginny & Georgia, and the children's show Ms. Rachel, hosted by the former YouTuber and advocate for children in Gaza. In a letter to shareholders, Netflix said its goal is to monetize this 'engagement' not only from subscriptions but also from advertising revenue. That means Netflix needs to sell more ads, and it just made that easier by completing the global launch of its own first-party ad tech platform. 'The rollout of our own ad tech stack, which helps deliver a bunch of features, and then our slate, which is generally amazing and includes a growing number of live events that advertisers are excited about,' co-CEO Greg Peters said during Thursday's earnings call. Peters also said that interactive ads, which are already used by rivals like Amazon Prime Video and Hulu, are coming to Netflix later this year. Live programming is another part of the company's ad push. Upcoming events include NFL games on Christmas Day and a high-profile boxing match between Canelo Álvarez and Terence Crawford. Big live events like these are attractive to advertisers due to their massive, real-time audiences. Netflix didn't say exactly how much of the $45.2 billion in its estimated revenue for the year will come from ads. But some analysts expect that number to surpass $4 billion. Back in October, Peters acknowledged that 'while ads won't be a primary driver of revenue in 2025,' the company sees a real opportunity to 'close that gap.' While Peters focused on ads, Netflix's other co-CEO, Ted Sarandos, sounded pretty excited about another kind of tech — AI. 'We remain convinced that AI represents an incredible opportunity to help creators make films and series better, not just cheaper,' Sarandos said on the call. He pointed to the company's upcoming Argentinian sci-fi series El Eternauta, which features what he described as the 'very first GenAI final footage to appear on screen' in a Netflix show or film. He said the show used AI-powered tools for a sequence showing a building collapsing in Buenos Aires. 'And in fact, that VFX sequence was completed 10 times faster than it could have been completed with visual, traditional VFX tools and workflows,' Sarando said. And, also, the cost of it would just not have been feasible for a show in that budget.'
Fast Company
a minute ago
- Fast Company
More commercials are playing before movies: Are theater chains testing your patience or saving the box office?
The business model for movie theaters has been under threat since at least the 1980s with the widespread adoption of the VHS. DVDs, streaming, and the COVID-19 pandemic have only compounded the issue. According to Octane Seating, 63% of Americans watch movies at home, which isn't happy news for big chains such as AMC, Cinemark, and Regal. This is in addition to video games, smartphones, prestige TV, and every other form of media that competes for your attention in the 21st century. Popular movie chains have been forced to get creative to stay afloat. Tactics such as luxury reclining chairs and top-shelf alcohol haven't been enough. A new controversial way to bring in needed revenue is to add additional non-trailer advertisements in the preshow, increasing the length from 15–20 minutes to 30. So if you want to see a summer blockbuster flick, plan accordingly. Let's take a look at the timeline for this change and if it has impacted audience behavior. Cinemark and Regal lead the way In 2019, Cinemark and Regal reached an agreement with National CineMedia to add additional commercials in the preshow slot. One of these was dubbed a platinum spot and would play right before the attached trailers. The movie chains reportedly received 25% of the revenue collected from these prominently displayed ads. National CineMedia CEO Tom Lesinski promised that this would not deter audiences, as a similar practice was already standard in Europe. 'We don't believe it will be a significant issue for exhibitors or consumers,' he explained in an interview with Deadline at the time. AMC jumps on the longer preshow bandwagon AMC initially rejected the idea, but six years later is changing its tune. On July 1, AMC joined Cinemark and Regal. The chain also made sure its patrons were aware of the change by emphasizing it in a disclaimer for ticket buyers. When news of AMC's change of policy broke, the movie chain issued a statement explaining the decision. AMC claims this change will not keep audiences away from theaters but doesn't explicitly say anything about watching trailers. 'While AMC was initially reluctant to bring this to our theatres, our competitors have fully participated for more than five years without any direct impact to their attendance,' the statement explained. 'This is a strong indication that this NCM preshow initiative does not negatively influence moviegoing habits.' How has this impacted the audience? While theater chains may claim the practice hasn't impacted attendance, the timing of the COVID-19 pandemic and entertainment industry strikes make it difficult to isolate the exact reason for any changes in audience behavior. Thanks in part to the ' Barbenheimer ' phenomenon of two summers ago, 2023 was the best summer box office since all of this drama came about, bringing in $13.6 billion globally. Last year, meanwhile, saw a 10.3% decline domestically over 2023, according to Comscore. In June of this year, as reported by Deadline, Gower Street Analytics predicted the summer season would make around $12.4 billion in global box office revenue. Moviegoers appear to be holding steady. However, even though audiences are still showing up, they are starting to skip the trailers. According to Steve Buck's firm EntTelligence, only 60% of audiences were present for them this year. The numbers get lower in the movie-centric cities of Los Angeles and New York. Only 42% of Angelino cinephiles were present for every trailer, down from 55% last year. Only 42% of New Yorkers saw each trailer, down 5% from the previous year. These statistics to reveal a potential catch-22. While theater chains have to stay open to new sources of revenue, they may risk repeat business as fewer audience members are exposed to their full slate of coming attractions. 'What if a trailer plays in a movie theater and no one sees it? What good does it do?' Tom Rothman, Sony Motion Pictures Group chairman and CEO, mused to Deadline. 'It's incredibly self-defeating and shortsighted. Since the beginning of the movie business, the single best inducement to see movies is trailers in movie theaters. And now, nobody sees them.' Only questions remain. Will 'the skipping the trailers' trend continue and even grow? Will this lead to opting out of going to the movie theater altogether? Time will tell. For now, be armed with the knowledge that you have extra time to get your popcorn without missing the movie should you so choose.
