Latest news with #Disney+'
Yahoo
18 hours ago
- Entertainment
- Yahoo
What's Coming to Disney+ in August 2025
As summer begins to heat up, Disney+'s July slate features new and returning films and TV shows for fans to discover. This month's slate will consist of the premiere of 'Eyes of Wakanda,' Marvel Animation's new series that follows the adventures of the Wakandan War Dogs, who are involved with the the secret organization known as the Hatut Zeraze. The August lineup will also consist of Chris Hemsworth's new series 'Limitless: Live Better Now,' which follows Hemsworth as he takes on three science-based challenges to explore new ways to improve our health. Fashion enthusiasts can also continue to binge 'Project Runway' at the end of the month as Season 21 continues to stream online. More from Variety 'Eyes of Wakanda' Trailer: Black Panther's Ancient History Told in Animated Series From Ryan Coogler 'Eyes of Wakanda' Animated Series Announced at Marvel Studios Take a look at Disney+'s full August slate below, and sign up for a Disney+ account here. August 1 'Eyes of Wakanda' 'Outdoor Adventure Stream' August 3 'Naming the Dead' (S1, 6 episodes) 'Christmas Wars' (S1, 2 episodes) 'Christmas Wars' (S2, 4 episodes) 'Low Life' (S1, 2 episodes) 'Rachael Ray's Holidays' (S1, 4 episodes) 'Raising Asia' (S1, 13 episodes) 'Wild Vietnam' (S1, 2 episodes) 'The Proud Family: Louder and Prouder' (Season 3, All Episodes) August 7, 2025 'Ancient Aliens: Origins' (S1, 12 episodes) Project Runway (Season 21) (Episode 3) August 8 'Christmas Hotel' 'A Christmas in Tennessee' 'The Christmas Pact' 'Radio Christmas' 'SuperKitties: Su-Purr Adventures: Shorts' (S2, 10 episodes) August 10 'Traveling with Snow Man' (Episode 2) August 12 'Marvel's Iron Man and his Awesome Friends' August 13 'Chibiverse' (S2, 3 episodes) 'Chibiverse' (S3, 12 episodes) 'Low Life' (S1, 2 episodes) August 14 'Project Runway' (Season 21) (Episode 4) August 15 'Limitless: Live Better Now' 'Stand Up to Cancer 2025' August 17 'Disney Jr. Ariel – The Little Mermaid: Songs from the Crystal Cavern Shorts' (S1, 10 episodes) August 20 'Ice Road Rescue' (S7, 8 episodes) 'Ice Road Rescue' (S8, 8 episodes) 'Ice Road Rescue' (S9, 9 episodes) 'Reminder' (S1, 8 episodes) August 21 'Me & Winnie the Pooh' (S2, 6 episodes) Project Runway (Season 21) (Episode 5) August 22 'Disney Jr.'s Ariel' (S1, 8 episodes) August 25 'The Last Rhinos: A New Hope' 'LEGO Disney Princess: Villains Unite' August 27 'Chibi Tiny Tales: Shorts' (S6, 6 episodes) 'Marvel's Spidey and his Amazing Friends' (S4, 3 episodes) 'Shipwreck Hunters Australia' (Season 2, 6 Episodes) August 28 'Project Runway' (Season 21) (Episode 6) Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Final Emmy Predictions: Talk Series and Scripted Variety - New Blood Looks to Tackle Late Night Staples Solve the daily Crossword
The Guardian
a day ago
- Entertainment
- The Guardian
TV's best (and worst) historical epics: from Wolf Hall to I, Claudius
Inflate thy balloons and unsheathe thy Party Rings, for here is Chief of War (Apple TV+) to remind us of the joy of the scowling historical epic. Here too, almost, is Battle of Hastings belter King & Conqueror (BBC, August). And Spartacus: House of Ashur (Starz, this winter). Also in the period-specific pipeline are second series for Disney+'s brilliant Shogun and Amazon Prime's terrible House of David. Historical epics, it would not be unreasonable to say, are everywhere. But which are the best and which should be catapulted, screaming, across a poorly rendered CGI battlefield? Given their abundance, some arbitrary judging criteria are clearly in order. Hence: no 'fantasy' nonsense (ie Game of Thrones) and nothing set after the early 1800s, the latter on the grounds that a) there are too many of the sods and b) Julian 'Downton Bloody Abbey' Fellowes has effectively tucked the era under his top hat and run off with it while honking like an overprivileged goose. Let battle commenceth… A barrel-chested wodge of Big History in which mountainous creator and co-writer Jason Momoa thunders through the based-on-true-events that led to the late 18th century unification and, ultimately, colonisation of his native Hawaii. And it's brilliant; from its predominantly Polynesian cast to the sense of doom that swirls perpetually around the scenic foothills of Mount Momoa. It may lean a touch too heavily on extended, subtitled brawls in which there is much [grunting], but this is heartfelt storytelling; as muscular and sincere as its loinclothed protagonist. Startlingly brutal middle ages od(in)yssey in which mud-caked peasants duck from the flailing mace of progress/death and Norsemen with calves like bowling balls stagger across fjords, their complexions suggesting they may not be getting their five a day. There are the obligatory fireside frottageings, but this is clever stuff, with complex characters, an atmosphere of thunderously oppressive gloom and dialogue that does not make one long to inter oneself, sobbing, in a flaming longship. The second adaptation of James Clavell's 1,100-page clomp through the late Sengoku period of feudal Japan, this US-produced saga leaves its beloved 1980 predecessor spluttering in its backwash, the latter's once sacrosanct USP (Richard Chamberlain blinking expressionlessly in a kimono) unable to compete with the former's rich, knotty script, riveting characterisation and steadfast attention to historical detail. Cue stoic samurai, scurvy-ridden sailors and preoccupied warlords in a succession of exquisitely indifferent terrains and everyone else sprinting for cover as the whole shebang is (justly) pelted with Emmys. Yes, the pace is slow, the sets perfunctory and the wigs apparently assembled from the contents of a vacuum cleaner. But still, 50 years on, the BBC's adaptation of Robert Graves' novels on the bastardry of the early Roman empire remains one of TV's finest achievements, with an unapologetically adult script and magnificent, pillar-rattling performances from John Hurt, Siân Phillips and Derek Jacobi, the last assisted by prosthetic makeup and a false nose that could dislodge the cobwebs from a triumphal arch. An object lesson, here, in how to deliver prestige historical drama without recourse to bums or bombast. Instead, there are exquisitely layered performances (Damian Lewis, Jonathan Pryce), quiet, adult explorations of difficult, adult things (grief, ageing) and many, many candlelit silences into which Mark Rylance's Thomas Cromwell glides, his expression, as always, that of a ferret saddened by developments in France. A monumental achievement, obviously, and in director Peter Kosminsksy and scriptwriter Peter Straughan's hands, a near-perfect adaptation of Hilary Mantel's three-piece masterpiece. Rome, 1492, and the Vatican is besieged by filth as director/co-creator Neil Jordan takes a stiff quill to non-secular skulduggery. Cue: tumescent priests, pouting strumpets and a never-wearier Jeremy Irons as Pope Shagger VI. Here, historical integrity is something to be bent over and humped, unconvincingly, behind a net curtain. The script? Pfft. The acting? Tsk. The plot? Possibly, although it's tricky to concentrate on the dynastic machinations of 15th century Italy when Irons in a mitre keeps shouting 'WHORE'. A catastrophic attempt by the BBC to replicate the success of I, Claudius by squeezing Grade II-listed hams into togas and forcing them to SHOUT at punishing length about the PTOLEMAIC DYNASTY in what appears to be an abandoned REGIONAL LEISURE CENTRE. The upshot? Tedium. Plus? Bald caps, flagrant boobery, Richard Griffiths 'working' a 'smoky eye', the line 'Let's get out of Egypt!' and trembling extras gulping in horror as the plot catapults yet another flaming ball of exposition at the studio floor. Manacled jocks go loincloth to loincloth in a US production comprised almost entirely of buttocks. There is, occasionally, other stuff: blood, knockers, airborne viscera, Americans in sandals decapitating other Americans while shouting 'ass', some 'plot' or other involving revenge, John Hannah (as dastardly slave trader Batiatus) bellowing 'BY JUPITER'S COCK!' at 30-second intervals etc. But it is mainly buttocks. Watch it on fast-forward and it's like being shot in the face by a pump-action bum-gun. One, two, swashbuckle my shoe: abject 'international co-production' tosh here from the Beeb as Alexandre Dumas's novels are reimagined for whichever generation it is that is supposed to be interested in this sort of thing. And lo, much adolescent tomfoolery doth ensue, with PG-rated punch-ups, tiresome hunks smirking in pleather and dialogue of the 'Things just got complicated!' genus. The result? Hollycloaks. Peter Capaldi does his best as Cardinal Richelieu but it would take more than thigh boots and nostril-flaring to lighten this particular load. Verily, my liege, this idiot Canadian-Irish co-production does dance a merry jig upon the very concept of historical accuracy, with its Irish Henry VIII (Jonathan Rhys Meyers), its ripped courtiers and Joss Stone as Anne of Cleves. There is the occasional grudging nod to Actual Historical Stuff (the Reformation, wives etc). But it's mostly just Henry banging his way around Tudor England, his bum cheeks jack-hammering with such ferocity that they are little more than a meaty blur, like a deli counter viewed from the top deck of a speeding bus in the rain. Chief of War is on Apple TV+ from 1 August.
The Guardian
a day ago
- Entertainment
- The Guardian
TV's best (and worst) historical epics: from Wolf Hall to I, Claudius:
Inflate thy balloons and unsheathe thy Party Rings, for here is Chief of War (Apple TV+) to remind us of the joy of the scowling historical epic. Here too, almost, is Battle of Hastings belter King & Conqueror (BBC, August). And Spartacus: House of Ashur (Starz, this winter). Also in the period-specific pipeline are second series for Disney+'s brilliant Shogun and Amazon Prime's terrible House of David. Historical epics, it would not be unreasonable to say, are everywhere. But which are the best and which should be catapulted, screaming, across a poorly rendered CGI battlefield? Given their abundance, some arbitrary judging criteria is clearly in order. Hence: no 'fantasy' nonsense (ie Game of Thrones) and nothing set after the early 1800s, the latter on the grounds that a) there are too many of the sods and b) Julian 'Downton Bloody Abbey' Fellowes has effectively tucked the era under his top hat and run off with it while honking like an overprivileged goose. Let battle commenceth… A barrel-chested wodge of Big History in which mountainous creator and co-writer Jason Momoa thunders through the based-on-true-events that led to the late 18th century unification and, ultimately, colonisation of his native Hawaii. And it's brilliant; from its predominantly Polynesian cast to the sense of doom that swirls perpetually around the scenic foothills of Mount Momoa. It may lean a touch too heavily on extended, subtitled brawls in which there is much [grunting], but this is heartfelt storytelling; as muscular and sincere as its loinclothed protagonist. Startlingly brutal middle ages od(in)yssey in which mud-caked peasants duck from the flailing mace of progress/death and Norsemen with calves like bowling balls stagger across fjords, their complexions suggesting they may not be getting their five a day. There are the obligatory fireside frottageings, but this is clever stuff, with complex characters, an atmosphere of thunderously oppressive gloom and dialogue that does not make one long to inter oneself, sobbing, in a flaming longship. The second adaptation of James Clavell's 1,100-page clomp through the late Sengoku period of feudal Japan, this US-produced saga leaves its beloved 1980 predecessor spluttering in its backwash, the latter's once sacrosanct USP (Richard Chamberlain blinking expressionlessly in a kimono) unable to compete with the former's rich, knotty script, riveting characterisation and steadfast attention to historical detail. Cue stoic samurai, scurvy-ridden sailors and preoccupied warlords in a succession of exquisitely indifferent terrains and everyone else sprinting for cover as the whole shebang is (justly) pelted with Emmys. Yes, the pace is slow, the sets perfunctory and the wigs apparently assembled from the contents of a vacuum cleaner. But still, 50 years on, the BBC's adaptation of Robert Graves' novels on the bastardry of the early Roman empire remains one of TV's finest achievements, with an unapologetically adult script and magnificent, pillar-rattling performances from John Hurt, Siân Phillips and Derek Jacobi, the last assisted by prosthetic makeup and a false nose that could dislodge the cobwebs from a triumphal arch. An object lesson, here, in how to deliver prestige historical drama without recourse to bums or bombast. Instead, there are exquisitely layered performances (Damian Lewis, Jonathan Pryce), quiet, adult explorations of difficult, adult things (grief, ageing) and many, many candlelit silences into which Mark Rylance's Thomas Cromwell glides, his expression, as always, that of a ferret saddened by developments in France. A monumental achievement, obviously, and in director Peter Kosminksy and scriptwriter Peter Straughan's hands, a near-perfect adaptation of Hilary Mantel's three-piece masterpiece. Rome, 1492, and the Vatican is besieged by filth as director/co-creator Neil Jordan takes a stiff quill to non-secular skulduggery. Cue: tumescent priests, pouting strumpets and a never-wearier Jeremy Irons as Pope Shagger VI. Here, historical integrity is something to be bent over and humped, unconvincingly, behind a net curtain. The script? Pfft. The acting? Tsk. The plot? Possibly, although it's tricky to concentrate on the dynastic machinations of 15th century Italy when Irons in a mitre keeps shouting 'WHORE'. A catastrophic attempt by the BBC to replicate the success of I, Claudius by squeezing Grade II-listed hams into togas and forcing them to SHOUT at punishing length about the PTOLEMAIC DYNASTY in what appears to be an abandoned REGIONAL LEISURE CENTRE. The upshot? Tedium. Plus? Bald caps, flagrant boobery, Richard Griffiths 'working' a 'smoky eye', the line 'Let's get out of Egypt!' and trembling extras gulping in horror as the plot catapults yet another flaming ball of exposition at the studio floor. Manacled jocks go loincloth to loincloth in a US production comprised almost entirely of buttocks. There is, occasionally, other stuff: blood, knockers, airborne viscera, Americans in sandals decapitating other Americans while shouting 'ass', some 'plot' or other involving revenge, John Hannah (as dastardly slave trader Batiatus) bellowing 'BY JUPITER'S COCK!' at 30-second intervals etc. But it is mainly buttocks. Watch it on fast-forward and it's like being shot in the face by a pump-action bum-gun. One, two, swashbuckle my shoe: abject 'international co-production' tosh here from the Beeb as Alexandre Dumas's novels are reimagined for whichever generation it is that is supposed to be interested in this sort of thing. And lo, much adolescent tomfoolery doth ensue, with PG-rated punch-ups, tiresome hunks smirking in pleather and dialogue of the 'Things just got complicated!' genus. The result? Hollycloaks. Peter Capaldi does his best as Cardinal Richelieu but it would take more than thigh boots and nostril-flaring to lighten this particular load. Verily, my liege, this idiot Canadian-Irish co-production does dance a merry jig upon the very concept of historical accuracy, with its Irish Henry VIII (Jonathan Rhys Meyers), its ripped courtiers and Joss Stone as Anne of Cleves. There is the occasional grudging nod to Actual Historical Stuff (the Reformation, wives etc). But it's mostly just Henry banging his way around Tudor England, his bum cheeks jack-hammering with such ferocity that they are little more than a meaty blur, like a deli counter viewed from the top deck of a speeding bus in the rain. Chief of War is on Apple TV+ from 1 August.
UPI
2 days ago
- Entertainment
- UPI
'Eyes of Wakanda' to release Friday on Disney+
1 of 3 | Winnie Harlow is among the voice cast of Disney+'s upcoming "Eyes of Wakanda" limited series. File Photo by Rune Hellestad/UPI | License Photo July 28 (UPI) -- Disney+ is teasing the upcoming limited animated series Eyes of Wakanda, which arrives on the streamer Friday. In the preview released Monday, viewers are introduced to Wakanda's network of secret spies who carry out important missions. Wakanda was introduced into the Marvel Cinematic Universe in Ryan Coogler's Black Panther films. The four episodes in Eyes of Wakanda "follows the adventures of brave Wakandan War Dogs of the secret organization the Hatut Zeraze throughout history. In this globe-trotting adventure, they must carry out dangerous missions to retrieve Vibranium artifacts lost to the world," an official synopsis reads. The series is premiering than initially anticipated, Deadline reports, after it was scheduled to debut on Aug. 6, then Aug. 27. The voice cast includes Winnie Harlow, Cress Williams, Patricia Belcher, Harry Herron, Adam Gold, Lynn Whitfield, Jacques Colimon, Jona Xiao, Isaac Robinson-Smith, Gary Anthony Williams, Zeke Alton, Steve Toussaint and Anika Noni Rose.
Newsweek
2 days ago
- Entertainment
- Newsweek
'Eyes of Wakanda' - Everything We Know So Far
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors In different stages of production since 2021, "Eyes of Wakanda" is finally almost here. The series debuts on Disney+ soon, showcasing different Wakandan heroes across the centuries. Read More: 'The Fantastic Four' Smashes 'Superman' Box Office Record What is "Eyes of Wakanda" about? When and where can you watch it? Is the series even canon? We've got the answers to these questions and more. Disney+'s "Eyes of Wakanda." Disney+'s "Eyes of Wakanda." DISNEY What Is 'Eyes of Wakanda' About? Most of "Eyes of Wakanda" is an espionage story following members of the Hatut Zaraze, whose name translates to "Dogs of War." It's Wakanda's own clandestine CIA-like agency, focusing mostly on making sure the country's vibranium artifacts stay out of foreign hands. Showrunner Todd Harris told Entertainment Weekly, "When an inciting incident releases some of these things into the wild, they've got to, in a very hush hush kind of way, make sure that these things don't turn into a bigger problem. We saw what happened when one disc got into the hands of one Super Soldier — it changed the course of the world." Is There A Trailer For 'Eyes of Wakanda'? A trailer for "Eyes of Wakanda" released on Monday, July 28, days before the series premiere. You can watch the trailer below. Who Is In 'Eyes of Wakanda'? According to IMDb, the cast of "Eyes of Wakanda" includes: Cress Williams Anika Noni Rose Gary Anthony Williams Lynn Whitfield Steve Toussaint Jona Xiao Winnie Harlow Zeke Alton Danai Gurira Walles Hamonde Aidan Bristow Gabriel Burrafato Also, Entertainment Weekly has named Jacques Colimon as part of the voice cast. What Timeline Does 'Eyes of Wakanda' Take Place In? Most of Marvel's animated Disney+ offerings have taken place outside of the "sacred timeline," i.e. Earth-616. "What If...?," "Your Friendly Neighborhood Spider-Man," and "X-Men '97" have all taken place outside of the main continuity of the MCU. "Eyes of Wakanda" is different. The series takes place within Earth-616 and is considered canonical to the sacred timeline, where most of the movies and live-action series have taken place. Where Can You Watch 'Eyes of Wakanda'? "Eyes of Wakanda" will stream on Disney+. How Many Episodes of 'Eyes of Wakanda' Will There Be? "Eyes of Wakanda" will consist of a total of four episodes. When Does 'Eyes of Wakanda' Release? All four episodes of "Eyes of Wakanda" hit Disney+ on Friday, August 1st. Will There Be a Season 2 for 'Eyes of Wakanda'? So far, "Eyes of Wakanda" has been officially referred to as a limited series and there is no word on plans for a Season 2. More Comics News: 'Fantastic Four' Star Wants A Spider-Man Team-Up 'Fantastic Four' Early Reactions Are Overwhelmingly One-Sided John Malkovich Cut From 'The Fantastic Four'
