The musical series, which starred Matthew Morrison and Lea Michele, ran for six season before concluding in 2015

Ryan Murphy

Ryan Murphy has officially completed the script for a potential reboot of Glee. Speaking at the premiere of the new season of American Horror Story, Murphy told Entertainment Tonight that the cast is “very enthusiastic” about a potential reunion for the Fox musical comedy series, which ran for six seasons from 2009 to 2015.

“Well, funny you ask, because I just finished the script an hour ago,” Murphy said. “So, we have a script. Brad [Falchuk], Ian [Brennan] and I, who wrote all the first two seasons, have written something. I’ve been in touch with around 10 of the original cast members. It’s very sweet, and they all had a lot of questions, but they all were very enthusiastic about the idea.”

He added, “Nobody’s read it. So I don’t know, we’ll see. I vowed to myself that I wanted to write a couple of them to see what people think, particularly the cast, because we were very close when we were making it. So we’ll see.”

Murphy previously teased a return to Glee in July. “That show is interesting because it’s come back around,” he told People. “So many young people now watch it. And I’m like, ‘Maybe we should revisit that show.’ My nostalgia and love for that show is enough that I’m like, ‘Well, maybe people would like to see a new incarnation of that in some capacity.'”

Glee starred Matthew Morrison as head of the New Directions glee club at the fictional William McKinley High School in Lima, Ohio. Lea Michele, Cory Monteith, Amber Riley, Chris Colfer, Dianna Agron, Naya Rivera, Heather Morris, Kevin McHale, Jenna Ushkowitz, Darren Criss, Harry Shum Jr., and Mark Salling were among the actors who played the club’s students. The show also starred Jane Lynch as a rival teacher. Glee: The Concert Movie followed the success of the series, which ended in March 2015.

Murphy has been especially busy this year. In July, he debuted The Shards, an adaptation of Bret Easton Ellis’ 2023 novel for FX and Hulu. Earlier this month he premiered the latest iteration of his Monster series for Netflix, Monster: The Lizzie Borden Story. American Horror Story‘s 13th season kicks off tonight with three episodes. It features several returning cast members, including Jessica Lange, Sarah Paulson, Evan Peters, Angela Bassett, and Kathy Bates.

Harvey Weinstein on May 14, 2026, in criminal court in New York City.

Harvey Weinstein was sentenced to another 15 years in prison on Wednesday in what is likely to be his third and final sentencing in a long-running legal reckoning that has traced his fall from one of Hollywood’s most powerful producers to a convicted sex offender.

Addressing the court before Manhattan Supreme Court Judge Curtis J. Farber handed down the sentence, victim Mimi Haley said Weinstein “abused his position and power,” NBC News reported.

“It is a life sentence for me,” Haley said, referring to her sexual assault at the hands of Weinstein when she was an aspiring actress in 2006. She said the violent attack at Weinstein’s New York City apartment had a “devastating effect on my life and security.”

In his own address to the court, Weinstein again denied Haley’s allegations but said he was “not a perfect person.” Seated in a wheelchair, he then apologized to “anyone I may have hurt by my actions,” according to NBC News.

The latest twist in Weinstein’s sprawling, six-year legal saga follows his initial landmark #MeToo conviction in New York in 2020, a separate California conviction two years later, and the stunning reversal of his first conviction, a 2024 ruling that ultimately forced prosecutors to put him on trial two more times.

Weinstein, 74, has been accused of sexual misconduct by more than 100 women, including actors Ashley Judd, Annabella Sciorra, Mira Sorvino, Salma Hayek, Rosanna Arquette, and Gwyneth Paltrow. His scores of accusers allege Weinstein used his immense Hollywood power and gatekeeping status to isolate, harass, and sexually assault vulnerable victims over his lengthy career.

Weinstein’s long-running legal battle involving four trials on two coasts traces back to the 2017 Pulitzer Prize-winning exposé helmed by New York Times reporters Jodi Kantor and Megan Twohey that revealed he paid off sexual assault accusers for years. The blockbuster report helped unleash a wave of additional allegations and propelled the #MeToo movement into a global conversation about sexual abuse and power.

At Weinstein’s first trial in 2020, former Project Runway production assistant Mimi Haley gave harrowing testimony that Weinstein held her down on a bed at his Manhattan apartment and forcibly performed oral sex on her in 2006, when she was an aspiring actress. Another accuser, Jessica Mann, testified that Weinstein raped her at a New York hotel in 2013. Weinstein was initially convicted on charges involving both women and sentenced to 23 years in prison in March 2020.

But in a stunning reversal four years later, New York’s appeals court overturned the convictions, not because of anything involving Haley or Mann, but because it found the trial judge had improperly allowed extensive testimony about alleged “prior bad acts” that were not part of the charges. The court also found that Weinstein had been unfairly discouraged from testifying in his own defense by the prospect that prosecutors could cross-examine him about uncharged allegations.

The reversal immediately raised the prospect that Weinstein might go free, but he remained in custody due to his separate California conviction. A Los Angeles jury convicted him at a different trial in December 2022, and he was later sentenced to 16 years in prison the following February.

At the California trial, Weinstein faced allegations from four women. He was convicted of sexually assaulting Evgeniya Chernyshova, an Italian actor and model who testified that Weinstein arrived uninvited at her Los Angeles hotel room during a film festival in February 2013 and assaulted her after gaining entry.

The Los Angeles jury failed to reach verdicts on rape and forcible oral copulation charges involving Jennifer Siebel Newsom, the wife of Gov. Gavin Newsom of California, and on a sexual battery charge involving Lauren Young, who testified that Weinstein assaulted her at the Montage Hotel in Beverly Hills when she was a 23-year-old aspiring actress. The judge declared mistrials on those counts. Weinstein was acquitted of sexually assaulting the massage therapist Juls Bindi at a Beverly Hills hotel in 2010.

With Weinstein remaining in custody on his Los Angeles conviction, Manhattan prosecutors pressed ahead with a new trial involving Haley and Mann in 2025. Jurors again found Weinstein guilty of sexually assaulting Haley but deadlocked on the rape charge involving Mann.

Prosecutors tried the Mann charge once more before a new jury, but that panel also failed to reach a unanimous verdict, resulting in another mistrial earlier this year. Prosecutors later said they would not pursue a fourth trial on the Mann allegation, citing her decision to move on with her life and not testify again.

“To be clear, we believe Ms. Mann’s account and her credibility as a witness,” the Manhattan District Attorney’s Office said in a statement. “This has been an extraordinarily taxing ordeal for her, and she has never wavered while testifying in front of two grand juries and three trial juries over the course of eight years. We thank her for her honesty and her tremendous bravery.”

Before his dramatic downfall, Weinstein wielded enormous power in Hollywood as a producer and studio chief whose companies backed and distributed a string of Oscar-winning films, including Shakespeare in Love, Good Will Hunting, Chicago, The King’s Speech, and Silver Linings Playbook.

Nathan Fielder isn’t convinced Elizabeth Holmes has nothing to hide in the full-length trailer for A24’s You Can See Everything, a documentary film shot in the 30-day lead-up to Holmes beginning an 11-year prison sentence for defrauding investors in her blood-testing startup Theranos.

Out Oct. 16, the film follows Fielder as he comes to stay with Holmes and her family, using the time under their roof to go digging through their closet for any lingering skeletons. “Does any part of you worry about me being here 24/7?” Fielder asks Holmes in the trailer, following up shortly after with a more direct question: “What if I see something that makes you look bad?”

Holmes, who began her sentence in 2023, spent a year searching for loopholes to get out of it. She attempted to flee the country, pushed for a new trial, and begged not to be sent to jail. She must have known she couldn’t hold fate off for long. “I think this is the moment in time to capture this story before I’m gone,” she tells Fielder, who directed the film alongside Lance Oppenheim. He’s concerned about whether her version of the story is the truth.

Frankly, he doesn’t really believe her, or her husband, Billy Evans, who says there are “a lot of different levels of wealth” when Fielder asks if he ever worried Holmes was using him for his family’s money. “I still have this weird feeling that there’s some things that I’m not seeing,” Fielder says. Still, Holmes maintains her transparency: “It’s because I don’t have anything to hide.”

You Can See Everything premiered at the Telluride Film Festival earlier this month. “I really am struggling to this day to understand exactly what I experienced,” Fielder said at a Q&A following the screening. “And one of the things I’m genuinely excited about is for this movie to come out and for people to help me understand what I experienced. Truly, to this day, I don’t quite know what I went through.”

Despite repeated calls from the actors of the show, fans just can't seem to avoid turning their love of Heated Rivalry into creepy, parasocial behaviour.

With production on the way for the second season of the smash Crave hit, Hudson Williams’ girlfriend Katelyn Larson is asking Heated Rivalry fans to leave their curiosity out of her profession.

Larson, a Vancouver-area tattoo artist who has been dating Williams for several years, addressed what she described as recent boundary-crossing behaviour at her studio in an Instagram Story on Sept. 22. According to Larson, some fans have been booking tattoo appointments because of her connection to the hit hockey drama, then using those appointments to ask her coworkers personal questions about her and Williams.

“Booking an appointment with me or anyone else purely because of the connection to the show crosses a huge territory,” Larson wrote, calling the questions “hugely uncomfortable for everyone.”

She made a distinction between fans who discovered her work through Heated Rivalry and those treating the studio as a backdoor into Williams’ personal life. Following her or another artist because they genuinely like their tattoos, she said, is completely fine. Booking an appointment solely because of the show, however, is not.

Larson has largely stayed away from the spotlight, a preference Williams has acknowledged in interviews. “She’s not trying to be out there or be perceived,” he told ETalk Canada in March.

Williams plays Shane Hollander in the series, opposite Connor Storrie’s Ilya Rozanov. Their characters’ secret romance turned the Canadian production into a breakout hit, while the chemistry between the two actors helped fuel a massive online fandom.

The actor has also faced other uncomfortable encounters with fans, including a confrontation with autograph seekers earlier this year. Heated Rivalry is currently filming its second season in Canada, with the next chapter expected to arrive on HBO Max and Crave in April 2027.

You wouldn’t think a simple three-word phrase could be so compelling, so menacing, so locked and loaded for generating humiliation. But every time Chris Hansen casually uttered, “Have a seat” to whomever was loitering inside a typical American house, located in a typical American suburb, with a typical American police force waited outside to bust the person, you felt a chill go through your bones. To Catch a Predator began as a Dateline NBC segment and evolved — metastasized? — into a brand that gave birth to a cottage industry. The idea was simple: lure online pedophiles lurking in chat rooms to an in-person encounter with a decoy. Confront them when they show up. Roll cameras and broadcast the public shaming to the nation. “There used to be a pillory in every town,” the host declares. “Now there’s a television in every home.”

That sentiment is spoken by Robert Pattinson‘s version of Hansen in Primetime, though who knows if the real Hansen felt compelled to articulate that notion on the way to celebrity. Or, for that matter, whether the grandfather of the Reality-Vigilante-TV Industrial Complex ever felt the level of fear and self-loathing that radiates off the star’s human-flop-sweat of a portrayal. Regardless, it’s a great buried-lede of a line, one of several that pops out in filmmaker Lance Oppenheim’s dramatization of To Catch a Predator‘s rise and moral free-fall. Oppenheim cut his teeth making documentaries that he’s described as “stranger than ‘stranger than fiction,'” casting his lens on sperm donors (Spermworld), retirement communities (Some Kind of Heaven, The Paradise Next Door), and power struggles among cosplayers (Ren Faire). Uncomfortability is his comfort zone, and he’s picked an oddly perfect subject for his first narrative feature: manufactured nonfiction that presented as righteousness and doubled as queasy entertainment. To answer the eternal TCAP question: Yes, he sees how this looks. And he’d like you to take a long, hard look at how and why this show imprinted on our collective imagination, for better or worse.

This isn’t the first time in recent years that To Catch a Predator has been put in the hot seat — Robert Osit’s excellent documentary Predators examined the phenomenon from a number of viewpoints, and let Hansen speak for himself. Primetime takes a different tack, focusing on the show’s opportunity to level up as it’s hitting the peak of its popularity and giving Pattinson a stage on which to rage. Performance is the throughline in more ways than one. When we meet Hansen, he’s trying out variations of the “gotcha” moments he’ll soon spring on one of the perps; the way Pattinson pronounces the word “lubricant” as if he’s savoring each syllable immediately sets the tone. The actor has specialized in live-action gargoyles in his post-Twilight period, and the gent is in his element here. This Hansen feels like a twitchy, touchy embodiment of true-crime ambition. Pattinson has the passive-aggressive cadence and trolling thunder of the real thing down pat, with more than a bit of fairy-tale troll thrown in for good measure. (You can understand why the actual TCAP host has, shall we say, a complicated relationship with this project.)

The show is already on its way to being a runaway hit when network head Jeff Zucker — played by Jeff Zucker, because he was available so why not? — dangles a golden carrot in front of Hansen and his perpetually gum-snapping producer Andie Bender (Merrit Wever, pure perfection). He wants to give To Catch a Predator a primetime slot on Sunday, against ABC’s Lost. Hansen is over the moon. The level-up may not shut up that smug Stone Phillips (Bill Heck), who coos that he’ll watch “from Afghanistan,” where he’s about to do real reporting on a war. But finally, the host thinks, his baby will get the kudos it deserves. The caveat is that TCAP has to start catching bigger fish. What they really need, Hansen thinks, is a whale.

Primetime gives you a gallery of showbiz grotesques and True Crime Inc. archetypes, from the way-too-into-it researcher (Matthew Maher) to the executive (Jessica Hecht) trying to poach Bender for a copycat series on a competing network. What the audience needs is a surrogate, which the movie delivers in the form of Dam Plumb (Licorice Pizza‘s Skylar Gisando). He’s an aspiring actor that auditions for a mystery gig, i.e. a 13-year-old boy used to entice pervs and creeps for these televised sting operations. “Decoy Dan,” as Hansen dubs him, isn’t sure about any of this, especially after he’s thrown in the deep end of the pool on his first day. But hey, work is work. The devil on his shoulder, Bender, keeps giving him the thumbs up. The angel on the other side, in the form of a fellow decoy with a conscience — what’s up, Phoebe Bridgers! — warns him that this will indeed take a toll on his soul. Meanwhile, a father figure who does not have the young man’s best interests at heart keeps saying he’s a superhero. When that metaphorical whale surfaces in Murphy, TX, the scene is set for a disaster.

Folks who are up on their To Catch a Predator history know what happens next, and it isn’t pretty. Primetime takes its sweet time in settling on a specific tone for the story it wants to tell: It’s not a satire, but it’s close. It’s not a straight bio-drama, but it’s close. It’s not a horror movie, but it’s really, really close. That last act finally fully commits to the third option, and you feel like Oppenheim and co. are mounting a full-court press against whatever subtlety that might be loitering on the periphery. Going for baroque is the only way to truly capture what the movie is about, however. TCAP shouldn’t be held for all of our collective sins as a society, of course. But in terms of where we’re at right now — the performative righteousness, the obsession over fame, the need to turn the worst aspects of humanity into the best entertainment money can buy — well, you can see how this looks, right? Primetime recounts how this show didn’t create a sense of collective bloodlust, it just rode a wave that was already there. Then it tells us we’re free to go, knowing what awaits us right outside the front door.

Norm: The Tale of Norm Macdonald. Norm Macdonald in Norm: The Tale of Norm Macdonald.

Norm: The Tale of Norm Macdonald, a new documentary directed by Judd Apatow, will look at the late comedian’s life and career. The trailer for the film, which hits Netflix on Oct. 16, compiles some of Macdonald’s best jokes (“When I was a kid I walked in on my parents having sex,” he says in one scene, “It was the most embarrassing half hour of my life”) along with clips of Macdonald talking with Sarah Silverman, Jim Carrey, Adam Sandler, and David Letterman, among others. The clip shows Macdonald discussing his firing from Saturday Night Live, where he hosted Weekend Update, to appearances in movies and samples of his standup comedy.

Unlike documentaries that feature retrospective talking-head interviews with people looking back on a subject, Apatow compiled Norm using “archival footage, personal photos, and rare home videos contributed by fans and friends,” according to Netflix, so Macdonald ostensibly could tell his story in his own voice.

The doc is one of four documentaries about comedians that the streamer has coming in October. The late Bob Saget co-directed Who Is Martin Mull?, out Oct. 7, about Mull, the actor and comedian who died in 2024, with Neil Berkeley. It features recollections from Steve Martin, Tom Waits, and David Alan Grier, among others. Apatow and Berkeley teamed up to co-direct Paralyzed by Hope: The Maria Bamford Story, which traces Bamford’s Minnesota origins to fame in L.A. and comes out Oct. 23. And SCTV: The Greatest Show You’ve Never Heard Of, directed by Jason Hehir, tells the story of the cult Canadian sketch show that launched the careers of Catherine O’Hara, Eugene Levy, Rick Moranis, Martin Short, and others. It hits Netflix on Oct. 30.