Let’s be honest: most of us are juggling at least three streaming subscriptions and still complaining there’s “nothing to watch.” This May, the platforms have decided to prove us wrong, big time. From originals to long-awaited sequels and hidden gems, the streaming giants are pulling out all the stops.
So instead of sifting through everything, here’s a curated cheat sheet: five platforms that have stepped up their game this month, and exactly what they’re serving.
1. Netflix — for originals and crowd-pleasers
Netflix is swinging for the fences this May with a line-up that mixes genres and feel-good.
• Sirens (May 22): Julianne Moore, Meghann Fahy, and Milly Alcock go head-to-head in this darkly funny limited series set in a beachside mansion where family tensions, class divides, and old grudges boil over.
• Paddington in Peru (May 30): Everyone’s favourite marmalade-loving bear returns for a heartwarming adventure in his homeland.
• Fear Street: Prom Queen (May 23): The fourth entry in the hit horror anthology takes prom night and turns it into a deadly competition.
• Forever (May 8): A touching YA romance based on Judy Blume’s novel, updated with fresh voices and a modern setting.
Netflix balances nostalgia, horror, and heart with an eclectic May line-upiStgetty imagesock
Be it emotional punches, nostalgic sweetness, or genre mashups, Netflix has something to make your subscription feel justified again.
2. Max — for prestige storytelling and cult favourites
Max continues to lean into its “serious TV for serious people” brand, and this month, it absolutely works.
• The Brutalist (May 16): Adrien Brody stuns in this gorgeously filmed historical drama about a Holocaust survivor turned architect. It's moody, meticulous, and hauntingly good.
• Conan O’Brien Must Go: Season 2 (May 8): The red-haired late-night legend is back, globe-trotting with awkward charm and total cultural confusion.
• Pee-wee’s Big Adventure: Tim Burton’s 1985 classic lands just in time for the upcoming HBO doc Pee-wee as Himself.
Max leans into prestige and personality with standout originals and cult favouritesiStock
Max proves it’s not just where prestige goes to live but where it still thrives.
3. Apple TV+ — for weird, wonderful originals you didn’t know you needed
Apple TV+ might not flood your homepage, but it quietly drops some of the most interesting shows around.
• Murderbot (May 16): Alexander Skarsgård plays a rogue security cyborg with a love for soap operas and a distaste for humans. It’s action-packed, hilarious, and oddly relatable.
• Carême: A lush French period piece about a pastry chef-turned-spy in Napoleon’s court. Yes, it’s deliciously strange and that’s the point.
Apple TV+ surprises with bold, offbeat stories that punch above their weightTechRadar
If you like your shows a little left of centre and a lot of quality, Apple TV+ is clearly May’s under-the-radar champion.
4. Hulu — for career-best performances and offbeat stories
Hulu’s May catalogue is bursting with originality and a dash of emotional wreckage.
• The Last Showgirl (May 23): Pamela Anderson delivers her most vulnerable performance yet as a fading Vegas dancer in Gia Coppola’s bittersweet drama.
• Summer of ’69 (May 9): A teen comedy with an unexpected emotional core, about a girl who hires a dancer to seduce her crush. Weird? Yes. Charming? Also yes.
Hulu mixes emotional depth with quirky charm in its refreshingly original slateTechRadar
Hulu is leaning into character-driven stories that aren’t afraid to be a little messy, and that’s where it really shines.
5. Prime Video — for adrenaline, true crime, and guilty pleasures
Amazon’s streamer is having a wild month balancing speed, spectacle, and serious substance.
• Motorheads (May 20): Think Fast & Furious meets Euphoria. This high-action series mixes teen angst with turbo-charged drag racing.
• The Hunt for Shannon Matthews: A chilling documentary revisiting one of the UK’s most shocking child disappearance cases but packed with new insights.
• Another Simple Favour (May 23): Blake Lively and Anna Kendrick reunite for a dark comedy sequel dripping with twists and dry wit.
Prime Video delivers high-octane drama and gripping true crime in equal measure
iStock
Prime Video is basically saying: “Why choose between chaos and quality when you can have both?”
Final scroll: how to get more, for less
Not all platforms are created equal, but this month, these five are clearly bringing their A-game. So, open your app drawer, silence your group chats, and press play. May won’t wait.
This May, the question isn’t what to watch. It’s where to start!
The countdown to the last season of Stranger Things has officially begun, but fans might be waiting longer than expected to see how it all ends. Though Netflix has confirmed the show will return in 2025, a new rumour suggests the final season could be released in three waves, with the concluding episodes potentially dropping in 2026.
According to an unverified leak circulating on Twitter, Stranger Things 5 could be split into three volumes: one in October 2025, another in November 2025, and a third sometime in 2026. If this is true, the finale might not land until well into next year, stretching the goodbye even further.
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So far, Netflix hasn’t confirmed this staggered release. More clarity may come on 31 May, when Netflix’s annual Tudum event goes live. The streaming giant is expected to reveal updates on several big titles, including Emily in Paris, Squid Game Season 3, and possibly the official timeline for Stranger Things Season 5.
Here’s what we do know: filming wrapped up in December 2024, and the new season will have eight episodes set in the autumn of 1987, about six months after Season 4. Netflix has already released the episode titles, which include The Crawl, The Turnbow Trap, Escape from Camazotz, and The Rightside Up, all titles that hint at returning themes from earlier seasons.
Stranger Things season 4 poster Wikipedia
The core cast will be back for one last mission in Hawkins, including Millie Bobby Brown, Finn Wolfhard, Sadie Sink, and Gaten Matarazzo. Veteran actress Linda Hamilton is also joining the final chapter, although her role remains under wraps.
Behind the scenes, the mood has been emotional. At the final table read, several cast members reportedly broke down in tears. David Harbour (Hopper) described it as “waves of people crying,” while Millie Bobby Brown shared a heartfelt message on social media, reflecting on her journey from child actor to global star.
Once Season 5 wraps, the Stranger Things universe won’t close entirely. An animated series titled Stranger Things: Tales From ’85 is in the works. Details are scarce, but it promises to explore new corners of the show’s world, whether or not the original cast returns.
For now, fans will have to hold tight as Netflix prepares to bring one of its biggest shows to a dramatic, and possibly drawn-out, conclusion.
Twenty-five years after it first captivated global audiences, Walking With Dinosaurs is making a comeback. The new BBC factual series, narrated by actor Charlotte Ritchie, reimagines the groundbreaking 1999 show using cutting-edge science and state-of-the-art visual effects to explore the lives of six individual dinosaurs. The six-part series will air on BBC One and BBC iPlayer and has been co-produced with PBS, ZDF, and France Télévisions.
Charlotte Ritchie, best known for her roles in Ghosts, Feel Good, and Call the Midwife, leads the narration in this latest retelling, bringing emotional depth and clarity to stories rooted in real palaeontological discoveries.
Each episode focuses on a single dinosaur and is built around true fossil finds. This shift from a general overview of species to character-led narratives gives the series a new emotional dimension. “These are real creatures,” said showrunner Kirsty Wilson. “I’ve seen their very remains come out of the rock and I know from the evidence that they lived real, beautiful and complex lives.”
Episode highlights
Episode one, The Orphan, follows Clover, a young Triceratops, navigating the dangers of Laramidia 66 million years ago. Her fossil was discovered in the Hell Creek Formation in Montana, close to the remains of a Tyrannosaurus rex, suggesting a real-life predator-prey encounter.
In The River Dragon, viewers meet Sobek, a Spinosaurus who lived in ancient Morocco. Discovered by palaeontologist Dr Nizar Ibrahim, Spinosaurus is believed to have spent much of its life in water. The episode portrays Sobek as a devoted father protecting his offspring while navigating a treacherous environment filled with predators.
Episode three, The Band of Brothers, features George, a juvenile Gastonia discovered in Utah. Covered in protective spikes and plates, George and his siblings face threats from Utahraptors, large predatory dinosaurs thought to hunt in packs.
Rose, a young Albertosaurus, takes centre stage in The Pack. Discovered in Alberta, she is depicted as part of a group of agile predators. Her episode highlights the possibility that Albertosaurus may have hunted cooperatively, based on multiple fossils found in a single site.
In The Journey North, the story follows Albie, a juvenile Pachyrhinosaurus, through a dangerous 400-mile migration. Palaeontologist Dr Emily Bamforth’s work at Pipestone Creek Bonebed forms the basis of this episode, which also explores how these large herbivores may have used their unique horned frills for recognition within vast herds.
The series concludes with Island of Giants, focusing on Old Grande, a colossal Lusotitan from what is now Portugal. His fossil is the most complete specimen of this species ever discovered, offering insights into the behaviour and physical characteristics of one of Europe’s largest dinosaurs.
Bringing dinosaurs to life
The new Walking With Dinosaurs uses the latest VFX technology to recreate prehistoric worlds with unprecedented detail. The dinosaurs were built from digital skeletons outward, incorporating muscle and skin based on fossil evidence. Each episode is grounded in up-to-date palaeontological research, with real dig sites featured throughout.
The team’s commitment to accuracy extended to every element, including simulating realistic movement by physically interacting with natural environments while dressed in blue suits – a method used to later insert the digital dinosaurs seamlessly into real landscapes.
The involvement of scientists like Dr Nizar Ibrahim and Dr Emily Bamforth ensured that the series reflects the most recent findings. For instance, new evidence supports that some dinosaurs, such as Albertosaurus and Yutyrannus, had feathers, and that Spinosaurus was primarily aquatic.
Science and storytelling
Unlike the original 1999 series, which focused more on general prehistoric ecosystems, the updated version intertwines factual storytelling with emotional character arcs. Each dinosaur’s tale is inspired by fossil evidence and current scientific theories, adding emotional resonance without sacrificing accuracy.
This mix of factual content and cinematic narrative is at the heart of the reboot. “We wanted this series to feel like a natural history drama taking place today,” said Wilson.
The series also reveals lesser-known facts about the prehistoric world. For example, the grassless environments of the Mesozoic era posed unique challenges during filming, requiring careful location scouting to maintain authenticity.
Production and broadcast
Walking With Dinosaurs was commissioned by Jack Bootle, BBC’s Head of Commissioning, Specialist Factual. It is produced by the BBC Studios Science Unit, with Andrew Cohen and Helen Thomas as executive producers, alongside Wilson as showrunner. The international co-production involves PBS, ZDF, and France Télévisions, with global sales handled by BBC Studios.
With Charlotte Ritchie guiding viewers through each episode, the series promises to be a compelling blend of science, storytelling, and visual spectacle, designed to engage both long-time fans and new audiences.
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Taylor Swift’s voice echoes through The Handmaid’s Tale in a surprise Reputation (Taylor’s Version) debut
Taylor Swift’s long-awaited Reputation (Taylor’s Version) finally made its presence known, but not through a press release or streaming platform. Instead, it emerged through the eerie silence of Gilead. The re-recorded version of “Look What You Made Me Do” debuted unexpectedly in the opening scene of the latest episode of The Handmaid’s Tale, catching fans and viewers completely off guard.
The episode begins with Elisabeth Moss’s character, June Osborne, orchestrating a quiet but fierce act of resistance against the regime. As handmaids march through a war-torn street, Swift’s voice cuts through the chaos. The updated track underscores the rebellion, syncing perfectly with the tension and defiance unfolding on screen.
The original 2017 version of the song was a turning point in Swift’s career, born out of public backlash and a media storm. Its reappearance now, in a show about fighting back against oppression, feels deeply personal. Swift’s battle to reclaim her music mirrors the episode’s themes: reclaiming agency, rewriting narratives, and refusing to be silenced.
Moss, also an executive producer of the show, shared how this moment had been years in the making. She revealed she had always wanted to feature a Taylor Swift track but waited for the right moment. “This was it,” she said. “The song, the scene, the story, it all just clicked.” Moss also attended Swift’s Eras Tour last year with castmate Bradley Whitford, making her admiration for the singer no secret.
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For Swifties, this is the clearest sign that Reputation (Taylor’s Version) is on the horizon. While fans have spotted hints in everything from merch updates to symbolic fashion choices, this full-length debut feels like the real beginning of the next chapter.
It also marks the latest move in Swift’s ongoing mission to re-record her early albums and reclaim ownership after the rights to her original masters were sold without her consent. So far, she’s re-released Fearless, Red, Speak Now, and *1989*, with Reputation and her debut album left.
Swift’s music has popped up in recent shows and documentaries, but this moment in The Handmaid’s Tale is her strongest re-entry into the Reputation era. It's less of a promo, more of a declaration. The gloves are off.
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Peppa Pig welcomes baby Evie in a royal-style announcement
After 20 years of being the star of the family, Peppa Pig is no longer the youngest girl in the house. A new face has joined the Pig family: a baby girl named Evie. Born early Tuesday morning at 5:34 AM at the Lindo Wing of St Mary’s Hospital in London (yes, the same one where the royal children were born), Evie marks the first major addition to the family since the show began in 2004.
The news was revealed in true British fashion with a town crier in a video posted on Peppa Pig’s official Instagram. The announcement, styled like a royal birth, sent fans and brands into a frenzy. Mummy Pig is said to have named the baby after her great-aunt, and while the birth was not easy, she shared that she is relieved and happy to have Evie here, safe and healthy.
Peppa’s younger brother George, who has somehow been two years old forever, now has a new sibling to share toys and tantrums with. And while Peppa seems thrilled in the official photos, it is hard not to wonder how she will really feel once the attention shifts away from her.
To mark the occasion and the show’s 20th anniversary, the creators are rolling out a cinema special called Peppa Meets The Baby. Hitting screens on 30 May, the one-hour film will follow Peppa and George as they prepare for Evie’s arrival, featuring 10 new episodes and six new songs. Evie will also become a regular on the main show, adding a new layer to the Pig family’s dynamic.
The show, which started on Channel 5 and Nick Jr. in 2004, has grown into a global phenomenon, airing in over 180 countries and more than 40 languages. In 2019, toy giant Hasbro took over the franchise, promising even more Peppa-centric content.
The buzz around baby Evie has been building for months. Mummy Pig’s pregnancy reveal in February was followed by a gender reveal in April, complete with a media rollout that rivalled any celebrity birth. Parenting tips, maternity photos, and interviews about balancing work and family were part of the package.
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Now, with baby Evie here, it feels like growing up just got real.
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The Harry Potter reboot becomes the most expensive TV show ever
The next time you think of a big-budget show, forget Game of Thrones or The Rings of Power. The new Harry Potter reboot is set to leave them all behind and not just in storytelling, but in cost. With a jaw-dropping budget of over $4.2 billion (₹33,600 crore), this upcoming series is on track to be the most expensive television production ever attempted.
Each of the 42 planned episodes, spread across seven seasons, will reportedly cost more than $100 million (₹837 crore). That’s more than many Marvel movies and nearly double the per-episode spend of Amazon’s The Rings of Power. But where is all that money going?
A massive part of the budget is being poured into something rarely attempted on this scale: a custom-built town. Nicknamed “Potterville,” this mini city is under construction at Warner Bros. Studios in Leavesden and will house life-size recreations of iconic locations like Hogwarts, King’s Cross Station, and Privet Drive. The price tag for this alone? Around £1 billion (₹10,700 crore). The idea is not just about visual realism but a long-term investment in the franchise’s future, with the possibility of spin-offs or other productions set in the same magical universe.
Unlike the original film series, which had to condense the books into blockbuster-length scripts, this version aims to give each book its own season, allowing for a deeper dive into the world J.K. Rowling created. The show is expected to go into the details that never made it to the big screen.
A fresh cast will step into some of the most recognisable roles in pop culture. John Lithgow will take on the role of Albus Dumbledore, joined by Janet McTeer as Professor McGonagall, Paapa Essiedu as Snape, and Nick Frost as Hagrid, among others. The trio of young leads Harry, Hermione, and Ron are yet to be announced.
Set to film on a sprawling 200-acre site, this reboot marks a major moment for HBO and Warner Bros. Whether it lives up to expectations or not, it’s already rewritten the rules of television production. And in the process, it’s raised a question: how much is too much to bring magic back to life?