5 unmissable streaming releases to binge in June 2025
From Marvel debuts and K-drama finales to animated reboots and mystery thrillers, June 2025 brings fresh binge-worthy content across Netflix, Disney Plus and more.
From Squid Game season 3 to Stick, these are the biggest shows and films to stream in June 2025
Honestly, this June, your watchlist is about to need a watchlist. Forget the rinse-and-repeat releases because this month, streaming platforms are serving us a cocktail of choices. Whether you're Team Marvel or Team “give me plot twists that slap,” this list brings the crème de la stream. Curated with zero fluff and verified from top entertainment sources, here’s what you need to watch this month, before spoilers eat you alive.
Squid Game – Season 3 (Netflix)
The final round is here. Lee Jung-jae returns for the ultimate face-off in the game that turned capitalism into a slasher film. Will justice be served? Probably not. Will it wreck you emotionally? Absolutely.
Redemption arcs are for quitters, unless you’re Owen Wilson with a golf club and a grudge. In this new sports comedy, washed-up golf pro Pryce Cahill finds a second shot at greatness when he stumbles upon a teenage prodigy, Santi. Coaching the kid might save both their careers or crash them harder than his infamous meltdown. Think underdog story, but with dad jokes, sports rivalries, and just the right swing of heart.
Julianne Moore and Sydney Sweeney play a mother-daughter duo untangling a violent secret on a secluded Pennsylvania farm. It’s gritty, emotional, and slower than a shotgun reload, but way more explosive.
Back in the kitchen and hotter than ever. Carmy is back with more breakdowns, beef, and beautiful messes. After last season’s cliffhanger, expect Michelin-star levels of stress and storytelling.
Move over, Iron Man. Riri Williams is suiting up and rewriting the tech-hero narrative. With Anthony Ramos stepping in as The Hood, this is Marvel's smartest and sneakiest origin story in years.
If June 2025 proves anything, it’s that streaming isn’t slowing down. Rather, it’s speeding straight into every genre you thought you were tired of and making it feel brand new. So whether you're here for the heartbreak, the brain games, or just unfiltered weirdness, this month doesn’t just entertain, it devours. Get your snacks, clear your calendar, and for heaven’s sake, disable your spoilers.
HBO’s upcoming Harry Potter reboot is already under fire, this time for casting Italian actress Alessia Leoni as Parvati Patil, a character rooted in Indian culture. The announcement has triggered widespread backlash from fans who accuse the makers of side-lining authentic South Asian representation in favour of what many see as surface-level diversity.
Parvati, originally portrayed by Shefali Chowdhury in the films, is one of the few explicitly Indian characters in the Harry Potter universe. The decision to cast someone with no clear Indian heritage has led to heated discussions across platforms like Reddit and X, with fans calling out what they perceive as performative inclusivity.
Fans question why Indian talent was overlooked again
Many online comments have shared similar frustrations: that casting a brown-skinned actor is not the same as casting someone of Indian origin. “They just picked someone who looks brown and called it a day,” one Redditor commented. Another added, “Parvati is not just a name, it’s a direct reference to Hindu culture. It deserved more thought.”
This is not the first controversy to hit the reboot. Earlier announcements like casting Paapa Essiedu as Snape and Arabella Stanton as Hermione also drew criticism from those who felt the series was playing fast and loose with established character identities. Supporters of accurate representation argue that while the intent may be diversity, the execution often feels tokenistic.
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Adding fuel to the fire is the casting history of the original films, where British-Bangladeshi actors Shefali Chowdhury and Afshan Azad played the Patil twins after being discovered through grassroots-level auditions. That sense of grounded authenticity, fans argue, is missing in the current reboot.
HBO's broader casting choices also under scrutiny
Alongside Leoni, HBO announced several other cast members: Katherine Parkinson as Molly Weasley, Lox Pratt as Draco Malfoy, Johnny Flynn as Lucius Malfoy, Leo Earley as Seamus Finnigan, Sienna Moosah as Lavender Brown, Bel Powley and Daniel Rigby as the Dursleys, and Bertie Carvel as Cornelius Fudge.
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The series, hoped to be a faithful adaptation of J.K. Rowling’s books, is scheduled to premiere in 2026. But with these early casting calls, many longtime fans feel HBO is missing the mark on cultural nuance—and all this before a single spell has been cast on screen.
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BBC Three documentary uncovers new details in Kim Kardashian Paris robbery case
Nearly ten years after Kim Kardashian was robbed at gunpoint in a Paris hotel, the story is being revisited in a new documentary coming to BBC Three and iPlayer. Titled The Kim Kardashian Diamond Heist, the film digs into one of the most talked-about celebrity crimes of the last decade, offering fresh access and unheard accounts from those closely involved in the case.
Kim Kardashian Paris robbery case revisited in new BBC Three documentaryGetty Images
New voices and untold moments from the night that shocked the world
The 45-minute documentary features first-hand interviews with close family friends, French police officers, and journalists who followed the robbery from day one. It takes viewers back to that October 2016 night, when Kardashian was tied up and robbed of jewellery worth millions of pounds inside her private apartment at a luxury hotel during Paris Fashion Week.
The film doesn’t stop at the crime itself. It moves forward to recent developments, including the court case in which Kim finally came face-to-face with her assailants last month. Eight people were found guilty, nearly a decade after the robbery made global headlines.
Kim Kardashian 2016 diamond heist case brought eight people to justice nearly a decade after the robberyGetty Images
Beyond gossip: A look at the cost of digital fame
This BBC Three documentary goes beyond the headlines and Instagram timelines. It examines the role of social media in the robbery, where public posts may have tipped off the thieves, and the emotional fallout Kim faced in the aftermath.
Nasfim Haque, Head of Content at BBC Three, says the film “cuts through the noise and looks at the real-life consequences of being so visible in the digital age.” Firecracker Films, the production company behind the documentary, also hopes the film helps viewers understand how the case was solved and the emotional cost behind the glamour.
Kim Kardashian arrives at the Assize Court for the trial Getty Images
Directed by Ben Bryant and produced by Jessica Sartenaer, The Kim Kardashian Diamond Heist will be available on BBC Three and BBC iPlayer later this month. Executive producers include Jes Wilkins and Sam Emmery, and the documentary will be distributed globally by Passion Distribution.
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A post-screening Q&A that revealed how their off-screen camaraderie and improvisational skills helped
The world premiere of Deep Cover lit up the inaugural SXSW London Screen Festival on Wednesday night, with stars Bryce Dallas Howard, Orlando Bloom and Nick Mohammed attending a post-screening Q&A that revealed how their off-screen camaraderie and improvisational skills helped shape the film’s comic energy.
The crime caper, directed by Stath Lets Flats creator Tom Kingsley, was screened as the festival’s Centrepiece Headliner and will be available to stream on Prime Video from 12 June.
A story years in the making
The project began over a decade ago, when producers Colin Trevorrow and Derek Connolly came across a real-life story involving New York police using actors as decoys in criminal investigations. The idea evolved into a feature film script written by the British duo Ben Ashenden and Alexander Owen, adapting Trevorrow and Connolly’s original concept and relocating the story to London.
Deep Cover follows three improv performers who are enlisted by an undercover police officer to pose as hardened criminals and infiltrate London’s underworld. With comedy and action colliding in unexpected ways, the film balances high stakes with humour.
Action-comedy with an indie heart
Director Kingsley explained that while the film began as a straightforward comedy, the involvement of bigger stars gave the team the resources to explore more ambitious action sequences.
“I think maybe it started more as a comedy. Straight up,” Kingsley said. “As we went on, bigger and bigger stars joined us, and that meant we could aim higher.”
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The film was produced independently in London under Trevorrow’s Metronome Film Co. banner. The producers emphasised that creating a film like Deep Cover without major studio backing was a challenge, particularly in today’s economic climate.
“It’s not easy. We’re at a time when getting films financed is harder and harder,” Trevorrow noted. He credited Amazon’s partnership and the dedication of the British crew with bringing the production to life on a competitive budget.
Real locations, real stakes
One of the defining aspects of Deep Cover is its use of real London locations. From Shoreditch to Barking, the film avoids glossy studio sets in favour of gritty, authentic settings.
“We wanted the movie to feel real. I think the comedy is funnier when you really believe in the stakes,” said Kingsley. “We needed London to look a little dangerous, not too picture postcard.”
He revealed that some night shoots required extra security, especially in industrial zones. “We shot in areas that needed some caution – but that’s what gave it a grounded feel.”
Strong chemistry on and off screen
The cast’s chemistry was clear both on screen and during the Q&A. Howard, Bloom and Mohammed all spoke about how much they enjoyed working together and how much that dynamic influenced the film’s tone.
“We all just genuinely get along,” said Howard. “We’re all at similar stages in life. We’ve got kids, so we connect over that.”
Bloom, better known for dramatic and action roles, said the project allowed him to explore a new side of acting. “I’m not known for comedy,” he admitted. “But the writing and direction really supported me in finding the humour through the character’s seriousness.”
For Mohammed, the shift was in the other direction. Best known for his work in Ted Lasso, he found the action element to be a new experience. “Overwhelming,” he said. “I’m a huge fan of action films and blockbuster hits. So working with Hollywood-level stars on this was surreal.”
Improv rooted in structure
Although Deep Cover is about improvisers, the film itself relied heavily on a carefully structured script. Kingsley noted that while improvisation did happen during filming, most of it was trimmed for pacing.
“It’s a really tightly worked out script,” he said. “It goes a mile a minute, and we had to stick to the rhythm.”
Howard praised the collaborative process, saying, “We were never treated like puppets. It was very organic. The improv was more about getting into the scene rather than driving it.”
Bringing comedy back to the big screen
Producer Colin Trevorrow reflected on the rarity of seeing comedy in cinemas, especially as more films are made for streaming platforms.
“We live in a day and age where we rarely get to see comedy in a packed theatre full of people laughing – something I loved as a kid,” he said. “This film is going to be on Amazon, and we’re grateful for that, but tonight was something special.”
Deep Cover also features British acting veterans Paddy Considine, Ian McShane and Sean Bean in supporting roles.
As it heads to its Prime Video release, Deep Cover offers audiences a blend of improvisational comedy, undercover drama and London grit, all anchored by a cast with genuine chemistry and comedic timing.
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Owen Cooper stars as a troubled teen in Netflix's hit drama Adolescence
The British mini-series Adolescence has officially dethroned Stranger Things 4 as Netflix’s second most-watched English-language series of all time. Released on 13 March, the four-part limited drama has racked up an impressive 141.2 million views in just 80 days, surpassing Stranger Things 4, which had logged 140.7 million views over its full 91-day performance window in 2022.
This milestone strengthens Adolescence as a surprise global success, thanks to its hard-hitting narrative and unusual creative format.
Created by Jack Thorne and Stephen Graham, and directed by Philip Barantini, Adolescence focuses on 13-year-old Jamie Miller, played by Owen Cooper, who is arrested for the suspected murder of a classmate. The series is praised for using single-take shots for each episode, drawing viewers into the emotional intensity of every scene without the usual cuts or edits.
Despite being just under four hours long in total, the show’s runtime hasn’t held it back. Netflix calculates viewership by dividing total hours watched by runtime, and Adolescence still scored a remarkable 541.4 million hours viewed. That’s especially impressive when compared to Stranger Things 4’s 1.83 billion hours, which it achieved over nine episodes and nearly 13 hours of content.
While Wednesday, starring Jenna Ortega, still holds the top English-language spot with 252.1 million views, Adolescence now stands proudly in second place. On Netflix’s global list across all languages, it’s currently ranked fourth, behind Squid Game and Wednesday.
With 11 days still left in its 91-day window, Adolescence may widen the lead further. The achievement also signals a broader shift in global viewing habits, where emotionally resonant, sharply written short-format dramas can hold their own against franchise powerhouses.
New seasons of Wednesday and Stranger Things are scheduled to drop later in 2025, meaning this leader board may shift again. But for now, Adolescence is enjoying its well-earned moment in the spotlight, with only four episodes and a lot of heart.
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Nick Frost brings his own take to Hagrid without imitating Robbie Coltrane
When Nick Frost was cast as Rubeus Hagrid in HBO’s upcoming Harry Potter reboot, comparisons to Robbie Coltrane were inevitable. After all, Coltrane’s portrayal defined the character for a generation. But Frost isn’t trying to recreate what’s already been done. He’s stepping into the role with clear eyes, aware of the legacy, but determined to bring his own version of Hagrid to life.
In an interview, Frost acknowledged Coltrane’s unforgettable impact but drew a firm line: he won’t mimic him. “I’m not going to try and be Robbie,” he said. “You have to honour what came before, but I’ll bring my own take.” For Frost, Hagrid is more than just a gentle giant. He sees the character as a mix of both toughness and vulnerability, like a big-hearted man with childlike qualities, both tender and fierce.
The HBO series plans to go deeper into the Harry Potter world than ever before, with each book turned into a full season. That format, Frost believes, gives him room to dig into Hagrid’s layers, something the films didn’t have time to do. “I always saw Hagrid as funny, protective, and a little lost,” he explained. “Now I’ll get to explore all those sides.”
Frost has already begun preparing, getting fitted for prosthetics and costumes. Production kicks off this summer at Warner Bros. Studios in the UK, with the first season expected to be a long one with nearly a year of filming. But Frost is all in. “I’ve loved cinema my whole life,” he said. “Being part of this world now, it’s incredible.”
Frost respects the past but is ready to explore new sides of HagridGetty Images
The cast includes newcomers Dominic McLaughlin, Arabella Stanton, and Alastair Stout as Harry, Hermione, and Ron. Big names like John Lithgow as Dumbledore, Paapa Essiedu as Snape, and Janet McTeer as McGonagall round out the rest. Behind the scenes, Francesca Gardiner leads as showrunner, with Succession’s Mark Mylod directing. J.K. Rowling is also involved as executive producer.
Frost isn’t trying to “be” Hagrid as we remember him; he’s trying to show us a side we might not have seen yet. It’s not about doing it differently just for the sake of it. It’s about finding the heart of the character and letting that lead.