The following contains slight spoilers for episode 3

Fans of Outlander: Blood of My Blood know that the show is much more than an epic love story. Like its predecessor, Outlander, the show also highlights real-life societal and political conflict. And in season two, Blood of My Blood fans see that conflict nearing its tipping point.

As the Jacobite Rising intensifies, Blood of My Blood’s MacKenzie and Fraser clans are preparing for battle. In a roundtable discussion, SciFi Vision asked costars Harriet Slater (Ellen) and Hermione Corfield (Julia) what this all means for the women left at home. What war are they fighting?

Slater spoke about the danger Ellen, Julia, and the others face at home without men’s protection. “We see in episode three,” she teased, “the women fend for themselves because...well, because they have to, actually. And I think it's a great episode, because we've never seen that side of them before and would never have seen that side of them if the men hadn't have all gone off to fight.”

Turning to Corfield, she continued: “Hermione, you were saying earlier, it's kind of similar with what happened in World War One and Two when the women had to take on the men's roles, but there's a great amount of strength and power when they do band together in that way.”

In its second season, Outlander: Blood of My Blood is putting Henry through the wringer. When he arrives in Inverness in 1924, he’s thoroughly traumatized and desperate to find his way back to his wife and children. Hospitalized, he’s subjected to electroshock therapy and forced to recall the bloody horror of World War I.

At the show’s recent press day, Scifi Vision joined a roundtable discussion with showrunners Matthew Roberts and Maril Davis. We asked why they felt it was important to tell this part of Henry’s story.

“A lot of times we'll show mental health or PTSD or some depression or something,” Roberts explained, “and then you forget, shows forget about it and they don't come back to it. And World War I affected this entire country; you know, a generation was lost. So what they faced over there was so amazingly traumatic for this whole entire generation and not just for the people who fought, but for the people back home because they had to take care of these people.

Roberts said he and Davis didn’t want to let that go. “It's important for Henry's character to continually face that, but also Julia's character to help because ultimately she is – I don't think there's a cure, but she is the treatment. And we need to show that and we need to continually show that.”

Apple TV's Dark Matter is based on the New York Times bestseller by Blake Crouch. Season one followed Jason Dessen (Joel Edgerton) after he was abducted from his home and taken to an alternate universe where he never married his wife, Daniela (Jennifer Connelly). There, he discovered that another version of himself had created the Box, a device that allows people to travel between different realities, with the project funded by Velocity CEO Leighton Vance (Dayo Okeniyi). Jason eventually learned that it was this alternate version of himself who had kidnapped him and taken over his life. After finally making his way back to his own reality, Jason left with his wife and son, Charlie (Oakes Fegley), in search of a new world where they could start over.

While season two picks up with the Dessen family trying to build a new life, it also expands the story beyond Jason and his family as the consequences of the Box continue to spread across different realities. Vance becomes a much larger part of the story as the series introduces alternate versions of the character, including Oluko, a version of Leighton who chose a very different path and became a spiritual teacher focused on understanding the mind. As their stories intersect, Leighton and Oluko begin exploring what could happen if knowledge and discoveries from different worlds were brought together and used to change other realities.

Okeniyi recently spoke with SciFi Vision about playing different versions of Leighton in season two, including CEO Leighton’s ambition, pressure, and hubris, as well as Oluko’s belief in the Box as something almost divine. He also talked about the dangers of power, the humanity behind Leighton’s choices, and why he himself would want to at least glimpse another version of his life without trading away the one he has.

New episodes of Dark Matter drop every Friday on Apple TV.

Today, Tommy & Tuppence, the first contemporary English language Agatha Christie series adaptation, comes to Britbox. The six-part reimagining set in upscale London follows the crime solving detective duo Tommy Beresford (Josh Dylan) and Tuppence Cowley (Antonia Thomas) as they navigate their on-again off-again romance all while investigating murders.

Dylan and Thomas recently spoke with SciFi Vision about wanting to work together on a modern Christie adaptation, the strength of Phoebe Éclair-Powell’s scripts, and how the series reworked the characters into a more linear story. They also talked about building their on-screen partnership, the difficulties of shooting out of sequence, why filming at the Barbican and getting to do more physical material became some of their favorite parts of the experience, and more.

The first two episodes are now available to stream on Britbox.

The following contains spoilers for 308

On The Walking Dead: Dead City, after Negan (Jeffrey Dean Morgan) shot his two walker friends in a recent episode, Dillard (Jimmi Simpson) completely broke, slicing his own face open and blaming Negan. He only continued to spiral further as he killed Renata (Aimee Garcia) in last week’s episode. In the season finale, which airs tonight on AMC and AMC+, Dillard takes over the community and launches a deadly manhunt for his former friend.

Simpson recently spoke with SciFi Vision about Dillard’s surprising turn in Dead City, his relationship with the walkers, and the emotional fallout of Negan’s actions. Simpson explained that he did not play Dillard’s kindness as a mask, but as a real need for connection that had been broken by humanity. He also discussed Dillard’s final fight with Negan, becoming a walker, working with the actors playing Cockenspiel and Titicaca, and filming the light-hearted karaoke scene earlier in the season with Aimee Garcia.

The Walking Dead: Dead City is available to stream on AMC+.

The following interview contains spoilers for 3.08

In last week’s episode of The Walking Dead: Dead City, the community was left without their leader after Dillard (Jimmi Simpson) killed Renata (Aimee Garcia). Tonight, in the season finale, Maggie (Lauren Cohan) and Negan (Jeffrey Dean Morgan) must go up against Dillard in a battle to rescue Luis (Raúl Castillo) and rest of the community from the psychopath.

In a recent interview, Garcia spoke with SciFi Vision about joining Dead City as Renata, a character she describes as hopeful, non-jaded, and connected to the light in a brutal world. She talked about being a longtime fan of The Walking Dead, shaping the character through optimism and long-term thinking, why Renata struggled to separate Negan from the Croat (Zeljko Ivanek), and whether she felt things could have gone differently. She also discussed dying on the show, fully becoming a walker, the practical effects process, and the special birthday cake she received as a final goodbye.

The full season of The Walking Dead: Dead City is available to stream on AMC+.

In the final episode of the third season of The Walking Dead: Dead City, which premieres this Sunday on AMC and AMC+, Maggie (Lauren Cohan) and Negan (Jeffrey Dean Morgan) plan their next move against Dillard (Jimmi Simpson) in the wake his psychotic break, to save the community from his reign of terror. They’ll have to work together and risk it all to both come out alive.

Ahead of the season finale, series showrunner Seth Hoffman spoke with SciFi Vision about the truth about the real Negan, as well as moving the Maggie and Negan dynamic forward without crossing lines that should never be crossed. He also talked about the goals for the season and the big changes, including why the door remains open for Armstrong (Gaius Charles) and other The Walking Dead universe connections, how episode six came about, and how it let the show explore Maggie and Negan in a world where Glenn’s death was not part of their past.

The season finale of The Walking Dead: Dead City premiere Sunday on AMC and AMC+.

Based on the New York Times bestseller by Blake Crouch, Dark Matter is all about the road not taken and how your choices shape who you become. Season one follows Jason Dessen (Joel Edgerton), a physicist who was abducted and dropped into an alternate version of his life, one where he never married his wife, Daniela (Jennifer Connelly). After making his way through a myriad of different realities via the Box, Jason eventually discovers it was another version of himself who kidnapped him and makes his way back to his own world. In the end, many different versions of Jason agree to let him leave with his wife and son, Charlie (Oakes Fegley), and they head off into another world.

In season two, the Dessen family has settled into a quiet existence when one of the Jasons destroys it and they are forced to leave once again to find a different world. As Jason’s obsession with the Box increases, it threatens to tear his family apart.

Written and directed by Shatara Michelle Ford, Dreams in Nightmares follows three Black queer friends in their mid-30s who set out on a road trip across the Midwest after their friend Kel seemingly disappears off the grid. As they search for answers, the journey becomes about more than finding Kel, forcing them to confront questions of identity, chosen family, belonging, and what it means to keep dreaming in a world that does not always make space for them.

In an intimate conversation with Sci Fi Vision, actors Sasha Compère, Mars Storm Rucker, and Charlie Barnett discussed their roles in the film Dreams in Nightmares. The cast opened up about blending personal truths with their characters, navigating chosen family dynamics, and capturing authentic Black queer joy on screen. From deep character work and fast-bonded cast chemistry to personal reflection on community, burnout, and nostalgic road trips, the trio shared what makes the project such a tender, powerful experience.

The film opens today nationwide.

Based on Martha Wells’ The Murderbot Diaries, Apple TV’s Murderbot centers on a security construct (Alexander Skarsgård) that secretly hacks its governor module, giving it the freedom to make its own choices. Murderbot keeps this newfound independence hidden, partly because it would rather spend its time watching entertainment than deal with humans. However, when it is assigned to protect a group of scientists on a remote planet, a series of increasingly dangerous incidents forces it to become more involved with the people it is supposed to be guarding.

As Murderbot works to uncover what is behind the threats facing the team, it also struggles to understand the humans around it and the relationships they begin forming with it. Although it insists it doesn’t care about them, protecting the group becomes increasingly personal, complicating Murderbot’s efforts to keep both its emotions and the truth about its free will hidden.

Recently, the Elastic Creative Directors Hazel Baird and Robert Cawdery spoke with SciFi Vision about creating the Murderbot main title sequence, including how they were brought them into the process, how the team shaped the sequence around autonomy and connection, and why Murderbot’s toy-like beginning evolves into something freer and more emotional. They also discussed working in Cinema 4D, the neon outer-space section, the group-hug imagery, Amanda Jones’s music, the Emmy nomination, the possibility of changes to the sequence in season two, and more.