O Apple TVanunciou hoje que a sua aclamada série de drama, “Slow Horses”, está renovada para uma oitava temporada.
Estrelada por Gary Oldman (que recebeu indicações ao Globo de Ouro, Emmy e BAFTA por seu papel), a série acompanha uma equipe disfuncional de agentes da inteligência britânica, trabalhando em um departamento do MI5 que aglutina agentes problemáticos que acabam lá após cometerem uma sucessão de erros que encerram as suas carreiras (conhecido como Slough House). Oldman interpreta Jackson Lamb, líder brilhante (e rabugento) desses espiões.
Ontem, a série angariou mais uma estatueta do Emmy (Melhor Direção de Série de Drama, vencido por Saul Metzstein) por sua quinta temporada, enquanto a sexta tem sua data de estreia marcada para amanhã.
Nem todo mundo sairá da Slough House vivo. A sexta temporada de #SlowHorses estreia dia 16 de setembro.
Segundo o Apple TV, a oitava temporada reservará o confronto mais explosivo já visto até então entre Jackson Lamb e a agente Diana Taverner (interpretada por Kristin Scott Thomas). Quando uma tentativa frustrada de chantagear a sede da inteligência coloca Taverner na ofensiva, caberá a Lamb desvendar um dos segredos mais sombrios do MI5 e acabar com ele de uma vez por todas.
O Apple TV está disponível no aplicativo Apple TV em mais de 100 países e regiões, seja em iPhones, iPads, Apple TVs, Macs, dispositivos Android, smart TVs ou online — além de estar em aparelhos como Roku, Amazon Fire TV, Chromecast com Google TV, consoles PlayStation e Xbox. O serviço custa R$34,90 por mês, com um período de teste gratuito de 7 dias. Por tempo limitado, quem comprar e ativar um novo iPhone, iPad, Apple TV ou Mac ganha 3 meses do Apple TV. Ele também faz parte do pacote de assinaturas da empresa, o Apple One.
NOTA DE TRANSPARÊNCIA: O MacMagazine recebe uma pequena comissão sobre vendas concluídas por meio de links deste post, mas você, como consumidor, não paga nada mais pelos produtos/serviços usando os nossos links de afiliado.
Patrick Brammall is heading into a much darker week on television. Following the Last Seen screening in Sydney, the Colin from Accounts star arrives on Apple TV as a father whose missing daughter has left his life suspended for more than a decade. The Australian thriller premieres September 9, bringing a very different kind of emotional discomfort from the romantic comedy that introduced him to many American viewers.
In Colin from Accounts, embarrassment can become an opening for affection. Last Seen gives Brammall a character with far less room to recover from a bad decision. Ian Ridley is a former detective, now working as a police dispatcher, who receives a call he believes could finally lead him back to his daughter.
The casting offers an immediate reason to be curious. Audiences familiar with Brammall’s comic timing will be watching him carry a story built around loss, uncertainty, and a hope that could become dangerous.
Patrick Brammall Finds a Personal Connection to Ian Ridley
Brammall has described drawing on fatherhood to understand the role. In an interview with Radio Times, he explained that being the father of two young daughters gave him access to an emotional vulnerability he could bring into the performance.
He did not need to imagine the story happening to his own children. Becoming a parent had already changed how available those feelings were to him.
“Ian is like a raw nerve,” he said.
That description gives a more precise sense of the character than the familiar image of a troubled detective. Ian’s professional experience may help him interpret a crisis, but his connection to this particular call makes distance almost impossible.
The challenge for a performance like this lies in keeping both sides believable. An audience needs to understand why Ian recognizes a possibility others might dismiss, while remaining alert to how much he wants that possibility to be true.
Brammall also credited his classical theater training and casting director Kirsty McGregor with helping him move between genres. The dramatic assignment draws on an established acting background, even if it surprises viewers who associate him most closely with comedy.
Image Credit: Apple Inc.
One Phone Call Reopens an Eleven-Year Absence
Maggie disappeared 11 years before the events of Last Seen. Ian has never accepted that she might be gone forever. When a teenage girl calls for help, he becomes convinced that he recognizes his daughter and begins pursuing the possibility of bringing her home.
The premise places an ordinary professional responsibility under extraordinary personal pressure. A dispatcher must listen carefully, gather information, and help someone through an emergency. Ian suddenly has to do that while confronting the possibility that the voice belongs to the person he has spent years hoping to find.
There is tension in the simple absence of a face. A voice offers clues without providing the certainty of seeing someone. Memory, fear, and recognition can arrive together, leaving very little time to sort one from another.
The emotional question extends beyond whether the caller is Maggie. Eleven years have passed for everyone involved. Even a reunion could not return the family to the day before she disappeared.
That gives the story room to explore the difference between finding someone and recovering the life that existed before their loss. It also gives Brammall something more complicated to play than determination alone: a man whose idea of rescue may be tied to a past that cannot be restored.
These are the tensions established by the premise. How the series resolves them remains part of the mystery awaiting viewers.
An Australian Production With a Substantial Supporting Cast
Last Seen adapts Ryan David Jahn’s novel The Dispatcher, with Kris Mrksa serving as writer and executive producer. The series is produced by 60Forty Films and was entirely set and filmed in Victoria, Australia.
The official cast and crew credits name Christian Schwochow as director and executive producer. Brammall is joined by Maxine Peake, Brendan Cowell, Daniel Henshall, Jessica Wren, Zahra Newman, Chloe Jean Lourdes, and Tobias Muhafidin. Executive producers also include Hakan Kousetta, Jamie Laurenson, and Joanna Werner.
For American audiences, the Australian setting gives the show an identity outside the familiar geography of U.S. police dramas. Victoria is the location of the story itself, allowing the adaptation to establish its own surroundings rather than asking local scenery to stand in for another country.
The ensemble also creates room for perspectives beyond Ian’s. A missing-person story can become claustrophobic when every event is filtered through a single person’s conviction. The dramatic interest comes partly from encountering people who have their own knowledge, loyalties, and reasons for responding differently.
Brammall carries the central search, but the relationships around him will determine whether that search feels convincing as a family story.
The Action Was a Physical Challenge
Last Seen also demanded action sequences, and Brammall has been candid about finding them harder at 50 than he once imagined.
Discussing the production with Radio Times, he credited a younger scene partner with taking on much of the physical work during an early confrontation. Asked about the possibility of doing more action, he offered a practical condition: “Give me the right stunt double and I’ll do it.”
His account brings a welcome human detail to the promotional image of a desperate father fighting his way toward an answer. Performing that desperation requires choreography, cooperation, and people prepared to absorb the physical demands of a scene.
For the character, physical vulnerability can be useful territory. Ian’s willingness to intervene does not necessarily mean he is equipped to control what follows. The possibility of getting hurt gives an impulsive decision consequences beyond moving the investigation forward.
When Last Seen Arrives in the U.S.
Apple’s official premiere announcement confirms that the first two episodes arrive together on Wednesday, September 9. The remaining four episodes follow weekly, with the sixth scheduled for October 7.
That gives the thriller a five-week release window. Viewers can begin with a substantial introduction to Ian’s situation, then follow the investigation one chapter at a time. Those who prefer watching a complete season can plan around the final episode’s arrival.
The U.S. Last Seen page provides access to the series through Apple TV. No familiarity with the source novel or Brammall’s previous work is needed to begin.
American viewers will have an unusually sharp contrast available the following day. Paramount+ has confirmed that the third and final season of Colin from Accounts arrives September 10, with all episodes released at once.
Brammall returns there alongside Harriet Dyer, his wife and fellow creator, writer, and star. Their comedy began with a car accident, an injured dog, and two strangers drawn into each other’s lives. Its farewell season places another set of complicated relationships on his schedule, with considerably more space for laughter between the difficult moments.
Silo season 4 will premiere globally on July 9, 2027, giving the Apple TV science-fiction drama a firm date for its final descent into the mysteries surrounding Juliette Nichols and the underground society that shaped her life.
The announcement arrived immediately after the third-season finale, with Apple TV also releasing a two-minute sneak peek at the last chapter. Rebecca Ferguson returns as Juliette and remains an executive producer, while Graham Yost continues to oversee the adaptation of Hugh Howey’s bestselling trilogy.
Three complete seasons are already available to stream. Season four is designed to finish the story rather than leave the series waiting for another renewal, a rare advantage for a mystery built around questions that have been accumulating since its opening episode.
Silo Season 4 Has a Confirmed Release Date
Friday, July 9, 2027, is now the official premiere date for Silo season 4. Apple TV has not announced an episode count, a complete release schedule, or whether more than one episode will arrive on opening day.
The previous seasons used weekly releases, but that history should not be mistaken for confirmation of the final plan. The service can still decide how it wants to introduce the premiere and pace the remaining episodes closer to launch.
The timing creates a wait of a little more than 10 months after the third-season finale on September 4, 2026. That is long enough to build anticipation without sending the production into an indefinite gap.
It also gives new viewers a comfortable opportunity to catch up. The series began in May 2023 with an apparently contained mystery involving a community of 10,000 people living deep underground, protected from a world believed to be toxic. Each season has widened that mystery while keeping its emotional center with Juliette, the engineer whose refusal to accept convenient answers made her dangerous to the silo’s leadership.
Season three expanded the narrative across two periods. In the present, Juliette survived her forced cleaning and returned as the underground community faced the consequences of rebellion. The other story followed journalist Helen Drew, played by Jessica Henwick, and Congressman Daniel Keene, played by Ashley Zukerman, centuries earlier.
The fourth season must now bring those timelines into their final relationship without losing the human tension beneath the history.
The Ending Has Been Planned for Years
Silo season 4 being the final season is not a cancellation revealed after production had already moved in another direction.
Apple TV renewed the drama for seasons three and four in December 2024, while its second season was still being released. The service said at the time that the fourth chapter would complete the story contained in Howey’s trilogy.
That early commitment gave Yost and the writing team something mystery dramas rarely receive: a known destination and enough screen time to prepare the route toward it.
When the two-season renewal was announced, Yost said the adaptation would tell the complete story over four seasons. Ferguson also spoke about her desire to bring the full journey from the books to the screen.
Planning does not guarantee that every question will receive an individual explanation. It does mean the writers were able to build seasons three and four as connected parts of an ending, rather than producing a temporary finale that might need to serve as the last episode if another renewal failed to arrive.
That distinction suits Silo particularly well. The drama depends on controlled information. Residents learn only what their society permits, viewers encounter evidence in fragments, and even discoveries can create new uncertainty. A rushed ending could turn years of tension into a sequence of explanations. Too much hesitation could leave the central conflict unfinished.
The third season’s expansion into the “Before Times” gave the series another way to deliver answers. Instead of relying entirely on present-day characters finding records or explaining old events, the story could place viewers closer to the decisions that created the underground world.
Silo season 4 can use that groundwork to connect institutional history with Juliette’s personal fight. The mystery is no longer simply how the silos work. It is also about who designed their rules, what those rules were meant to prevent, and whether survival built on control can remain defensible after its foundations are exposed.
Image Credit: Apple Inc.
Rebecca Ferguson Carries Juliette’s Last Journey
Ferguson has been the physical and emotional anchor of the series since its first season. Juliette is an engineer before she is a conventional hero, approaching danger as a system that can be studied, opened, repaired, or challenged.
That temperament helped Silo avoid turning its central mystery into an abstract puzzle. Every hidden mechanism affects people who must live within it. Discovering the truth carries a personal cost because the society depends on limiting who may possess it.
Ferguson’s executive producer role also gives her involvement beyond the performance itself. The fourth season will close a character journey she has helped shape across several years of production.
The current Silo cast page also includes Common, Harriet Walter, Chinaza Uche, Avi Nash, Alexandria Riley, Shane McRae, Remmie Milner, Rick Gomez, Billy Postlethwaite, Clare Perkins, Jessica Henwick, Ashley Zukerman and Steve Zahn. The final-season announcement does not provide a definitive list of every returning performer, so presence on the wider series page should not be treated as confirmation that each character appears in Silo season 4.
Behind the camera, the announced executive producers include Yost, Ferguson, Howey, Michael Dinner, Nina Jack, Joanna Thapa, Morten Tyldum, Amber Templemore, Fred Golan, Rémi Aubuchon and AMC Studios. Apple Studios produces the series.
Howey’s continuing involvement is especially valuable as the adaptation reaches material that must connect the mythology created across the novels. A screen version can reorganize characters, timing and revelations, but the ending still needs to feel consistent with the world’s original logic.
Why a Complete Four-Season Story Helps Apple TV
A defined ending gives Silo lasting value beyond the attention surrounding its final premiere.
Viewers who hesitate to begin a serialized mystery often want to know whether it reaches an intentional destination. Once Silo season 4 is complete, the service will have a finished science-fiction drama spanning four seasons, with no uncertainty about whether its central narrative stops midway.
That makes the show easier to recommend years after the finale. It can be watched as one long story rather than as a promising series whose survival depends on another corporate decision.
The release date also allows Apple TV to keep one of its recognizable genre dramas active through 2027. Silo occupies a particular place within the catalog: visually ambitious science fiction built around social control, mechanical detail and a mystery that rewards attention.
Its appeal does not depend on constant spectacle. Long stairways, restricted spaces, aging machinery and controlled screens make the environment feel oppressive before a character says a word. The production turns architecture into part of the power structure, reinforcing the distance between the people making decisions and those living far below them.
A planned final season can spend its resources on the places and events necessary to complete that world instead of extending the premise simply to preserve a successful title.
Anyone starting from the beginning has roughly 10 months to watch the first three seasons before July 9. That works out to about three episodes per month, leaving enough time to absorb the clues without turning the entire story into a rushed marathon.
The season-four sneak peek is already available as bonus content on the show’s Apple TV page. Because it follows the third-season finale, viewers who have not caught up may prefer to leave that two-minute preview untouched until they reach the end of “Troy.”
Uma pesquisa da Omdia revelou que donos de iPhones costumam gastar mais por aplicativos de microdramas (as novelas verticais) que donos de smartphones com Android — inclusive em países como o Brasil.
Por aqui, 48% dos usuários do iPhone pagam por esse tipo de conteúdo, contra 39% do Android. Na Alemanha, as porcentagens são de 49% contra 44%, enquanto na Coreia do Sul elas são de 59% contra 45%.
Nos Estados Unidos, a situação é um pouco mais equilibrada. Por lá, 69% dos usuários do iPhone disseram pagar por conteúdos, enquanto no Android o número caiu apenas um ponto percentual, mais especificamente para 68%.
O relatório também concluiu que usuários do iPhone gastam aproximadamente US$14 por semana nesses apps, enquanto no caso de donos de smartphones com Android o gasto é de cerca de US$10 por semana.
Divulgação/Omdia
A Omdia destaca que esse resultado vai de encontro a suposições que geralmente relacionam o consumo de novelas verticais a um público com menos poder aquisitivo, que geralmente é mais associado ao Android.
No entanto, é importante ressaltar que ela leva em consideração não apenas o consumo, e sim a compra de conteúdos — que costuma ser mais frequente no iOS em praticamente qualquer tipo de aplicativo.
Inspirada no romance “Last Days”, de Adam Nevill, “Ascension” acompanha Rose, uma documentarista e mãe recém-divorciada. Ela é especialista em revelar as verdades dos outros, mas luta para resolver as suas próprias. Quando Rose inicia um projeto sobre uma misteriosa seita do século XX conhecida como Igreja da Ascensão, ela encontra um refúgio inesperado em seus ensinamentos — até descobrir algo muito mais insidioso por trás de tudo.
“Ascension” explora o mal e a inocência em seu nível mais elevado, questionando até onde somos capazes de ir — e o que estamos dispostos a sacrificar — para proteger aqueles que amamos, mesmo quando a maior ameaça a eles podemos ser nós mesmos.
O projeto é do Apple Studios e terá como showrunners conjuntos Natalie Erika James (que também será diretora principal) e Christian White, com roteiro de James, White, Alfonso Cuarón e seu irmão, Carlos Cuarón.
The deeper she looks, the darker it gets.
Alfonso Cuarón re-teams with Apple TV and Anonymous Content for a new psychological horror thriller series starring and executive produced by Caitríona Balfe about a documentary filmmaker investigating a mysterious cult.#Ascension —… pic.twitter.com/WTddbntxGd
Quanto mais ela investiga, mais sombrio tudo se torna.
Alfonso Cuarón volta a colaborar com o Apple TV e a Anonymous Content em uma nova série de suspense e terror psicológico — estrelada e com produção executiva de Caitríona Balfe — sobre uma documentarista que investiga uma seita misteriosa.
“Ascension” marca a mais recente colaboração entre Alfonso Cuarón e o Apple TV, após a aclamada minissérie “Disclaimer”. O projeto marca ainda a segunda parceria entre a Apple e Balfe, que também aparecerá no filme “Tenzing”.
O Apple TV está disponível no aplicativo Apple TV em mais de 100 países e regiões, seja em iPhones, iPads, Apple TVs, Macs, dispositivos Android, smart TVs ou online — além de também estar em aparelhos como Roku, Amazon Fire TV, Chromecast com Google TV, consoles PlayStation e Xbox. O serviço custa R$29,90 por mês, com um período de teste gratuito de 7 dias. Por tempo limitado, quem comprar e ativar um novo iPhone, iPad, Apple TV ou Mac ganha 3 meses do Apple TV. Ele também faz parte do pacote de assinaturas da empresa, o Apple One.
NOTA DE TRANSPARÊNCIA: O MacMagazine recebe uma pequena comissão sobre vendas concluídas por meio de links deste post, mas você, como consumidor, não paga nada mais pelos produtos/serviços usando os nossos links de afiliado.
The Morning Show Season 5 will officially conclude one of the longest-running and most recognizable dramas on Apple TV when it premieres in 2027.
Apple confirmed that the fifth season will be the last, allowing Jennifer Aniston, Reese Witherspoon and the creative team to complete the stories of Alex Levy, Bradley Jackson and the troubled journalists surrounding their fictional television network.
Aniston and Witherspoon will return as stars and executive producers. Both indicated that the ending was planned while the season was being developed, giving the writers an opportunity to create a deliberate conclusion rather than leaving the characters suspended after an unexpected cancellation.
Apple has not announced a specific premiere date or episode schedule. The company has released first-look images featuring Aniston and Witherspoon together, confirming that production on the final chapter is moving forward for a 2027 arrival.
Image Credit: Apple Inc.
The Morning Show Season 5 Brings a Planned Ending
The Morning Show Season 5 was originally announced in September 2025, shortly before the fourth season premiered. At the time, Apple presented the renewal as another chapter for an established global hit without indicating that it would end the series.
The decision to identify it as the final season changes the expectations surrounding every storyline. Rather than creating another crisis that could lead into a sixth season, the writers can determine where the central characters belong after years of professional upheaval, corporate conflict and personal compromise.
Showrunner Charlotte Stoudt suggested that the final episodes will examine what the journalists ultimately choose for themselves. That direction fits a series in which success has rarely provided its characters with stability or satisfaction.
Alex and Bradley began the drama from sharply different positions. Alex was an established television personality attempting to protect her career during a public scandal, while Bradley entered the network as an unpredictable outsider. Their relationship developed through rivalry, loyalty, separation and repeated confrontations with the institutions employing them.
The final season can now treat those ambitions as completed journeys rather than temporary stages. Alex must decide what remains worth defending after years of negotiating with executives, billionaires and political interests. Bradley must determine whether pursuing the story at any personal cost remains sustainable.
Season four moved the drama into a media environment shaped by deepfakes, conspiracy theories, corporate influence and uncertainty over what audiences can trust. Its story continued examining how journalism operates when the network reporting the news is also affected by commercial priorities and internal power struggles.
Apple has not disclosed the central subject of Season 5. The first-look images concentrate on Aniston and Witherspoon, placing their complicated partnership back at the center after a fourth season that separated the characters through an international crisis.
A Flagship Series That Grew With Apple TV
The Morning Show debuted on November 1, 2019, the same day Apple launched its streaming service.
Its position in the original lineup made the series more than another drama acquisition. Apple needed recognizable performers and an ambitious production capable of signaling that the new platform intended to compete for major television audiences and awards.
Aniston and Witherspoon provided immediate visibility, while the newsroom setting allowed the series to respond to current debates involving workplace misconduct, corporate accountability, political polarization and the influence of television journalism.
The first season began after allegations against morning-show anchor Mitch Kessler, played by Steve Carell, forced the network to restructure its leading program. Alex attempted to retain control while Bradley was selected as an unconventional replacement capable of changing the tone of the broadcast.
Later seasons expanded far beyond the original scandal. The drama incorporated the COVID-19 pandemic, a technology billionaire attempting to acquire the network, the merger of UBA and NBN, artificial intelligence, misinformation and international political pressure.
The willingness to move quickly into recognizable real-world subjects became part of the identity of The Morning Show. Its fictional network frequently operated only a short distance from controversies affecting actual media companies, public figures and technology platforms.
The approach sometimes pushed the series toward heightened melodrama, but that excess also distinguished it from a conventional workplace production. Executive decisions, personal betrayals and breaking-news events could carry the intensity of a political thriller.
Billy Crudup became one of its most acclaimed performers as Cory Ellison, the charismatic executive whose enthusiasm for disruption regularly concealed more complicated motives. Crudup won two Emmy Awards for the role and will return for the final season.
Apple executives have described the production as a defining part of the streaming service. Ending it after five seasons closes a direct connection to the original Apple TV launch lineup while allowing the platform to preserve the series as a completed story.
Image Credit: Apple Inc.
The Final Cast Adds More High-Profile Names
The final season will bring back Aniston, Witherspoon, Crudup, Mark Duplass, Nicole Beharie, Nestor Carbonell, Karen Pittman and Jon Hamm.
Hamm joined the series as Paul Marks, a technology billionaire whose business ambitions and relationship with Alex reshaped the third season. His continued presence indicates that the consequences of his involvement with the network have not been fully resolved.
Several new performers will enter the drama for its last run. Apple has assembled additions including Jeff Daniels, Reneé Rapp, Jesse Williams, Sean Hayes and Lizzy Caplan, although complete character details remain limited.
Daniels brings a particularly appropriate history to the production after starring as news anchor Will McAvoy in The Newsroom. His presence creates an immediate association with another television drama concerned with journalism, newsroom ethics and the conflict between ratings and public responsibility.
Rapp returns to a major television role after building her music career and appearing in projects including The Sex Lives of College Girls and Mean Girls. Williams previously spent more than a decade on Grey’s Anatomy, while Hayes is best known for Will & Grace and has expanded into dramatic work.
Caplan has moved between comedy, drama and thrillers through projects including Masters of Sex, Fleishman Is in Trouble and Fatal Attraction. The scale of the additions suggests that the final season will introduce another major institutional or professional conflict rather than concentrating exclusively on farewell scenes.
Stoudt remains showrunner and executive producer. Mimi Leder continues as director and executive producer, while Media Res, Echo Films and Hello Sunshine remain behind the production.
Aniston described the opportunity to finish the story knowingly as a way to honor the characters with intention. Witherspoon emphasized that the series was never only about the personalities appearing on television, but also about the role of journalism and the people responsible for protecting the press.
That theme gives the final season a defined destination. The Morning Show began by asking whether a television institution could survive the misconduct it had protected. Its last episodes can decide whether the journalists inside that institution changed it, escaped it or became part of the machinery they once believed they could challenge.
Emily Wilson’s 2017 translation of Homer’s epic—the first by a woman—was called a woke “abomination” by online reactionaries. Christopher Nolan’s film is facing similar critiques.
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