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.

Son of Sara: Volume 1, written and directed by Houston Bone, follows Sara (Chloe Van Landschoot) as she nears the end of an exhausting pregnancy. Already overdue, Sara begins experiencing increasingly disturbing visions along with an unsettling craving for raw meat, but keeps what is happening from her partner, Carol (Tymika Tafari).

Sara’s situation becomes even more troubling after a chance encounter with Troy (Garrett Hnatiuk), her ex-boyfriend and the father of her baby. Despite Carol’s worries, Troy convinces her to visit the remote farmhouse he shares with his mother (Jane Moffat). Once there, Sara quickly realizes the invitation was not as innocent as it seemed, and that Troy and his mother may have disturbing plans involving her unborn child.

Tafari recently spoke with SciFi Vision about her work on the film, including what made the project feel worth exploring, her queer journey and why she was apprehensive at first, and how her chemistry read with Van Landschoot helped unlock the relationship at the center of the story. The actress also discussed how she modeled Carol’s care and devotion on a former partner, trusting Bone’s direction, filming the fight scene with Hnatiuk, why the role helped her bring more of Carol’s openness into her own life, and much more.

***The following interview contains spoilers for 3X03***

Things are looking good in Dead City! As the hit AMC series moves swiftly through its third season, big changes are underway and the fan reaction is decidedly positive. The Croat (Zeljko Ivanek)/Dama (Lisa Emery) storyline has come to close, giving the writers space to focus on the show’s beating heart: the complicated relationships between Maggie (Lauren Cohan), Hershel (Logan Kim), Negan (Jeffrey Dean Morgan), and their new friends and adversaries in New York.

In last night’s episode (303, “Emigrants”), Hershel’s loyalty is no longer in question. For the first time, he seems happy to spend time with his mom and is taking on new responsibilities in the community. When things go sideways (as they always do), Hershel steps up and does what it takes to save lives.

For actor Logan Kim, Hershel’s improved attitude isn’t about the demise of the Dama. Yes, she was a poisonous influence, but the conflict was always about Hershel and Maggie.

“In season one and two, you really get to see Hershel in a more vulnerable state,” Kim explained. “He's really just trying to find his connection with his mother. And when he doesn't find that, he moves to the Dama.”

In season three, Hershel has new responsibilities and a strong bond with Luis (Raúl Castillo). But most important, says Kim, is Maggie’s effort to reach her son.

Written and directed by Houston Bone, Son of Sara: Volume 1, which recently was released on video on demand and for digital purchase, follows Sara (Chloe Van Landschoot), a pregnant woman who is over due and physically exhausted. Things get complicated when Sara starts having disturbing visions and cravings for raw meat, which she hides from her supportive girlfriend Carol (Tymika Tafari).

When she runs into the baby’s father, her ex-boyfriend Troy (Garrett Hnatiuk), he invites her to his secluded farmhouse where he lives with his mother (Jane Moffat). Ignoring her partner’s concerns, Sara accepts the invitation, which leads to a night of terror as she discovers they have a sinister interest in her unborn child.

Hnatiuk recently spoke with SciFi Vision about his work on the film, including his long creative relationship with Bone, why the character felt like a dream role and how collaboration and improvisation helped shape the performance. The actor also discussed the classic horror influences behind his villain, working with the cast, the vulnerability of the mirror scene, and much more.

Fightland follows Maduka ‘Duke’ Kilroy (Howard Charles), a disgraced newly released from prison boxing champion who returns to London to seek revenge against the family he thinks betrayed him, driven by non-stop action and questionable characters in a world centered on money and power.

Fightland stars Tyler Conti and Tahirah Sharif sat down with SciFi Vision to give insight into the characters anchored to Duke’s world. Conti portrays Justin ‘Jay’ Hall, Duke’s ride-or-die best friend and adopted family, offering unwavering support in a dangerous landscape. Meanwhile, Sharif plays Kim Harper, a ring girl guarding a silent past. Quietly calculated, Kim is determined to get close to Duke, though her true motives remain locked tightly in the shadows.

Tahirah Sharif came into the world of Fightland by reading the script and feeling much like a viewer blown away by the action and the gripping story telling. She felt that, “if this translates onto the screen it’s going to blow everyone’s socks off and genuinely that's one of the main reasons I wanted to play the character and do the show.”

“Fightland is like a spectacle, and sometimes it’s really difficult for that to come across on script,” Conti shared. “But actually, first time reading it, I could see everything straight away and it really took me on a roller coaster. I love how the relationships are written as well and it’s a joy as an actor to dissect relationships and find the truth within them so that hit me hard when I first read the script, for sure.”

A show in the boxing world has plenty of physicality and Tahirah worked with some really great fight choreographers. “It’s literally like learning a dance, because you have to literally learn it section by section and practice each section until you feel very confident and feel really safe. Sometimes you genuinely forget the choreography [and you are like] which bit comes next?”

Set in 1930s New York City, Spider-Noir stars Nicolas Cage as Ben Reilly, a hardened private investigator who once protected the city as the masked superhero known as the Spider. Having since left that life behind, Ben has become a burnt-out detective trying to make his way through a city filled with corruption and organized crime. However, a new investigation soon draws him into a much larger and stranger conspiracy, forcing him to revisit the choices and events of his past and decide whether he can truly leave the Spider behind.

SciFi Vision recently spoke with Emmy-Nominee Hnedel Maximore about the visual effects of the series, including how he came onto the project, why the mix of hard-boiled noir and Spider-Verse elements interested him, and what the Emmy nomination meant after the challenge of delivering both color and black-and-white versions. He also discusses the technical and creative process behind the nightmare sequence, the lab mutations, the super power effects, why he personally prefers watching the black-and-white version, and more.

When contenders for the Primetime Emmy Awards were announced in early July, Apple TV scored a huge haul with 89 nominations! Fifteen of the streamer’s series were honored, including the sci-fi epic Foundation.

Based on Isaac Asimov’s landmark fiction series, Foundation was nominated for Outstanding Special Visual Effects in a Season or Movie. Among Apple TV’s many excellent sci-fi and genre offerings, Foundation stands out for its expansive world-building, gorgeous visuals, and top-notch special effects.

In honor of Foundation’s nomination, SciFi Vision spoke with Chris MacLean, Foundation’s  Overall Visual Effects Supervisor for seasons one through three. MacLean talked about some of the highlights and challenges involved in creating season three, and how it compares to the show’s early days.

“We definitely keyed on some different themes and different tones this year compared to the last year,” MacLean told the site. “The first season was very hard sci-fi; the second season was a lot more action, and then this season was a little bit more introspective. Even though we had a lot of action set pieces, it was a little more character driven in terms of everything that was happening.”