Prime Video is bringing “Sterling Point” back for a second season. The series launched with all eight episodes on August 5 and has already emerged as one of the streamer’s top-performing shows. According to Deadline, the streamer announced the renewal on Thursday, less than three weeks after the title premiered.



<h2>‘Sterling Point’ Finds an Audience on Prime Video</h2>



Created by Megan Park, “Sterling Point” follows 17-year-old Annie Jacobson, played by Ella Rubin, whose life changes after she learns that she and her twin brother Connor, portrayed by Keen Ruffalo, have inherited their grandfather’s remote island in Muskoka, Canada. The unexpected inheritance sends Annie into an unfamiliar environment where she begins uncovering secrets connected to her family.



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The series combines its coming-of-age story with romance, friendship and a family mystery. Jacob Whiteduck-Lavoie plays Ellis Anderson, a local boat-builder who becomes close to Annie, while Amélie Hoeferle, Daniel Quinn-Toye and Bo Bragason round out the central young cast. Jeffrey Dean Morgan and Jay Duplass also appear in the hit alongside Missi Pyle and other recurring performers.



Its early reception has also helped establish the show’s profile. “Sterling Point” currently holds a 90% approval rating from critics on Rotten Tomatoes, based on 41 reviews, while Metacritic has awarded the production a score of 76 out of 100 from 17 critics. Reviews have highlighted the performances and its deliberate pacing, with comparisons to teen dramas from the 1990s and early 2000s.



The series has also drawn attention for combining familiar young adult elements with a broader story about grief, identity and complicated family relationships. Rather than relying exclusively on romantic storylines, “Sterling Point” uses Annie’s arrival in Muskoka to explore unresolved questions surrounding her family and her mother’s past.

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The Adult Swim animated comedy was renewed for additional installments before creators Zach Hadel and Michael Cusack decided to end it after Season 3, a decision they previously attributed to burnout and concerns about maintaining the show’s quality. 



Now, however, the duo has offered a more hopeful update on the possibility of returning to the series.



<h2>The Creators Already Have Season 4 Material</h2>



Cusack revealed that the pair had already begun developing material for a potential fourth season before deciding to walk away. The scripts are not necessarily finished episodes ready for production, but enough work exists that the creators could revisit it if they eventually decide to bring the series back.



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“We had scripts ready for season four, even if it was draft-y,” Cusack explained. He added that, if he and Hadel eventually feel like making “Smiling Friends” again, they could return to that material and determine whether it is worth developing or whether they would rather start over.



When asked to put a number on the likelihood of more episodes, Hadel initially suggested that the chances were somewhere around 25% or 30%. His answer quickly became less definitive, however, as he acknowledged that his feelings about the possibility can change considerably.



“Some days, it’s 60. Some days, it’s 80. Some days, it’s 20,” Hadel said. “It really does change day to day. But it’s not zero.”



There is no confirmed Season 4 in production, but the possibility of a return remains open. For now, “Smiling Friends” has ended with its third part, while the creators have left themselves the option of revisiting the material they already developed if they eventually decide the time is right.

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According to Variety, Season 4 will premiere on Paramount+ with the premium plan on Nov. 20, giving viewers a firm date for the next chapter of the series. The upcoming installment will also mark the end of the show, which was renewed for a fourth season in May 2025 before it was confirmed as the final chapter of the story.



<h2>What to Know About ‘Yellowjackets’ Season 4</h2>



Created by Ashley Lyle and Bart Nickerson, “Yellowjackets” follows a high school girls’ soccer team whose flight crashes in the wilderness in 1996. The survivors spend 19 months stranded, while the title also tracks their lives 25 years later and the lasting effects of what happened during their time in the wilderness.



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The show’s structure has been central to its story from the beginning. By moving between the teenagers’ struggle to survive and the adult survivors’ lives decades later, the hit has explored how the events of the crash continue to shape the characters. The series has also used its mystery-driven narrative to gradually reveal what happened during those missing months.



The program debuted in November 2021 before returning for a second season in March 2023. Its third season arrived in February 2025, following production delays connected to the 2023 Hollywood labor disputes. The fourth season is now set to bring the story to its planned conclusion.



“Yellowjackets” has also established itself as one of Showtime’s notable recent successes. The series has earned 10 Primetime Emmy nominations, along with recognition from the Writers Guild of America, Television Critics Association, Peabody Awards and Critics’ Choice Awards. Its third season also recorded the hit’s highest viewership to date.



The final season has been in production since March. Its arrival on Nov. 20 will therefore begin the show’s last stretch after three seasons centered on survival, trauma and the complicated bond between the younger and older versions of its characters.

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“Stuart Fails to Save the Universe” has been renewed for a second season at HBO Max, giving the latest series in “The Big Bang Theory” franchise a future beyond its initial 10-episode order. Variety reported the renewal after the show had released only four episodes of its first season.



<h2>What to Know About ‘Stuart Fails to Save the Universe’</h2>



The production centers on Stuart Bloom, the comic book store owner played by Kevin Sussman who originally appeared as a recurring character on “The Big Bang Theory.” Created by Chuck Lorre, Zak Penn and Bill Prady, the title takes the franchise into science fiction territory, making it the fourth television series in the franchise and its second direct spinoff.



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Its story begins after Stuart accidentally damages a device created by Sheldon Cooper, Leonard Hofstadter and Howard Wolowitz. The malfunction sends him into a multiverse crisis, forcing him to encounter alternate versions of himself and familiar characters while trying to prevent a catastrophic outcome.



Sussman leads a returning group of “The Big Bang Theory” performers that includes Brian Posehn as Bert Kibbler, Lauren Lapkus as Denise Jeffries and John Ross Bowie as Barry Kripke. The series also features appearances from several franchise veterans, including Kunal Nayyar, Kaley Cuoco, Melissa Rauch, Mayim Bialik and Wil Wheaton in alternate versions of their established characters.



“Stuart Fails to Save the Universe” debuted on HBO Max on July 23, with episodes arriving weekly. Its first season is scheduled to run for 10 episodes, with the fourth installment released on August 13 and the remaining episodes continuing through September 24.

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The series was being developed by Jonathan E. Steinberg and Dan Shotz, the showrunners behind “Percy Jackson and the Olympians,” with 20th Television attached as the studio. According to an exclusive report from Deadline, the decision was driven primarily by business and budget considerations rather than creative disagreements.



<h2>Why Disney+ Dropped the Power Rangers Show</h2>



A major factor behind the decision is the financial commitment required to produce a large-scale live-action superhero series. While “Power Rangers” has decades of recognition and a substantial fanbase, Disney does not own the underlying franchise. Hasbro has controlled the brand since acquiring it in 2018, making the economics of financing an expensive new adaptation less attractive for Disney+ and its production partners.



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The decision comes after Hasbro spent several years trying to establish a new direction for the franchise. A planned television reboot at Netflix was previously abandoned, with Hasbro subsequently looking for another creative partner. In March 2025, the company announced its collaboration with 20th Television on the Disney+ project, with Steinberg and Shotz later confirming their involvement.



“Power Rangers” remains one of the more recognizable superhero properties to emerge from children’s television. The franchise began with “Mighty Morphin Power Rangers” in 1993 and eventually expanded into 30 television seasons, movies, comics and video games. Its television format traditionally follows teams of young heroes who gain special abilities, battle recurring threats and operate giant Zords that can combine into a Megazord.



The cancellation also leaves the franchise without a clear television reboot following “Power Rangers Cosmic Fury,” which aired in 2023. That season marked the end of the previous television era, while Hasbro had already been pursuing a larger reboot strategy. The company’s earlier plans with Netflix were shelved in 2024 before the Disney+ project emerged as the next major attempt to restart the series.



For now, the future of “Power Rangers” on television remains uncertain. Hasbro continues to control the franchise, but there is no new live-action show announced to replace the Disney+ project. The brand itself remains active across different forms of entertainment, with the franchise continuing to have a presence in merchandise and other media.

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The series debuted in 2017 and followed FBI agents Holden Ford, Bill Tench and psychologist Wendy Carr as they pioneered the study of serial killers and criminal profiling in the late 1970s and early 1980s. Now, Netflix co-CEO Ted Sarandos has offered a different explanation for why the acclaimed thriller never reached a third season, telling The Indian Express that the streamer had always expected the story to continue. His comments were reported by Collider.



<h2>Netflix Had Always Expected ‘Mindhunter’ to Continue</h2>



At an event in New Delhi, Sarandos was asked about a series or film that never received the continuation it deserved. His answer immediately brought “Mindhunter” back into the conversation. “It’s not a part two, it’s a part three that I wish we got to make,” he said.



The executive went on to make clear that a third entry was not merely a possibility that emerged after the show’s success. “We always anticipated there would be a third season,” Sarandos said. The hit ultimately stopped after two installments, with the second arriving on Netflix in August 2019.



According to Sarandos, the biggest obstacle was David Fincher’s workload. “He got very busy making a film,” he said, referring to the director’s demanding filmmaking schedule. Fincher was heavily involved in “Mindhunter” as an executive producer and directed multiple episodes, overseeing much of the series’ production.



A potential third part was placed on indefinite hold while Fincher worked on “Mank,” and Netflix eventually released the cast from their contracts in 2020. Fincher later cited the show’s cost and audience size before confirming in 2023 that “Mindhunter” was over.



Sarandos also emphasized just how demanding Fincher’s approach to filmmaking could be. “David is an unbelievably meticulous creator, so he couldn’t do two things at the same time, and he certainly didn’t want to short-change either one,” he said. “So it just got pushed off and pushed off.” For the Netflix executive, the result was a third entry that remained something he personally wished had happened: “I would have loved to have seen a third season of Mindhunter.”

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The actor, who played the Twelfth Doctor from 2013 to 2017, will appear in a recurring guest role as the Hulu hit moves its mystery from New York to London. According to Deadline, Capaldi is the latest in a growing group of actors associated with the British sci-fi series to join the new season.



<h2>Peter Capaldi Joins a Growing ‘Doctor Who’ Connection</h2>



Capaldi will share the sixth season with Jodie Whittaker and David Tennant, both of whom have also portrayed the Doctor. Whittaker succeeded Capaldi as the Thirteenth Doctor, while Tennant famously played the Tenth Doctor before returning to the role as the Fourteenth. 



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Jim Broadbent adds another layer to that connection. Although he never played the Doctor in the main television series, Deadline noted that he portrayed an alternate version of the Eleventh Doctor in 1999 “Doctor Who: The Curse of Fatal Death.” 



The casting also fits the broader direction of Season 6, which is taking Charles, Oliver and Mabel far from the Arconia. The trio will investigate a new mystery in London after the previous season left them with the apparent death of true crime podcaster Cinda Canning. Production on the season began in London in May.



The move across the Atlantic has also brought a substantial group of British and Irish performers into the series. Along with Capaldi, Tennant, Whittaker and Broadbent, the sixth season features Nicola Coughlan, Richard Ayoade, Adrian Lukis, Martin Freeman, Sharon Horgan, Derek Jacobi and Olivia Colman among its additions.

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According to Variety, the streamer has renewed its licensing agreement for another five years, while the series has also secured a new three-year deal with Paramount for its U.S. basic cable rights.



<h2>‘Seinfeld’ Continues to Find New Audiences Decades After Its Finale</h2>



The new agreement keeps all 180 episodes of “Seinfeld” available on Netflix, where the series arrived in 2021 after Sony Pictures Television reached a global streaming deal with the platform. The sitcom had previously been available on Hulu in the U.S., but Netflix’s acquisition gave the entire series a new home as streaming became an increasingly important part of its long-running distribution history.



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The numbers surrounding the comedy help explain why the deal remains significant. “Seinfeld” reached 60 million Americans during the first half of 2026, according to Nielsen, with the figure representing people who watched at least one minute of the series on either streaming or linear television. More than 25 years after its finale, the show continues to attract viewers across different generations.



The hit’s appeal is also tied to its unusually durable cast and characters. Jerry Seinfeld plays a fictionalized version of himself alongside Jason Alexander as George Costanza, Julia Louis-Dreyfus as Elaine Benes and Michael Richards as Cosmo Kramer. Their stories revolve around relationships, work, friendships and everyday frustrations, creating a format that does not depend on a particular era to remain recognizable.



The Paramount agreement will keep “Seinfeld” on Comedy Central, TV Land and other Paramount cable networks in the U.S. for another three years. For Netflix, the renewal ensures that a defining sitcom of the 1990s will continue to sit alongside newer programming as a familiar option for both longtime fans and viewers discovering it for the first time.

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The Argentine science fiction series, created by Bruno Stagnaro and starring Ricardo Darín, premiered in April 2025 and follows Juan Salvo and a group of survivors after a deadly snowfall devastates Buenos Aires and reveals the beginning of an extraterrestrial invasion. 



According to Collider, Francisco Ramos, Netflix’s Vice President of Content for Latin America, has now confirmed that work on Season 2 has reached an advanced stage.



<h2>Netflix Is Planning a Much Larger Second Season</h2>



The next installment is already taking shape behind the scenes, although filming with the cast has not yet begun. “The ambition has gone to a new level. Stuff is already happening, but it’s not actually with actors on screen, it’s technical with some VFX conceptualization.”



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That expanded ambition is also reflected in the production itself. According to Ramos, Season 2 will surpass its predecessor. “It’s way bigger than Season 1, not only in budget, but in terms of scope and conception.”



The first entry already required an extensive technical production. More than 35 locations were used, while over 25 sets were created through virtual production, with large portions of Buenos Aires digitally scanned and recreated through Unreal Engine. The visual effects work also involved international vendors, including DNEG, ReDefine and Scanline VFX.



For now, Netflix has not established when the actors will return in front of the cameras. Ramos acknowledged that the timetable remains uncertain, particularly because the production has to coordinate a much more demanding technical process before the cast can begin shooting.



The streamer is already thinking beyond the immediate season, too. “We need to figure out how we deliver on everything that is expected to be delivered in Season 2, while yet being able to continue with it for a potential Season 3.”



For viewers who have been waiting since the first part’s cliffhanger, the update offers the clearest picture yet of where” The Eternaut” stands. Season 2 is not simply in the early stages of planning. Netflix is already developing its technical foundation, with a larger production and a potential 2027 release now in view.

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The project, which had been circulating in industry reports since 2024 under the working title “Heckler,” was never officially announced by the streaming giant. If the report is accurate, it marks a significant change in direction for one of Netflix’s most valuable global franchises.



<h2>Why Netflix’s Reported ‘Squid Game’ Strategy Has Changed</h2>



The reported project was conceived as an English-language extension of “Squid Game,” the South Korean survival thriller created by Hwang Dong-hyuk that became Netflix’s biggest global breakout after debuting in 2021. The series went on to release two additional seasons, with its third and final installment arriving in 2025, cementing its status as one of the platform’s flagship originals.



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According to The Playlist’s sources, Fincher’s show was developed during a period when Netflix was actively exploring an American take on the phenomenon. Dennis Kelly, best known for creating the British hit “Utopia,” was reportedly hired to write the project, while the working title “Heckler” surfaced in previous industry reports. However, after several years of development and changes within Netflix’s executive ranks, the company’s priorities for the franchise are said to have evolved.



Rather than building its expansion around a single English-language series, Netflix is reportedly looking at a broader international approach. The report claims the streamer is now more interested in developing country-specific versions for different markets instead of centering its plans on one English-language production. While ideas such as French or Norwegian adaptations have been mentioned as theoretical possibilities, no regional projects have been confirmed.



The project also appears to have lost momentum as Fincher shifted his attention to other work, including “The Adventures of Cliff Booth,” his upcoming Netflix feature starring Brad Pitt. According to The Playlist, that picture recently completed principal photography and is currently undergoing additional filming, leaving the author focused elsewhere.

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Speaking to The Hollywood Reporter, the prolific television creator revealed that revisiting the musical series is one of several ideas currently on his mind, though he stressed that any return would depend on finding the right creative direction.



The comments mark one of his clearest acknowledgments yet that the franchise could have another chapter years after the show wrapped its six-season run in 2015. “Glee” originally premiered in 2009 and became a global hit with its blend of musical performances, comedy, and teen drama, earning multiple Emmy and Golden Globe Awards during its run.



<h2>Ryan Murphy Says the Story Would Decide a ‘Glee’ Revival</h2>



During the interview, Murphy confirmed that “Glee” remains part of his development conversations. “I’m also considering Glee,” he said before explaining why the idea still resonates with him. Rather than framing it as a nostalgia project, he pointed to the audience that has grown up with the series, noting, “For many, many people now in their 20s, they grew up on that show and it meant something to them. The music meant something.”



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Even so, Murphy made it clear that recognition alone would not justify bringing the title back. Any revival would need a compelling creative reason to exist. “It’s always about the story for me. What’s the story? Do I want to tell the story now? Sometimes I want to wait,” he said, adding that the concept is something to “kick around and see what we get.”



The producer also explained that practical considerations now play a major role in deciding what moves forward. He said every project is evaluated based on the strength of the scripts and the realities of production costs, while emphasizing that he is increasingly focused on creating opportunities that keep television production in Los Angeles. Murphy said he wants to help bring projects back to the city so industry workers can remain closer to their families instead of relocating for work.



Although no revival has been officially announced, Murphy described himself as being in a productive creative period. “I am optimist and I love everything I have coming out,” he said, adding that he is currently in “a development phase.” For now, “Glee” remains one of several possibilities on his slate, but his latest remarks suggest the door is no longer closed.

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In a recent interview with The Hollywood Reporter, Ryan Murphy shared that he and author Bret Easton Ellis discussed the possibility of extending the series well beyond its debut season. 



<h2>Ryan Murphy Already Has a Long-Term Plan for The Shards</h2>



Although FX has not announced a second part, Murphy revealed that the creative team never viewed “The Shards” as a one-season project. Recalling his early conversations with Ellis, the producer said the author encouraged him to take ownership of the adaptation instead of closely overseeing every creative decision.



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“I just spoke about it and he was like, ‘Okay, go with God,&apos;” Murphy recalled. “Do your thing.” That creative freedom also opened the door to a larger conversation about the future of the show. The producer shared that Ellis believed the novel contained enough material to support multiple installments, telling him, “I think that this story could be multiple seasons.”



Building on that idea, Murphy explained that they envisioned a story unfolding over several years of television. “We had always talked, even in the beginning, briefly, that, in success, this is a three- or four-year series where it takes place over the course of one school year,” he said.



Based on Ellis’ 2023 novel, “The Shards” follows a fictionalized teenage version of the author during his senior year at an elite Los Angeles prep school in 1981. As a mysterious new student joins his circle of friends, Bret becomes convinced the newcomer is connected to a serial killer terrorizing the city. 



The adaptation stars Igby Rigney, Kaia Gerber, Homer Gere, Hayes Warner, Graham Campbell, Evan Rachel Wood, and Wes Bentley. With the title only beginning its run, whether Murphy’s multi-season vision becomes reality will ultimately depend on how audiences respond.

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The show is adapted from Bret Easton Ellis’ semi-autobiographical novel, prompting many fans to wonder whether the mysterious murderer was inspired by a real criminal. While Ellis has described the book as being rooted almost entirely in his own experiences, the answer regarding The Trawler is considerably more nuanced.



<h2>Did Bret Easton Ellis Base The Trawler on a Real Killer?</h2>



The short answer is no. The Trawler is not based on one specific serial killer, but rather serves as a fictional antagonist within “The Shards.” Ryan Murphy’s series adapts Ellis’ 2023 novel, which blends autobiography with fiction by following a teenage version of the author during his senior year at Los Angeles’ Buckley School in 1981. 



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
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Ellis himself has reinforced the autobiographical nature of the novel. According to The Drift, he rejected the idea that “The Shards” should simply be labeled fiction, saying, “I can’t call this a novel, or fiction, though the lawyers at my publishing house will probably force me to.” He added that it was “basically 99 percent pure autobiography. Everyone is real. Everything happened. All of the scenes actually played out.” Even so, the novel is widely categorized as autofiction, intentionally combining lived experiences with invented narrative elements.



That distinction is particularly important when it comes to The Trawler. Rather than recreating the crimes of a documented murderer, Ellis appears to use the killer to capture the anxiety surrounding Los Angeles during the early 1980s. Growing up in Southern California meant living in the shadow of notorious cases such as the Manson Family murders and the Hillside Str**gler, creating an atmosphere of fear that informs the novel’s suspense even if its central villain is fictional.



Some readers have nevertheless searched for real-life inspirations behind the character. Discussions on Reddit have suggested that aspects of The Trawler’s escalating behavior, including psychological intimidation before the murders, may loosely echo crimes attributed to Los Angeles serial killer Brandon Tholmer, whose attacks took place during the same period. 



However, Ellis has never identified Tholmer or any other individual as the direct inspiration for The Trawler. Instead, the character functions as part of the novel’s deliberate blend of memory, imagination, and psychological horror.

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Speaking to The Hollywood Reporter, Jason Sudeikis revealed that he is already thinking beyond the newly released fourth season, saying the creative team has ideas that extend well past the show’s current run and hinting that Ted’s story may be far from over.



<h2>Could ‘Ted Lasso’ Continue Beyond Season 4?</h2>



Although Apple TV+ has not officially announced a fifth part, Sudeikis indicated that the crew is already preparing for that possibility. According to The Hollywood Reporter, the writers are expected to reconvene in late August to begin developing a potential fifth entry if everything moves forward as planned. The outlet also reported that unused concepts from previous brainstorming sessions remain on the table, while Sudeikis continues to collect ideas in his personal notes.



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<figure class="wp-block-image size-large"><img loading="lazy" width="1280" height="720" data-id="99704" src="https://media.bolavip.com/wp-content/uploads/sites/29/2026/08/04154417/Ted-2-1280x720.webp" alt="" class="wp-image-99704"><figcaption>Source: IMDb</figcaption></figure>
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The actor also suggested that he is approaching the series with another long-term plan. Rather than viewing season 4 as a final chapter, Sudeikis revealed that he once again has a three-season arc in mind for the current iteration of the show. That roadmap echoes the original vision for “Ted Lasso,” which was initially conceived as a three-season story before returning with its latest installment.



Even with that creative direction, Sudeikis acknowledged that the hit’s future ultimately depends on viewers embracing the new chapter. Speaking about his hopes for what comes next, he said he remains optimistic that audiences will continue following the journey while adding, “I know I needed this. I needed it as much as other people do.”



So, if the current installment performs as expected and the streamer moves forward with another renewal, “Ted Lasso” could continue well beyond season 4, following the multi-season plan its star and co-creator has already envisioned.



Since its debut in 2020, “Ted Lasso” has grown from a sports comedy into one of Apple TV+’s signature original titles. The show follows an American football coach who unexpectedly takes charge of the fictional English soccer club AFC Richmond despite having no experience with the sport. Across its first three entries, its blend of humor, optimism, and character-driven storytelling earned widespread critical acclaim, multiple Emmy Awards, and a devoted global fan base.

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Now that the first two episodes of Ryan Murphy’s FX adaptation are streaming, many viewers are wondering how much of the unsettling story actually happened. While the series recreates key moments from Ellis’ adolescence, its central mystery is not a straightforward retelling of real events.



<h2>How Much of ‘The Shards’ Is Based on Real Life?</h2>



Ryan Murphy’s “The Shards” is not based on a true story in the traditional sense, but it is adapted from a novel that draws heavily from its author’s life. The eight-episode FX show is based on Bret Easton Ellis’ 2023 book of the same name, a fictionalized memoir set during his final year at Los Angeles’ elite Buckley School in 1981. Ellis is best known for novels including “Less Than Zero” and “American Psycho,” and much of his work deliberately blurs the boundaries between autobiography and fiction.



<figure class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><img loading="lazy" width="1280" height="720" data-id="99684" src="https://media.bolavip.com/wp-content/uploads/sites/29/2026/08/04141631/Brat-1280x720.webp" alt="" class="wp-image-99684"><figcaption>Source: Vittorio Zunino Celotto/Getty Images for RFF</figcaption></figure>
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That approach is especially evident in “The Shards.” As informed by The Drift, Ellis rejected the idea that the book should simply be classified as fiction. “I can’t call this a novel, or fiction, though the lawyers at my publishing house will probably force me to,” he said, adding that it was “basically 99% pure autobiography. Everyone is real. Everything happened. All of the scenes actually played out.” 



Even so, the series is not presenting viewers with a literal account of historical events. The protagonist shares Ellis’ name and background, but the novel is widely categorized as autofiction, a genre that intentionally mixes real experiences with invented characters and situations. The serial killer known as The Trawler, the arrival of transfer student Robert Mallory, and the murder mystery that drives the plot all function within that fictional framework.



Murphy is no stranger to projects that blur the line between reality and dramatization. Beyond “The Shards,” he has built some of television’s most recognizable anthology franchises, including “American Horror Story,” which has occasionally drawn from real-life events and urban legends, and Netflix’s “Monster,” which dramatizes infamous criminal cases. “The Shards,” however, takes a different approach, using Bret Easton Ellis’ semi-autobiographical novel to explore the space between personal memory and fiction rather than recounting documented history.

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