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Time of India
5 days ago
- Entertainment
- Time of India
Yellowjackets Season 2: When will it arrive on Netflix? Here's Netflix US release date and license extension details
Netflix will release Season 2 of the Showtime series Yellowjackets in the US on July 1, 2025. The nine-episode season, already available internationally, continues the story of the survivors. Netflix has also extended the show's license for more years. SAO PAULO, BRAZIL - DECEMBER 7: Alexa Barajas from Yellowjackets during the Paramount+ CCXP 2024 at Sao Paulo Expo on December 7, 2024 in Sao Paulo, Brazil. (Photo byfor Paramount +) Tired of too many ads? Remove Ads Yellowjackets Season 2 Netflix US Release Date Already Available in Other Countries Storyline of Season 2 Tired of too many ads? Remove Ads License Extension FAQs Netflix will bring the second season of Yellowjackets to US viewers from July 1, 2025. This follows its international release and comes ahead of Season 3's arrival on Showtime in early Season 2 was licensed by Netflix on October 1, 2024. At that time, it was uncertain whether the second season would stream in the US. Now, Netflix has confirmed that the new season will be available in the United States from July 1, 2025. The show is part of Netflix's upcoming July 2025 second season is already streaming in most regions outside the US. These regions include Latin American countries, Argentina, Brazil and some European territories. Viewers in these countries received access to Season 2 before the 2 has nine episodes. It originally aired between March and May 2023. The story begins two months after Jackie's death, which ended Season 1. The survivors deal with winter and food scarcity. Lottie becomes a spiritual figure. Shauna secretly eats part of Jackie's remains. Tensions grow within the the present-day timeline, Shauna and Jeff try to hide Adam's murder. Misty looks for Natalie. Natalie wakes up in a remote commune led by Lottie. These storylines continue the show's dual-timeline has secured rights to keep Yellowjackets for at least two more years. The license for Season 1 has been extended through October 1, 2027. This ensures continued availability of the series for viewers in the coming 2 of Yellowjackets will be added to Netflix US on July 1, 2025, as part of the July content has extended the license for Season 1 through October 1, 2027. It will stay on the platform for at least two more years.
Chicago Tribune
03-06-2025
- Entertainment
- Chicago Tribune
2025 Tony Awards: Who will win, who should win in a year with few sure things
Will Nicole Scherzinger, sizzling in 'Sunset Blvd.,' beat out Audra McDonald, who made Rose a metaphor for the tragic human condition? Could Jonathan Groff, a knockout Bobby Darin, win back-to-back kudos? Might Sadie Sink of 'John Proctor Is the Villain' be sunk by the wild-eyed Laura Donnelly of 'The Hills of California' or the ever-savvy Mia Farrow of 'The Roommate,' even though all three women played equally terrifying characters? These and many other questions will be answered on Sunday at the Radio City Music Hall in New York, where host Cynthia Erivo will present the 78th annual Tony Awards (beginning at 7 p.m. June 8 and broadcast on CBS and streamed on Paramount+). The ceremony will be the climax of the 2024-25 Broadway season and the reason that several struggling musicals ('Real Women Have Curves,' 'Boop! The Musical') are hanging in there, hoping for a life-saving boost. Tony Award voters are casting their ballots. Let's look at who should be ascending to the dais in the traditional ebullient panic, holding back tears and staring into the camera to tell all the envious theater kids at home how you, too, can have all this if you only fight off the naysayers and follow your dreams! Right. Down to it. This one will be, and rightly should be, a runaway victory for 'Maybe Happy Ending,' a delightfully unnerving musical that most everyone on Broadway underestimated because it was an original love story between two retired South Korean 'helperbots.' To my mind, Will Aronson and Hue Park's quirky, charming little tuner succeeds mostly because of one small but pivotal idea: the notion that a robot's battery life can be a proxy for human mortality. Oliver and Claire fall in love as their percentages drop. Thus, the show manages to simultaneously tap into the fear we all have of an imminent robotic takeover (oh, it's coming) while avoiding the problem of making a dystopian musical. By making the robots as vulnerable as us, they forged a charming romantic comedy performed by Helen J. Shen (robbed of an acting nomination) and Darren Criss (who dove deep into robotland). The competition? Nothing credible. 'Buena Vista Social Club' is a very good time, musically speaking, but has a predictably formulaic book. The inventive 'Death Becomes Her' works just fine as a campy frolic but it relies much on its source movie. And 'Operation Mincemeat' is the most jolly of pastiches, rib-tickling fun all the way. Only 'Dead Outlaw' represents truly credible competition and deserves to siphon off some votes. But at the end of the day, it's a musical about a corpse. There were two excellent, Tony-worthy new plays in this Broadway season: Jez Butterworth's 'The Hills of California,' set in the British working-class resort of Blackpool, and Branden Jacobs-Jenkins' 'Purpose,' both a high-style dissection of the dysfunctional family of the civil rights icon Jesse Jackson and a moving exploration of what it's like to be an introverted kid in a high-pressure family. 'Purpose,' which is still running and more relevant to most Tony voters, is likely to win. But Butterworth's play forged a complex dramaturgical structure and explored deeply empathetic characters. Its central point? To explore how and why childhood trauma impacts our adulthoods. Butterworth has been writing plays a lot longer than Jacobs-Jenkins and his experience shows; I wanted the perfectly crafted 'Hills' to never end. Writer Kimberly Belflower's very lively 'John Proctor Is the Villain' might sneak in there, but I think that audiences at this drama about high schoolers studying 'The Crucible' are responding more to a brilliant production than to the play itself, which is at the end of the day a melodrama that relies on someone else's intellectual property. No shame there, but not the equal of the competition and, with much respect, nor is the very smart and potent 'English,' a show about ESL students that also leads to an inexorable conclusion matching the playwright's point of view. This category will hinge on how many voters embrace Jamie Lloyd's cleverly branded deconstruction of 'Sunset Blvd.' over George C. Wolfe's more nuanced approach to 'Gypsy.' In many ways, the two leading candidates represent a kind of yin and yang of musical revival. 'Sunset Blvd.' is showy and radical and replaced the gilded excess of the original production with an excess of concept, deceptively minimalist but only on the surface. Wolfe's 'Gypsy' aimed to excise the show of Patti LuPone-like drama. McDonald, who brought her classically trained voice to Rose, saw her antiheroine more as an everywoman and the production responded accordingly, as if Wolfe were trying to say that 'Gypsy' was the American tragic musical that few previously understood. I see the arguments against 'Sunset Blvd.' but in the end, Lloyd's staging was just so audaciously thrilling that it overcame them for me. As a director, he's obsessed with film, but then this is a musical about a movie star, so if ever there was a show that could stand such a metaphoric obsession, then here it was. And although this may seem counterintuitive, I thought 'Gypsy' missed the chance to stage this title with far more Black actors, allowing it to serve as a metaphor for the condition of Black entertainers in early 20th century America. It almost went there, but not quite. 2025 Tony Award nominations: Steppenwolf's 'Purpose' and 'Death Becomes Her' both score bigThis was not a stellar season for play revivals. 'Romeo + Juliet,' a pretentious and wildly uneven misfire, did not even remotely deserve its Tony nomination and, bracing moments notwithstanding, 'Our Town' was uneven and derivative of David Cromer's prior revival. 'Eureka Day,' a piece about pretentious pre-school parents and teachers, was an effective satire but hardly surprising. That leaves David Henry Hwang's 'Yellow Face,' an autobiographical piece about Hwang himself and a 'Miss Saigon' casting scandal. 'Yellow Face' has knocked around the American regions for years. But this was a truly excellent piece of new direction from Leigh Silverman and for the first time, the play transcended its inside-baseball orientation and had much to say about America and race. Team Nicole Scherzinger or Team Audra McDonald? Both deconstructed iconic characters (Norma Desmond and Madam Rose) using every ounce of their mutually formidable craft. With all due respect to McDonald, I'm Team Nicole because her work was the more radical of the two performances in rescuing Norma from bathetic senility and giving her back her sexuality, and because McDonald's tragic approach to Rose inevitably de-emphasized her chutzpah and self-aware vivacity which is much of why 'Gypsy' is 'Gypsy.' Still, no shame in being on the other team. It would feel strange for either Megan Hilty or Jennifer Simard to win for 'Death Becomes Her' at the expense of the other and I suspect Tony voters will feel the same way. But let's add some props for Jasmine Amy Rogers, truly a perfect Betty Boop who managed to turn a vampish cartoon figure into a complex and vulnerable heroine. If you judge a performance by pizzazz, charm and growing star power, Jonathan Groff is your winner for his dazzling take on Bobby Darin in 'Just in Time.' If immersion inside a character is your choice, you are choosing between Darren Criss for 'Maybe Happy Ending' and Andrew Durand in 'Dead Outlaw.' I thought Durand was just astonishing as the titular outlaw, whose corpse takes on an all-American trajectory of its own. Aside from the technical demands of playing a dead dude, Durand also nailed a guy with zero access to his own feelings. In other words, what he didn't do was probably as important as what he did. I preferred that to Jeremy Jordan in 'Floyd Collins', but I may be in a minority. And Tom Francis, who sings his way through Midtown eight times a week in 'Sunset Blvd.,' will have deserved support. Mia Farrow has acted only rarely in the past decade but her empathetic performance as a vegan, pot-growing Iowan in 'The Roommate' was a reminder of her astonishing ability to fuse what actors think of as externals and internals — her work felt deeply authentic but savvy observers also noted the sophistication of her comic technique and dramatic timing. Alas for Farrow, this is an extraordinary category and by far the most competitive at this year's Tony Awards. Take Sarah Snook, whose work in 'The Picture of Dorian Gray' had not a single syllable out of place on the night I saw the show, notwithstanding the huge technical demands of a video-filled production that co-starred numerous versions of her recorded self. She's one of the world's great performers. Then there was the less-famous Laura Donnelly, who played a mother and (later) her adult daughter in 'The Hills of California,' all in service of the writer's point that we all eventually have to live the way we were raised. So distinct were these two characters that some punters in my row clearly did not know they were watching the same actress they'd seen in a different role just a few minutes before. Donnelly was at once empathetic and Medea-like in her intensity. We were supposed to be scared of both of Donnelly's characters and I swear I could not tell you which terrified me the most. Sadie Sink also has a lot of fans and that was indeed a savvy turn in 'John Proctor.' But this competition is between Snook and Donnelly and it was a hard choice for me. Donnelly haunts me the most. George Clooney is on the list of nominees and I hardly need to recount his formidable talents, but he was fundamentally filmic in 'Good Night, and Good Luck,' rather than truly translating his subtle version of Edward R. Murrow to a stage the size of the Winter Garden Theatre. So, with an additional nod of admiration to the delightfully quirky Louis McCartney, who managed to survive all of the crashes and bangs of 'Stranger Things: The First Shadow,' I preferred Jon Michael Hill, playing a young man born into a famous and famously dysfunctional Black political family even though he just wanted to take photographs and stay as far away as possible from his father and his actions. Hill was the most rooted actor in a stellar Steppenwolf Theatre production of 'Purpose.' But I suspect Cole Escola, the star of 'Oh, Mary!,' a silly but strikingly effective satire of Mary Todd Lincoln and her bearded spouse, who will take the prize. No complaints here. Escola hardly was subtle with a guileless, all-in performance that has been packing the house. It's a one of a kind show and that's its greatest selling point. But Escola also offers a clever commentary on present-day America, fueled by fun, freedom and frustration. What the Tony nominations got right — and wrongDavid Cromer's work on 'Dead Outlaw' was typically detailed and worthy and Christopher Gattelli wrangled 'Death Becomes Her' with witty aplomb, but 'Maybe Happy Ending' was an eye popping career-high for Michael Arden, who created the most romantic of dreamscapes and yet also insisted that the audience look precisely and only where the director wanted its eyes to be. Speaking of career highs, Danya Taymor convinced her youthful cast in 'John Proctor Is the Villain' that the stakes in this high school English class were a matter of life and death. Taymor has to compete with Kip Williams, who employed multiple screens and videographers in 'The Picture of Dorian Gray' for what was more conceptual authorship than direction, and with Sam Mendes, whose mastery of the exquisite ensemble cast of 'The Hills of California' was formidable. Mendes has won many kudos; most Tony voters will want to reward Taymor, a rising talent. Fair enough. Last, here are my picks for the remaining acting categories.
Stuff.tv
24-05-2025
- Entertainment
- Stuff.tv
Every Mission: Impossible movie ranked ahead of the release of The Final Reckoning
Tom Cruise may have a phonebook of different roles in his illustrious movie career, but his most recognised is arguably IMF Agent Ethan Hunt of the Mission: Impossible franchise (now available to stream on Paramount+). With this movie series spanning nearly 30 years, Hunt has performed enough stunts to leave a Cirque du Soleil artist in cold sweats. He's gone free solo climbing, hung on to an airplane mid-takeoff, completed a HALO parachute jump and ran down the tallest building in the world. However, there's still room for a few more death-defying feats as the franchise wraps up with the release of Mission: Impossible – The Final Reckoning. With this in mind, our mission, should we choose to accept it, is to rank all the Mission: Impossible movies and discover which of these thrilling spy action flicks takes the top spot. Get the latest deals from Sky or Now TV in the UK 7. Mission: Impossible 2 (2000) Play MI's trademark scintillating stunts and John Woo seemed like a perfect match, so why is the first sequel widely regarded as the worst of the franchise? Well, beyond those franchise-defining action setpieces involving a breathtaking free solo opener and the bullet-ridden motorcycle chase finale, the main story ends up feeling fairly dull and uninvolving. And even if the premise revolves around a deadly bioengineered virus, there's a love triangle between our leads that falls flat due to a severe lack of chemistry. Still, between a languid stopover in Seville, a half-hearted heist at the horse races and a cliffside careening courtship scene, you'll be egging for the action to kick in again. Fortunately, these rousing OTT sequences are enough to kick you out of drowsiness, for those who stick with it are treated to Woo's trademark slo-mo balletic gunplay and doves. It's a John Woo film, you can't not have doves. 6. Mission: Impossible – Rogue Nation (2015) Play Ethan Hunt's fifth mission introduces shadowy organisation The Syndicate, a cabal of disavowed operatives turned rogue. If those individuals weren't enough, the IMF also faces blowback from the CIA, which brands the agency as uncontrolled and unchecked due to previous events in the series. With Hunt now on the run from both sides, he needs to bring down The Syndicate's leader, Solomon Lane, before the net closes in. This movie still fizzes with action and those ludicrous stunts, one of which features Ethan clinging onto the side of an Airbus transport aircraft during takeoff — talk about no-frills flying. Extra credit also goes to new addition Rebecca Ferguson as the mysterious Ilsa Faust, a capable foil for Ethan with a penchant for rifles and badassery. Still, Rogue Nation doesn't quite carve out its own place in the franchise, as villainous group The Syndicate doesn't quite feel as fleshed out and threatening as it could be, even though Sean Harris offers a brutal antagonist to Ethan and co. The final act is also somewhat forgettable, ending proceedings with a subtle whimper rather than a bombastic crescendo. 5. Mission: Impossible – Dead Reckoning Part One (2023) Play Part one of the team's final mission revolves around an AI asset known as The Entity gone rogue, which is right on the money, given public perception of this strange new tech. As various organisations race to secure this potential weapon, Hunt and his team need to make uneasy alliances and discover who or what is pulling the strings from afar. Adding to the mix are a whole host of new and old players, including Hayley Atwell as thief Grace, Henry Czerny as Kittridge, whom we haven't laid eyes on since the very first M:I, and Esai Morales as intimidating assassin Gabriel. Despite its lofty ambition, decent set pieces and technical prowess, Dead Reckoning feels very unbalanced under its vast juggling act, with an overly intricate plot, an excess of side characters with shifting loyalties, a bloated runtime, and confusing double and triple crosses aplenty. And while its endgame motorcycle jump was no doubt impressive, it was marketed to death, dulling its impact in theatres. 4. Mission: Impossible (1996) Play The opening Mission: Impossible is very much a different beast to the missions that followed it, playing it straight and focusing on a deadly game of shadows, Cold War paranoia, and Dutch angles… lots of Dutch angles. When a mission goes awry, Ethan, framed and wanted by his own agency, must dive into a murky world with his talents for espionage and forge new partnerships with unscrupulous types if he's to clear his name and discover who's behind it all. As cool as its lead (perhaps a little too cold), Mission Impossible rarely ventures into OTT territory, though that train versus copter finale more than makes up for it. It takes things at a more slow-burning pace, with shady conversations over espressos rather than explosives. With lashings of suspense, it serves as a great introduction into this shadowy universe where you really can't trust anyone, while the CIA break-in scene is still a highlight that'll have you on the edge of your seat. 3. Mission: Impossible III (2006) Play A much-needed shot in the arm for a franchise that faltered somewhat with the previous entry, Mission: Impossible III sees J.J. Abrams take up the helm, having previous experience in shooting sleuthwork on Jennifer Garner's excellent ALIAS series. The story is much more accessible this time around, with Ethan Hunt trying to juggle a normal life with fiancée Julia and being a clandestine operative, which goes as well as you might expect. The teamwork, which the original TV series was famous for, is on point in this one, particularly during a hostage extraction job in a factory and a drone showdown on a highway. The standout sequence is the mid-movie heist, in which our team needs to infiltrate Vatican City to retrieve an arms dealer, played by the late, great Philip Seymour Hoffman, who provides real menace and presence as one of the franchise's best villains. The plot moves at a breakneck pace and the screen is littered with Abrams' signature lens flares and grittiness thanks to its digital camerawork. Combining fun, humour, top drawer action and plenty of emotional stakes, this mission proved a great spy film needn't be so po-faced. 2. Mission: Impossible – Ghost Protocol (2011) Play Mission: Impossible confidently strides into its fourth film with big shoes to fill, but director Brad Bird nails it with Ghost Protocol, an enjoyable action romp with plenty of absurd stunts and a gripping story. The team is on a mission to track down stolen Russian nuclear launch codes, which takes them on uncharted ground. After disaster strikes, the team must regroup and stop a plot to envelop the world in nuclear fire. It's a suspenseful movie that expertly blends well-drawn characters and a rip-roaring story. Brimming with unforgettable action and some of the finest stunt (and wire) work in the franchise, including a high-altitude jaunt on the exterior of Dubai's Burj Khalifa no less, and a surprisingly tense Kremlin infiltration mission, Ghost Protocol benefits from a tight yet explosive plot that doesn't let up until the credits roll. Peppered in with the action is a fair bit of human drama and baggage, courtesy of a bowless Jeremy Renner as Agent Brandt, Léa Seydoux as shady assassin Sabine, Simon Pegg's fan favourite Benji, and Paula Patton as a vengeful Agent Carter. 1. Mission: Impossible – Fallout (2018) Play Fallout easily takes top billing as the gang's best mission, a perfectly taut thriller that quintessentially captures what makes this franchise such a hugely enjoyable popcorn blockbuster. Featuring an all-star cast, including the returning Ving Rhames as Luther and Rebecca Ferguson's Ilsa, new additions include Henry Cavill's one-man (and meme-d) gun show, August Walker, and Vanessa Kirby as the daughter of the infamous arms dealer Max from the OG M:I. Fallout expertly positions these characters as valuable pieces on the chessboard who serve their own agendas while helping or harming our heroes' endeavors. Of particular note is the HALO jump onto a Parisien skyline, a helicopter duel that ends on a heart-stopping cliffside encounter and a brutal bathroom brawl that's less WC and more 'did you see that??' Fallout breaks new ground in its thrilling sequences, thanks to Tom Cruise always going that extra mile, and then some, cementing the film's place among the hallowed halls of the finest action movies. Get the latest deals from Sky or Now TV in the UK
Yahoo
08-05-2025
- Entertainment
- Yahoo
Criminal Minds Video: Aisha Tyler Previews a ‘Hot Season for UnSubs,' Talks Directing Her Own Love Scene
The new season of Criminal Minds: Evolution is going to be 'a really hot one' for deviant UnSubs, Aisha Tyler promised during her visit to TVLine's NYC video studio this week. The Season 18 premiere (now streaming on Paramount+) picks up six months after Elias Voit (Zach Gilford) took that beating in prison, and now, even in his (seemingly?) compromised state, the BAU will need to try and work with him, again, to shut down the network of serial killers left in Sicarius' wake. More from TVLine Owen Wilson Stars in Apple TV+ Golf Comedy Stick - Watch Trailer, Get Premiere Date Will Trent Director Erika Christensen Just Helped Deliver a Pair of Gigantic, Series-Altering Twists Ahead of Finale Elsbeth Murderers Pay Homage to Chicago's 'Cell Block Tango' in Musical Finale Sneak Peek (Exclusive) Tyler stepped behind the camera again to direct this season's second episode (dropping May 15), and it features Daredevil vet Elden Henson exhibiting some extremely un-Foggy Nelson behavior. 'He was amazing,' Tyler effuses in the video Q&A above. 'He has such a lovable face, and he was able to deliver this very nuanced performance of a guy who has a private life and presents in a very different way publicly.' Henson's UnSub is not the most twisted one this season, though, Tyler goes on to warn. On the personal front, Season 18 is a 'deeply personal' one for Dr. Tara Lewis, Tyler says at the 3:15 mark, 'which is really nice. It was great as an actor to do some stiff I haven't been able to do on the show before. We get to dive into my backstory a bit, which has been really beautiful.' Tara's love life is also further explored. In fact, Tyler for Episode 2 had to direct the very rare Criminal Minds love scene, between her own character and Nicole Pacent's Rebecca. 'Sweating balls' is how Tyler sums up that challenge. 'It's never comfortable…. I couldn't wait for it to be over!' Tyler goes on to tease the 'obstacles' facing Tara and Rebecca this season; talks about Tara sporting a sweatshirt from her and her alter ego's Dartmouth alma mater; and shares her wish to direct a full-on horror film, after handling similar fare in Criminal Minds, Evil and Walking Dead episodes. What's in the box, in that first Season 18 photo released a while back? I threw that Q at Tyler at the 8:45 mark. She then talks about her margarita-flavored side hustle, and we wrap things up with a status report on Whose Line Is It Anyway?, the long-running improv series that exhausted its last episodes back in November. Want scoop on , or for any other TV show? Shoot an email to , and your question may be answered via Matt's Inside Line! Best of TVLine Yellowjackets' Tawny Cypress Talks Episode 4's Tai/Van Reunion: 'We're All Worried About Taissa' Vampire Diaries Turns 10: How Real-Life Plot Twists Shaped Everything From the Love Triangle to the Final Death Vampire Diaries' Biggest Twists Revisited (and Explained)
Tom's Guide
06-05-2025
- Entertainment
- Tom's Guide
Paramount Plus drops first 'NCIS: Tony and Ziva' trailer
(Image credit: Marcell Piti/Paramount+) After more than 20 years and six spin-off series, the "NCIS" television universe will further expand with the premiere of "NCIS: Tony and Ziva," which will see Michael Weatherly and Cote de Pablo reprise their roles as former NCIS special agents Anthony 'Tony' DiNozzo and Ziva David. In a franchise first, the 10-episode series will forgo the usual "NCIS" home of CBS for Paramount Plus, marking the first title in the "NCIS" universe to be developed exclusively for a streaming platform. The new crime procedural will pick up in Paris, France, where Ziva and Tony have been raising their daughter Tali, after Ziva's presumed death and subsequent return for one last mission. However, when Tony's security company is attacked, the duo must go on the run across Europe and try to figure out who is after them — all while learning to trust each other again. You may like (Fun fact: it will mark the characters' first time appearing onscreen together in 12 years, since the "NCIS" season 11 episode "Past, Present and Future.") 'I expect intrigue, romance, the background of Europe, impossible situations that will make our life very complicated but somehow a little something about love,' De Pablo revealed in a May 2024 Instagram video. And fans can get a taste of all that intrigue and romance for themselves with the spinoff's first official trailer, which the streaming service dropped on Monday, May 5. You can take a look at the action-packed teaser below: NCIS: Tony & Ziva | First Look Trailer | Paramount+ - YouTube Watch On "NCIS: Tony and Ziva" — which also stars Amita Suman, Maximilian Osinski, Julian Ovenden, Nassima Benchicou, Lara Rossi, Isla Gie, Terence Maynard and James D'Arcy — does not currently have an official premiere date set, though we do know that the new eps will drop sometime in fall 2025. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. 'I'm incredibly grateful to CBS Studios and Paramount Plus for the chance to plunge these two beloved characters into a dangerous, fun, romantic, exciting chase across Europe,' said showrunner John McNamara, per Deadline. 'I'm excited to tell a single, serialized story of intrigue and espionage over 10 episodes, getting the chance to delve more deeply into Tony and Ziva's complex relationship, their on-again/off-again romance and the way they manage to co-parent their daughter Tali, heightened by the sudden jeopardy they all find themselves in." Added Weatherly: 'It was surprising how Cote and I just fell into this new place with our characters. Informed by the past, illuminated by the present and trying to see a future together. These characters are on the adventure of a lifetime. And hopefully, so is the viewer.' Tom's Guide will keep you posted on all things related to "NCIS: Tony and Ziva", including new teaser trailers, character details, plot points and more. Stay tuned! More on Tom's Guide
