Why Vikings Season 6 Brought Back That Major Character

The end of Vikings has come and with it, a number of surprises that wrapped up the long-running series. The final 10 episodes of the series have debuted first on Amazon Prime Video, giving fans the opportunity to watch them all at once, rather than waiting week-to-week for new installments.

Warning: The following contains spoilers for the final season of Vikings. If you haven’t watched all 10 episodes of the second half of Season 6 yet, stop reading now. They are currently available to stream on Amazon Prime Video.

In the penultimate episode, after arriving in the new world, Ubbe (Jordan Patrick Smith) and his fellow Vikings were introduced to the person known to the indigenous people as “crazy man.” Imagine everyone’s surprise when said crazy man was actually Floki (Gustaf Skarsgård), who hadn’t been seen since he was essentially buried alive inside an erupting volcano. Miraculously, he wasn’t alive. Instead, he wound up in Newfoundland, where he was finally reunited with a son of Ragnar.

According to series creator Michael Hirst, not giving Floki the closure the character–and fans–deserved wasn’t an option. “I couldn’t have left Floki under the mountain, sort of forgotten and not brought him back for a proper ending,” he explained to GameSpot. “He was the kind of life force. He was so important to me and so important to the show.”

Instead, there’s a sense of redemption for the character after everything he’s been through over the past few seasons. What’s more important, though, it shows how Floki has grown and aged since we last saw him.

“He’s found some peace. But I did have a line in his final little colloquia with Uber when he’s talking about what’s happened to him since coming to America,” Hirst said. “I had a line in there that he said, ‘My mind’s not right.’ But I do think you get that sense that he’s been profoundly changed. [And] there may even be a touch of Alzheimer’s. He doesn’t engage really with the Vikings when they turn up.”

He does engage with Ubbe, though, even telling him how much he looks like his father and admitting he still hears Ragnar’s voice asking him to build boats. It’s such an appropriate place for the series to end. Floki is the only character left that’s been there since the beginning, so having him there for the final episode–and even the final scene–is as fitting as it gets.

What did you think of Floki’s return for the final season of Vikings? Sound off in the comments below.

James Bond Movie Studio MGM Exploring Sale

MGM Holdings, the studio behind the James Bond franchise, is reportedly exploring a sale. Variety, citing “a source close to the situation” says the company is specifically eyeing streaming services or other film companies looking to establish their streaming sectors. Based on privately traded shares, the company has a market value of $5.5 billion, including debt.

In addition to James Bond, MGM’s film library has more than 4,000 titles and 17,000 hours of television programming, including film franchises like Rocky and The Hobbit as well as television shows like The Handmaid’s Tale and Vikings.

MGM has not yet commented publicly on the trial balloon signs pointing to a sale–the Wall Street Journal first reported recently that MGM had engaged Morgan Stanley and LionTree Advisors to begin the formal sale process.

However, a sale would not be a total shock as COVID-19 has effectively kneecapped smaller players (like MGM) who are unable to release their releases in theaters. While MGM is much bigger than just James Bond, one need only look to that franchise to gain an insight into what might be happening at the studio: No Time To Die, the upcoming 007 flick, has gone from a November 2019 scheduled release date to enduring several releases before (for now) seemingly holding firm to an April 2, 2021 release. James Bond is just one of many properties MGM owns, but given the recently announced James Bond 007 video game, there’s still plenty of gas left in the studio’s tank and strong interest in its franchises.

How GoldenEye’s Director Created an Iconic James Bond Opening

As we all continue to wait for the long-delayed No Time to Die to finally see the light of day, at least we can fall back on the many classic Bond movies of decades past. And few sequels can rival 1995’s GoldenEye, the first of two stellar Bond movies from director Martin Campbell.

IGN’s latest installment of Watch From Home Theater reunited Campbell with star Famke Janssen for a fun and very illuminating reflection on Bond’s big ’90s comeback. If you missed out on the livestream, you can still watch the commentary track in the embedded video player below. But if you just want the juiciest details, read on to learn some fascinating anecdotes about the making of GoldenEye, including Campbell’s quest to “go for something the audience has never seen before” and the scene that left Janssen with a very nasty injury. Then be sure to check out our previous recaps of the Rogue One WFH Theater and the Jurassic Park WFH Theater.

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A New Breed of Bond Opening

Every good James Bond movie strives to make a strong first impression with its opening sequence, and GoldenEye is no exception. Its single-take dam sequence remains one of the most memorable opening sequences in the entire franchise. We were curious to learn whether Campbell approached the epic opening scene with an eye toward topping all previous Bond movies and making a clear statement in that regard. But as Campbell explained, it was less about “out-Bonding” the previous movies and more about giving audiences something completely new. Though he did draw some inspiration from a classic Roger Moore Bond flick.

“It’s not that so much, but you do sit down and talk about, ‘What can we do that’s never been done before?'” said Campbell. “I think the greatest opening Bond sequence is the in The Spy Who Loved Me, where he skis off the mountain, all in one shot. I think it’s the most fantastic. So, in a funny way, we had that in mind when we did this. But the idea is that you always go for something the audience has never seen before. We sit down, we discuss it, and I’d seen photographs and a documentary of this dam, actually, because climbers use it to hone their skills for mountain climbing. That’s really where the idea came from.”

How Janssen Broke Her Rib

Another of GoldenEye’s many memorable scenes comes when Janssen’s character Xenia Onatopp attacks Brosnan’s Bond in the sauna – a mixture of action and sex appeal as only the Bond movies can deliver. But as Janssen revealed, that scene came with a heavy physical cost, and one that didn’t become fully apparent until after production had wrapped. She actually broke a rib while shooting the scene, despite the fact that the set was specifically padded to prevent injuries.

“Pierce was throwing me up against the wall and I said to Pierce, ‘Don’t worry about it. Just throw me real hard, because I don’t want to act it too much. It’s gonna look fake and I don’t want it to look fake. So just do it.'” said Janssen. “And then he did it, and then all of a sudden I couldn’t breathe. So we had to stop breathing for a bit. It wasn’t until I came back to America that I had broken a rib.”

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An $80,000 Car Accident

Production on GoldenEye didn’t just take a toll on Janssen’s physical health. It also extracted a heavy financial price when a stunt driver accidentally wrecked a very valuable Ferrari. The scene in question is the one where Brosnan’s Bond is racing his Aston Martin against Xenia’s Ferrari. The driver handling the Ferrari accidentally crashed the car, with repairs clocking in at a whopping $80,000.

“From what I remember he was crying,” said Janssen. “I had a male stuntperson to double me for the driving sequence, because I think they all belonged to Ferrari. So it was a big deal when that car crashed. I remember sort of the eyelashes and everything going places when I saw him coming out of the car.”

Campbell added, “I always think the conceit of this chase is a bit ridiculous, because a Ferrari like that and a ’65 Aston Martin competing…”

You Only Explode Once

Campbell reflected on one of the film’s more bombastic moments – the scene where the control room explodes. That scene was an especially harrowing experience for the crew, as they only had one chance to get everything right before irrevocably blowing up the control room set and all its complex models and matte paintings. Fortunately, everything went according to plan.

“These are always nerve-wracking to film, simply because you know you’ve only got one take. [laughs] There’s no way you can reset this thing. And if anything goes wrong… And, again, in those days, no digital to get you out of [trouble].”

Later, Campbell admitted that there was another “only one chance” scene that didn’t go off as planned. Near the end of the film, Bond can be seen leaping aboard a helicopter after dropping Sean Bean’s Alec Trevelyan to the bottom of the radar dish. Because that scene was shot on the very last day of production, and because it had very specific lighting requirements, Campbell had only seconds to get the right shot. Unfortunately, the stuntman missed when he attempted to grab onto the helicopter, forcing Campbell to rely on some editing magic to splice the scene together.

“It was our last day of shooting. We had to shoot in the sun to match, an we had 45 seconds of sun just before lunch,” said Campbell. “So we all had to go, and he jumped and he missed it. If you look at the close-ups of hands hitting, that got us out of problems.”

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Campbell on Bond Music

Many Bond fans will argue a movie is only as good as its theme song. Fortunately, GoldenEye features the titular main track, composed by Bono and the Edge and performed by Tina Turner. When asked what their favorite Bond themes of all time are, Campbell pointed to an all-time classic – the title track from 1964’s Goldfinger.

Though, surprisingly enough, Campbell admitted to not being entirely happy with the music in GoldenEye, with the iconic tank chase sequence being a particular sticking point for him. Even though this scene is the first in the movie to make use of the familiar James Bond motif, Campbell revealed he and composer Éric Serra didn’t necessarily see eye to eye.

“Three or four composers turned this film down before we’d shot it. John Barry we went to first, who, of course, established Bond in many of the Bond films. I loved his music. So on the fourth one, I’d seen The Professional, and I just thought, in keeping with bringing Bond up to date, [Éric would] be a perfect candidate for it.”

Campbell continued, “But in all honesty, I was disappointed in the music. Our budget was not that much, and it was limited to what we could do. And when I was dubbing the tank chase, the music that came in for that was in exactly the same register as the tanks. In other words, it disappeared. So I rang Éric in France and said, ‘Look, we have a real problem here.’ I remember saying to him him, ‘There’s no point in using synth for this, because it’ll just disappear. I said what we need is the Bond theme, and you always use percussion and brass to crash through all the effects.’ And I remember his answer to me was, ‘Well, lower the effects.’ So I said, ‘I’m not going to do that,’ and that was the end of our conversation.”

Fortunately, Campbell said Serra’s assistant was willing to rewrite the score for the tank chase in the span of a few days, allowing them to record the new track without falling behind schedule.

In other Bond news, MGM was reportedly seeking a deal to debut No Time to Die on a streaming service rather than in theaters, but no streamers were willing to meet the studios $600 million asking price. We also recently learned Hitman developer IO Interactive is working on a James Bond video game codenamed Project 007.

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Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.

Vikings Season 6 Series Finale Explained

The time has come and the story of the Lothbrok clan has come to a close. The final 10 episodes of Vikings are available to stream on Amazon Prime video as we speak, resolving the generational story that began with Ragnar Lothbrok (Travis Fimmel) and ultimately became the tale of his sons as they ascended to become some of the most notable Vikings of all time.

Warning: The following contains spoilers for the final season of Vikings. If you haven’t watched all 10 episodes of the second half of Season 6 yet, stop reading now. They are currently available to stream on Amazon Prime Video.

At the tail end of the seventh episode of Season 6B–“The Raft of Medusa”–Ubbe (Jordan Patrick Smith) and his fellow Vikings stumbled upon the new world, while waiting to starve to death on their boat. It was the miraculous moment for the long-suffering Vikings, and a moment creator Michael Hirst had envisioned since long before the series originally premiered.

“I knew the ending right from the beginning,” he told GameSpot. “When I pitched the show to the History Channel, I told them that it would end in America–in Newfoundland–if I had the chance to get there.”

Not only did he get the chance to be there, but he was also able to bring the series full circle by using the new world to reintroduce Floki, who was long-thought dead. It led to the closest thing Vikings could ever get to a happy ending, with a final scene in which Floki and Ubbe sat on the beach of Newfoundland, looking off at the horizon.

“The final image is beautiful in itself and does suggest a new dawn and, perhaps, the story going on in an interesting and perhaps slightly better way,” Hirst said. “It was wonderful to be there, standing a few yards behind the figures on the beach–Jordan and Gustaf. Me and my son, just watching. We all got up at four o’clock in the morning and we were down there on the beach in the darkness, and we were all watching the sunrise and I can tell you it was beautiful. It was a beautiful moment. After seven years, it was very special to end on that very tranquil, beautiful sunrise.”

Of course, while that tranquil scene between Ubbe and Floki does unfold in the final moments of the show, it’s certainly not the only ending in the series finale. We also see what happens with the other remaining sons of Ragnar–Ivar (Alex Høgh Andersen) and Hvitserk (Marco Ilsø).

For Ivar, it’s a sad but expected ending. After years of believing he was a god, Ivar went down in battle upon accepting he was human and near the end of his life. With his bones weakening after declaring war on Wessex, Ivar walked into battle one last time and when someone came to attack him, he welcomed the blade. As he lay dying, he told his brother Hvitserk he was scared–a rare moment of honesty and clarity from Ivar. However, his brother reassured him he would be remembered as the most famed Viking of all time, which was important to Ivar.

That wasn’t the end of Hvitserk’s tale, though. Following the battle with Wessex, Hvitserk went back to the country and converted to Christianity. In doing so, he’s rechristened with the name Athelstan, which long-time Vikings fans will recognize. That’s the name of the Christian monk (George Blagden) Ragnar befriended early in the series–a man that shaped so much of Ragnar’s worldview. The character, which was constantly torn between his Christian faith and the Viking way of life, eventually met his end in Season 3, though his impact on the series was long-lasting.

It’s fitting that the series ends with the culmination of the stories of the individual sons of Ragnar. It’s also fitting that their stories all ended so differently. Each of the sons carried different parts of their father with them. It’s hard to tell which was most like Ragnar, because they all resembled him in so many ways. Ivar had his ambition, while Ubbe longed for the quiet life Rangar often wanted. Lastly, there’s Hvitserk, dedicating himself to the religion Ragnar was so fascinated by throughout the series.

And while their individual tales have all come to an end, they are done in a way to suggest there’s so much more story to tell when it comes to Viking culture. Some of that, certainly, will be unveiled in the follow-up series Vikings: Valhalla. The next steps of what’s left of the Lothbrok clan, though, isn’t likely something we’ll see play out on screen anytime soon.

The final 10 episodes of Vikings are streaming on Amazon Prime Video now.

Poison Suspected In Death Of Yoozoo Games Founder

The founder of Yoozoo Games, Lin Qi, passed away on Christmas Day after eight days in hospital suffering “acute symptoms of illness.” Now the Shanghai police have revealed that poison may have played a part in Lin’s death and have detained a colleague who is suspected of being involved, the Guardian reports.

Yoozoo Games is a Shanghai studio best known for Game of Thrones strategy game Winter is Coming. Yoozoo is also set to produce the upcoming Netflix adaptation of the Three-Body Problem, which has Game of Thrones showrunners David Benioff and D.B. Weiss attached.

According to reports from the Shanghai police, the hospital determined that Lin had been poisoned. The police have detained a suspect with the surname Xu, who allegedly worked with Lin at Yoozoo Games. The police statement only said that Xu was a suspect, who was being detained “in accordance with the law while the relevant investigative work is carried out.”

Lin was thought to have had a net worth of around 6.8 billion yuan, the equivalent of around $1 billion, after founding Yoozoo Games in 2009. Yoozoo also publishes the browser-based MMORPG series League of Angels, which operate on a heavily monetized free-to-play model.

Yoozoo has posted a tribute to Lin Qi, signed by staff at the company. “Together, we will continue to be kind, continue to believe in beauty, and continue to fight against all that is unkind,” a translated version of the statement reads.

Now Playing: League of Angels – Story Trailer

Soul Edges Out Wonder Woman 1984 in Streaming Debut App Downloads

Led by Soul and Wonder Woman 1984, Disney+ and HBO Max, respectively, saw a large number of app downloads over the Christmas holiday, with Disney+ leading the way with about 2.3 million global installs.

As reported by Bloomberg, HBO Max saw an estimated 554,000 users sign up from December 25 – Wonder Woman 1984’s release date – to December 27. This included a record 244,000 downloads on Sunday, December 27 alone. Apptopia also notes that HBO Max’s total mobile users “stand at just under 12 million.”

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Disney+’s Christmas holiday’s 2.3 million global installations was a 28% increase from the previous weekend, according to Sensor Tower, and also was bolstered by the release of Soul on December 25. Outside of Disney+, Soul earned about $7.6 million in its theatrical debut in several international markets, including China.

Wonder Woman 1984, on the other hand, earned $16.7 million in domestic theaters in its opening weekend, adding to a worldwide total that has reached $85 million. WarnerMedia also said that “nearly half” of its HBO Max subscribers watched Wonder Woman 1984 on its release day.

It’s important to note that Apptopia and Sensor Tower only track downloads of mobile apps. Disney+ has about 87 million global subscribers overall, while HBO Max – which is only available in the U.S. – has about 12.6 million account activations.

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For more, check out our Soul review and Wonder Woman 1984 review, and 7 WTF questions we have after watching the latest Wonder Woman film.

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Have a tip for us? Want to discuss a possible story? Please send an email to [email protected].

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

DC’s Superman And Lois Show Gets New Trailer Ahead Of February Premiere

Superman officially entered the Arrowverse–or CWverse as they’d prefer we call it these days–when actor Tyler Hoechlin slipped into the red-and-blue jumpsuit for the Supergirl Season 2 premiere. Supes made a big splash last year, though, during the CW’s Crisis on Infinite Earths event, when the network announced he would be getting his own series, Superman and Lois, separate from Supergirl. Superman and Lois’ debut is imminent, and we have a new trailer and release date to get us prepped for the show.

The newest trailer doesn’t show us much that we can consider concrete, but shows Hoechlin as Superman, talking about his fractured life, literally pulling on cables to bring his life back together. There are still images of Lois Lane (Elizabeth Tulloch), and the iconic couple’s two sons. Jonathan Kent is played 19-year-old Jordan Elsass, while the younger Jordan Kent is played by 16-year-old Alex Garfin. Check it out below:

The focus on family solves one of Superman‘s most consistent problems of being too invincible of a character to write for, but it also opens up the show up to the dangerous temptation to shift focus away from the superheroics and onto subjects like teen romance and Smallville-style “no capes” superpowers.

We’ll see what Superman and Lois has in store for the Man of Steel when it debuts on February 23, 2021. That’s just a few weeks after the current “January 2021” air date for Supergirl’s sixth and final season.

For more, check out GameSpot’s guides to all the upcoming DC shows and movies we know about so far.

DC Will Release Up To Six Movies A Year In Theaters And On HBO Max

Warner’s decision to release all of its major 2021 movies directly onto HBO Max was a controversial one, despite the studio’s assurance that it will return to a more traditional release model the following year. DC is a big part of Warner’s movie division, and DC Films boss Walter Hamada has now revealed the plans for future releases.

Speaking to the New York Times, Hamada explained that from 2022 onwards, DC will release up to six movies a year. Four of these will be the studio’s big tentpole superhero movies, such as The Suicide Squad, The Batman, and Aquaman 2. In addition, “riskier” films, focusing on lesser known heroes, will be produced specifically for HBO Max. These could include upcoming projects such as Static Shock or Batgirl.

This is in addition to HBO Max shows that are being produced as spin-offs to the big movies. There are already two in development–James Gunn’s Peacemaker, which will focus on John Cena’s character from The Suicide Squad, and a Batman spin-off about the Gotham police department. “With every movie that we’re looking at now, we are thinking, ‘What’s the potential Max spinoff?'” Hamada said.

While the DC movie universe hasn’t been nearly as well curated as Marvel’s, Hamada also makes it clear that the studio intends to unify all these different films and series by having a series of concurrent multiverses. So while Wonder Woman, Aquaman, and Ben Affleck’s Batman exist in one universe, Pattinson’s Batman is in another. The upcoming Flash movie will allow some of these universes to overlap, and will also feature the Batman played by Michael Keaton in Tim Burton’s films. “I don’t think anyone else has ever attempted this,” Hamada stated. “But audiences are sophisticated enough to understand it. If we make good movies, they will go with it.”

The latest DC movie is Wonder Woman 1984, which hit HBO Max on Christmas Day, as well as theaters internationally. The film has performed well at the box office given the circumstances, and has now been fast-tracked for a sequel. You can read GameSpot’s Wonder Woman 1984 review here.

Beyond that, The Suicide Squad is set for release in August. An official trailer is yet to be revealed, but a behind-the-scenes promo was released during DC FanDome last summer. For more, check out GameSpot’s guide to every upcoming DC movie and TV show we know about to date.

Now Playing: The Batman Teaser Trailer Breakdown: 22 Things You May Have Missed

New On Netflix In January 2021: Cobra Kai, Lupin, Disenchantment, And Much More

The year that shall not be named is nearly firmly in the rear-view–what better way to mark the occasion than looking forward to everything cool that’s coming to Netflix in January? With the first month of 2021 upon us, the streaming service is offering up a lot of new content you’ll want to make time for and watch like more episodes of Cobra Kai plus the usual assortment of “Oh yeah, I’ve always been meaning to watch that!” selections.

The big big headline news offering in January is Netflix bringing the highly anticipated third season of Cobra Kai–Netflix’s new season of the Karate Kid TV series. As a surprise holiday gift, the streaming service moved up the show’s release date to January 1, so why would you wait any longer to dive into the new episodes? Because Ralph Macchio told us in a recent interview, we already know Season 3 will have Daniel return to Japan and some secrets about his mentor Mr. Miyagi will be revealed. If you’ve been patiently–or impatiently–waiting for the new season, here’s a good accounting of everything we know (and think we know) so far about Season 3.

January 8 has the intriguing crime drama Lupin, whose name is only coincidentally similar to the popular anime series–but only because it draws inspiration from the same source material: the fictional adventures of early 20th century gentleman thief and master of disguise, Arsène Lupin. In this modern retelling, “gentleman thief Assane Diop sets out to avenge his father for an injustice inflicted by a wealthy family.” Even though it’s a live-action reimagining of an overlapping influence, fans of the anime (which has an animated CG version coming out January 12) will likely get a lot of mileage out of this one.

Finally, January 15 will see Season 3 of Disenchantment come to the streaming service. Where creator Matt Groening’s The Simpsons is a satire of modern life, and Futurama was a send-up of sci-fi, Netflix’s Disenchantment is an animated sitcom both celebrating and skewering fantasy tropes. While the show has not exactly blown up since debuting in 2018, fans of Simpsons sensibilities and animation style have a lot to love in this show that follows the story of Bean, a rebellious and alcoholic princess. (It’s funnier than that sounds.) This season will be the true test of the show, as it will be up for renewal after getting the greenlight for an impressive three seasons when first getting picked up.

Below, you’ll find everything coming to Netflix in January.

New to Netflix in January 2021

January 1

  • Cobra Kai: Season 3
  • Dream Home Makeover: Season 2
  • Headspace Guide to Meditation
  • The Minimalists: Less Is Now
  • Monarca: Season 2
  • What Happened to Mr. Cha?
  • 17 Again
  • 30 Minutes or Less
  • Abby Hatcher: Season 1
  • Blue Streak
  • Bonnie and Clyde
  • Can’t Hardly Wait
  • Catch Me If You Can
  • Cloudy with a Chance of Meatballs
  • Cool Hand Luke
  • The Creative Brain
  • The Departed
  • Enter the Dragon
  • Gimme Shelter
  • Good Hair
  • Goodfellas
  • Gothika
  • The Haunted Hathaways: Seasons 1-2
  • Into the Wild
  • Julie & Julia
  • Mud
  • Mystic Pizza
  • The Naked Gun: From the Files of Police Squad!
  • Eddie Murphy: Raw
  • Sex and the City
  • Sex and the City 2
  • Sherlock Holmes
  • Striptease
  • Superbad
  • What’s Eating Gilbert Grape

January 2

  • Asphalt Burning (Børning 3)

January 5

  • Gabby’s Dollhouse
  • The Girl with the Dragon Tattoo
  • History of Swear Words: Season 1
  • LA’s Finest: Season 1
  • ¡Nailed It! México: Season 3

January 6

  • Ratones Paranoicos: The Band that Rocked Argentina
  • Surviving Death
  • Tony Parker: The Final Shot

January 7

  • Pieces of a Woman

January 8

  • Charming
  • The Idhun Chronicles: Part 2
  • Inside the World’s Toughest Prisons: Season 5
  • Lupin
  • Mighty Little Bheem: Kite Festival
  • Pretend It’s a City
  • Stuck Apart (Azizler)

January 10

  • Spring Breakers

January 11

  • CRACK: Cocaine, Corruption & Conspiracy
  • The Intouchables

January 12

  • Last Tango in Halifax: Season 4

January 13

  • An Imperfect Murder
  • Night Stalker: The Hunt for a Serial Killer

January 15

  • Bling Empire
  • Carmen Sandiego: Season 4
  • Disenchantment: Part 3
  • Double Dad (Pai Em Dobro)
  • Henry Danger: Seasons 1-3
  • Hook
  • Kuroko’s Basketball: Season 1
  • The Magicians: Season 5
  • Outside the Wire (Netflix Film)
  • Penguins of Madagascar
  • Pinkfong & Baby Shark’s Space Adventure

January 16

  • A Monster Calls
  • Radium Girls

January 18

January 19

  • Hello Ninja: Season 4

January 20

  • Daughter from Another Mother (Madre solo hay dos)
  • Sightless
  • Spycraft

January 21

  • Call My Agent!: Season 4

January 22

  • Blown Away: Season 2
  • Busted!: Season 3
  • Fate: The Winx Saga
  • Jurassic World: Camp Cretaceous Season 2
  • So My Grandma’s a Lesbian! (Salir del ropero)
  • The White Tiger

January 23

  • Love (ft. Marriage and Divorce) (Netflix Original)

January 26

  • Go Dog Go (Netflix Family)

January 27

  • Accomplice
  • Penguin Bloom (Netflix Film)

January 29

  • Below Zero (Bajocero) (Netflix Film)
  • The Dig (Netflix Film)
  • Finding ‘Ohana (Netflix Film)
  • We Are: The Brooklyn Saints (Netflix Documentary)

January 31