Netflix Expands the Parasyte Universe with New Live Action Series Parasyte: TAMIYA

Image: Netflix

By Jon Donnis

Netflix is expanding its Parasyte universe once again with Parasyte: TAMIYA, a new live action series arriving worldwide in 2027. Following the success of Parasyte: The Grey, the latest instalment moves away from introducing a new conflict and instead explores the perspective of Ryoko Tamiya, a parasite whose understanding of humanity changes over time.

Shioli Kutsuna will star as Tamiya, portraying the character across three different stages of her existence. The series will explore her journey from the original human whose body is taken over, through her early identity as a violent parasite, to a figure who begins questioning whether humans and parasites can exist together.

That shift in perspective places one of Parasyte’s central ideas at the heart of the new series. Rather than focusing only on the battle between two opposing species, Parasyte: TAMIYA examines the possibility that survival may depend on understanding the enemy. Through Tamiya’s eyes, the story explores questions around identity, adaptation and what separates humans from the creatures that imitate them.

The character has a significant history in the original manga by Hitoshi Iwaaki, which was published by Kodansha from 1988 to 1995. After taking over the body of a high school teacher, Tamiya initially behaves like the other parasites, viewing humans as little more than targets. However, her experiences, including observing Shinichi Izumi and Migi, lead her to reconsider the future of her species and whether coexistence could be possible.

The original Parasyte manga has remained popular for more than three decades, selling around 25 million copies across more than 20 countries and regions. Its combination of horror, science fiction and philosophical themes has helped it remain influential, leading to anime adaptations and live action films that have introduced the story to new generations.

Netflix’s previous expansion of the franchise, Parasyte: The Grey, created a new story set in modern day Korea while drawing inspiration from the original manga. The series became a global success after its 2024 release, spending four weeks in Netflix’s Global Top 10 Non-English Shows list and reaching number one in 34 countries.

Parasyte: TAMIYA reunites many of the creative figures behind Parasyte: The Grey and Human Vapor. Yeon Sang-ho developed the series and wrote the script alongside Ryu Yong-jae, while WOWPOINT returns for development and production. Kensaku Kakimoto and Kazuhiro Nakagawa will direct the series.

Yeon Sang-ho has praised Shioli Kutsuna’s performance in the role, highlighting her ability to portray the gradual transformation of a character who begins as something non-human but slowly develops an understanding of humanity and her own existence.

With Ryoko Tamiya taking centre stage, Parasyte: TAMIYA offers a different viewpoint on the conflict that has defined the franchise for decades. The series will stream worldwide exclusively on Netflix in 2027.

Media Panic, Moral Messaging and the Debate Around Adolescence

Image: Netflix Press

By Jon Donnis

When Adolescence launched on Netflix, it did not behave like a normal television drama. Within weeks it had become a national obsession, backed by wall to wall media coverage, political discussion and endless commentary about its supposed social importance. The numbers were enormous. More than 141 million views in its first three months. The first streaming series to top the UK weekly BARB charts. Eight Emmy wins followed, including Owen Cooper becoming the youngest ever winner of Best Supporting Actor in a Limited Series.

What made the reaction unusual was not just the popularity of the series, but the way institutions immediately embraced it as a tool for social messaging. According to a Netflix commissioned report, 56% of parents familiar with the show said it sparked conversations they had never previously had with their children. Around 64% of teenagers said the show made them feel more understood. Some schools even incorporated it into lessons, with one in ten teenagers saying they watched it in school and 20% discussing the themes in class.

For critics, that is where the alarm bells started ringing.

The argument from many viewers online is that Adolescence was never treated as simple entertainment. Instead, it became a carefully promoted cultural lesson about violence, masculinity and young boys, particularly white boys. Critics point to the fact that the series drew inspiration from real world violence involving black teenagers, yet presented its central troubled youth as white. To them, this was not an accidental creative choice. They see it as a deliberate racial shift designed to redirect public anxiety and reinforce a fashionable political narrative about white male aggression.

That criticism became increasingly difficult to ignore as politicians, commentators and broadcasters repeatedly framed the show as essential viewing. The message surrounding the programme often felt remarkably consistent. Young White boys are in crisis. Masculinity is dangerous when left unchecked in White boys. Parents must monitor attitudes and behaviour more closely. Social media radicalisation is everywhere. The framing was relentless.

Supporters of the show argue that drama writers are free to adapt themes however they choose and that the series was never intended to directly recreate any specific real life case. Critics counter that this defence misses the point entirely. Their concern is not whether every detail matches reality word for word. Their concern is about narrative framing, specifically who society is encouraged to fear, blame or scrutinise.

To many sceptics, Adolescence represented a wider trend in modern entertainment where fictional stories are used to subtly shape public attitudes while hiding behind the defence of art and social awareness. The series was not simply promoted as gripping drama. It was elevated into a moral teaching tool, amplified by schools, media outlets and authority figures in a way few ordinary television programmes ever are. This was state sponsored propaganda at its most insidious.

The success of the show demonstrates how powerful this strategy can be. A compelling drama reaches millions of homes. Emotional storytelling lowers defences. Awards and critical praise create legitimacy. Soon the themes of the programme begin blending into wider political conversations about identity, behaviour and social responsibility.

Parents in particular should remain cautious whenever a television series receives overwhelming institutional backing and is repeatedly framed as something everybody must watch for the good of society. Entertainment can absolutely start meaningful discussions, but it can also carry ideological messaging beneath the surface. When governments, broadcasters and commentators all push the same cultural product at the same time, it is reasonable to ask why, and what exactly audiences are being encouraged to believe.

Final Draft: Netflix’s First Japanese Survival Series Launches 12 August

Image: Netflix Press

By Jon Donnis

Netflix is gearing up to launch Final Draft, its first-ever Japanese-produced physical survival series, arriving 12 August. This high-stakes competition drops 25 former athletes into an intense gauntlet of strength, strategy, and psychological warfare. The prize? A life-changing 30 million yen and, perhaps more importantly, a shot at starting over.

What sets Final Draft apart isn't just the bruising physicality. It's the emotional weight behind every competitor. Some were legends, others nearly were, but all of them are now in the same place — out of the spotlight and looking for a new beginning. From world champions to unsung prospects, these athletes bring unfinished dreams, battered pride, and a hunger to prove they're not done yet.

Among the lineup is baseball icon Yoshio Itoi, whose nickname "Superhuman" says it all. Boxer Hozumi Hasegawa enters the arena as a three-time world champ. Footballer Yoshito Okubo, known for his historic J-League scoring streak, also joins the fray. Then there are the newer names: Yuya Shozui, a former pro prospect released young, and Koji Tokuda, a one-time American football player turned comedian, looking to take his second shot seriously.

The trailer promises sweat, setbacks, and a lot of soul-searching. From emotional family messages to a dramatic twist where one contestant chooses to walk away with a fraction of the prize money, this isn't just another survival game. It's a test of who you are when the glory's gone.

With Olympic gold medalist Eri Tosaka, rugby star Kazuhiro Goya, gymnast Naoto Hayasaka, and tennis pro Sari Baba among the diverse cast, Final Draft doesn't lack for talent. But as the challenges ramp up and alliances fracture, the question becomes less about past victories and more about who can endure right now.

Final Draft starts streaming 12 August, only on Netflix.

The Bombing of Pan Am 103: BBC Unveils Trailer and Release Date for Factual Drama

Image: BBC Press

By Jon Donnis

The BBC has announced the release date, first trailer, and artwork for The Bombing of Pan Am 103, a six-part factual drama from World Productions (Line of Duty, Anne). Written by Jonathan Lee, the series will premiere on Sunday 18 May on BBC One and BBC iPlayer, airing new episodes every Sunday and Monday at 9pm for three weeks. A global Netflix release will follow at a later date.

The series recounts the events of 21 December 1988, when Pan Am Flight 103, travelling from Heathrow to JFK, was destroyed by a bomb over the Scottish town of Lockerbie. The attack killed 270 people, including 190 Americans and 43 British citizens, making it the deadliest act of terrorism ever carried out on British soil.

Focusing on the joint Scottish-American investigation, the drama follows the painstaking search for evidence that stretched from Scotland to Malta and led to a landmark trial at Camp Zeist in 2000. It also explores the personal impact on investigators, the Lockerbie community, and the families of the victims, many of whom became key voices in the fight for justice. The story builds up to a new US trial, shedding light on the ongoing legal battles.

The cast includes Connor Swindells (SAS Rogue Heroes), Patrick J. Adams (Suits), Merritt Wever (Severance), Peter Mullan (Ozark), Eddie Marsan (Ray Donovan), and Kevin McKidd (Grey's Anatomy). Other cast members include Douglas Hodge, Lauren Lyle, Andrew Rothney, Phyllis Logan, and James Harkness.

The trailer also offers a first glimpse of the original soundtrack, composed by Scottish band Mogwai.

Alongside Jonathan Lee, Scottish writer Gillian Roger Park has penned two episodes. The series is produced by World Productions in association with MGM Television and Night Train Media, with filming taking place in Scotland, Malta, and Toronto. Michael Keillor (Roadkill, Best Interests) directs, with Julia Stannard (Anne, United) producing.

The Bombing of Pan Am 103 will debut on BBC One and BBC iPlayer at 9pm on Sunday 18 May, with a Netflix release to follow.