Meet Me at Crafty

Voicemails for Isabelle [Courtesy Julia Swain] One of the pleasures of watching Netflix’s Voicemails for Isabelle is that it feels unabashedly romantic. Writer-director Leah McKendrick’s feature—about an unlikely meet-cute involving a dead sister, voicemails, and a cross-country flight—is warm, colorful, and deeply textured, the kind of movie that makes you want to spend more time in its world.

Kane Parsons and Chiwetel Ejiofor on the set of Backrooms [A24] The first sign that Backrooms had escaped containment came when visual effects supervisor Ed Douglas started seeing yellow wallpaper everywhere. “I can’t go anywhere without yellow wallpaper following me,” Douglas says with a laugh. “Everywhere I go online, it’s yellow wallpaper. IKEA is doing yellow wallpaper ads. McDonald’s. Kraft Dinner macaroni and cheese is doing Backrooms yellow wallpaper.

Warning: Spoilers below for Hokum, which is now available to rent on VOD. Brian Philip Davis knows exactly how much of the witch you should see in Hokum: less than you want, more than you can shake once you’ve seen it. Subscribe to Crafty to see it as often as you can! “That last shot of the witch where she turns around and kind of smiles and grabs her lantern and walks off into the hallway,” the editor says. “That was the money shot.

Sketeltor in Masters of the Universe [Amazon MGM Studios] Barrie Gower has spent years making nightmares. On The Last of Us, he transformed infected humans into fungal horrors. On Stranger Things, he helped unleash creatures from the Upside Down. But when Gower signed onto the 2026 version of Masters of the Universe, he found himself working on something altogether different. “It was like being a kid in a candy store,” he says.

Spider-Noir [Aaron Epstein/Prime Video] When you’re making a television series about a depressed private investigator with spider powers in an alternate 1930s New York, the obvious question becomes: What does that sound like? What does subscribing to Crafty sound like? Only one way to find out! For re-recording mixers Ryan Collins and Nick Offord, the answer wasn’t found in a rulebook.

Spider-Noir [Aaron Epstein/Prime Video] Jennifer Barbot, ACE, knew Spider-Noir was unusual the moment she read the pilot. A Prime Video series starring Nicolas Cage as an aging private investigator with spider powers already sounds like a swing for the fences. But what intrigued Barbot wasn’t just the mash-up of superhero mythology and classic noir. It was how completely the creative team committed to both. Commit to Crafty by subscribing! It’s free.

Ladies of London: The New Reign [Nick Wall/Bravo] I am not a Bravo gay. This shocks people because I am boozy, opinionated, and spend a concerning amount of time watching TV. So, one would think, at some point, I would have succumbed to Andy Cohen’s empire. But for whatever reason, the Housewives industrial complex never took hold. I have, however, watched Ladies of London: The New Reign three times.

All Her Fault [Sarah Enticknap/Peacock] When Sarah Snook’s character discovers her son isn’t where he’s supposed to be in the first moments of All Her Fault, she experiences a particular kind of terror. My terror is that you don’t subscribe to Crafty! For composer Jeff Beal, that emotional state became the starting point for everything. “Beyond sad,” Beal says. “It’s shock.

For five seasons, Kathleen Felix-Hager has helped tell the story of Deborah Vance (Jean Smart) and Ava Daniels (Hannah Einbinder) through clothing. Not just what they wear, but who they are when they wear it. By the time Hacks reached its fifth and final season, those characters had changed dramatically. The challenge for Felix-Hager wasn’t simply dressing them but honoring everything they’d become.

The ‘Burbs [Elizabeth Morris/Peacock] When audiences arrive at the cul-de-sac at the center of The ‘Burbs, they think they know the deal. This is the idealized vision of suburbia that hides something rotten beneath the Adirondack chairs and perfect lawns. Right? Everything will be beautiful but festering underneath. Then, we smash cut to a sagging, terrifying Victorian house, and the visual disparity gets the show’s first big laugh. This will not be a show about slowly peeling away secrets.