Harrison Ford's Apple TV Triumph Passes a Major Streaming Milestone

Published Sep 5, 2026, 8:00 PM EDT

In over three years at Collider, senior author Jake has now penned over 3000 articles covering a wide range of TV and film for the resources, lists, utilities, news, and interview teams. Alongside interviewing stars such as Selin Hizli, Rose Ayling-Ellis, Harlan Coben, and Chelsea Peretti, Jake was lucky enough to visit the set of Aardman and Netflix’s Wallace and Gromit: A Vengeance Most Fowl in 2024, getting the chance to chat with four-time Academy Award winner Nick Park and Merlin Crossingham. Jake has also worked for other publications, including Agents of Fandom. You can also hear Jake every week as the resident film and TV journalist on Track Radio.

Right now on Apple TV, the streamer’s flagship series, Ted Lasso, has finally returned to its rightful place atop the streaming charts. Back in 2023, it seemed as if Ted’s (Jason Sudeikis) time as coach at AFC Richmond came to an end, with his return to Kansas marking the perfect final note for a beloved series. However, Ted and Coach Beard (Brendan Hunt) have some unfinished business, officially returning across the pond to coach AFC Richmond’s new women’s’ team, The Lady Greyhounds.

Although it might not live up to the highs of the first two seasons, *Ted Lasso *Season 4 is a worthy return to Richmond, with the likes of Ted, Beard, Keeley Jones (Juno Temple), Leslie Higgins (Jeremy Swift), and Rebecca Welton (Hannah Waddingham) all back to their best. Of all the shows to hit streaming on Apple TV in 2026 so far, *Ted Lasso *is seemingly the biggest, even breaking an Apple TV record by earning 296.6 million viewing minutes across its August 4–5 launch window.

But as *Ted Lasso *continues its dominance on the streaming charts, other Apple TV favorites continue to quietly find their own success in the background. For example, the comedy-drama ***Shrinking ***has now officially surpassed the 800-day mark on the Apple TV top ten in the U.S., a huge milestone for one of the streamer’s best shows. Earlier this year, the series returned for its critically acclaimed third installment, with Jimmy (Jason Segel), Paul (Harrison Ford), and co crafting even more on-screen magic.

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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