What to Watch This Weekend (June 25–28, 2026): The Bear and Avatar: The Last Airbender

Carmy left fine dining to take over his family’s Chicago sandwich shop, and four seasons in he’s still trying to turn the place, and himself, into something that works. The crew around him started as a problem and became the closest thing he has to family. Season 5 opens with “Soda,” and the setup is about as plain as the show gets: a storm hits. After a run of kitchen chaos and frayed nerves, this is the new batch of episodes landing all at once. If you fell off somewhere in the middle, this is a clean point to climb back in.

Netflix’s live-action take on the animated series returns for its second season this weekend. Aang is the Avatar, the one person meant to master all four elements and stop a world-spanning war, and “Somewhere Safe” picks up with him set on learning earthbending. To get there, he works to break Bumi out of prison. Elsewhere, Zuko bristles at Iroh’s plan to lie low, and Azula is handed a new assignment that won’t make anyone’s life easier. The first season covered a lot of ground; this is the start of the next leg, and a fair place to come back if you drifted after the premiere run.

Set two centuries before Game of Thrones, this one charts House Targaryen tearing itself apart in a civil war. It’s back now with “Salt and Sea, Fire and Blood,” and the board is already moving: Rhaenyra, leaning on her faith in Alicent, lines herself up to take King’s Landing, while the Triarchy sails out to face Corlys in the Gullet. The dragons, the scheming, and the body count are all where you left them. If you’ve been waiting on the next chapter of the Dance, it’s on.

Martian is a CIA officer pulled out of deep cover and sent back to London Station, where the woman he left behind walks back into his life and complicates everything. The spy show returns with “Kick the Wasp’s Nest.” Martian and Owen debrief Coyote; Bosko, worried about a leak, leans on Henry to clean house; and Danny, working out of Iran, feels the situation start to slip. A category-one operation is now in play. The first season set up the double life and the romance pulling against it, and the new run picks that thread straight back up.

A town nobody can leave, surrounded by woods full of things that hunt after dark: that’s the trap at the center of FROM, and four seasons in the residents are still looking for a way out. “The Calm Before” puts them at a turning point unlike the ones before it, with Boyd setting a risky plan into motion.This is one of those shows people pick apart theory by theory, and the back half of the season is where it tends to start paying things off.

This Yellowstone offshoot follows Beth Dutton and Rip Wheeler trying to build a life on their own land, well away from the family ghosts, while a ruthless rival ranch makes that as hard as possible. In “Whiskey Limits,” a storm rolls through Rio Paloma and forces a few hands. Beth and Rip’s choices get tested, Beulah’s relationships start to come apart, Joaquin and Will square off, and Carter reaches a crossroads that could shape who he becomes. If you came over from Yellowstone for Beth and Rip, this is their show now.

John Sugar is a private investigator working a missing-persons case that keeps opening doors onto old Hollywood secrets. Season 2 continues with “Downer Town,” where the hunt for Ji pushes Sugar into genuinely dangerous ground and Danny is cornered into a desperate move. The show wears the look of a classic detective story while keeping something stranger running underneath, and this stretch leans into both. A solid Friday pick if you want a case to follow rather than a world to study.

Star City retells the space race from the other side of the Iron Curtain, in a version of history where the Soviet Union puts a man on the moon first. It follows the cosmonauts, the engineers, and the intelligence officers planted among them, and the gambles they all made to push forward. “Awl in a Sack” deals with the fallout from the previous episode, as carefully laid plans begin to come undone. It’s a paranoid, tightly wound thriller, and the middle of the season is where the pressure really starts to build.

Married attorneys Anna and Tom Bowden helped put Max Cady away, and now that he’s out of prison he’s circling back with revenge on his mind. The series stretches that premise into a slow-burn thriller, and “Faith” tightens the screws: Max gets a visit from someone in his past, Anna starts digging into Nevaeh, and Tom’s latest case turns thornier than expected. A good fit for a Friday night with the lights low.

Jeremy Clarkson runs Diddly Squat, and the show is mostly him colliding with the actual work of farming while Kaleb tells him he’s doing it wrong. In “Sickening,” Clarkson takes on a project he clearly cares about, bringing in a local birdlife expert to make the farm friendlier to its winged residents. That advice runs straight into Kaleb’s by-the-book methods, and things get heated before they cool off.

The latest Harlan Coben adaptation to land on Netflix opens with a father, David Burroughs, serving life for the murder of his own young son. Then he gets evidence the boy may still be alive, and the only way to chase it down is to break out of prison. The first episode sets that engine running and doesn’t waste much time doing it. These Coben shows tend to be built for one long binge, all twists and forward momentum, and this one dropped in the last few weeks.

Coop is a hedge fund manager who gets fired, then starts quietly robbing his wealthy neighbors to keep the family lifestyle going, until one break-in goes badly wrong. The second season wraps with “The Night of the Hunter,” as the neighborhood gathers for Father’s Day at the country club in the wake of yet another scandal. It’s a sharp look at money and the lengths people go to protect appearances, with a lead performance carrying most of the weight. The full season is sitting there if you want to binge it.

Set in present-day London, Criminal Record pits two detectives against each other over an old murder case: a younger officer early in her career and an established man determined to guard his reputation. The second season closes with “Nobody Dies,” forcing June and Hegarty to work together to head off a danger that’s already in motion. The series threads questions of race and institutional failure through a tense procedural frame, and both seasons are now there to watch straight through.

The Terror is an anthology that builds horror out of real history, each season its own self-contained nightmare. The current run reaches “Starry Night,” where a big storm knocks out the power and traps everyone inside together. That kind of forced confinement is exactly where the show likes to do its damage, less about what’s outside than what the situation pulls out of the people stuck in it. If you want something with a bit more dread in its bones this weekend, it’s mid-season and on.

Adapted from Anne Rice’s novel, this follows Louis, Lestat, and Claudia through a long, bloody story of love and the cost of living forever, told to a journalist years after the fact. The third season has a fresh episode on Sunday. The show takes the lush, doomed romance of the book and keeps the framing device front and center, letting the interview itself become its own kind of power struggle.