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FindArticles > News > Entertainment

Disney+ and Hulu Unveil Scrubs, The Astronaut, Paradise

Richard Lawson
Last updated: February 20, 2026 9:02 pm
By Richard Lawson
Entertainment
6 Min Read
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Disney+ and Hulu roll out a tidy trio this week that cuts across comfort viewing and high-tension sci‑fi: the long-awaited return of Scrubs, the claustrophobic space chiller The Astronaut, and a new season of the post‑apocalyptic thriller Paradise. With Hulu now accessible as a channel inside Disney+ alongside a unified login, the lineup is engineered to reduce app‑hopping and keep you watching across genres under one roof.

It’s a smart blend. Library comedies power repeat viewing, while buzzy originals and recent films spike engagement—exactly the balance streamers chase to curb churn. Nielsen’s The Gauge has shown streaming now commands over 40% of total TV time in the U.S., and weeks like this are how platforms defend that share.

Table of Contents
  • Scrubs Finds New Life In A Changed Hospital
  • The Astronaut Touches Down With Nerve And Mystery
  • Paradise Returns With Higher Stakes Under The Dome
  • Why This Slate Matters For Disney Streaming
  • Also New in the Hub: Docs, Reality, Anime, and Horror Additions
A promotional image for the TV show Scrubs featuring three main characters, J.D., Elliot, and Turk, in medical scrubs. J.D. is in the center, looking directly at the viewer, while Elliot and Turk are on either side, wearing blue medical masks with drawn-on expressions. The background is a solid blue.

Scrubs Finds New Life In A Changed Hospital

Few sitcoms flip from slapstick to sentiment as deftly as Scrubs, and its encore run arrives with the core friendship of J.D. and Turk intact—just older, busier, and confronting a workplace reshaped by a decade of upheaval in healthcare. Expect the trademark internal monologues, surreal gags, and those late‑episode gut punches that turn a joke into a lump in your throat.

The creative DNA remains familiar—Zach Braff is among the returning directors, with Donald Faison and Sarah Chalke back in rotation—while the tone nods to modern hospital realities without losing the show’s buoyant rhythm. The series leans TV‑PG, keeping it squarely in the cross‑generational “put it on and let it roll” category that streamers prize. It’s also a timely bet: Nielsen’s 2023 charts showed acquired sitcoms can dominate minutes viewed (Suits’ out‑of‑nowhere surge was a case study), underscoring why platforms court feel‑good, high‑episode‑count comedies.

The Astronaut Touches Down With Nerve And Mystery

On Hulu, The Astronaut delivers a compact sci‑fi scare anchored by Kate Mara as a mission specialist who crashes back to Earth and becomes convinced something came home with her. Director Jess Varley stages the story as a pressure‑cooker procedural—sterile quarantine rooms, jittery debriefs, and a creeping sense that the unknown may be more psychological than extraterrestrial. Gabriel Luna and Laurence Fishburne round out a cast that elevates the film’s indie scale.

Reactions have been mixed—IMDb users have hovered below the 5/10 mark—but the movie swings for the fences with thematic ambition and crisp performances. For genre fans, it scratches the same itch as contained thrillers like I.S.S. and Life: big existential questions framed by tight, clinical spaces. It’s PG‑13, accessible, and ideal for a tense, one‑sitting watch.

The Disney+ logo, featuring the word Disney in a classic script font with a blue gradient arc above it, and a plus sign to the right, all set against a dark blue background.

Paradise Returns With Higher Stakes Under The Dome

Paradise, Hulu’s character‑driven end‑of‑the‑world saga, comes back meaner and sharper. Three years after an extinction‑level event, survivors shelter inside a vast Colorado dome where politics are as perilous as the wasteland outside. Season one detonated with a presidential assassination and spiraled into conspiracies; the new chapter doubles down on the thriller mechanics while drilling deeper into who gets to define “civilization” when resources and trust are scarce.

Sterling K. Brown, James Marsden, and Julianne Nicholson give the show its tensile strength, selling the moral compromises that make TV‑MA dystopias so compulsive. If you’re into layered, bunker‑world power plays—think the closed‑system intrigue that helped Silo catch fire—you’ll find Paradise brings a sharper political edge and a leaner pace this season.

Why This Slate Matters For Disney Streaming

Packaging Scrubs with two darker sci‑fi entries is strategic: it pairs a perennial comfort engine with fresh, conversation‑starter titles that can spike week‑to‑week attention. Research firms like Antenna have repeatedly found that bundles and unified apps reduce friction and materially lower churn, and a lineup that moves seamlessly from TV‑PG laughs to TV‑MA suspense keeps households inside the same ecosystem.

There’s also a discovery story here. Parrot Analytics has highlighted how legacy shows can resurface with renewed “demand” when amplified by platform placement and social buzz. Expect Scrubs to soak up long‑tail hours while The Astronaut and Paradise provide the “new this week” heat that drives session starts. Together, they reinforce the Hulu‑within‑Disney+ strategy as more than a convenience feature—it’s a programming flywheel.

Also New in the Hub: Docs, Reality, Anime, and Horror Additions

If you’re browsing further, the services are also adding a real‑world spy doc series Inside the CIA Secrets and Spies and the latest season of airport bust mainstay To Catch a Smuggler across both platforms, plus a handful of reality and anime drops on Hulu and a recent Resident Evil film for horror completists. But the headliners this week are clear: scrub in for the laughs, then steel yourself for quarantine rooms and end‑times intrigue.

Richard Lawson
ByRichard Lawson
Richard Lawson is a culture critic and essayist known for his writing on film, media, and contemporary society. Over the past decade, his work has explored the evolving dynamics of Hollywood, celebrity, and pop culture through sharp commentary and in-depth reviews. Richard’s writing combines personal insight with a broad cultural lens, and he continues to cover the entertainment landscape with a focus on film, identity, and narrative storytelling. He lives and writes in New York.
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