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After a 16-year hiatus since season nine in 2010, the hit TV comedy Scrubs is back for a revival season. It brings back the original cast, including Zach Braff, Donald Faison and Sarah Chalke, as well as new characters, played by Vanessa Bayer, Joel Kim Booster, Ava Bunn and others.

New episodes of Scrubs season 10 airs starting on Wednesday, Feb. 25, at 8 p.m. PT/ET on ABC.

At a Glance: How to Watch Scrubs Revival Series Online

The easiest way to watch Scrubs without cable is by signing up for DirecTV, which comes with a five-day free trial. Below, keep reading to find out ways to watch season 10 online.

Scrubs Season 10: Date, Time

Scrubs season 10 premieres with the first two episodes on Wednesday, Feb. 25, starting at 8 p.m. PT/ET. The revival series airs on ABC. New episodes drop every Wednesday until the series finale.

How to Stream Scrubs Season 10 Online

Looking for ways to watch Scrubs online? For those who haven’t yet subscribed to a streaming platform or are looking to cut the cord, below are a few ways to watch online without cable, including for free when you sign up for a new subscription.

Watch Scrubs on ABC with DirecTV. All of the cable alternative’s packages offer ABC, along with more than 90 channels — such as CBS, FOX, NBC, USA Network, CNBC, AMC, Bravo, Disney Channel, ESPN and others. The streamer has a free trial available, which only lasts for five days. You can cancel or keep the service after the free trial is over, with prices starting at $89.99 per month for the “Entertainment” package.

Watch Scrubs on ABC, along with more than 200 other news, entertainment and sports channels with a subscription to Fubo, which starts at $48.99 for the first month of service, $73.99 per month afterwards (with Fubo’s current deals). You can record more than 1,000 hours of TV shows, movies, games and more too with Fubo’s free DVR. The online TV streaming service offers a free trial for new subscribers, so you can watch season 10 online for free.

To stream Scrubs online on ABC, a subscription to Hulu + Live TV is another fantastic option. The streaming service has access to more than 95 other channels — including NBC, USA Network, CNBC, BET, CNN, Food Network and more — starting at $89.99 per month and comes with Hulu’s entire streaming library (for past seasons of Scrubs), as well as Disney+ and ESPN Unlimited. Hulu is currently offering a three-day free trial to try before you commit.

Sling Blue might be a good fit to watch Scrubs on ABC, while the TV streaming service goes for $54.99 per month. With Sling Blue, you’ll get access to over 40 channels, including ABC, as well as NBC, USA Network, FOX, Discovery Channel, FS1, MS Now, NFL Network, SYFY, National Geographic and others. Please note: Pricing and channel availability varies from location-to-location.

How to Watch Scrubs Online

If you’d like to watch the past nine seasons of Scrubs, all seasons are available to watch on Hulu for subscribers only. Not a subscriber? You can sign up for a 30-day free trial to try out the streaming service yourself before you commit. Afterwards, Hulu goes for $11.99 per month for the ad-supported plan ($119.99 per year for the annual plan), or $18.99 per month to go ad-free. Learn more about Hulu here.

How to Watch Scrubs Season 10 With Cable

Scrubs airs on ABC. You can watch by tuning-in through your cable TV provider, on ABC.com or the ABC mobile app with your cable TV account login — including streaming and traditional services.

Scrubs: Plot, Cast, Episode Count

Scrubs takes place 15 years after season nine and follows Dr. Dorian (Zach Braff), Dr. Turk (Donald Faison) and Dr. Reid (Sarah Chalke) dealing with being the new senior staff at Sacred Heart, as the trio manages a new crop of staff and medical interns.

Season 10 also stars John C. McGinley, Judy Reyes, Robert Maschio, Christa Miller, Neil Flynn, Phill Lewis, Vanessa Bayer, Joel Kim Booster, Rachel Bilson, Lisa Gilroy and others. It has nine episodes.

Known as an onscreen chameleon throughout an acting career that spanned seven decades, Robert Duvall stood out in such enduring classics as The Godfather, Network and Apocalypse Now. Having earned seven Oscar nominations prior to his Feb. 15 death at 95, his lone win came with 1983’s Tender Mercies, an indie drama that endured a contentious shoot. 

Director Bruce Beresford’s film starred Duvall as Mac Sledge, an alcoholic, has-been country singer who connects with a widow (Tess Harper, in her film debut) and her son in rural Texas. The cast included Betty Buckley, Wilford Brimley and an early career Ellen Barkin. Horton Foote — the Oscar-winning scribe of 1962’s To Kill a Mockingbird, which marked Duvall’s feature debut — wrote the script, but the project had trouble finding a director as several passed. Australian filmmaker Beresford, who was known for 1980’s Breaker Morant and would later helm Driving Miss Daisy, landed the gig despite having never been to the Lone Star State. But he saw parallels in the isolation of the Outback to that of Waxahachie, Texas, where Tender Mercies filmed. Duvall was the top choice for the lead, and he spent weeks mingling with locals and playing with country bands before production. 

Famously outspoken with directors, Duvall frequently clashed with Beresford on set while pushing for a more improvisational approach. 

“He’s ferocious sometimes, and he’d lose his temper often,” Beresford has said. For his part, Duvall noted of Beresford in a 1985 biography, “He has this dictatorial way of doing things with me that just doesn’t cut it.” 

Susan Aston, who appears in the feature, recalls the pair butting heads over Duvall’s insistence that he perform his own songs, a battle the actor ultimately won. “They went back and forth, and things stopped for more than a minute,” Aston tells THR. 

The movie struggled to find a distributor until landing at Universal, and rocky test screenings led to a small release. Hitting theaters March 4, 1983, Tender Mercies made $8.4 million ($27.5 million today), with THR’s review deeming it “a gem” and noting that “Duvall is the icing on the cupcake.” Despite their differences, Beresford told THR after Duvall’s death, “I knew from the very beginning that he was giving an amazing performance.” 

This story appeared in the Feb. 23 issue of The Hollywood Reporter magazine. Click here to subscribe.

When The Beatles broke up, Paul McCartney was all of 27 and had spent close to half his life in musical partnership with John Lennon. As he notes in Man on the Run, he wasn’t sure he’d ever be able to write another song. But an exceptionally prolific decade unfolded, explored with style and energy in Morgan Neville’s revelatory documentary.

With ace editing by Alan Lowe, Neville follows a general chronology, but wisely avoids the completist minutiae of an album-by-album breakdown. The film is devoid of talking heads and rich with offscreen interviews, both new and vintage, that serve as insightful voiceover commentary. There’s a lyrics-and-melody power to the interplay of sharp observations and visuals that dive deep into archival material — a fitting dynamic for a film about someone with a preternatural gift for infectious tunes. And there’s a playful, irreverent bounce to the film that’s in sync with the Liverpudlian music hall tradition that McCartney, more than any of the Beatles, has held close.

At its core, though, Man on the Run is a tribute to two life-changing love stories: McCartney’s bond with Linda Eastman, who’s heard in newly unearthed interviews, and with Lennon, an affection that proved stronger than business feuds and even withstood the mean-spirited wordplay of Lennon’s “How Do You Sleep?”

Neville, whose 20 Feet From Stardom revealed an untold chapter of pop-music history that was right under our noses, manages to do something similar here, with one of the most in-the-spotlight figures in the world of modern music. A quick and lively pre-title montage traces The Beatles’ rise from the Cavern to the Sullivan show to their final public performance. And then comes the “Paul is dead” hysteria, reaching a fever pitch not long after the March 1969 marriage of the “last bachelor Beatle” to Linda Eastman — cue the sobbing teenage girls.

As to the gap between the band’s actual dissolution, instigated by Lennon, and its official split, which arrived months later, when McCartney announced publicly that he was leaving, McCartney says he “kind of bought into” the generally accepted idea that he was the bad guy who broke up the band. Neville includes a clip from a London play about The Beatles that bore the unwieldy title John, Paul, George, Ringo…and Bert, featured some very bad wigs and makeup and, in keeping with the official story, cast McCartney as the villain. (On the band-breakup front, the doc doesn’t spend time on the merciless scapegoating of Yoko Ono and Linda McCartney by the media and some Beatles fans.)

Having liberated himself from the lie that the Fab Four were still a going enterprise, McCartney retreated to his rustic farm in a remote corner of Scotland, a central element of Man on the Run, captured in evocative footage both vintage and new. It was about as far from center stage as you could get — “way at the end of nowhere,” in Linda’s appreciative words. There they began raising a family and, after McCartney’s one-man-band solo album (a four-track lo-fi landmark, according to one observer), he and Linda released Ram. The critics used such words as “nadir,” “inconsequential” and “irrelevant”; Sean Ono Lennon, one of the documentary’s chorus of observers, more accurately calls it a masterpiece.

At a time when Ono Lennon’s parents were staging antiwar bed-ins, and George Harrison was reaping critical acclaim for his triple-disc All Things Must Pass, McCartney’s songs weren’t “about” things in the same way as theirs — or the things he wrote about, the domestic joys and comical characters, weren’t considered as important. Neville doesn’t ignore evidence of creative instincts that could lean toward kitsch, if not outright schlock or, as Wings drummer Denny Seiwell puts it, “soppy shit.” With a wry chuckle, McCartney chalks up these cornball elements of his TV specials and other outings to the perils of being surrounded by yes people.

Once a Beatle, always a Beatle — in more ways than one. Especially fascinating is the film’s conflicting commentary, from McCartney and members of the various iterations of Wings, about his attempts to create an egalitarian experience rather than a star-plus-backup-band situation. (The group’s one steady element over the years, besides Paul and Linda, was guitarist Denny Laine, who died in 2023.) Building a band, he was re-creating the setup that had defined his life to that point. He was also professing to be starting from scratch.

However humbling it may have been to take the group out for a series of surprise lunchtime shows on college campuses, rather than heading straight to stadiums, the venture was naturally complicated by his enormous celebrity. And however sincere his view that he was building something from the ground up, it’s hard not to hear something disingenuous when he tells an interviewer, “I’m just some fella who used to be in a group called The Beatles.” The disconnect is clear in the remarks by several former band members on the futility of his equality concept. Later, McCartney goes to the heart of the matter with an astute assessment of a value bred into him in Liverpool, a working-class aversion to being the boss.

Tracking Wings’ ups and downs and reconfigurations, the triumph of Band on the Run, life on the pastoral homefront, and the sign-of-the-times pot busts, Neville stirs up a fine mix of visual and audio material. Besides 8mm home movies and videos, there are glimpses of professional photographer Linda’s extraordinary portraits of famous musicians, and Paul’s diaries and handwritten lyric sheets. Graphic elements and animation lend a kinetic collage effect, and demo recordings, outtakes and recording-studio discussions enrich the aural experience.

In addition to Paul, members of Wings, and Ono Lennon, the terrific offscreen chorus includes the McCartneys’ daughters Mary and Stella, Mick Jagger, Nick Lowe and album-cover designer Aubrey Powell. Chrissie Hynde offers especially perceptive observations regarding the timelessness of McCartney’s music.

But the most welcome voice in the film is that of Linda, straightforward and down-to-earth. As her daughters and others observe with fierce love and admiration, she raised four kids without an entourage of assistants while touring the world as a rock musician. Linda, who died in 1998, was her husband’s first recruit for his post-Beatles band, even though she didn’t play an instrument. “Here’s middle C,” she recalls him telling her. “You can play keyboard.” To say she took a lot of heat for it is putting it mildly. It didn’t make her defensive; “I’m here because we love each other,” she says of her role in Wings.

Man on the Run doesn’t look ahead to her untimely death or frame her story through that lens; it’s rooted in the events of a momentous decade for her and Paul McCartney, a period that crucially includes his rapprochement with his “brother,” John Lennon, and ends with Lennon’s murder. “My only plan is to grow up,” McCartney announced to the world when he left The Beatles. Neville’s film is alive with growing pains.