The documentary “Come See Me In The Good Light,” directed by Ryan White, intimately follows the last year in the life of poet and activist Andrea Gibson.
Diagnosed with terminal ovarian cancer, Gibson’s final chapter unfolds not as a quiet surrender but as an intense journey of love, artistic expression, and fierce living. The film is both a tender chronicle and a compelling conversation about mortality, love, and what it means to truly live.
The work places poetry at its emotional core, retracing Gibson’s unique gift for spoken word that unpacks pain and hope with raw honesty. Gibson’s voice, carried on powerful performances and intimate moments with their partner Megan Falley, invites viewers to engage with grief and joy simultaneously.
The film’s naturalistic style shows these moments in warm, unvarnished light, giving audiences access to the couple’s dynamic, their humor, and their vulnerability.
Critics have praised how the documentary balances difficult medical realities with a celebration of life’s fleeting beauty, making this not just a story of dying but a compelling invitation to live fully while we can.
Facing Mortality Through Art and Connection
What sets “Come See Me In The Good Light” apart is the way it frames death, not as an end but as a powerful catalyst for renewed meaning and connection.
Andrea Gibson, known for their profound spoken word performances and activism, chose to share their journey openly, transforming personal suffering into a collective experience.
The film captures this transformation in scenes where Gibson and Falley navigate medical treatments, fears, and faded hopes, while also sharing quiet moments of joy, laughter, and creation.
Come See Me In The Good Light (Credit: Apple TV)
What emerges is a striking portrayal of how art, poetry in this case, becomes a tool for processing pain and making sense of impermanence. Gibson’s poetry voiceovers thread through the film, offering metaphorical reflections that deepen the audience’s understanding of love, loss, and acceptance.
Their work underscores the film’s message: life’s value doesn’t diminish with the knowledge of its limits; instead, awareness sharpens the desire to live truthfully and fully. The relationship between Gibson and Falley is central here, showing mutual support and love that feels raw and unguarded, a testament to human resilience in hardship.
The film’s reception mirrors this emotional richness, with critics offering unanimous praise for its humane and poetic portrayal of dying. On Rotten Tomatoes, it boasts a 100% positive rating, emphasizing that the documentary resonates deeply with a broad audience, despite the heavy subject.
The inclusion of comedian Tig Notaro, a friend of the couple and a fellow artist known for blending humor and poignance, adds moments of levity, highlighting the complexity of living with terminal illness without losing sight of joy.
Legacy and Invitation: What Andrea Gibson Leaves Behind
Andrea Gibson’s sudden passing in July 2025 at age 49 left a profound void, but their legacy continues to echo through this documentary and their spoken word art. The film is more than a biographical record; it is a shared experience that honors Gibson’s philosophy on life and death.
Their approach to audience engagement, calling them “sweet community” rather than fans or followers, speaks to a deep connection fostered through honesty and care.
The documentary adds layers to this legacy by showing how Gibson wanted to protect and nurture their community even while facing illness. Their decision to disclose the diagnosis not in a sterile announcement but through intimate, personal communication mirrors the warmth and openness shown throughout their career.
The film captures this ethos, illustrating Gibson’s commitment to treating life as an ongoing dialogue with honesty and love.
Moreover, “Come See Me In The Good Light” invites viewers to reconsider typical narratives around death. It’s not about fear or finality, but about how facing death can illuminate what matters most: love, presence, and artistic expression.
The film encourages a renewed appreciation for the ordinary moments and human connections that become extraordinary when seen through the lens of limited time.
The documentary’s impact extends beyond Gibson’s immediate circle to audiences worldwide, who find inspiration in how one life can teach enduring lessons about embracing vulnerability and courage.
It challenges perceptions, asking the audience to engage empathetically with those confronting mortality and perhaps to live more intentionally themselves.
Nearly a year after the announcement of its development, the much-anticipated third installment in the Orphan horror franchise has received an exciting update: filming has officially started, and the sequel’s official title has been revealed as Orphans.
This news marks a major leap forward for fans eagerly awaiting another chapter in the twisted saga of Esther, the chilling character first introduced in the 2009 original movie.
The production kickoff was confirmed through social media channels and entertainment outlets, confirming active filming in Budapest under the direction of William Brent Bell, who also directed the 2022 prequel Orphan: First Kill.
The script is penned by David Coggeshall, reprising his role from the prequel, sparking hopes among aficionados for a storyline that builds upon the complex mythology of the previous films while promising fresh terror.
Isabelle Fuhrman, synonymous with the character of Esther, will reprise her role, giving the project a key element of continuity and dread. Fuhrman has been vocal about her enthusiasm for returning, noting that the upcoming film is shaping up to be “wilder and crazier” than its predecessors, suggesting a bold creative direction.
While many plot specifics remain tightly guarded, the official title Orphans hints at the possibility of multiple characters entwined in the narrative, potentially expanding the tense psychological horror the series is known for.
Furman’s return and the fresh creative energy behind the scenes reinforce that the filmmakers are committed to delivering a story that both honors and expands the established world of the Orphan films.
What The New Title “Orphans” Might Mean for the Franchise
The decision to title the new film Orphans sets it apart from the previous entries, simply named Orphan and Orphan: First Kill. This plural form has ignited speculation around what direction the story might take. Will Esther be facing others like herself, or could new characters be introduced that share a dark connection to her past?
This title suggests a broader scope, possibly revealing a network or community with sinister ties or introducing new antagonists or victims who reshape the franchise’s psychological world.
Orphan 3 (Credit: Dark Castle Entertainment)
Industry insiders have highlighted that with the franchise’s existing fanbase eager for fresh narrative twists, there is a creative freedom in this installment to explore new facets of Esther’s story or even question established lore, potentially revisiting or revising certain plot elements from the original movies.
According to interviews, the film may act as an “inbetweenquel,” strategically positioned between previously released films in the timeline, adding layers to the overarching storyline and deepening character arcs.
Moreover, the title choice and production details reflect a strong confidence by Lionsgate and Dark Castle Entertainment, which have distributed the prior successful films.
The Orphan franchise has accrued a global box office haul exceeding $125 million, signaling commercial viability that supports continued investment in expanding the universe creatively and commercially.
As such, the title Orphans could serve as a key branding move aiming to broaden appeal while promising fans a series packed with psychological tension and new horror dynamics that challenge expectations.
Behind the Scenes: Continuity and Fresh Creative Elements
Behind the camera, the return of director William Brent Bell alongside screenwriter David Coggeshall signals a blend of continuity and fresh perspective. Bell’s prior work on Orphan : First Kill brought a noted style that resonated with audiences, blending suspense and psychological horror effectively.
Coggeshall’s involvement, praised by Fuhrman, shows the script is in experienced hands, with insiders describing it as well-crafted and compelling early on.
Filming began on November 5, 2025, in Budapest, with Maxime Alexandre as the cinematographer, suggesting the film will maintain the atmospheric visual tone critical to the franchise’s psychological thriller aspects.
While the wider cast remains under wraps, the production pace and commitment indicate a 2026 release window, with anticipation steadily growing in entertainment circles.
Fans remain excited about how Esther’s character will evolve after surviving or being reborn following earlier films’ dramatic events. Fuhrman’s enthusiasm on social media and at horror conventions reflects a strong connection between the star and the fanbase, fueling speculation about Esther’s trajectory in this sequel.
The potential for new characters hinted at by the title and the mystery surrounding the plot amplify the intrigue.
This blend of returning talent and new story possibilities frames Orphans as an intriguing chapter that respects the franchise’s roots while daring to break new ground.
Horror enthusiasts and franchise loyalists alike are likely to watch closely as more information emerges in the coming months about casting, plot details, and distribution plans.
