Virgin River has gone through a surprising amount of cast exits through the years.

Based on Robyn Carr’s book series, Virgin River follows the lives of residents living in a small town in Northern California, including Mel (Alexandra Breckenridge) and Jack (Martin Henderson). The hit series, which premiered in 2019, also stars Colin Lawrence, Annette O’Toole, Tim Matheson, Benjamin Hollingsworth, Sarah Dugdale, Zibby Allen and Kai Bradbury.

After seven seasons, there have been some major departures from the Netflix show. Grayson Gurnsey left as Ricky after season 4, and Mark Ghanimé, who played Cameron, had a surprising exit once season 6 was released.

“I think this season saw a little bit of a sendoff for Cameron,” showrunner Patrick Sean Smith exclusively told Us Weekly in December 2024. “In terms of Mark, the actor who I adore, he unfortunately won’t be coming back for season 7.”

Smith didn’t rule out a potential return for the character in the future. “But that’s not to say that Cameron’s not a part of our world forever,” he added. “I would love to bring him back, and bring his character back when the story presents itself.”

In March 2026, Virgin River returned for season 7, and it was later confirmed that Marco Grazzini will not reprise his role as Mike. In another twist, Lauren Hammersley, who has played Charmaine since the show premiered, is also not expected to come back for season 8.

“For me, I’m just trying to look [at] the longevity of the show and making sure that the characters that we’re keeping have enough story engine in them to keep going,” Smith told Deadline at the time. “So I can’t say there are any specific cast shakeups planned, but I think we will have to start to — as characters run their course — make some decisions and bring in some new blood.”

Keep scrolling for the biggest Virgin River cast exits through the years:

Lexa Doig

Paige played a central role in the first season, but Lexa Doig’s role decreased and the character was ultimately written off by season 4.

Lynda Boyd

Lynda Boyd left the show in season 3 when Lilly was killed.

Grayson Gurnsey

After playing Ricky since Virgin River debuted in 2019, Grayson Gurnsey exited in season 4 as his character joined the Marines. He briefly returned, but Ricky hasn’t been mentioned since season 6.

Related: How Much Time Has Passed on ‘Virgin River‘ Since Season 1? Timeline Explained

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While Virgin River is Netflix’s longest-running scripted series, viewers have been left confused about how much time has actually passed on the show. Based on Robyn Carr’s book series, Virgin River follows the lives of residents living in a small town in Northern California, including Mel (Alexandra Breckenridge) and Jack (Martin Henderson). The hit series, […]

Mark Ghanimé

Cameron was introduced in season 4 and appeared in two seasons before being written off the show.

Lauren Hammersley

Season 7 solved the mystery of Charmaine’s kidnapping. It was later confirmed that Lauren Hammersley wouldn’t be reprising her role going forward.

Marco Grazzini

Marco Grazzini played Mike for several seasons before the character’s story was wrapped up in season 7.

By Chris Snellgrove
| Published 19 seconds ago

For this ‘80s kid, RoboCop (1987) is one of the best films ever made. As a young movie nerd, I watched the movie for its spectacle, including conniving bad guys, kooky sci-fi, and some of the best action scenes in Hollywood history. Growing older, though, I realized the real strength of the movie was its trenchant satire and social commentary. Director Paul Verhoeven held an unflinching mirror up to America, and he willingly interrupts his sci-fi opus with fake ads meant to highlight the inevitable dangers of where society was headed.

Now, RoboCop is streaming for free on Tubi, and this is arguably the best way to watch this ‘80s epic. You see, Tubi is a free streaming platform with ads embedded into every film, which is fine: a few ads are a small price to pay for this streamer’s sprawling platform of titles. However, the ads on Tubi have arguably gotten weirder than ever, including AI slop being used to sell everything from pay-to-win apps to gambling services. Now, in a truly meta moment, you can stream Verhoeven’s vision of future America and compare how strange our modern advertisements have become to the hilarious fake ads he created nearly four decades ago.  

Cops And Robots

The premise of RoboCop is that in a dystopian Detroit, law enforcement is now handled by a creepy megacorporation. They want to be tough on crime, so they take a recently slain police officer and revive him inside a cybernetic body. Now, as RoboCop, this mechanical lawman is the bane of criminals throughout the city. However, there is still a glimmer of humanity beneath his dark visor, and that spark of who he was may help the city’s top cop save the day. Assuming, of course, it doesn’t get him killed before that can happen.

The cast of RoboCop includes some very fun surprises, including Ray Wise (best known for Twin Peaks: Fire Walk With Me) and Ronny Cox (best known for Total Recall). The movie also stars Kurtwood Smith (best known for That ‘70s Show) as one of the most memorable villains to ever grace an action movie. But the real star of the show is Peter Weller (otherwise best known for The Adventures of Buckaroo Banzai Across the 8th Dimension), who is amazing as both hero cop Alex Murphy and RoboCop, a technological powerhouse who may very well be the future of law enforcement.

As an ‘80s kid myself, I had a simpler view of RoboCop. When I was younger, I loved the fact that the title character looked like an action figure, and that he fought bad guys as two-dimensional as the ones in my beloved Saturday morning cartoons. It helped, of course, that the very concept of this hero felt like something out of the fevered imagination of a sugar-addled child. After all, what’s cooler than a cop in the eyes of a kid? A robot cop, naturally!

Ironically, as I grew older, I appreciated how RoboCop functioned as a hilariously on-the-nose criticism of America’s police force. The individual cops are mostly decent people trying to make their city a better place, but they are caught up in a corporatized system that prioritizes profits over people. That system will do more than chew you up and kill you: it will then transform you into a robot zombie whose only function is to reduce human jobs and increase shareholder values. Regardless of your personal politics, that message is more resonant today than it ever was back in the waning twilight of Reagan’s America.

Tomorrow’s Future Shock, Today

Like many great franchises, no future films or shows were able to capture the magic of the first RoboCop film. Without Paul Verhoeven’s deft touch, later installments focused only on the surface-level coolness of having a nearly unkillable cop fighting everything from high-tech gangbangers to rival robots.

But it’s the satire that makes this first film an enduring classic, and the satire manages to be as hilarious as it is incisive. The most blatant satire comes from the bevy of fake ads that remind you that this is a world in which sex, violence, drugs, and even robotic cops are all just ways that a soulless corporation will try to sell you something.

Watching the film on Tubi now truly does make RoboCop that much more surreal, as your film about a corporate dystopia obsessed with money is periodically broken up by AI ads created by companies that didn’t want to pay real actors. In retrospect, Verhoeven gave us the most potent kind of satire: the one that accurately portrayed our own bleak future with unflinching accuracy and undeniable style.

RoboCop himself poses existential nightmare questions for audiences: like, how can anybody rage against the machine when the system makes us part of its gears? Today’s corpse is tomorrow’s cop, proving that even death cannot free you from the endless reach of our corporate overlords.

If you want to experience this eerily prescient movie in the best possible way, you don’t have to spend so much as a dollar. All you have to do is stream RoboCop for free on Tubi. Afterward, you might just spend the rest of your life quoting it. Because of that, make sure everyone in the room is cool before you start trying out your best impersonation of Kurtwood Smith’s hilariously iconic line: “b*tches leave!” 

Everyone gets bloating, headaches and fatigue from time to time. But if yours coincide with meal times, you may have food sensitivities hiding in your diet. Everlywell’s at-home test gives you a crystal-clear picture, measuring your body’s response to 96 different foods. You’ll wish you had found it years ago!

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The Saviors, by director Kevin Hamedani and written by Hamedani and Travis Betz, is a satire that feels like it’s been sitting on the shelf for a few decades. Playing off post-9/11 fears, The Saviors tries to teach a lesson that any sane person already understands, in that judging people by the way they look isn’t right. Islamophobia is still rampant in our world, without a doubt, but The Saviors doesn’t have the nuance or the depth to explore its well-intentioned concept in any way other than in the most obvious, direct ways. The Saviors is a film that wants to be a broad comedy at times, while exploring intricate, difficult topics the next, and in this film, the two don’t meld together nearly as well as they need to do this idea justice.

Adam Scott and Danielle Deadwyler Are Nervous About Their New Renters in ‘The Saviors’

Sean (Adam Scott) and Kimberley Harrison (Danielle Deadwyler) are a married couple who rent their guest house for a few days to brother and sister Jahn (Nazanin Boniadi) and Amir (Theo Rossi). Sean and Kimberley are getting ready to sell their house and divorce, but they need the extra money to make repairs on their home. After a pleasant meeting and a lovely dinner together, Sean starts to suspect something is off about their new renters. Despite Amir stating Jahn is deaf, Sean believes she hears more than she lets on, and Sean seems to think of Amir’s slightly intense demeanor as something suspicious. Early on, when Kimberley tries to calm down his worries, Sean states that he’s “uneasy” around the brown people that have moved in, and it’s as though The Saviors wants us to agree that something strange is going on.

It doesn’t take long before Kimberley is all aboard the suspicion train, as the pair stay up to try and catch anything unusual coming from their guest house. Little things completely alter their perception of Jahn and Amir — they look through the guest house and notice mechanical devices, while Kimberley notices that her journal has gone missing. Not helping matters are Sean’s parents (Ron Perlman and Colleen Camp), who are supporters of a neo-Nazi publication that they’ve also signed Sean and Kimberley up for, and Sean’s sister, Cleo (Kate Berlant), who is constantly joking about these Middle Eastern people and saying that it’s the conservatives’ time in America.

But Sean and Kimberley start to get very concerned upon the realization that the President is coming to visit the area soon. While there have been reports of higher security in the area and demonstrations due to the President’s arrival, Sean and Kimberley have convinced themselves that Jahn and Amir are going to set off a bomb that will take out the President. Amongst all of this, Sean also keeps having strange dreams where he and Kimberley are back together, but also of a bomb going off near their house, which only exacerbates his racist fears.

‘The Saviors’ Doesn’t Have the Nuance or Depth To Make This Satire Work

Image via SXSW

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Hamedani and Betz’s screenplay is awkward at best. As we see this story from Sean and Kimberley’s perspective, it wants us to see this story from their perspective — which is inherently critical based on race — and seems to want us to agree that something strange is going on. We know that there’s probably going to be something deeper than what this married couple is seeing, but it also apparently wants us to go, “See, they have a point for being suspicious! You can’t blame them for this!,” while also criticizing them at the same time. It’s a fine needle to thread, and it doesn’t even come close to pulling it off.

Related

Netflix’s 2-Part True Crime Satire Is Still the Streamer’s Greatest Comedy Ever

This show should’ve had at least 10 seasons.

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The Saviors also wants us to laugh at this scenario and these characters, but it’s often hard to find anything funny in this situation. The fact that Sean and Cleo were raised by racist parents is seen as a joke that has seemingly trickled down. The paranoia towards Amir and Jahn is also played for laughs, as Sean and Kimberley stay up all night keeping an eye on their neighbors. At one point, Sean and Kimberley rekindle their romance, and as they hook up, they switch positions solely so they can continue their spying and not miss anything. The Saviors wants its humor to hit with an uncomfortable undertone, which is very clear, but considering the world we live in today, it’s hard to see the comedy in the situations that the film presents here.

Hamedani and Betz have good intentions in this story, trying to present an idea that the world will fall apart if we don’t trust our very neighbors, and are attempting a plea for unity with this film. The problem is that this doesn’t have nearly the depth or focus to sell that theme effectively. We don’t really know anything about Sean or Kimberley, other than that Sean is unemployed and has a very questionable family. The film even throws in an over-the-top private investigator, Jim Clemente (Greg Kinnear), to help spy on Amir and Jahn, and it just feels like yet another unneeded layer of humor that falls flat. The Saviors wants us to walk away feeling like we should love and trust our neighbors, when really, it’s presenting the idea that maybe it’s better to stay the hell away from them.

‘The Saviors’ Cast Is Good, Even If the Movie Is Not

Image via SXSW

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Scott and Deadwyler are both decent in The Saviors, despite the script not doing them any favors. Scott could absolutely play the depth of a character torn between his liberal beliefs and his conservative upbringing, but The Saviors doesn’t ask him to go that far. Instead, The Saviors asks him to be a suspicious and borderline racist character, and he manages to do this while also still being likable, despite his flaws. It’s also just great to see Deadwyler in a role that allows her to be a bit more humorous, especially after great but often depressing performances in films like Till and The Piano Lesson. Comedy looks good on Deadwyler, and hopefully, she’ll get more work in the genre in the future. Rossi and Boniadi are also very strong here, and by the end, you’ll wish that the film focused on them and their story instead of Sean and Kimberley.

Right when The Saviors is getting somewhere legitimately interesting, the film grinds to a halt. It’s an ending that could’ve completely shifted the tone and quality of the movie had it happened halfway through the film. But instead, The Saviors shows its promise in the closing moments and makes one wonder what that much better, more intriguing story could’ve been. Hamedani and Betz have created a concept with some fascinating places for it to go, and instead, have handled this story sloppily and with questionable focus. Yes, The Saviors feels like a satire from another era altogether, but had Hamedani and Betz handled this story better, it could’ve felt incredibly essential to our current times.

The Saviors premiered at the 2026 SXSW Festival.

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Release Date

March 13, 2026

Director

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Kevin Hamedani

Writers

Travis Betz, Kevin Hamedani

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Producers

Adam Scott, Bradley Gallo, Matt Smith, Nicholas Weinstock, Naomi Scott, Michael Helfant, Dan Gedman

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Cast

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• 
• 

  Danielle Deadwyler

  Kimberley Harrison

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Pros & Cons

• The cast of The Saviors is solid, even if the characters aren’t there.
• The Saviors has good intentions and a solid concept that ends in an intriguing place.

• The Saviors doesn’t have the depth a satire like this absolutely needs.
• The film ends right when it’s starting to get truly interesting.

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One of the best films of 2024, Flow is an Oscar-winning animated movie from Latvia with no dialogue, nameless animal characters and barely any plot. A black cat barely survives a stampede of wild dogs when a giant flood engulfs his home … and eventually, most of the land. Desperate to survive, the cat finds a floating sailboat with a capybara as its sole occupant. Eventually, a dog, a secretary bird, and a lemur join them, and together, they navigate the dangers of rising tides, an epic storm and other wild animals as they try to find dry land free of danger.

On paper, Flow seems intimidatingly basic, but the movie’s pleasures are in simply experiencing its gorgeous visuals and spellbinding score. The director, Gints Zilbalodis, wrote the screenplay and composed the music, and his passion shines through in every frame and musical chord. Most modern animated movies, with their celebrity voiceovers and assembly-line pop tunes, play it safe to appeal to everyone, but Flow takes risks by marching to its own beat. It pays off, and it’s an instant classic.

Sandra Bullock has mastered the art of looking polished without trying too hard. Her latest denim moment? Cuffed jeans — a simple styling detail that instantly makes any outfit look relaxed yet intentional. If you want to recreate the casual yet put-together vibe without the celebrity price tag, the Kunmi High-Waisted Jeans delivers on all fronts.

Bullock was spotted wearing the cuffed jeans style off-duty, pairing them with a black turtleneck sweater and an oversized tote bag for an effortless everyday look. The appeal of the Kunmi High-Waisted Jeans is how effortless the silhouette feels while still looking put-together — exactly the balance that makes cuffed jeans so wearable right now. The high waist creates a flattering shape through the midsection, while the relaxed straight-leg fit gives that easy, off-duty vibe Bullock is known for. Because the denim has a bit of stretch, the jeans feel comfortable enough for everyday wear but still hold their structure, which helps the cuffed hem look intentional rather than overly casual.

Get the Kunmi High-Waisted Jeans for $43 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Styling-wise, the cuffed jeans work with almost everything: a fitted tee and sneakers for daytime errands, a tailored blazer for a polished-casual look or even a simple tank and sandals once spring temperatures rise. The slightly baggy cut also makes the cuffed detail stand out, drawing attention to your shoes and adding that relaxed-yet-finished feel stylists love for transitional dressing.

Related: Jennifer Aniston’s ’90s Flip Flops Are Trending — Shop the $27 Version

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In case you missed it, ’90s minimalism is having a major moment again. With FX’s Love Story fueling nostalgia and renewed interest in Carolyn Bessette-Kennedy’s effortlessly polished wardrobe, the aesthetic is back in a big way. And when it comes to mastering the overall vibe, Jennifer Aniston still leads the pack. She’s stayed loyal to her […]

One Amazon reviewer said the cuffs give a “nice polished touch” and that the jeans “hug[s] curves in the right places.” Plus, there’s “just enough stretch to make them super comfortable but not so much to make them loose or get baggy while wearing them.”

If Bullock’s effortless denim style is any indication, cuffed jeans are about to be everywhere this spring. The good news is you don’t need a celebrity closet to get the look. Shop the Kunmi High-Waisted Jeans now to bring a little celebrity-inspired ease to your spring wardrobe!

Get the Kunmi High-Waisted Jeans for $43 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more cuffed jeans here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

Related: Amanda Seyfried Wore the Elevated Jeans That Makes Petites Look Taller

Gone are the days of boring jeans. Between loose and fitted silhouettes, light and dark washes and statement details, denim is totally back, and Amanda Seyfried’s latest side-stripe jeans kick it up a notch. Everyone’s coveting her chic cigarette jeans, and we found the look for under $50 on Amazon. Even better, the style is […]

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The wait for Beth and Rip’s next chapter is finally over. After months of buildup, Yellowstone fans now know exactly when the franchise’s long-awaited sequel series will arrive. Dutton Ranch will premiere globally on Paramount+ on Friday, May 15, launching with its first two episodes and officially kicking off a brand-new story for two of the original show’s most popular characters.

The new series brings Kelly Reilly and Cole Hauser back as Beth Dutton and Rip Wheeler, picking up after the events of Yellowstone and moving them into a new fight in South Texas. According to Paramount+, Beth and Rip are trying to build a future together “far from the ghosts of Yellowstone,” but they quickly run into brutal new problems and a rival ranch willing to do whatever it takes to protect its own power. The first season will run for nine episodes, with the show also airing on Paramount Network beginning May 15 at 8 p.m. ET/PT before continuing weekly. The official synopsis follows:

As Beth and Rip fight to build a future together – far from the ghosts of Yellowstone – they collide with brutal new realities and a ruthless rival ranch that will stop at nothing to protect its empire. In South Texas, blood runs deeper, forgiveness is fleeting, and the cost of survival might just be your soul.

Who Stars In ‘Dutton Ranch’?

Alongside Reilly and Hauser, the cast includes Finn Little, Juan Pablo Raba, Jai Courtney, J.R. Villarreal, Marc Menchaca, Natalie Alyn Lind, Ed Harris, and Annette Bening. The series is created by Chad Feehan, based on characters created by Taylor Sheridan and John Linson. Feehan also serves as showrunner, while Christina Alexandra Voros directs multiple episodes, including the premiere and finale. Voros also just finished directing all six episodes of Sheridan’s The Madison.

Dutton Ranch begins May 15 on Paramount+ with a two episode premiere.

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Release Date

2018 – 2024

Network

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Paramount Network

Directors

Stephen Kay, Taylor Sheridan, Christina Alexandra Voros, Guy Ferland, John Dahl

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Writers

John Coveny, Ian McCulloch

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