CBS is preparing fans for the return of one of its highest-rated action dramas, and the date can’t come soon enough. Tracker Season 4 premieres in less than a month, bringing a significant upgrade that promises interesting developments in the new episodes. After last season’s explosive finale, Colter Shaw faces difficult truths about his family’s past. With these shocking revelations and the support of his trusted team, he must set aside the past to focus on what he does best: using his instincts and survival skills to find the missing and earn rewards.

Inspired by Jeffery Deaver‘s bestselling novel The Never Game, Tracker stars Justin Hartley as Colter, a lone-wolf survivalist who, driven by the troubles of his past, uses his instincts to earn a living by finding the missing. Tracker premiered on February 11, 2024, to critical acclaim, with the first Season currently holding an impressive 89% approval rating on Rotten Tomatoes. The season also drew large viewership, debuting immediately after Super Bowl LVIII on CBS while sticking with a simple, case-of-the-week format.

Later seasons replicated the success, leading to a Season 4 renewal announced earlier in January. This new season of Tracker will now see Cassady McClincy Zhang, who was previously recurring as Reenie’s (Fiona Rene) assistant Mel in her law office, upped to series regular, as confirmed by Deadline. That means the bingeworthy drama will once again have four series regulars: Hartley, Rene, Zhang, whom you may also remember from The Walking Dead, and Chris Lee.

‘Tracker’ Season 4 Could Have a Major Plot Twist Ahead

Fans may recall that when Tracker premiered two years ago, it had five regulars: Hartley, Rene, Robin Weigert, Abby McEnany, and Eric Graise. By Season 2, Weigert was no longer part of the main cast, and by Season 3, McEnany and Graise had also left, leaving Hartley and Rene as the only regulars. Besides, Lee was initially a recurring character before being promoted to series regular.

Now, with Zhang’s promotion, an exciting plot twist could be in store for viewers as they wait to see when Tracker returns. In the meantime, Hartley suggested as much during a Season 3 interview, teasing that Season 4 could see Mel (Zhang) possibly having an ulterior motive, seeing as she has taken an interest in Colter’s cases while working for Reenie, who assists the tracker in legal matters.

Tracker returns for Season 4 on October 4, 2026, at 9 p.m. ET/PT on CBS, with the premiere episode also streaming on Paramount+.

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Release Date

February 11, 2024

Showrunner

Elwood Reid

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Writers

Ben H. Winters, Hilary Weisman Graham

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• 

  Justin Hartley

  Colter Shaw

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The Vampire Diaries is often brushed off as a teen “girly” show, but let’s be honest, it got plenty of guys hooked too. The supernatural vampire drama got us deep into the vampire lore, far beyond what The Twilight Saga ever touched. And then there were the Salvatore brothers, Stefan (Paul Wesley) and Damon (Ian Somerhalder), two dangerously attractive vampires who quickly had the ladies swooning over them, and teenage boys who wanted to be as charming and powerful as them.

Watching Ian Somerhalder and Paul Wesley’s bromance and rivalry onscreen became a guilty pleasure for so many who lived for friends-to-lovers, enemies-to-lovers, and every messy trope in between. Over its run, the show gave us every supernatural being that exists: witches, vampires, werewolves, doppelgängers, hybrids, and Originals (the first vampires created almost a thousand years ago). Now, 17 years after its debut, it’s the perfect time to revisit and celebrate some of the best bloodsuckers to ever rule Mystic Falls.

10

Lexi Branson

Played by Arielle Kebbel

Image via The CW

Lexi Branson (Arielle Kebbel) doesn’t have the longest screen time in The Vampire Diaries, but she leaves an outsized mark on the show’s emotional quotient. She was introduced in Season 1 as Stefan’s best friend, who brought him warmth and moral clarity in a world dominated by morally gray vampires. She was the only person who stood with Stefan as a rock-solid presence, and her very existence in his life hinted at the special bond the two shared in their early years.

Lexi was witty, easygoing, and humorous, and her unwavering loyalty towards her friends made her a breath of fresh air in the otherwise supernatural world of backstabbers. Her death, at the hands of Damon, was one of the show’s earliest gut punches, but the writers found a way to bring her back through memories and flashbacks. She reappeared in Seasons 4, 5, and 6 to pull Stefan back from the edge whenever he needed her.

9

Rebekah Mikaelson

Played by Claire Holt

Image via The CW

The scream “REBEKAHHHH” still echoes in the ears of TVD fans, years after the show ended. Rebekah Mikaelson (Claire Holt) carried her sass and villainous energy in The Vampire Diaries, but we couldn’t help but feel pity for her occasionally. She was one of the two daughters of the Mikaelson clan, an extremely emotion-driven and impulsive Original vampire who made the wrong choices for love.

She came to Mystic Falls in Season 3, all blonde hair and lethal stilettos, with a confidence that comes from living through a thousand years of family drama, betrayal, and loss. She’s the only Original sibling who openly craves a normal human life — not power, not bloodlust, just a chance to go to school dances, fall in love, and maybe raise a family without dagger-related interruptions. She’s also the only one whose dreams have been interrupted time and again, often by her own brother’s dagger, which left her to spend centuries trapped in an enchanted sleep.

8

Silas

Played by Paul Wesley

Image via The CW

Silas (Wesley) was Stefan’s doppelgänger, who was introduced in Season 4 as the shadowy figure pulling strings long before the audience ever saw his face. He was the world’s first Immortal, with only one desire — to be reunited with his one true love, Amara (Nina Dobrev). But his deep love for Amara didn’t make him a noble hero or a romanticized vampire; instead, he became one of the most manipulative and cunning figures in the series.

Wesley took on a completely different persona with Silas, marking a 180-degree shift from Stefan’s personality. Silas’ charm came with a quirky edge, but it was his psychic abilities, shapeshifting, and immunity to most supernatural weaknesses that made him one of the most elusive and dangerous villains to confront, both literally and morally.

7

Caroline Forbes

Played by Candice King

Image via The CW

Caroline Forbes (Candice King) might have started The Vampire Diaries as the picture of high school insecurity. Competitive, needy, and constantly trying to prove herself. But her transformation into a vampire in Season 2 (due to Katherine’s scheme) made us fall in love with the confident, sharp-witted woman she grew into. Honestly, vampire Caroline had more guts, character, and edge than human Caroline, and her arc became one of the most satisfying in the series.

She mastered control over her bloodlust faster than almost anyone else, excelled at strategic thinking during crises, and often stood there as the emotional anchor for the group when everyone else’s lives were spinning out of control. Even after being a vampire, Caroline remained the most human character in the show, who felt everything deeply — from her friendships to her most complicated relationships.

6

Katherine Pierce

Played by Nina Dobrev

Image via The CW

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Katherine Pierce is as captivating as she is fierce, and The Vampire Diaries wouldn’t have half its intrigue without her constant games of manipulation. Played with razor-sharp charisma by Nina Dobrev, Katherine was Elena Gilbert’s 500-year-old doppelgänger, her darkest self, and a far more adept vampire than Elena ever was; someone who would go to any length to survive.

Katherine lived through half a century not because she was strong, but because of her intelligence, uncanny ability to read a room, and the talent to exploit people’s weaknesses before they even realized they had been played. Every major plotline she touched was turned into an unpredictable tragedy for the good ones around her. Her on-again, off-again alliances with the Salvatore brothers added more mystery and oomph to the storyline, and unlike many villains who fade with time, Katherine stayed relevant by adapting, switching allegiances, and always keeping a backup plan (or three) ready.

5

Elijah Mikaelson

Played by Daniel Gillies

Image via The CW

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Elijah Mikaelson (Daniel Gillies) is one of the most honorable vampires in the TVD universe. What we know about Elijah is that he keeps his word, never turns his back on anyone, and can be ruthless when it comes to his family. As an Original, he’s powerful enough to snap most enemies out of existence without breaking a sweat, yet he carries himself with the restraint and elegance of an old-world gentleman. Always impeccably dressed, with a neatly folded handkerchief in his pocket, Elijah was the most sophisticated brother of the Original family.

He had an ironclad moral code, even when it put him at odds with his own family. His loyalty to his brother, Klaus (Joseph Morgan), despite centuries of betrayal, gave the audience a constant push-and-pull between wanting him to break free and respecting the fact that he never abandons his own. He’s a peacemaker in a world that thrives on war, and when diplomacy fails, he’s as lethal as any other Mikaelson, perhaps, even more so.

4

Enzo St. John

Played by Michael Malarkey

Image via The CW

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Enzo St. John (Michael Malarkey) was never meant to be a central figure in The Vampire Diaries, but soon became a loved character as viewers saw his bromance with Damon. Born 170 years ago, he unexpectedly came across the Augustine organization, which tortured and experimented on him for decades. Those early years left him deeply cynical and bitter in conflict, yet beneath the hardened exterior was someone with a soft heart and a strong sense of self-awareness.

Soon after, he fell in love with Bonnie (Kat Graham), and everything shifted. He became more vulnerable and emotional. Another strong bond he shared was his friendship with Damon, which was built on shared drama and gallows humor, though far from perfect. Enzo was unpredictable at all times, capable of brutal decisions one moment and selfless acts the other. This tension made him one of the most human characters in the show, a reminder that even the most damaged people can find something or someone worth living for.

3

Stefan Salvatore

Played by Paul Wesley

The good Salvatore brother, Stefan, was over a century-old decent vampire when he was first introduced. A brooding, self-controlled figure who refused to feed on humans and cherished rabbits (as a food). He was the moral compass of the show, but soon met with a transition that gave him a perfect good boy-turned-bad trope. As the series unraveled, it became clear that Stefan’s self-controlled nature wasn’t innate, but it was a fragile dam holding back the “Ripper”, his bloodthirsty alter-ego, who reveled in carnage. This duality gave Stefan a rich arc as a hero constantly at war with the darkest parts of himself.

Stefan lived for the people he loved. His relationship with Elena was a slow, all-consuming kind of love, steady but tangled in secrets. With Damon, he was caught in a constant cycle of rivalry and redemption, each brother pulling the other back from the brink at different times. And with Caroline, he found a quieter, more honest kind of love, more like a partnership built on friendship and mutual respect.

2

Klaus Mikaelson

Played by Joseph Morgan

Image via The CW

The man, the myth, the legend — Klaus Mikaelson — was the most feared and powerful creature in The Vampire Diaries. An Original and a hybrid, half-vampire and half-werewolf, he carried the most dangerous abilities of both. Klaus rewrote the rules, bent them to his will, manipulated those around him, and ruthlessly killed anyone who crossed him. Every time he appeared on-screen, there was a sense of unpredictability that anything could happen at any moment. Maybe a peace treaty could be struck over a glass of bourbon, or a massacre could unfold before the ice melted in it.

With time, as Klaus’ vulnerable side revealed, everyone quickly jumped to sympathize with the ultimate bad boy of TVD. He could be cruel enough to dagger his siblings one moment and then fiercely protective of them the next. Just a complicated brother who loved and hated his family at the same time, but would never turn his back on them. His bond with Caroline Forbes was one of the most twisted yet beautiful threads in the series, which revealed a softer and more loving layer, one that everyone longed to see.

1

Damon Salvatore

Played by Ian Somerhalder

Image via The CW

Damon Salvatore was the reason the audience tuned in, week after week, long before the plot had even settled in. The ever-charming and charismatic Damon, played by Lost‘s Somerhalder, was the bad Salvatore brother, who could kill with his deadly smirk and a wicked smile. He became our favorite villain of the show, but somewhere along the way, his love for Elena completely changed him and turned him into the ultimate romantic hero of the series.

Damon’s moral compass only pointed north when it suited him, and he had no hesitation about snapping necks if it got him what he wanted. Yet, just as easily, he could switch gears and lay his heart bare in a way that caught you off guard. You could never predict his next move, but you could always know that Damon would go to any length to protect Elena. His redemption arc was as complete as it was unexpected, and by the end, Damon had become the most dangerously compelling presence in the entire series.

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The Vampire Diaries

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Release Date

2009 – 2017-00-00

Network

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The CW

Directors

Chris Grismer, Joshua Butler, Marcos Siega, Kellie Cyrus, J. Miller Tobin, John Behring, Jeffrey G. Hunt, Rob Hardy, Leslie Libman, Paul Wesley, Lance Anderson, Darren Genet, John Dahl, Wendey Stanzler, Jesse Warn, Garreth Stover, Geoff Shotz, Ian Somerhalder, Liz Friedlander, David Von Ancken, Kevin Bray, Mike Karasick, Brad Turner, Carol Banker

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War television has to be compelling without making war itself feel entertaining, and that’s not an easy feat. The audience still needs tension and momentum, but those things can’t come at the expense of reducing real suffering to shallow spectacle. That challenge becomes even harder because, firstly, war is never a single experience. It means different things to different people.

Secondly, history has usually spoiled the ending for every war drama out there. Now, when the audience already knows who won the battle, how does one still make them tune in? The best war miniseries then find their suspense somewhere more personal. These six miniseries understand that responsibility better than most and find completely different but perfect ways.

1

‘Band of Brothers’ (2001)

Image via HBO

Band of Brothers is the blueprint for war miniseries, and it’s easy to understand why. The HBO show, based on Stephen E. Ambrose’s book, follows the men of Easy Company, part of the U.S. Army’s 101st Airborne Division, from their brutal training at Camp Toccoa through D-Day, Operation Market Garden, the Battle of the Bulge, and eventually the end of the war in Europe. The story initially seems to revolve around Richard Winters (Damian Lewis), who gradually becomes one of the company’s most respected leaders, but Band of Brothers never limits the narrative to his perspective.

Different episodes shift the focus to others in the unit, which is one of the smartest decisions the miniseries makes. This turns Easy Company into the real central character while giving individual soldiers’ arcs enough room. The audience gets to understand the company from completely different positions, which adds weight to every loss or win. Band of Brothers completely changed the emotional scale of war.

2

‘The Pacific’ (2010)

Image via HBO

The Pacific had every chance to recreate Band of Brothers, but it delivers a completely different experience. Instead of following one company across the war, the HBO miniseries splits its story between three Marines whose paths keep crossing. The protagonists include writer Robert Leckie (James Badge Dale), Eugene Sledge (Joseph Mazzello), who initially can’t enlist because of a heart condition, and celebrated hero John Basilone (Jon Seda). Their stories carry the audience through Peleliu, Iwo Jima, Okinawa, and some of the most punishing campaigns of the Pacific Theater. What’s interesting is how the war looks completely different based on the man in focus.

The Pacific never paints its characters as invincible, but as men constantly being reshaped by the situations they face. The Pacific keeps showing how the same war can leave completely different marks on the people fighting it, and that is the show’s gripping hook. The final episode sustains this momentum by following the survivors home and showing how just returning to ordinary life is its own struggle. The Pacific is never building toward a clean victory because it wants to ask what exactly is left of these people once the fighting stops.

3

‘Generation Kill’ (2008)

Image via HBO

Generation Kill strips away all the shock value audiences normally expect from a war miniseries. The seven-part HBO series, based on Evan Wright’s reporting and book, centers on the journalist, played by Lee Tergesen, as he follows the U.S. Marines of First Recon during the opening weeks of the 2003 invasion of Iraq. Most of the story unfolds alongside Marines, including Brad Colbert (Alexander Skarsgård) and his endlessly talkative driver, Ray Person (James Ransone), as their convoy pushes toward Baghdad. The show obviously covers all the action along the way, but it’s actually interested in exploring the logistics of war. Generation Kill features long stretches of driving, petty arguments over equipment, confused radio chatter, and frustrating orders coming from the people in command.

The series makes war feel oddly normal. The Marines can be discussing something completely stupid one minute and suddenly find themselves making a life-or-death decision the next. This tonal whiplash is the point. The series captures how boredom, fear, humor, and danger can all exist within the same context. Generation Kill isn’t the show that wants to manufacture stakes or deliver some inspiring military narrative. In fact, its brutal realism is why it remains a fan favorite to this day.

4

‘We Were the Lucky Ones’ (2024)

Image via Vlad Cioplea/Hulu

We Were the Lucky Ones is another show that approaches World War II on an intimate scale. The Hulu miniseries, based on Georgia Hunter’s novel and inspired by the experiences of her own family, begins with the Kurcs, a Polish-Jewish family, celebrating Passover together in Radom shortly before the war tears their lives apart. The five siblings, Halina (Joey King), Addy (Logan Lerman), Genek (Henry Lloyd-Hughes), Mila (Hadas Yaron), and Jakob (Amit Rahav), are eventually scattered across different countries with almost no way of knowing who in their family is still alive.

The series keeps jumping between the siblings as each of them deals with their fair share of struggles. The reason why this hits so hard is that the audience gets to see the Kurcs together before taking all sense of normality away from them. The larger question then becomes whether these people will ever find one another again. That makes the final episode incredibly rewarding when scattered members of the family finally begin finding each other again, forever changed by the lives they have lived.

5

‘The Narrow Road to the Deep North’ (2025)

Image via Prime Video

The Narrow Road to the Deep North is a war story that stays with the audience long after the credits roll. Based on Richard Flanagan’s Booker Prize-winning novel, the five-part miniseries follows Australian doctor Dorrigo Evans, played by Jacob Elordi during World War II and Ciarán Hinds decades later. Before leaving for war, Dorrigo begins an affair with Amy Mulvaney (Odessa Young), his uncle’s young wife. Their relationship is cut short when he is deployed and eventually becomes a prisoner of war, forced alongside other Australian soldiers to work on the Burma Railway.

The show tracks how life in the camp completely changes the central character. He is put in impossible situations, with thoughts of Amy being his only comfort, only for that to be taken away as well. The series jumps between Dorrigo’s affair, his captivity, and his life as an older celebrated surgeon. The audience already knows Dorrigo survives, so the suspense comes from discovering what survival actually does to him.

6

‘War and Remembrance’ (1988)

Image Courtesy of ABC

War and Remembrance is about as ambitious as war television gets. The sprawling miniseries, adapted from Herman Wouk’s novel, picks up immediately after Pearl Harbor and follows the extended Henry and Jastrow families through almost the entirety of America’s involvement in World War II. Naval officer Victor “Pug” Henry (Robert Mitchum) is sent from one major assignment to another, while his sons Warren (Michael Woods) and Byron (Hart Bochner) fight in the Pacific. On the other hand, Byron’s wife Natalie (Jane Seymour) is trapped in Europe with her Jewish uncle Aaron Jastrow (John Gielgud) and her young son, desperately searching for a way out as Nazi control closes around them.

That eventually becomes the most devastating part of the narrative. There’s no denying that the enormous scale of War and Remembrance could have easily felt like a dry history lesson, but the Henrys and Jastrows give every new stage of the war a human connection. Major battles and political decisions are constantly happening alongside marriages collapsing, families being separated, and people simply trying to find out if their loved ones are safe. The miniseries truly earns the word epic thanks to how seamlessly it moves between the different storylines it follows while still preserving the sheer magnitude of the war surrounding them.

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War and Remembrance

Release Date

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1988 – 1989-00-00

Writers

Earl W. Wallace

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  Barry Bostwick

  Uncredited

• 

  Clifford Rose

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  Leslie Slote

• 

  David Dukes

  Rudolf Hoess – Commandant K. L. Auschwitz

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  G.W. Bailey

  Field Marshal Erwin Rommel

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There might not be a more consistent director than Hayao Miyazaki, whether you want to talk about directors who are still alive and/or active, or directors of any time in cinema history. Miyazaki’s output has slowed down as he’s gotten older, with an especially long gap between The Wind Rises (2013) and The Boy and the Heron (2023), but a dozen movies released between 1979 and 2023 is still a decent amount.

In other words, it’s not like quantity has been overlooked, but it’s quality that Miyazaki focuses on. And what quality, you know? None of his 12 movies come anywhere close to being bad, so ranking them is always difficult. Just sticking to his first seven doesn’t make things a whole lot easier, but that’s what you’ve got below, in any event: all seven Hayao Miyazaki movies that came out in the 20th century, ranked from good to great.

7

‘My Neighbor Totoro’ (1988)

Image via Toho

People do really love My Neighbor Totoro, so it being in last place here might seem sacrilegious, but something has to go at the bottom. It just does. Nothing really deserves to be at the bottom, and since My Neighbor Totoro is a Hayao Miyazaki movie, it is, at the very least, quite good, but to be perfectly honest, it just doesn’t have enough going on.

That’s the reason for it being here. It’s slow, and it can be hard to figure out what really feels like the point of this one is, and similarly difficult to work out what it does that appeals to people when everything here is done/explored better in all of Miyazaki’s other movies. You’ve probably quit scrolling at this point, out of frustration, and if not, thank you, and also, apologies. “There are no bad Hayao Miyazaki movies” is the point that should continue to be stressed.

6

‘Porco Rosso’ (1992)

Porco Rosso is about an anthropomorphic pig who can fly planes, and since he gets into some dogfights and the film’s a bit of an adventure one, it’s technically more exciting than My Neighbor Totoro, though it does remain a bit light on plot. There is a goofiness here that’s charming, owing to the premise, and then Porco Rosso does have some emotional moments, or at least reasons to care about what’s going on beyond just enjoying the vibes.

The vibes are the main thing here, though, admittedly. It also feels a bit like Miyazaki’s Ponyo (2009) in the sense that it really doesn’t feel like things were planned out narratively, and the resulting movie (again, like with Ponyo) ends up feeling a bit longer than it is. But things are sometimes fun, occasionally sweet, and always gorgeous to look at (the quality of the animation, as always, is impossible to find fault with), and so even with it being a bit aimless, it’s never unenjoyable to spend that amount of time with.

5

‘Kiki’s Delivery Service’ (1989)

Image via Studio Ghibli

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Just one year on from My Neighbor Totoro, Hayao Miyazaki returned to the realm of coming-of-age stories, in turn coming dangerously close to repeating himself. The film that followed so close to My Neighbor Totoro was Kiki’s Delivery Service, but it’s a step forward in the sense that the protagonist here is a little older than either of the two young girls in Miyazaki’s previous film, and the story here also sees her venturing off entirely on her own.

Well, actually, she does have a cat. Not a catbus, but a cat. Kiki’s Delivery Service is about her taking steps to become independent, doing what all witches apparently do when they reach their teenage years. Beyond that premise, there’s not a ton of narrative, and things wrap up especially abruptly once the film’s 100-ish minutes are up, yet it’s still a decently engaging film. Probably goes without saying, but it’s a winner as far as animation and music are concerned, too, as can be said about all of Miyazaki’s Studio Ghibli-era movies.

4

‘Nausicaä of the Valley of the Wind’ (1984)

Image via Toei Company

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There are two movies Hayao Miyazaki directed before Studio Ghibli was officially founded, though of the two, Nausicaä of the Valley of the Wind is the easiest to classify as a Studio Ghibli movie. Maybe it is spiritually, because it’s got a ton of recognizable elements thematically and stylistically, and then it’s also worth singling out that it’s the first Miyazaki film with a score composed by Joe Hisaishi, who’d go on to compose music for the 10 that followed Nausicaä of the Valley of the Wind, too.

This film’s a post-apocalyptic one that combines sci-fi and fantasy elements very effectively, telling a story that’s a bit more interesting than some of the stories found in certain previously mentioned movies, but then also, Nausicaä of the Valley of the Wind succeeds in terms of having an especially interesting world. It feels like one movie isn’t really enough for all that’s engaging here, which makes sense when you realize that Nausicaä of the Valley of the Wind was originally a manga written by Miyazaki himself (and one that the film couldn’t adapt in its entirety, since it took until 1992 for the manga series to be concluded).

3

‘Lupin III: The Castle of Cagliostro’ (1979)

Image via Toho

The other Miyazaki movie that pre-dated the formation of Studio Ghibli was Lupin III: The Castle of Cagliostro, which is pretty easy to single out as the most underrated Hayao Miyazaki movie. It’s probably the lack of connection to Studio Ghibli that’s made that happen, and it’s also difficult to mistake this one for a Studio Ghibli movie the way you possibly might’ve with Nausicaä of the Valley of the Wind, outside a castle – or castles – being important (Miyazaki loves his castles).

This one’s incredibly entertaining, and if you want one more bit of hyperbole, it’s also comfortably the funniest Hayao Miyazaki movie. Lupin III: The Castle of Cagliostro is about a charismatic and skilled (albeit also unlucky) thief and his partner-in-crime getting wrapped up in a less-selfish-than-usual mission to save a princess from an evil count named Cagliostro, and he does indeed have quite the castle. This movie’s so much fun, and if you’re a fan of Miyazaki’s and have somehow missed out on watching it so far, that’s something you should try to amend as fast as possible.

2

‘Castle in the Sky’ (1986)

Image via Studio Ghibli

Another movie with “Castle” in the title, Castle in the Sky is once more one where it feels tempting to call it underrated, even with the acknowledgment that everyone seems to like and/or love it. But it’s, like, even better than the general consensus. The entertainment value here is important, as it was with Lupin III: The Castle of Cagliostro, because Castle in the Sky is consistently fun, and there’s a story here that gives the feeling of things always going somewhere.

Miyazaki’s first three movies are, overall, a bit more exciting than the next two he’d do: My Neighbor Totoro and Kiki’s Delivery Service. They feel like better entry points to Miyazaki, or anime generally, than those two other movies, even if those two (and especially My Neighbor Totoro) might be more famous. Castle in the Sky is exciting and never boring, all the while also standing as perhaps Miyazaki’s most ambitious film in terms of genres covered, since this is a bit of an action/adventure/comedy/family/fantasy/sci-fi film, all at once.

1

‘Princess Mononoke’ (1997)

Image via Toho

Princess Mononoke does absolutely everything right, and the only Hayao Miyazaki movie you’re likely to see most people ranking ahead of it, when they’re trying to go over all his films, would be Spirited Away. For now, it’s easy to call it the best film Miyazaki directed in the 20th century, since Spirited Away came out in 2001. But the gap in quality between these two masterpieces is an incredibly small one.

Narratively and thematically, Princess Mononoke has the most in common with Nausicaä of the Valley of the Wind, since both are heavily about environmental-related conflicts, though Princess Mononoke arguably refines and/or perfects everything that Nausicaä of the Valley of the Wind already did exceptionally well. It’s such a beautiful and thought-provoking film, animated or otherwise, and more than worthy of its status as an untouchable classic.

Prime Video has quickly become one of the strongest all-around streaming libraries for true movie lovers. They have found a mix of brand-new theatrical exclusives to weave into an impressively deep, well-curated back catalog. This month’s lineup is a particularly strong argument for that case, pairing two of 2026’s biggest theatrical hits with a run of prestige dramas, genre classics and a horror classic that has truly stood the test of time. Whether you are chasing something new or filling in a gap in your movie-watching history, there’s a real range here worth carving out time for.

The reason this library deserves more attention is mainly due to the lack of commonality found on the surface between all of these projects. Animated space adventures, a slew of setting-specific dramas, theatrical blockbusters and Wes Anderson’s latest dollhouse of a film all sit side by side. There is a through line underneath, though, all movies that are confident enough in their own voice to demand your full attention. None of these movies are pure background noise service, if that is what you came here looking for. Several of these titles are also brand new to the platform this month, which means the window to catch them without having to hunt elsewhere or succumb to a “movie with ads” service, is right now.

With all this being said, ranking a list like this means weighing pure craft against cultural momentum, and this month’s slate makes that unusually difficult. A decades-old horror classic sits comfortably beside a film that just opened in theaters weeks ago. A testament to how two vastly different films can earn their place amongst a prestigious library like Prime’s for completely different reasons. Here are ten movies on Prime worth prioritizing this month.

10

‘Frailty’ (2001)

Image Via Lions Gate Films

Bill Paxton‘s directorial debut Frailty is an unsettling gothic thriller about a father (Paxton) who convinces his two young sons that God has tasked their family with hunting and killing demons disguised as ordinary people. Matthew McConaughey anchors the framing story as the grown-up version of one of those sons recounting the family’s history to an FBI agent investigating a string of unsolved murders. The movie finds itself through its total commitment to ambiguity, never fully tipping the hand about whether the father is a monster, prophet, or something far more complicated than either. Paxton directs with true patience, letting an uncomfortable dread build devoid of cheap scares.

This is the type of film that gets better on a rewatch, once you understand where it’s headed, since the early scenes will take on a much darker, sadder resonance. McConaughey’s performance is a masterclass in withheld information, and the film’s final twist recontextualizes everything before it without feeling like a cheap gotcha. It’s a film about faith, trauma and inherited violence dressed as a horror thriller, and it holds up remarkably well more than two decades later. If you’ve never seen it, this is the month to fix that.

9

‘A Serious Man’ (2009)

The Coen brothers‘ bleakly funny, deeply personal take on the Book of Job, A Serious Man, follows Larry Glopnik (Michael Stuhlbarg), a Midwestern physics professor whose life falls apart piece by piece for reasons that neither quite make sense to him or to us. Set in a meticulously recreated 1967 Minnesota Jewish suburb, the film mines real, specific cultural detail for a blend of comedy and existential trepidation. Stuhlbarg shines as the lead, a performance full of controlled panic, a man trying to apply logic and reason to a universe that refuses to cooperate. The structure of the narrative deliberately withholds catharsis, ending on a note of pure unresolved horror that has divided audiences since its release.

This is the Coens at their most philosophically ambitious, which many would argue is when they have done their best work. They use a seemingly small, personal story, to ask enormous questions about faith, suffering and whether meaning exists at all. The humor works well too, but it’s the kind that makes you feel a bit uncomfortable the longer you sit with it afterward. It is also one of the most rewatchable films in their whole catalog because it refuses to explain itself and every viewing seems to surface something new. For anyone who thinks they’ve seen everything the Coens have to offer, this is the one that proves otherwise.

8

‘The Phoenician Scheme’ (2025)

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Wes Anderon‘s latest meticulously constructed diorama follows a wealthy, morally dubious industrialist navigating a labyrinth of business schemes, family estrangement and personal reckoning. All of this filtered through Anderson’s signature symmetrical framing and deadpan delivery across yet another A-list ensemble cast. Like many of his previous entries, the film’s visual density rewards close, repeated attention. Anderson continues to push his aesthetic further into miniature, diorama-like precision, not a single prop or color out of place. There is a sensitivity to the film that sneaks up on you, beneath all of that surface level control. It’s a film like most of his heavily stylized projects, that asks its audience to trust its rhythm rather than fight it.

For longtime Anderson fans, this is another entry in his ongoing interest in absent or emotionally unavailable father figures, weaved through his most maximalist visual instincts yet. Critics and audiences were genuinely split on where it should land in his filmography. But, it’s that division that makes it worth watching and forming your own opinion on a project from an auteur who is constantly heavily criticized for better or worse. The craft on display, production design, costuming, needle-drop precision, is just about as meticulous as anything he has made over his long illustrious career. Even a lesser Anderson film is more interesting than most directors’ best work, and this one has real defenders.

7

‘Mud’ (2012)

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Jeff Nichols coming of age drama follows two Arkansas boys who discover a fugitive, Mud, (Matthew McConaughey), hiding out on a small island and agree to help him reunite with the woman he loves before the men hunting him catch up. McConaughey delivers one of the best performances of his career-defining run in the early 2010s, playing a character who is equal parts myth and man, superstitious, wounded, and unreliable in ways the film never fully resolves. Nichols shoots the Mississippi River Delta with a real texture and specificity, grounding the film’s fable-like premise in lived-in working-class reality. The young leads, Tye Sheridan and Jacob Lofland, carry the film’s emotional weight with a naturalism that never feels performed.

This is a movie about the gap between the romantic stories boys tell themselves about love and loyalty, and the messier, more disappointing reality adults actually live in. It’s patient, atmospheric, and quietly devastating without ever reaching for melodrama. Nichols has built a career on this kind of grounded American storytelling, and Mud stands as one of his most realized efforts. It’s the kind of film that sneaks up on you and stays with you long after the credits roll.

6

‘Munich’ (2005)

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Steven Spielberg‘s tense, morally exhausting thriller follows a Mossad-assembled team tasked with hunting down and killing those responsible for the 1972 Munich Olympics massacre. Eric Bana leads as a man increasingly consumed and hollowed out by the cycle of violence he’s been ordered to carry out. The movie never lets the audience feel simple satisfaction at any of the team’s successes, reinforcing the moral issues involved in the actions they have been ordered to go through with. Spielberg depicts the assassination sequences with tension and consequence, refusing to turn political violence into action-movie spectacle. The film’s structure, methodical, patient, increasingly paranoid, mirrors its protagonist’s own sense of unraveling sense of moral clarity.

This is Spielberg working in his most complicated, unresolved register, refusing easy answers about retribution, national identity, or whether any of the violence actually accomplishes anything it sets out to do. It is one of his more purely adult films, structured on ambiguity rather than the redemptive uplift he’s often associated with. Two decades on, its questions about the cost and futility of endless retaliatory violence feel as urgent as ever. Munich is a great, underappreciated entry in his vast filmography that rewards a serious, patient viewing.

5

‘The Thing’ (1982)

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John Carpenter‘s paranoid, practical-effects masterpiece, The Thing, focuses on an Antarctic research team picking off one another as they realize an alien organism capable of perfectly imitating any living thing has infiltrated their ranks. The movie draws out its suspense and horror almost completely through uncertainty, as nobody, including the audience can be totally sure who is still human and Carpenter sustains that dread relentlessly across the entire runtime. Kurt Russell leads an ensemble with real grit, but the film’s true star is Rob Bottin’s still astonishing practical creature effects, which to this day remain more disturbing than most modern CGI renderings. The bleak, claustrophobic setting becomes its own kind of prison, isolating the characters from any possible rescue or relief.

This is one of the great horror films of all time because it refuses to offer any comfort, and its ending remains one of the most ambiguous, unresolved conclusions in the genre. Carpenter’s command of tone, the construction of terror through implication and suggestion instead of traditional jump scares has influenced decades of horror filmmaking since. It is a movie that gets more impressive with every rewatch, since once you know who’s “infected”, the character work underneath takes on a whole new dimension. If horror history interests you at all this one should definitely be on your watch list.

4

‘Before the Devil Knows You’re Dead’ (2007)

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Sidney Lumet‘s final film, Before the Devil Knows You’re Dead, is a ferociously tense crime drama about two desperate brothers, Phillip Seymour Hoffman and Ethan Hawke, whose plan to rob their own parents’ jewelry store spirals into a catastrophe. Told through a fractured, non-linear structure, Lumet slowly reveals new layers of betrayal and desperation and builds the apprehension surrounding the situation instead of a singular dramatic moment. The late Hoffman is fantastic as a man drowning in debt, addiction and self-loathing and drags everyone, including his family, down with him. And Lumet, in his eighties at the time, directs with the same unsparing moral clarity that defined his entire career.

This is a film about how desperation can curdle into cruelty, and how family loyalty can be its own kind of trap. The structure rewards close attention, each new timeline jump recontextualizes what came before it in some truly uncomfortable and unsettling ways. It’s a fitting capstone to Lumet’s career, an auteur who spent five decades interrogating American institutions and the people who are crushed beneath them. Few crime drama entries hit this hard on an emotional level while still functioning as a gripping and believable plot device.

3

‘The Martian’ (2015)

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Ridley Scott‘s crowd-pleasing space survival drama, The Martian, follows astronaut Mark Watney (Matt Damon), stranded alone on Mars after his crew mistakenly believes him dead. He is forced to use science, ingenuity and sheer stubbornness to survive long enough for a rescue mission to reach him. Damon carries much of the film alone, and his performance balances true peril with a disarming, self-deprecating humor that keeps the film from ever feeling too bleak. Scott shoots the Martian landscape and foreign planet setting with a real scale and beauty audiences would hope from a space epic and a director of his stature. But its really the film’s science-forward problem-solving structure and watching Watney work through one crisis after another, that makes this one endlessly satisfying. The ensemble supporting cast back on Earth adds real texture without ever distracting from Watney’s central plight.

This is a story that trusts science and competence as truly heroic qualities, and one of the more purely optimistic films made about human ingenuity and cooperation in the last decade or so. It has aged well specifically because of its sincerity, refusing cynicism in favor of a narrative forged on the notion of people working together to solve an impossible problem. With Project Hail Mary now streaming as well, this is a perfect companion watch, both stories built on the same faith in resourcefulness under pressure. It is an endlessly rewatchable comfort viewing that never talks down to its audience.

2

‘The Sheep Detectives’ (2026)

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Kyle Balda‘s charming whodunit tracks George Hardy (Hugh Jackman), a shepherd who reads murder mystery novels aloud to his flock every night, assuming they can’t understand a word. When George turns up dead, his sheep, led by a stacked voice cast including Julia Louis-Dreyfus, Bryan Cranston and Patrick Stewart, set out to solve his murder themselves. After all, they realized that they’ve absorbed more detective know-how than anyone would give them credit for. Balda threads a very difficult needle seamlessly by playing the mystery completely straight while mining natural comedic beats out of its absolutely absurd premise.

The Sheep Detectives ends up being closer to a cross between Babe and Knives Out than a typical animated family comedy. Jackman plays Hardy with a warmth and ease, and supporting performances from Nicholas Hoult‘s absent-minded police officer and Emma Thompson‘s as an uptight lawyer for the Hardy family add a nice touch to the human element of the mystery. This is the kind of family film that works because it never condescends to either its child or adult audience, the jokes land, the mystery is well clued and gate kept, and the emotional beats will have any adult man in full tears. It’s a rare recent studio release devoid of traditional franchise mechanics in place of a real charm and craft that all age groups can appreciate. Given its stacked cast, rave reviews and cross-generational appeal, it’s an easy, rewarding watch for pretty much any mood. Do not let the silly premise fool you, this one really delivers.

1

‘Project Hail Mary’ (2026)

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Phil Lord and Christopher Miller‘s first live action, non-comedic directorial effort hones in on Ryan Gosling as a lone astronaut waking up with no memory on a solo mission to save humanity from an extinction-level threat. Unfortunately for Ryland Grace, Gosling’s character, he is actually just a middle school science teacher, now forced to piece together his mission and his own identity as the stakes become clear. Despite the slight tonal departure from their comedic routes, Lord and Miller bring warmth and unexpected humor to the material adapted from the novel, without undercutting its real emotional and existential stakes. Gosling shines in a performance that asks him to carry a heavy weight for its three-hour runtime. He brings a much welcomed vulnerability and wit to the role of Grace, which plays smoothly through the character’s more isolated moments and bridges a genuine curiosity for his outer space friend Rocky. The scope of the epic, blending hard science fiction with emotional catharsis, has resonated very strongly with both critics and audiences since its release in theaters this past Spring.

For a studio of MGM’s magnitude, Project Hail Mary feels like the exception to the normal assessment of a science fiction film, trusting its audience with scientific problem-solving instead of the usual reductive decision to turn the whole piece into a study in spectacle. This is not a case of that. As Lord and Miller have done throughout their twenty-year careers, they never lose sight of the human element of characters and story-making that makes their work connect with so many on a deeper level. The duo’s instinct for pacing and character, honed across animation and comedy, translate remarkably well to a genre they’d never worked in before. It’s currently the strongest recommendation on this list, a movie that rewards both a first watch and a rewatch once you know where it’s headed. If you watch nothing else on this list this month, make it this one.

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Release Date

March 15, 2026

Runtime

157 minutes

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Director

Christopher Miller, Phil Lord

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Writers

Drew Goddard, Andy Weir

Producers

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Aditya Sood, Amy Pascal, Andy Weir, Christopher Miller, Phil Lord, Rachel O’Connor, Ryan Gosling

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2026 has been a great year for sci-fi, with the likes of Steven Spielberg and Ridley Scott releasing new entries into the genre. The highlight so far has been the Phil Lord and Christopher Miller-directed masterpiece Project Hail Mary, starring Ryan Gosling, which beautifully adapts the 2021 novel by Andy Weir. Project Hail Mary ​​​​​​was a huge hit with critics, including Collider’s Ross Bonaime, who dubbed it “the first great film of 2026” in his 9/10 review, and is an early favorite to take home Oscars in early 2027.

Project Hail Marywasn’t just a hit with critics; it was also a commercial success, earning an enormous $682 million worldwide during its extended box office run. But not every sci-fi film of the year has managed to hit these same heights. In fact, one of the most surprising flops of this summer hailed from the genre’s biggest franchise, one that Lord and Miller themselves have even previously been involved with. The film in question is The Mandalorian and Grogu, which saw Pedro Pascal‘s bounty hunter make the move from the small to the big screen alongside the hugely popular Grogu.

The latest Star Wars movie seemed destined to fly high at the box office, but instead fell far, far away from expectations. Against a budget of $165 million, The Mandalorian and Grogu earned just $345 million worldwide, barely breaking the all-important $330 million mark, which doesn’t account for major marketing costs. This is far short of what many had expected and is even the lowest-grossing live-action Star Wars movie ever made. Thankfully, it has since bounced back after coming to streaming, and currently ranks as the most-watched movie on Disney+ in the world, outperforming the likes of The Devil Wears Prada 2 and Avengers: Endgame.

What Did Critics Say About ‘The Mandalorian and Grogu’?

Directed by Jon Favreau, The Mandalorian and Grogu simply had to continue the success of the three-season Disney+ series that had laid impressive foundations for this big-screen jump. However, it fell short both commercially and critically, earning mixed reviews across the board. This included Collider’s Aidan Kelley, who called it “not the Star Wars movie we need right now,” adding, “The Mandalorian and Grogu are neither great nor awful, and that’s what makes it one of the galaxy far, far away’s most frustrating.”

For the latest streaming stories, stay tuned to Collider.

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Release Date

May 20, 2026

Runtime

132 minutes

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Chicago is mourning another young life lost to gun violence, and the latest reports have sent shockwaves through the local hip-hop community. Bloodhound Q50, whose real name is Mikquale Cooper, is reportedly dead following a shooting early Sunday morning.

RELATED: Prayers Up! Mass Shootings In Chicago & Trenton, New Jersey Reportedly Leave 3 Dead And 18 Injured (VIDEOS)

Chicago Police Share Details On Deadly Early-Morning Shooting

According to CBS News, the Chicago Police Department confirmed that a 22-year-old man was fatally shot around 3:58 a.m. in the Fuller Park neighborhood. Authorities say two vehicles pulled up alongside the victim as he was sitting in the driver’s seat and opened fire before fleeing the area.

Dispatch Audio Reportedly Identifies The Shooting Victim

The victim reportedly suffered gunshot wounds to the chest and shoulder. Responding officers provided treatment at the scene, where the man was ultimately pronounced dead. While police have not publicly released the victim’s identity, dispatch audio that surfaced online reportedly identifies him as “Cooper, Mikquale,” with a date of birth listed as Aug. 6, 2004. The investigation into the shooting remains ongoing, and additional details surrounding the circumstances leading up to the deadly incident have not been released.

POLICE AUDIObConfirming the death of BloodHound Q50 🫩💔 pic.twitter.com/qHIqTslFCz

— Akademiks TV (@AkademiksTV) September 13, 2026

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DJ Vlad Speaks Out & Seemingly Confirms

Following news of the reported shooting, DJ Vlad also addressed Q50’s death via X. Vlad, who interviewed the rapper last year, reflected on their conversation while offering his condolences to Q50’s loved ones. “Rest in peace Bloodhound Q50, who was shot and killed a few hours ago. I interviewed him last year. He was the most media-trained rapper I’ve ever spoken to at his young age. My condolences to his family, friends, and fans,” he wrote.

Rest in peace Bloodhound Q50, who was shot and killed a few hours ago. I interviewed him last year. He was the most media-trained rapper I’ve ever spoken to at his young age. My condolences to his family, friends, and fans. https://t.co/vBczpZiCJm

— DJ Vlad (@djvlad) September 13, 2026

Q50’s Last Public Moment Came Just Weeks Before The Shooting

The reported shooting comes just weeks after Q50 celebrated his 22nd birthday with the release of his latest project, ‘Get Back or Die Trying,’ which dropped on Aug. 6. The project also included an appearance from fellow Bloodhound artist Lil Jeff, who was fatally shot in 2024.

RELATED: Family Business? Ye & Big Sean Put Years Of Rumored Beef Aside With Surprise Reunion In Chicago (VIDEOS)

Shania Twain will forever remember the late Dolly Parton’s influence.

“She is the ultimate example of being true to oneself in every way,” Twain, 61, exclusively told Us while promoting her collaboration with Candy Crush’s new music season. “She never abandoned her vision of things and her perspective on things and always fulfilled them all unapologetically and so courageously. I always admired that so much in her and it’s empowered me a lot in my own life and in my career but also in my personal life.”

News broke on August 25 that Parton died after a “brief” battle with an undisclosed form of cancer. She was 80.

“Dolly’s going to be very missed because we can never get enough of Dolly, and we didn’t get enough of Dolly,” Twain said. “She’s a big loss and she’s on my mind.”

Related: From Body Confidence to a Biopic: Shania Twain Isn’t Slowing Down Before 60

When Shania Twain arrived in Nashville in the early 1990s, record execs didn’t quite know what to do with her. She was clearly beautiful and talented, but her music — with its country-pop sound and sassy and unapologetically pro-woman lyrics — didn’t fit into a neat little box. “It was its own thing,” the 59-year-old […]

Twain, who reimagined her hit song “You’re Still the One” for Candy Crush with DJ Zedd, reflected on others wanting to put their own spin on Parton’s songs through the years.

“‘Jolene’ has been rerecorded so many times now in so many different ways, and in the end, she is still this magical songwriter who inspires others to reimagine and to redo their own take on her music,” Twain said. “It’s only a flattering thing.”

Twain’s collaboration with Zedd gave her iconic track a fresh flair, celebrating 30 years of “You’re Still the One.” The pair created a new sound and music video for Candy Crush in honor of the app’s new Music Season, with the track keeping the heart of the original intact while handing it a new pulse, turning it into a dance song built for right now — without losing what made it timeless in the first place.

“Well, Candy Crush chose the song, and I thought it was a very exciting concept because, first of all, Zedd’s style of arranging and producing is a whole other world from the song’s vocals and the style. So it’s kind of this beautiful contrast,” she told Us. “When [these two styles] come together, it’s this explosion of a candy-coated country world. So it’s just a really fun take on a classic song, and I feel like it’s been refreshed with Zedd’s animated sound that works really well with the animation and the spirit of this treasure hunt … and excitement of all the colors. It’s just a lot of fun. It’s taken this beautiful love song into a whole different world of love, I guess you could say. It’s really great. It’s exciting, and it’s another platform for one of my classics. I’m excited about it.”

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Related: Miley Cyrus and More Stars Mourn Dolly Parton After Her Death at 80

Hollywood is in mourning following the death of country music icon and actress Dolly Parton. “A rhinestone life that shone bright enough for the world to see, Dolly will forever stand as an inspiration not only through her timeless music and prolific songwriting, but also her wit, warmth and kindness that made us all feel […]

She continued, “I think it’s just a whole new, wonderful energy to the song, and it just gives a second life to something that we already know and has been in our lives for so many years now. It’s like hitting the refresh button on something. It’s fabulous.”

Not only has she been busy with Candy Crush, but Twain also released her seventh studio album, Little Miss Twain, in July. The record features collaborations with country music legend Tanya Tucker, as well as Queens of the Stone Age frontman Josh Homme and duo The War and Treaty, whom Twain shared she feels inspired by.

“There’s so much room for inspiration, and being around younger artists and meeting them and performing with them gives me a lot of hope about where we’re going with music and creativity, because they’re just so full of new ideas, and that’s where inspiration comes from,” she told Us. “Being around people that are doing things you may never have thought of [or] doing things in a different way you may never have considered, like Zedd’s doing. … That’s certainly a genre that I wouldn’t have imagined for ‘You’re Still the One,’ so this is what young people do. They come up with all kinds of really fun things that continue to inspire me, so it’s really great new juice and I like being around it. It’s a joy.”

After rising to stardom with roles in The Americans, Girls and The Beast in Me, Matthew Rhys was excited to share even more about himself while celebrating award buzz surrounding his new hit series, Widow’s Bay.

“[It is an] the interesting question [to consider] how long [the show could go for],” Rhys, 51, exclusively tells Us in his 25 Things You Don’t Know About Me interview, on newsstands now. “It’s like Scooby-Doo. How long could you draw an episode of Scooby-Doo? How long does it take for them to figure something out? Or how long does it take for them to try and figure something out before they become buffoons for not figuring it out?”

He continued: “If the audience is going, ‘Oh my God, come on! You can see how it’s figured out!’ Then you’ve lost them. So I don’t know but it could be quite finite.”

Rhys spoke with Us while enjoying the views on the NAVAN C30. Brunswick also has other boating options including the Boston Whaler 405 Conquest, 210 Guardian and 330 Outrage, the Sea Ray SLX 360, the Elite, the Mercury Racing x MTI 440X Catamaran, the Textron TSUNAMI 25′ and more.

“I have no idea why but I had the mad idea of owning a boat, which is ridiculous. What you need are friends with boats. That’s what you should aim for,” he jokes. “Or what we try and offer here with Brunswick is an accessibility to the water without necessarily boat ownership, which is far more reasonable.”

Keep scrolling for more fun facts from Rhys:

1. My most valuable possession? In a fire, what am I grabbing? The dog.

2. I used to collect military badges from different regiments. Now they just collect dust.

3. Favorite comfort meal is what my mother used to make, a lamb’s neck soup. It’s the traditional dish of Wales — a lamb and vegetable soup.

4. Most starstruck moment [was] meeting Anthony Hopkins when I was 24. He introduced himself as Tony. I went, “Yes, I know.” [He’s] a lifelong hero.

5. Celebrity crush growing up was Kylie Minogue or Elisabeth Shue.

6. I have a slightly irrational fear of rats. I mistook one for a cat. It was so big.

7. I like to think I could do [other jobs], because I’ve played them once or twice. “Oh, I’d love to be a cowboy,” which is the most idealistic, ridiculous idea because I wouldn’t last half a day.

8. There’s nothing I prefer to coming to Brooklyn Bridge Park and Brooklyn Bridge Marina and just looking out at the water.

9. Kylie Minogue songs bring me that kind of rush of romance for the candle I still hold for her.

10. A lot of people want to talk about the ending [of The Americans]. There’s [also] a moment where Keri [Russell] had to punch national treasure Margo Martindale and shout, “Show them your face.” That one comes up a lot.

11. My Girls memory is that it was such a singularly unique experience because we rehearsed it as a play. It was a standalone episode. It was such a luxury of a procedure.

12. What I love about being a similar age to [Widow’s Bay creator] Katie Dippold is we enjoy the homage to a lot of the films we grew up watching: the Stephen King stuff, Jaws.

13. I never read my own reviews. I did a play once with Paul Bettany. I read such a scathing review of myself that I said, “Then I will never read another,” and I haven’t.

14. [Being an Emmy nominee at the same time as partner Keri] brings a cold competition into the kitchen most mornings. We haven’t spoken since nomination day, sadly! No, it’s a relief that you just get to do a fun date night together.

15. Proudest moment? God. Is it yet to happen? Just being able to look back and go, “Oh, it turned out OK.” So far! Don’t get me wrong. There’s plenty of room to mess things up!

16. I just binged Alone, the survival series. I find it very calming because these people are alone with their own thoughts and this beautiful landscape.

17. The most famous person in my phone is Robert Downey Jr.

18. I’m such a sports fan. The Welsh national [rugby] team will always have a very special place in my heart.

Related: Keri Russell and Matthew Rhys‘ Relationship Timeline

Life imitating art. Keri Russell and Matthew Rhys played a married couple on The Americans — and then they fell in love in real life. The Felicity alum and the Welsh actor played undercover Russian spies Elizabeth and Philip Jennings on the FX drama, which aired from 2013 to 2018. When Russell landed the role, […]

19. The Americans is my favorite project because I met Keri.

20. For a brief second, [I had a job where] I would hot-press numbers and names onto ice hockey shirts. A lot of burnt fingers!

21. I did a movie [Titus] where Jonathan Rhys Meyers and I were hung naked upside down, hands tied behind our backs. Then Anthony Hopkins slit our throats and these prosthetics opened up and pumped blood onto our faces. It was the most nervous I’ve ever been.

22. I would like to do an Atlantic crossing, sailing. That’s a big bucket list item for me.

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23. I would love to work with Javier Bardem. He’d be a big one, just so we could play rugby [on] lunch breaks.

24. The nonprofit Billion Oyster Project in New York Harbor does incredible work.

25. [A reason I fell in love with boating is] I remember thinking how calm it was; such a lovely way to spend some time. You don’t even have to be on a boat. Just looking at water has the same effect.