Entertainment
10 Most Influential TV Shows of the Last 10 Years, Ranked
Ever since television entered its golden age in the late 1990s and early 2000s, the medium has been in a state of constant evolution as new sensations have continuously shifted the paradigm of what audiences want to see. This landscape of change, innovation, and influence has been particularly pronounced over the past decade, with the nature of the medium changing substantially with the onset of streaming entertainment and the progressive increase in the funding of small-screen drama allowing for bigger and bolder stories to be told.
From dramas that have reset the status quo with their unique tonal approaches to age-old genre tropes to comedies that have defied the rampant cynicism of the times with warmth and wonder, and even to science-fiction series that have inspired a wave of nostalgia, these 10 titles have made a lasting impact already. Some of these series have even gone beyond influencing the state of television to have an immediate real-world impact on everything from fashion and reality TV to political debates surrounding issues of nuclear energy.
10
‘The White Lotus’ (2021–Present)
The White Lotus is a fascinating series to analyze from the viewpoint of its impact on satirical storytelling and society. Each of The White Lotus‘ three seasons released thus far has focused on a different branch of the White Lotus luxury resort hotel, with narratives employing biting, acidic, and absurd comedy to lampoon the morality of wealth and elitism as they revolve around the intersecting personal drama of the guests and staff alike.
While the series’ integral idea of making a mockery of power and luxury is far from original, the lengths it is willing to go to do so are certainly unprecedented. Featuring everything from shock comedy and obscene dialogue to abrupt, stupefying nudity, The White Lotus has made boundary-pushing bravado a spectacle in itself. The fact that this wicked humor combines so well with the series’ enrapturing interest in dissecting class disparity and elitism through its litany of incredibly flawed characters, tackling additional themes of gender politics and familial dysfunction, and doing so in such idyllic locations makes The White Lotus one of the most decadently addictive series of the past decade, one that illuminates television’s growing budgetary strength in the streaming age as well as society’s mounting interest in issues of power and class.
9
‘Ted Lasso’ (2020–Present)
The past 10 years have certainly been an interesting time to live in, with everything from the lunacy of international politics and economic crises to disturbing societal trends dominating the headlines and coating the world in a sense of gloom. Many of the biggest TV shows of the last decade, even comedies, have sought to explore these issues and, as such, have embraced an air of pessimism in the process. Ted Lasso has emerged as a refreshing departure from this, flaunting a warmth and hopefulness that has taken television lovers by storm.
Jason Sudeikis stars as the titular Ted Lasso, an American college football coach hired as the manager of an EPL soccer team as an act of sabotage, only for his unwavering compassion, kindness, and belief to be the very thing the club needs to soar to unlikely new heights, both on the field and off it. Its positivity is infectious, feeling like a warm hug in a time of global anxiety. Its success has already seen some series follow suit, pivoting away from the moral ambiguity of anti-heroes in favor of sincere, empathetic characters who offer comfort at a time when it is most needed.
8
‘The Bear’ (2022–Present)
A defining hit series of the 2020s so far, The Bear has garnered a significant following off the back of its ability to blend grounded and moving drama with outbursts of chaotic comedy as it follows the tumultuous life and career of young chef Carmy Berzatto (Jeremy Allen White). After inheriting a sandwich shop in the aftermath of his brother’s suicide, Carmy returns home to Chicago to manage the restaurant, but his hopes of fulfilling his dream of becoming a successful haute cuisine chef are jeopardized by his dysfunctional family dynamic, the crushing responsibilities of operating a small business, and even the unruly staff who work under him.
Executed with an uncompromising appetite for authenticity, The Bear is an immersive look at the high-octane life of hospitality and the pressures of running a fine-dining establishment. Over the course of its four-season run thus far, it has become a true phenomenon of modern television, with cries of “yes, Chef!” reverberating around kitchens the world over. Far more than just a social fad, however, The Bear is certain to impact television with its masterful ability to juggle raw realism with powerful character drama and eruptions of outrageous dark comedy. The Bear‘s fifth and final season will premiere later in 2026.
7
‘Severance’ (2022–Present)
Science fiction has been growing in stature on the small screen in recent years, especially through a lens of grounded dystopian landscapes that aren’t too far detached from reality. Severance is something of a defining title in this regard, with the Apple TV+ original series following Mark Scout (Adam Scott), a Lumon Industries employee who, like his team, has undergone a procedure to create a divide between his work experiences and personal memories in his brain. After a bizarre encounter with a former colleague in the real world, Mark embarks on a quest to figure out the true nature of the company he works for.
The series has had a massive social impact since the release of its second season, with its compelling story of high-stakes sci-fi and corporate amorality striking viewers with its meditations on the imbalance of modern professional/personal schedules and the cold sterility of the workplace. Severance excels at delivering an original and unique high-concept story in a manner that is bleakly relatable. Its endeavor to marry surreal, genre-heavy narrative with cutting analysis of real-world issues that millions of people face is sure to be a relevant idea for future films and TV shows as well.
6
‘Fleabag’ (2016–2019)
Heralded by many as being among the greatest comedy series of all time, especially in more recent years, Fleabag thrives as both a brilliant sitcom and a masterful re-wiring of the genre’s design. Written, directed by, and starring Phoebe Waller-Bridge, the tragi-comedy series follows a woman—referred to only as “Fleabag”—as she navigates the pitfalls of love and life in London with nothing but her acidic wit and no-filter crudeness, all while struggling to overcome the grief and anger she feels about the recent death of her best friend.
Based on Waller-Bridge’s own one-woman stage play, Fleabag juggles debilitating drama and uproarious, completely absurd comedy with expert precision, employing everything from incredibly fluid fourth-wall-breaking monologues to subversive ideals on the “messy woman” archetype with such brilliance that it has become an enduring television triumph. While its style hasn’t been truly replicated, Fleabag has been influential in its ability to normalize and even inspire more female-led series that deal with real-life issues from a feminine perspective with sincerity, depth, and an acceptance of faults and flaws. It empowers with its earnestness, and it opened a door to a television landscape more encouraging of such stories.
5
‘Mindhunter’ (2017–2019)
Crime drama has always been a centerpiece of television entertainment, but the recent onset of the true crime phenomenon has introduced new possibilities to the medium that no series has realized as sharply and masterfully as Mindhunter. While short-lived, the Netflix original series became an instant sensation with its unique spin on serial killer mystery, mixing fantastically with David Fincher’s penchant for slow-burn suspense and rich cinematic imagery, as well as its intriguing period setting.
Pivoting to focus on the minds of violent criminals, the series follows the early stages of the FBI’s Behavioral Science Unit—consisting of two agents and a psychologist—as they travel around America interviewing detained serial killers to gain insights into their motivations, patterns, and upbringings with the hope that their findings can be applied to active cases. Imbued with a psychological tension that prioritizes simmering dread and disconcerting intimacy over blood and gore, Mindhunter compels as a new spin on crime television. Its success helped popularize slow and meticulous crime thrillers on the small screen while setting a new standard for realism and cerebral depth in the medium.
4
‘Succession’ (2018–2023)
Another sharp perfection of prestigious tragicomedy, Succession is a cutting and callous skewering of corporate politics and elitism. Its consistently fantastic four-season run marks one of the defining series of its era, with its story—following the internal feuding, rivalries, and shambolic dysfunction of the Roy family as three siblings strive to position themselves to succeed their aging father as the head of the global multimedia conglomerate, Waystar Royco—operating with such cutthroat tenacity that it became infectiously entertaining in the most wicked and wretched way possible.
Its surgical satirical edge definitely made an impression on the medium, but so too did its clever pivot on the anti-hero trope television has embraced for over 20 years now, with the Roy family depicted less as likable though amoral people, and more as spoiled, malignant, and absurd figures viewers learn to understand rather than admire. Furthermore, Succession has had a remarkable impact on how society views issues of elitism and immense wealth, reducing it from its enigmatic and lavish air of depravity and power to make it a profanity-laden punchline of obscenity and human behavior. Also influencing fashion trends—such as the rise of the minimalist “stealth wealth” style—and reconfiguring how people view the modern media landscape, its indelible imprint expands far beyond the small screen, making it one of the most prominent and important TV titles in recent years.
3
‘Chernobyl’ (2019)
A comprehensive and captivating dramatization of the Chernobyl nuclear power plant disaster of 1986 that examines everything from the experiences of the first responders, the intensive efforts to contain the fallout, the systemic corruption of the Soviet Union that tried to cover up the extent of the crisis, and the eventual political aftermath, Chernobyl is an awe-inspiring masterpiece of television drama. Proving itself to be so much more than just an incredible drama, the five-part miniseries has had an enormous impact on both the medium and global discussions concerning the safety of nuclear energy.
Focusing purely on the mark it has made on television productions, Chernobyl has set a new benchmark for historical drama with the astounding quality of its production, writing, and performances, as well as its attention to detail, thematic conviction, and unflinching endeavor to depict the true horror of the catastrophe. On a more societal note, its harrowing tone and immense scope re-ignited debate about the viability of nuclear power, the self-serving interests of political figures, and the importance of reporting the truth when such disasters occur.
2
‘Squid Game’ (2021–2025)
Given the pop-culture phenomenon it has become, there is a peculiar irony that series creator Hwang Dong-hyuk spent in excess of 10 years toiling to bring Squid Game to life. The struggle worked out for the best, however, with the hit South Korean series proving to be perfectly timed with its premiere in 2021, with its ability to marry high-stakes survival thrills, piercing observations on capitalist desperation, and its unique, quirky aesthetic resonating with viewers all over the world.
Therein lies the series’ greatest impact. Squid Game’s soaring success dismantled language barriers in small-screen drama, effectively ushering in an age of international prestige drama—particularly from South Korea—that has been a defining force of 2020s television. Looking beyond television, it has had a tremendous effect on pop culture at large, whether it is its eerie yet impressionable visual style influencing fashion, its thematic ideas inspiring widespread discussion about societal norms and structures, or even—somewhat disturbingly—its competitive premise launching spin-off reality series. Its first season remains Netflix’s most-watched original project, thus further cementing the streaming platform as a juggernaut of modern entertainment.
1
‘Stranger Things’ (2016–2025)
Following the release of House of Cards, which started in 2013, Stranger Things was the series that truly cemented Netflix as a major force in producing prestige television drama, thus igniting streaming as a commanding power of the medium. Set in the 1980s, it takes place in the small town of Hawkins as the case of a missing child reveals a sinister scientific experiment and a doorway between our reality and a nightmarish mirror universe full of supernatural forces and monsters.
The hit sci-fi series birthed a new wave of ’80s nostalgia, a phenomenon that has touched everything from mainstream film and television productions to modern fashion, pop-culture interests, and even music trends. The nature of its release schedule was instrumental in pioneering the binge-watch experience as it steered away from week-by-week releases. It could even be argued that the immense success of Stranger Things paved the way for the resurgence of high-quality horror in film and television as well. From its very first season right through to the release of its finale late in 2025, the Netflix original series has been a trailblazing triumph for streaming that has had a distinct impact on society as well.
Stranger Things
- Release Date
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2016 – 2025-00-00
- Network
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Netflix
- Directors
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Matt Duffer, Ross Duffer, Andrew Stanton, Frank Darabont, Nimród Antal, Uta Briesewitz
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Ally Sammarco, one of four women who have formally accused congressman Eric Swalwell of sexual assault and harassment, is speaking out amid numerous claims.
“This has not been easy for me or the other women,” Sammarco, the only woman to go on record when accusing the politician of sexual abuse and misconduct, wrote via X on Sunday, April 12. “I have so much respect for them for telling their stories.”
She continued, “I shared mine publicly because I have a platform and resources that others may not — and I wanted to help validate their experiences. None of this is our fault. This is about abuse of power. No one paid us to come forward.”
Sammarco accused Swalwell, 45, of offering to “share her resume” with congressional offices before allegedly sending “very inappropriate” messages via Snapchat “insinuating we should get together and hook up” in a CNN investigation published on Friday, April 10.
Congressman Eric Swalwell, a Democrat representing California’s 14th congressional district, is addressing claims he sexually assaulted and harassed numerous women, including former coworkers, while in office. “A lot has been said about me today through anonymous allegations. I thought it was important that you see and hear from me directly,” the congressman, 45, said in […]
She is one of four women who have accused the congressman of sexual assault and harassment, including a former staffer who claims the congressman raped her on at least two occasions. The other women have asked to remain anonymous for fear of retaliation.
“For those questioning the timing: I don’t live in California, and I have no stake in who becomes Governor,” Sammarco continued on Sunday. “I’m a Democrat who wants this party to succeed.”
She concluded,” Thank you to everyone who has supported us along the way.”
After CNN published its scathing report, Swalwell — the frontrunner in the California gubernatorial race at the time of the allegations — issued a video via social media denying the claims.
“A lot has been said about me today through anonymous allegations. I thought it was important that you see and hear from me directly,” Swalwell said. “These allegations of sexual assault are flat false. They are absolutely false. They did not happen. They have never happened. And I will fight them with everything I have.
He continued, “They also come on the eve of an election, where I have been the frontrunner candidate for governor of California. I do not suggest to you in any way that I am perfect or that I’m a saint — I have certainly made mistakes in judgment in my past, but those mistakes are between me and my wife. And to her, I apologize deeply for putting her in this potion.” (Swalwell shares three children, Nelson, Cricket and Hank, with his wife, Brittany Watts.)
Swalwell went on to apologize to anyone who may have “doubted” their support for the congressman amid his bid for governor of California as a result of the allegations.
Congressman Eric Swalwell’s senior staff have said they are “horrified” by sexual misconduct allegations made against him. “As leaders of teams working for Eric Swalwell, we’re horrified by the recent reporting in the San Francisco Chronicle and by CNN,” a statement signed by staffers for Swalwell’s 14th congressional district and the “Eric Swalwell for Governor […]
“I think you know who I am,” he added. “For over 20 years, I have served the public as a city councilman, as a member of congress and as a prosecutor who went to court on behalf of victims — particularly on behalf of sexual assault victims. That’s who I am and have always been.”
Us Weekly has reached out to Swalwell’s communications director for comment.
If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673).
https://www.rainn.org/
2026 has already been a big year for Taylor Sheridan, and it’s only set to get busier as he’s soon to begin work on the third season of Landman. Since the debut season of Yellowstone premiered back in 2018, every year has been successful for Sheridan as he continues to develop his TV empire at Paramount. However, he’s confirmed to leave the studio at the end of 2028 and take his talents (and all of his shows) to NBCUniversal, meaning everything Sheridan-related will stream on Peacock. We’re hardly a week out of the first quarter of 2026, and Sheridan already has two shows dominating streaming with The Madison (starring Kurt Russell) and Marshals (starring Luke Grimes). The former is an original Western that also co-stars Michelle Pfeiffer, and the latter is another Yellowstone spin-off.
Sheridan is known to his more recent audience for his work on popular shows, but he began his career by quickly establishing himself as one of the most accomplished screenwriters in Hollywood. He made his feature writing debut in 2015 on Sicario, the hit neo-Western thriller that many would argue is still the most famous project of his career. Sicario grossed a solid $84 million at the box office against a modest $30 million budget, and the film earned strong marks of 91% from critics and 85% from audiences on Rotten Tomatoes. In America, Sicario is streaming exclusively on Netflix, but globally, the film is in the top 10 on HBO Max and Apple TV in several countries around the world. Not only is Sicario hailed as Sheridan’s best movie, but it’s also indisputably one of the greatest neo-Western thrillers ever made.
What Is ‘Sicario’ About?
The official synopsis for Sicario reads as follows:
“An idealistic FBI Agent is enlisted by a government task force to aid in the escalating war against drugs at the border area between the United States and Mexico.”
The film is currently streaming on Netflix, but the streamer has unfortunately announced that the last day to watch the film will come at the end of this month, on April 30. A new streaming home for Sicario has yet to be announced, but given the film’s popularity, it’s all but certain that it’s already secured a new home on another big platform. Sicario stars Emily Blunt, Josh Brolin, Benicio del Toro, Daniel Kaluuya, and Jon Bernthal.
Be sure to watch Sicario before it’s removed from Netflix, and stay tuned to Collider for more streaming updates and coverage of Sheridan’s future projects.
- Release Date
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September 17, 2015
- Runtime
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122 minutes
- Director
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Denis Villeneuve
- Producers
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Basil Iwanyk, Edward McDonnell, Ellen H. Schwartz, Molly Smith, Thad Luckinbill, Stacy Perskie
Season 2 of “Temptation Island” is introducing a brand-new group of couples and a few familiar faces. Among the singles entering the villa this season is Preston Viltz, who may already be recognizable to Netflix viewers thanks to his previous appearance on “Squid Game: The Challenge.”
Preston Viltz Competed In ‘Squid Game: The Challenge’
Before stepping into the world of romance and temptation, Viltz competed as Player #158 on Season 1 of “Squid Game: The Challenge.” During his time on the show, alliances quickly became a key strategy, with contestants forming groups to increase their chances of survival.
At one point, the women banded together after realizing they were outnumbered, while Viltz remained aligned with the men. Despite the shifting dynamics, he managed to outlast a large portion of the competition before ultimately being eliminated just before reaching the top 20.
His season also featured fellow contestant Bryton Constantin, who later went on to appear in “Perfect Match” Season 2. The two competitors even faced off during the intense “War” challenge.
Mark L. Walberg Says ‘Temptation Island’ Is More Than Just Drama
At the heart of “Temptation Island” is a high-stakes relationship experiment, where four couples at a crossroads agree to separate and date other people in a tropical setting to see if their love can truly last. But according to longtime host Mark L. Walberg, the experience goes far deeper than just romance and temptation.
While the show is known for its steamy moments and dramatic twists, it also pushes participants to confront difficult truths about themselves and their relationships, often leading to emotional breakthroughs or painful realizations.
“I take this very seriously. It’s real for me, and I don’t know how to detach or phone it in,” he said. “Having done it for years and years now, I can tell you that the people who come on [‘Temptation Island’] really do get answers to their questions.”
Mark L. Walberg Reveals His Unique Approach To Hosting
For Mark L. Walberg, guiding couples through “Temptation Island” isn’t about following a script, but it’s about being fully present in the moment. When asked how he prepares for the emotionally intense journey, Walberg made it clear that his approach is intentionally unstructured.
“For me, it’s all [about] listening. There isn’t a script we’re following. There’s nothing planned. I’ve chosen over the years not to look at the clips before [the bonfire], because I want to be trusted by them,” he said. “I want to be able to sit with them and then ask questions, either gently or firmly, to see if there is something for us to learn.”
He added, “I’ve seen reactions that are crazy and then some that you think are going to be crazy, and they’re [actually] relieved. For me, the prep is no prep. Just be in the moment.”
Rather than studying each contestant’s journey ahead of time, Walberg relies on real-time connection and conversation to guide participants through their emotions. “I don’t really need to know what you’re going through. You tell me what you believe,” Walberg said. “I just don’t see a benefit from me studying up on everybody’s storyline when the viewers are watching it fresh. If you just listen, then all the information [you need] is usually there.”
Mark L. Walberg Teases New Twists In Season 2
While “Temptation Island” continues to evolve, Mark L. Walberg says the core concept that fans love remains unchanged. “There have been some bells and whistles and upgrades [over the years], but the concept is basically the same,” he explained. “It’s really simple, and one of the things that makes this unique is that there’s no prize and there aren’t a lot of rules. If things go sideways and people need space … we can make room for that.”
However, this season does introduce a new element that adds another layer of intrigue to the experience. “[We did introduce] the tent this year. That was deep,” he admitted. “It’s funny because you don’t know what is going on in there, but the theater of the mind is …”
‘Temptation Island’ Season 2 Raises The Stakes
This season of “Temptation Island” follows four couples navigating serious relationship challenges as they put their loyalty to the test. Each couple is separated upon arrival and placed into villas filled with eligible singles, creating an environment designed to push their emotional and physical boundaries.
By the end of the experiment, not every couple will survive the experience. Only one pair leaves the island together, while others go their separate ways, and at least one contestant finds a new romantic connection along the way.
Season 2 of “Temptation Island” is streaming on Netflix now.
Prince William‘s friends are defending his tough approach to dealing with issues within the royal family, saying it has become expedient within the monarchy.
The future king has seemingly shown how strict he is by shutting out his brother, Prince Harry, and his disgraced uncle, Andrew, amid the controversies they’ve subjected the royal family to in recent years.
Recently, Prince William and his wife Kate Middleton made their first Easter service appearance since 2023, alongside other royal family members.
Prince William’s Friends Defend His Ruling Style
There’s no gainsaying Prince William would do anything to defend the monarchy, even if it means straining his relationship with family members.
For years now, the Prince of Wales has been at odds with his younger brother, Prince Harry, after he and his wife, Meghan Markle, left the royal family in 2020, and subsequently hurled damaging accusations against several other royals.
More recently, he has completely shut off his uncle, former Prince Andrew, following disturbing revelations that ensued from investigations into his ties with convicted pedophile Jeffrey Epstein.
Sources close to the Prince have spoken out in his defense, explaining that his “ruthless streak” is exactly what the royal family needs, unlike his father, King Charles, who appears to have been soft on certain issues.
“William is not afraid to make hard calls,” an insider told Rob Shuter’s #ShutterScoop. “And right now, that’s exactly what the Royal Family needs.”
“Charles leads with his heart,” the source said. “William leads with strategy.”
Sources Insist The Monarchy Needs Someone Like The Prince Of Wales
In the wake of King Charles and Kate’s respective health issues, William stepped up and took on a more active role within the monarchy. Reports suggest his influence behind the scenes has also grown in bounds as he’s now making major decisions that affect the family.
He has seemingly remained unbending in his decision not to extend an olive branch to his younger brother Harry, and was a driving force behind the decision to oust his disgraced uncle Andrew from the royal family.
William’s Friends told Shuter that things appear to be a once bitten, twice shy situation as he’s generally now unforgiving, adding that the monarchy needs someone like him who can make “tough and unpopular” decisions.
“He doesn’t forget, and he doesn’t forgive easily,” the insider shared. “If you cross the line, that’s it.”
“The monarchy is under more pressure than ever. You need someone who can make tough, unpopular decisions,” they added.
Furthermore, the insider explained that William isn’t interested in being the most popular person in the room, nor does he want to be “liked,” but for him, business is business, and he’s all out to ensure the royal family thrives.
“He understands the stakes,” the source explained. “This isn’t just family — it’s a business. He’s not trying to be liked. He’s trying to protect the monarchy.”
Prince William And Kate Middleton Recently Made Their First Easter Service Outing Since 2023
William and Kate, alongside their three children, joined King Charles and Queen Camilla for Easter church service at St George’s Chapel, Windsor Castle, on Sunday.
It was the first for the Prince and Princess of Wales since 2023, as they’ve been celebrating privately since Kate’s cancer diagnosis was revealed in 2024.
William and their sons, George and Louis, wore similar navy suits with light blue ties, while Kate wore a cream skirt suit with a matching hat, and Princess Charlotte turned out in a custom tan Catherine Walker coatdress with chocolate brown buttons, lapels, and cuffs.
The Future King Was Reportedly Anxious During The Easter Outing With His Family
William seems to have overworked himself, as body language expert Judi James explained that he couldn’t hide his stress and was “anxious” as he walked with his family.
“It was only William showing a subtle tell of any anxiety with a gesture he shares ironically with his brother when they are under scrutiny or pressure, which is the hand placed over the stomach in a self-soothing barrier ritual,” James said, per The Mirror.
She continued, “With George now grown up enough to walk with his mother holding a very grown-up-looking conversation, William walked with his younger son Louis, who marched along wearing a very serious and determined expression.”
The Royals Put On A United Front During The Easter Service As The Firm Gets ‘Pruned’
Also in attendance for the service were the king’s other siblings, Princess Anne and Prince Edward, who came along with their families. Noticeably absent were Andrew, his ex-wife Sarah Ferguson, and their daughters Princess Beatrice and Princess Eugenie.
Speaking on the trimmed-down lineup for the royals, James explained that their body language was important as it brought attention to them rather than the controversies that trail absentees like Andrew and Harry.
“This was a very important body language narrative during their Easter soft launch of the newly pruned royal firm,” the expert said. “The focus needed to be on attendees rather than any dark shadows left from those that were missing.”
“And the projected message needed to be about stability and continuity. Rising easily to the challenge were The Waleses. They arrived in an independent royal huddle, with other family members like Princess Anne and Prince Edward mingling together behind,” she added.
The Pitt cast has not shied away from reacting to losing some of their own as multiple actors leave the show.
HBO Max’s hit series, which premiered in January 2025, follows a group of employees at a fictional Pittsburgh hospital’s ER working a single 15-hour shift. The series is led by Dr. Robby (Noah Wyle), Dr. Langdon (Patrick Ball), Dana (Katherine LaNasa), Dr. Mohan (Supriya Ganesh), Dr. McKay (Fiona Dourif), Dr. King (Taylor Dearden), Dr. Santos (Isa Briones), Dr. Whitaker (Gerran Howell) and Javadi (Shabana Azeez).
While season 1 got viewers invested in the main cast, numerous stars have since left the show. Tracy Ifeachor didn’t return as Heather Collins in season 2, with a source telling Us Weekly in July 2025 that it was always the plan for her character — who was a fourth-year resident — to go on and be a doctor in future installments of the show.
The same reasoning was used when news broke that Ganesh wouldn’t reprise her role in season 3. Off screen, fans have expressed frustration at multiple beloved characters not returning for more episodes.
Most of The Pitt cast has remained tight-lipped about the changes — but there has been some insight given into the decisions. Keep scrolling for the most candid comments from The Pitt cast:
Noah Wyle
Noah Wyle Warrick Page/HBO Max
After Tracy Ifeachor’s exit, Wyle told Deadline that her departure came down to the story being told on the show, adding in July 2025, “I mean, we’ve all been sort of amused at the speculation about what everybody thinks might be a reason. But truthfully, she loved the actress. We enjoyed having her with us very much. She’s gotten really big, and we will miss her.”
Shawn Hatosy
Shawn Hatosy in “The Pitt.” Warrick Page/MAX
The actor reacted to the news of Supriya Ganesh’s exit, telling Gold Derby in April 2026, “I can’t really comment because I don’t really know exactly what’s going on there, but he’s obviously disappointed. I’m disappointed just because of this dynamic [and] this relationship that they have … the writers teased these moments throughout season 1 and we explored it.”
Cocreators R. Scott Gemmill and John Wells
The duo told People in July 2025 that Tracy Ifeachor’s exit was “built into the character from the get-go.”
“We always had a plan for that sort of trajectory for that character. The show is set in a teaching hospital. People come and go all the time,” Gemmill said.
Isa Briones
“It’s very sad when anyone leaves a cast or leaves a show,” Isa Briones, who plays Dr. Trinity Santos, told Us in August 2025. “I’m really excited to see what else she does. She’s a beautiful human being.”
Supriya Ganesh
Before her own exit from the show in season 2, Supriya Ganesh, who played Dr. Samira Mohan, weighed in on losing Tracy Ifeachor as a costar on The Pitt.
“I was so sad to hear she’s not coming back,” she told Us. “I had such a great experience with her.”
Ganesh, 27, recalled the show’s executive producer John Wells saying that The Pitt is “the reality of the hospital.”
“Characters will circle out,” Ganesh explained. “At the end of your senior residency, you usually circle out. Or at the end of your intern year, you might usually circle out and do different rotations. I think it’s just something that we’re prepared for, even though it’s really sad because we’ve built such a family here.”
Jennifer Lopez gave fans an unexpected moment at Coachella 2026, making a surprise appearance during David Guetta’s set on Saturday night. The longtime hitmaker took over the Quasar Stage in Indio, California, performing her newly released track “Save Me Tonight,” which dropped just last month. The song marks a collaboration between Lopez and the French DJ, adding another high-profile moment to her decades-long career. Despite being one of the biggest names in music for more than 25 years, the performance also marked Jennifer Lopez’s first-ever appearance at the iconic festival.
Jennifer Lopez Stuns In Plunging Bodysuit During Surprise Set
The moment came as Guetta teased the crowd, revealing he had “invited a friend” before Lopez emerged on stage to a wave of cheers.
Dressed in a bold, form-fitting bodysuit, the singer commanded attention from the moment she stepped into the spotlight. The look, designed by The Blonds, featured a plunging neckline and shimmering details that highlighted her stage presence. She completed the outfit with a feathered jacket by Julien Macdonald and a pair of Dolce X Ray Ban sunglasses, leaning into her signature high-glam performance style.
J.Lo’s Coachella Look Sparks Online Backlash
While many fans praised Lopez’s confidence and stage presence, her outfit quickly sparked debate online. Some critics didn’t hold back, with one writing, “Cover up, madam…” Another added, “She’s old enough to be the mother of most of the performers. At what point does this become silly?”
Others weighed in with mixed reactions, including “She has a stunning figure but lacks class” and “Can we please tell JLo that Cher already did this? Sexy over 60?? No no no.” A separate comment read, “Trying HARD to be relevant in old age.”
Jennifer Lopez Divides Fans As Reactions Keep Pouring In
The conversation only grew louder, with social media users doubling down on both sides. One user jabbed, “2015 called and asked for their outfit back.”
Others took a harsher tone, with one user posting, “Poor Jennifer Lopez. Still trying to sell sex at 60. She has been flopping since 2006.” Shorter reactions also flooded in, including blunt takes like “Inappropriate.”
At the same time, supporters pushed back against the negativity, with one fan simply declaring, “QUEEN ICON LEGEND,” while another showed love with red heart emojis.
Coachella Appearance Comes Amid Grueling Vegas Residency Prep
Lopez’s surprise Coachella moment comes just weeks after reports surfaced that she had been pushing herself to the limit behind the scenes. The performer recently completed her Las Vegas residency, “The JLo Show,” which ran from March 6 to March 28 at The Colosseum at Caesars Palace, and insiders said the preparation has been intense.
“Jennifer is rehearsing night and day to make sure the show is spectacular, better than ever,” a source told Daily Mail. “She is working 13-hour days at a studio in North Hollywood with her back-up dancers to make certain she looks like she is on top of her game. She always says she wants to be ‘better than yesterday,’ it’s her thing.”
Jennifer Lopez Won’t Slow Down
Despite the demanding schedule, Lopez has remained focused on delivering a standout production, even traveling between Los Angeles and Las Vegas as her rehearsals ramped up.
According to insiders, part of her motivation was to ensure her residency stands out in an increasingly competitive Vegas entertainment scene. “Everyone is going to the Sphere these days, that is the town’s big deal, so she wants to prove that a more old-fashioned concert at the Colosseum is still the place to be,” the source added.
Meanwhile, J. Lo teased, “You see who I am, I think, as not just an entertainer, a performer, but as an artist and as a human. I still do all my hits and all the songs that people know me for, but it’s really done in a very fresh and exciting way.”
That passion for her craft doesn’t just show up on stage. It extends behind the scenes as well. “Jennifer loves to work, she never complains, it’s her jam,” the source added. “Some people like to vacation on the beach in Hawaii, and some like to work nonstop. Jennifer is the latter. She feels proud to be doing so well at her age and as a Latina woman.”
And if her high-energy Coachella appearance suggests anything, it’s that, exhaustion or not, Lopez isn’t slowing down anytime soon.
Everyone can agree that horror television has a major filler problem. There are just too many shows that put all their effort into the first few episodes and start dragging the story as soon as the audience is hooked. That might just be the worst mistake writers ever made, because the minute a show falters in maintaining its sense of fear, the viewer has already checked out.
While horror films thrive on condensed and constant tension, horror TV has always had a harder time keeping that same energy alive across multiple episodes. Many argue that the genre just isn’t meant to be expanded. However, the titles on this list make a compelling case that it can be done. These are such horror shows where every episode is a masterpiece and no moment is ever wasted.
‘The Haunting of Hill House’ (2018)
The Haunting of Hill House is hands down one of the greatest horror shows ever made. The series, created by Mike Flanagan, will go down in history for proving that the genre can be so much more than jump scares and shock value. The story begins with the Crain family moving into the mysterious Hill House in the summer of 1992, and follows their story across two timelines. First up is their time in the house and the paranormal experiences they had there. Then, the timeline shifts forward and shows the Crain siblings as adults, slightly estranged from one another and still haunted by the fateful night their mother died, and their father made them flee from Hill House.
The narrative builds around that mystery, and it’s impossible not to get absolutely engrossed. The constant jumping between times is a bit disorienting at first, but it pays off in the end. By the time the timelines converge, the audience can practically feel the pain, trauma, and grief that this family has lived through. What makes every episode of The Haunting of Hill House feel great is that Flanagan never uses horror as a shortcut. Sure, the ghosts are there, but they serve as metaphors for the very real damage the Crain siblings are dealing with. All in all, this one is a horror show for the ages and will remain unmatched not just in its sense of fear, but also its emotional depth.
‘Midnight Mass’ (2021)
Midnight Mass is another Flanagan masterpiece, one that truly cemented him as one of the most unique voices in horror TV. The miniseries is an ambitious, slow-burning religious horror story that explores faith, addiction, and mortality through the supernatural. The story begins with Riley Flynn (Zach Gilford) returning to his small fishing community of Crockett Island after killing a woman in a drunk driving accident. His arrival coincides with that of the new priest, Father Paul Hill (Hamish Linklater), who soon begins to perform what the locals believe to be miracles. From there, every episode builds toward an emotionally devastating climax with no wasted moments or filler storylines.
Midnight Mass is genuinely remarkable in its writing. Although Flanagan gives many of his characters long, uninterrupted monologues, they land because the actors manage to embody every word they speak. The horror arrives gradually, but when it does, the audience is so invested in the people this story revolves around that it almost feels personal. The show ends with one of the most fitting finales in recent history and has managed to convey its message of the true cost of faith, which truly gives the audience chills.
‘Marianne’ (2019)
Marianne is dark and disturbing, but that’s the entire point. The French horror series tells a relentless story, and the fact that it was cancelled after one season is still baffling. The narrative begins as a classic supernatural story, with bestselling horror novelist Emma Larsimon (Victoire Du Bois) having decided to retire her fictional witch villain, Marianne, and move on with her life. However, that plan takes a backseat when she realizes that Marianne (Délia Espinat-Dief) might just be real, and she doesn’t want her to stop writing. Across the show’s eight episodes, the audience and Emma don’t get a single moment of comfort.
The story keeps escalating in a way that feels earned. Marianne is no ordinary demon. She humiliates her victims and uses their own history against them. The horror here is visceral and unpleasant, and what makes everything all the more horrific is how real it all feels, thanks to the show’s world and character building. Overall, Marianne delivers everything a horror show should and more, which makes its cancellation all the more frustrating.
‘Brand New Cherry Flavor’ (2021)
Brand New Cherry Flavor is an experimental horror show that feels like some kind of fever dream, in the best way possible. The story follows aspiring filmmaker Lisa Nova (Rosa Salazar), who comes to Los Angeles in the hopes of landing a promising project, only to be manipulated and exploited by a powerful producer. Instead of resigning to her fate, Lisa seeks revenge with the help of a mysterious witch, Boro (Catherine Keener).
However, Lisa doesn’t know that revenge comes at a cost, and as Boro carries out curses on her behalf, the consequences engulf almost everyone around her. That’s when Brand New Cherry Flavor turns into this surreal, body-horror nightmare that blurs the line between reality and imagination. The show really commits to its bizarre vision and completely owns the madness of the plot. Salazar delivers a delightfully unhinged performance with an emotional core that makes it impossible to look away until the very end.
‘Servant’ (2019–2023)
Servant is a deeply intimate kind of horror that stays with the audience long after the credits roll. The story follows grieving couple Dorothy (Lauren Ambrose) and Sean Turner (Toby Kebbell) in the aftermath of the death of their infant. To cope with the loss, Dorothy begins caring for an eerily lifelike reborn doll, and her husband goes along with the whole thing to protect her fragile mental state. However, everything changes when the couple hires nanny Leanne (Nell Tiger Free) to care for the doll, and all of a sudden, the whole thing starts feeling a little too real.
That’s when the Turner house turns into a pressure cooker of paranoia, where every little detail means something. Leanne’s presence seems to warp reality, and as the audience learns about her ties to a shadowy religious cult, things slowly start to make sense. Every episode follows Sean and Dorothy getting pulled deeper into the chaos and reveals just enough without ever fully explaining the roles. Servant‘s horror is rooted in control and belief, where every answer only leads to a more unsettling question.
‘Archive 81’ (2022)
Archive 81, based on the podcast of the same name, opens with Dan Turner (Mamoudou Athie) being hired by a mysterious company to restore a collection of damaged videotapes in an isolated research facility. The tapes were recorded in 1994 by Melody Pendras (Dina Shihabi), a grad student documenting life inside the Visser, a strange apartment building that later burned down under suspicious circumstances. As Dan restores and watches the footage, Melody’s investigation into missing residents, secret gatherings, and a hidden cult turns into something far more dangerous.
Things take an even stranger turn when Dan realizes that he can somehow communicate with her across time. The deeper he goes, the more the mystery expands. The story unfolds through a found footage format, which makes the horror feel immediate and real. The way Dan and Melody’s stories mirror and influence each other is one of the most brilliant parts of the story. Even when the plot begins to reveal its answers, the show still retains its sense of unease because the real terror lies in the cyclical nature of everything that the characters experience. Overall, Archive 81 is a truly unique horror show that thrives on atmosphere and a slow-burning sense of dread rather than conventional scares.
‘Twin Peaks’ (1990–2017)
Twin Peaks has shaped modern TV like no other. The show begins as a murder mystery and increasingly gets stranger and more disorienting. The story follows FBI agent Dale Cooper (Kyle MacLachlan) as he arrives in the small town of Twin Peaks to investigate the strange death of homecoming queen Laura Palmer (Sheryl Lee). Soon enough, though, he finds himself tangled in a web of dark secrets and coincidences that are too strange to ignore. The best part about Twin Peaks is that it treats the town as a living, breathing character filled with clues that guide Cooper toward what can only be explained as an entirely new reality.
The show is known for constantly shifting its tone between offbeat and almost comedic to surreal and psychological, without ever losing control. As the story expands, the mythology surrounding the Black Lodge and the forces influencing the town come into play, Laura’s death begins to look all the more complicated. Eventually, the case stops being about a single crime, and the show gradually starts recontextualizing everything the audience once thought they knew. Twin Peaks is a show like any other, to the point where one can only fully understand its brilliance by immersing themselves in it.
Well, folks, for those waiting patiently for Tracker to juggle every one of its plotlines and characters in a single episode this season, “Struck” is here to seal the deal. As Colter Shaw (Justin Hartley) tackles a new case involving a missing husband, he also takes some important steps forward in the investigation into his father, Ashton Shaw (Lee Tergesen), and the strange work he did before his death. Meanwhile, Reenie Greene (Fiona Rene) continues to wrestle with her PTSD, deciding that the best way to move on is with someone else by her side — and it’s not who you think.
“Struck” Begins With Colter Shaw Investigating Two Fathers — His and One Gone Missing
In Buffalo, New York, “Struck” begins with a wounded man, later identified as a local electrician named Finn Helms (Chad Michael Collins), running from an unknown gunman. Falling to the ground, he begs for mercy as he stares down the barrel of a gun. The next day, Colter gets a call from Randy (Chris Lee), who informs him about the job, which was posted almost instantly by Finn’s wife, Grace (Natalie Jane). Only a few hours out, he takes the job then and there, but not before he asks Randy for a favor. After calling around and diving deeper into this “David Pearson” character, Colter learned that his father and Pearson were working for an organization called the Chronos Stasis Institute. He hopes that Randy can track down some intel about the organization — and considering that the show could easily just be called Tracker in reference to Randy’s digital sleuthing, he’s on the case. Upon arriving in Buffalo, Colter meets with Grace, who is eight months pregnant with their baby girl. She insists that Finn would never just leave them and that he was so excited about the baby. After looking around in the nursery, Colter finds a bloody rag in her husband’s jacket pocket.
Deciding that the best move is to visit Finn’s job site, Colter speaks with the supervisor, Kelly (Paul du Toit), who is in the middle of dealing with a younger electrician named Doyle (Sean Savoy). But according to Kelly, he fired Finn two months back for stealing equipment on the job — though Doyle later insists that Finn wasn’t a thief, that he was only borrowing the equipment. It turns out that after he was let go, Finn began taking jobs on an app called Power Up, though that method of employment can be a bit sketchy. Doyle reveals that he heard from Finn the night before when he asked him to help out with a job, but he was too busy and didn’t end up going. He hasn’t heard from Finn since. Tracking Finn’s work van to the job site, he finds two pairs of tools and other equipment left behind. Calling Randy, Colter believes that they were cutting into the fiber to steal information before someone was electrocuted. This is confirmed when Randy hacks into a neighboring security camera to find two guys carrying a body. Randy tracks the truck to another side of the city.
Meanwhile, on the other side of the country, at Reenie’s Denver-based law office, Tracker‘s resident legal counsel receives a visit from Mark (Cesare Scarpone). Now, if you don’t remember Mark but feel like you’re supposed to, that’s because he was introduced earlier this season as Reenie’s random one-night stand in “Eat the Rich.” It’s kind of strange that the show is bringing him back after all this time (especially since he gave Reenie his number way back when), but he explains that he found himself in town, remembered she was from here, and looked her up. When asked if she’s free for dinner, Reenie appears to accept. Back in New York, Colter finds the truck in question in the woods. Hearing something in the distance, he happens upon two men throwing a body into a hole. Confronting them at gunpoint, they reveal that the man they’re burying is not Finn, but rather some “tweaker” who got too high on the job. Apparently, Finn was hired by their boss, Paolo (Robert Daprocida), but after the man in question was electrocuted, he freaked out. Paolo left with Finn to talk him down, but, as Colter notes, he never made it home.
‘Tracker’ Puts Colter Up Against One of His Most Unbalanced Threats Yet
Colter heads downtown to a building owned by Paolo and finds stains of blood outside and the door ajar. Upon entering the warehouse, he finds Paolo, wounded and propped up against some pallets. The ringleader admits to trying to scare Finn before he fought back. He was the one who shot Finn, but Finn wasn’t responsible for his injuries. Just before Paolo was to pull the trigger on Finn, he was hit by a car driven by a woman who he thought was his wife. The problem was that this woman wasn’t pregnant, leading Colter to suspect that Finn may have been having an affair.
As Randy looks into it, he discovers that Finn was hired by a woman named Adelle Mucino (Lyndon Smith) for a job on the Power Up app a few weeks back. Upon some further digging, they learn that Finn had previously met Adelle on a dating app a few years back while he and Grace were on a break. However, once Finn and Grace got back together, he immediately ended things, only for her to take an interest in his life after all this time. Although this goes far beyond a casual interest. Elsewhere, Finn wakes up to Adelle, who has cuffed him to her bed and is holding him captive, believing that they can be together after all.
The film also features ‘Peaky Blinders’ favorite Annabelle Wallis.
That night, Colter breaks into Adelle’s home and takes a look around — and boy, is it frightening. Not only has she drawn up mock wedding invitations for her and Finn, but she has been obsessively writing about him in her journal. On her calendar, Colter discovers that she has been actively tracking his work schedule, and clearly, this has been her plan for quite some time. She’s even cut Grace out of their wedding photos to put herself in her place. So, when Reenie calls and tells Colter that Adelle isn’t who she says she is, we can see what she means. Our favorite rewardist believes that she may have been stalking him for some time, only to intervene the moment she thought he was in danger from Paolo. Finding a luxury home rental brochure, Colter believes that she may have taken him there.
On the other side of town, Finn tries to escape but is caught by Adelle. She recalls their first date and believes that whatever they had was ruined when he went back to Grace. When Adelle slips up and tells Finn that she’s been in his house, things get really weird. But she justifies it by saving his life, believing that they can still start over. When he tells her that he can’t just leave his wife and child, she threatens to cause an “accident” that will get them out of the way, revealing a gun.
Back in Denver, Tracker makes its very best use of Mel Day (Cassady McClincy Zhang) yet, as she oversteps her employer-employee relationship just a bit to try to convince Reenie to meet up with Mark. Mel tells this whole story about how she used to run track in high school, using it to outrun the grief in her life. For a while, it worked, but then she tore her ACL and everything changed. She was forced to actually deal with how she felt. Of course, Reenie sees right through this and notes her, Randy, and Colter’s concern, but believes it’s unwarranted. According to Reenie, it’s her mother and sister who are the “feelers,” and that temperament keeps them from getting things done. On the other hand, she’s like her late father, a “doer.” As she explains, “Someone’s gotta keep the ship running.” Of course, Mel pushes just a little more, and Reenie seems to finally budge.
This Week’s ‘Tracker’ Ends With a New Heading For Colter’s Investigation Into His Father
Meanwhile, Colter arrives at the rental home to find Finn tied to the bed. Unfortunately, Adelle is already on her way to his house to kill Grace and the baby. At her home, the unsuspecting wife answers the door and is deceived by Adelle into thinking that her husband had had an accident. Adelle uses Finn’s bloody clothes to “prove” that she’s telling the truth, and it works. Everything is so urgent that Grace leaves her phone behind. From Colter’s truck, Finn logs into their security camera to see that Adelle has already taken his wife. But hope is not all lost. Colter believes that she would have taken Grace to a place that would mean something significant to her, something that connects her and Finn. With no better lead than the bridge where they were trapped on their first date, Colter and Finn arrive just in time as Adelle marches Grace toward the ledge.
‘Tracker’ Season 3 Finally Reunites Colter With His Two Best Allies | Review
Colter and Randy together again? How could we refuse?
Colter jumps into the line of fire, and Adelle holds Grace firmly at gunpoint. When Finn arrives to try and convince her to leave his wife and unborn child alone, things only change for Adelle when she sees that the police are on their way. Watching the wheels turning in her head as she climbs on top of the bridge, Colter tries to stop her from ending her life. But before he can convince her otherwise, she steps off the platform. Yet, at the very last second, Colter catches her just in time, pulling her up to face justice for her crimes. Elsewhere, Reenie goes to meet Mark, but instead of starting with dinner, she seduces him to bed. However, unlike their last sexual encounter, it appears that she wants things to go further this time around.
The next day, Colter stops by the Helms household on his way out of town, this time bringing gifts. Following in his father’s footsteps, he gives them a wood-carved owl for the baby, but ultimately refuses to take their money. “I’m just glad everyone’s okay,” he says. Leaving their home, Randy calls Colter with more information about the Chronos Stasis Institute. According to his research, about four months before Ashton Shaw was murdered, he and David Pearson were going up to Alaska on some work-related trip. At the same time, the government was using a subcontractor named TIC to lease a large plot of land up in the Great North. “Thanks, Randy, I know what I have to do,” Colter says as this week’s Tracker comes to a close.
Tracker airs Sundays on CBS and is available the next day for streaming on Paramount+.
- Release Date
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February 11, 2024
- Showrunner
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Elwood Reid
- Writers
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Ben H. Winters, Hilary Weisman Graham
-
Justin Hartley
Colter Shaw
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Pros & Cons
- Every plotline moved forward this week, which is a serious win!
- Adelle Mucino was a solid antagonist who could easily come back
- Mark was so many episodes ago I totally forgot he existed.
Entertainment
Steven Spielberg Put His Foot Down and Refused to Make a Sequel to This Beloved Classic
When it comes to the best movies of the 1980s, there are few films more beloved than E.T. Brimming with adventure, heart, and one of cinema’s greatest friendships, the movie remains among the most special of director Steven Spielberg’s career. Additionally, the picture was a massive box office and merchandising success, so it only seemed natural that Universal would pursue a sequel.
Of course, such a follow-up never came to pass, thanks to Spielberg himself, though the director is set to deliver another sci-fi film focused on aliens with Dislcosure Day in June. While most studio directors would love to have a franchise spun off of one of their films, Spielberg fought to keep it from happening, and, with the gift of retrospect, we couldn’t be happier that everyone’s favorite extraterrestrial never returned to the big screen.
Spielberg Fought to Keep an ‘E.T.’ Sequel From Happening
These days, if a film hits at the box office, it’s almost inevitable that there will be some sort of sequel or follow-up, whether the story calls for it or not. But back in the 1980s, turning a hit property into a sequel was not always a guarantee. For Steven Spielberg, though, he did consider revisiting E.T., albeit briefly. According to the Hollywood Reporter, a recent conversation with Drew Barrymore saw Spielberg reflect on the idea. “I flirted with it for a little bit—just a little bit to see if I [could] think of a story—And the only thing I could think about was a book that was written by somebody that wrote the book for it called The Green Planet, which was all going to take place at E.T.’s home,” Spielberg explained. “We were all going to be able to go to E.T.’s home and see how E.T. lived. But it was better as a novel than I think it would have been as a film.”
However, Spielberg’s ultimate rejection of the idea wasn’t the end of the potential follow-up. At the time, Spielberg’s rejection alone wasn’t enough to call off any sort of sequel. “That was a real hard-fought victory because I didn’t have any rights,” the director stated. “Before E.T., I had some rights, but I didn’t have a lot of rights. I kind of didn’t have what we call ‘the freeze,’ where you can stop the studio from making a sequel because you control the freeze on sequels, remakes and other ancillary uses of the IP. I didn’t have that. I got it after E.T. because of its success.”
Interestingly, Spielberg is rumored to use his rights to stop further E.T. desecration. Universal’s Orlando theme parks have long celebrated Spielberg’s work, with The E.T. Adventure being one of the resort’s longest-running attractions. However, per Theme Park Tourist, there is a rumor that Spielberg has threatened to end his relationship with Universal, should they close the attraction, though these rumors remain unconfirmed. Still, when one considers the lineage of such efforts, or the proposed work itself, it’s safe to say Spielberg’s rejection of the idea was the right move.
An ‘E.T.’ Sequel Could Have Ruined the Original Film’s Legacy
In the decades since E.T., Spielberg has overseen some of the greatest franchises in film history. However, follow-ups without the director’s involvement have often yielded poor results. One needn’t look any further than the Jaws series for an example. What started with a film that is still nothing short of remarkable ended with a picture that is often considered one of the worst movies ever made. A major part of what made the series fall from grace so fast was the lack of Spielberg’s involvement, a feat that does not bode well for an E.T. sequel.
Additionally, after reading the nine-page treatment for the film, it’s easy to see why Spielberg ended up turning against it. Ultimately, the first film is perfect in its stand-alone form. Its deep themes are only made more prominent with the knowledge that our lead characters will never see each other again. Trying to follow that up in such a brazen way would have not only cheapened the ending, it would have ruined the film’s legacy. While it’s hard to step away from a beloved character or fantastic story, it was truly the right move to let E.T. be the masterpiece it is.
Euphoria fans have watched the cast change on and off screen since the series first debuted.
Based on the Israeli series of the same name, Euphoria follows troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The series also explores topics including mental illness, toxic relationships, sexuality and more. After its premiere in 2019, the show’s ensemble cast, which includes Hunter Schafer, Alexa Demie, Jacob Elordi, Sydney Sweeney, Maude Apatow, Colman Domingo quickly skyrocketed to fame.
The HBO series was quickly renewed for a second season, but it took nearly three years for the episodes to air, with the network ordering two individual specials about the aftermath of Rue and Jules’ (Schafer) breakup in the meantime.
Euphoria‘s third season was originally set to air on HBO in 2025 before it faced several delays, including creator Sam Levinson’s commitment to his short-lived series The Idol. The delay was extended during the dual WGA and SAG-AFTRA strikes, which took place in late 2023.
“We’ve been through strikes before, you know, they increase the cost,” HBO CEO Casey Bloys said in November 2023 about production costs. “I don’t see a scenario where I go, ‘Well, I was going to make another tentpole show, but now I’m not going to because we have to pay X amount more.’ I don’t think it works like that.”
Scroll down to see then-and-now photos of the Euphoria stars:
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