Over the course of the last quarter of a century, science fiction fans have been treated to TV shows that have proven beyond a shadow of a doubt that sci-fi television is alive and well in the 21st century. Whether these shows are family-friendly or fully for adults, whether they’re cartoons or live-action gems, and whether they revolutionized the genre or simply added a new masterful entry to its canon, they’re all essential viewing for sci-fi fans.

But while it’s rare enough to encounter a sci-fi show from the past 25 years that’s truly exceptional, to find one that’s downright perfect is all the more of a precious rarity. There are some particular shows, however, that stand out as the closest that small-screen science fiction has come to perfection throughout the 21st century. From animated shows like The Venture Bros. to live-action genre-definers like Firefly, these incredible series are virtually devoid of any significant flaws. In order to qualify for this list, the show’s pilot has to have aired sometime during the last 25 years.

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‘The Venture Bros.’ (2003–2018)

Image via Adult Swim

Launched in late 2001, Adult Swim has been providing several of the greatest animated series for adults throughout the last 25 years. Case in point: The Venture Bros., one of the breakout hits that helped put their signature absurdist sense of humor on the map. This legendary sitcom is science fantasy at its best, constantly blending genres in its effort to parody classic action-adventure cartoons from the ’60s.

Venture Bros. is far and away one of the best Adult Swim shows of all time. Though its ratings were never stellar, it was the type of show that lent itself perfectly to a cult following: an entirely uncompromised creative vision, deeply layered lore and world-building, and a love letter to nerd culture as a whole. From the hilarious comedy to the irresistibly fun and thrilling action scenes, there’s pretty much nothing to complain about when watching Venture Bros.

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‘Arcane’ (2021–2024)

Image via Netflix

Who could have possibly predicted that it would be League of Legends, of all games, that would go on to inspire one of the most acclaimed animated TV shows of the last 25 years? Not only that: Arcane may well also be one of the most universally beloved sci-fi and fantasy shows of the 2020s so far, and in a decade that has thus far been full of incredible genre series, that’s no small compliment at all.

It is, indeed, one of the most perfect fantasy shows shorter than five seasons, blending steampunk elements with mystical magic in a way that fans of either genre should find difficult to resist. The animation is some of the most stunning that the small screen has ever seen, the soundtrack is absolutely legendary, the many downright-badass action sequences are perfectly balanced with deeply nuanced character development, and the show as a whole is as easy to love as it is impossible to hate.

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‘Severance’ (2022–Present)

Image via Apple TV

Apple TV joined the streaming game relatively late into the journey, but they have already had several chances to prove that they’re as capable of making bangers as any other streaming platform. Their sci-fi show output in particular stands out, all thanks to masterpieces of the caliber of Severance, which is easily one of the best thriller TV shows released since 2000.

It’s hard to figure out where one can even begin singing Severance‘s praises. The cast, for one, is absolutely exceptional, each actor delivering their A-game in ways that have been nothing short of career-defining so far. They play some of the most compelling and mysterious characters of any “mystery box” sci-fi show in history, and it’s precisely the compelling layers of those characters and the fascinating mysteries surrounding them that serve as the anchor that makes Severance so difficult to stop watching.

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‘The Expanse’ (2015–2022)

Image via SYFY

Generally praised as one of the most scientifically accurate sci-fi shows of all time, The Expanse is the adaptation of the masterful book series of the same name by James S. A. Corey (the pen name of Daniel Abraham and Ty Franck). Though the show was canceled by Syfy after only three seasons, it was quickly picked back up by Prime Video for another three seasons. Thus, that leaves us with a show that has a strong argument for being the best six-season sci-fi show in history.

At the very least, The Expanse is one of the best sci-fi shows since 1990, a genre-blending neo-noir space opera that’s unlike anything else the sci-fi genre has seen throughout the last 25 years. Some find its first season a bit too slow-burning, but after things pick up steam, The Expanse never drops in quality. Its seasons keep getting better, more creative, and more exciting as they go on, making it unsurprising that many would consider this one of the biggest sci-fi must-see shows of the 2010s and 2020s.

Hiromu Arakawa‘s manga series Fullmetal Alchemist was still ongoing by the time the anime series of the same name started airing; so, even though it’s still a great show and essential viewing for modern anime fans, it hasn’t aged the best. On the other hand, Fullmetal Alchemist: Brotherhood was designed to adapt the manga’s entire arc, and for that reason, it has only continued to age like fine wine over the course of the 16 years since its conclusion.

It’s one of the most universally beloved anime series of all time, as perfectly proven by the fact that it’s the highest-rated anime series and sci-fi series of all time on IMDb. It really is just that good, a faultless and fluffless masterpiece that even those who have never watched an anime show should consider checking out, as long as perfect sci-fi television is their thing. Airtight in its pacing and emotionally resonant to its core, it’s one of the most fascinating stories that animation has told on the small screen since the start of the 21st century.

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‘Andor’ (2022–2025)

Image via Disney+

When it made the jump to television in the ’80s, the Star Wars franchise kept its small-screen output exclusively limited to animation, and it wouldn’t be until 2019 that they would start to make live-action shows. Only three years later, the world was treated to the first few episodes of what would end up being praised as the best piece of mainline Star Wars media since the end of the original trilogy: Disney+’s Andor.

A prequel show to a prequel spin-off movie may not sound like the kind of series that could be so successful, but that’s precisely what makes Andor so special. It’s one of the most perfect sci-fi shows shorter than five seasons, a deeply thrilling and perfectly-written critique of authoritarian abuse and a celebration of rebellion in the face of such oppression. It’s timely, it’s technically masterful, it’s full of great performances, and it’s a gripping return to Star Wars’ thematic roots.

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‘Dark’ (2017–2020)

Image via Netflix

Dark, Netflix’s first-ever German-language series, is definitely not a show made for those who prefer science fiction that allows them to turn their brains off and have a few hours of good fun. As engrossing and undeniably entertaining as this time travel and multiverse sci-fi masterpiece is, it’s also a deeply thought-provoking show, one so intellectually challenging that there’s no way of understanding and appreciating it without offering it one’s full attention.

But that attention is never too much to ask, because Dark—one of those rare sci-fi shows that get time travel right—earns it so naturally with its meticulously-plotted narrative that the mental effort of watching it is always rewarding, never overwhelming. From its writing to its visuals to its performances, pretty much everything about Dark is absolutely perfect from pilot to series finale.

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‘Firefly’ (2002–2003)

Image via FOX

There are many instances of great sci-fi shows that were unfortunately canceled after only one season, well before they could prove their full value and artistic vision—but none of those cases even comes close to being as infamous as that of Joss Whedon‘s Firefly. Easily one of the biggest cult classics in the 21st-century history of science fiction television, Firefly is one of the best single-season action TV shows of all time, a space Western that anyone and everyone who loves the subgenre needs to watch at least once in their lives.

A whopping 23 years after its untimely cancellation and with an animated continuation currently in production, now’s about as perfect a time as any to watch one of the most perfect sci-fi shows the world has ever seen. Firefly is stylish, exciting, emotional, and incredibly fun throughout each of its endlessly rewatchable episodes. The cast ensemble is legendary, the characters are all riveting, and the story is so compelling that it’s impossible to ever get tired of this truly flawless gem of a sci-fi show.

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Firefly

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Release Date

2002 – 2003-00-00

Network

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FOX

Showrunner

Joss Whedon

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Directors

Allan Kroeker, David Solomon, James A. Contner, Marita Grabiak, Michael Grossman, Tim Minear, Vern Gillum

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War is hell, and it’s simply a reality of the world we live in. From the earliest days of cinema, filmmakers have explored violent conflict from all kinds of angles with different intentions. On screen, depictions of war can serve as cautionary tales, tributes to those who served, pure spectacle—or some combination of all of these. The best of these films remain relevant, studied, rewatched, and sometimes controversial.

Even lesser war movies can serve as a respectable entertainment, even as history lessons, but the following intends to single out and praise exceptional motion pictures that explore history and humanity to unforgettable effect. These are all among the greatest war movies ever made, each pretty much perfect from beginning to end.

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‘Zero Dark Thirty’ (2012)

Directed by Kathryn Bigelow

Image via Sony Pictures Releasing

Mired in controversy even before it was released, and artistically resplendent all-around, director Kathryn Bigelow and writer Mark Boal‘s follow-up to Best Picture winner The Hurt Locker (also one of the greatest of all war films), Zero Dark Thirty is a gripping, lengthy and intensely personal examination of the manhunt for Osama bin Laden. In the role that garnered her first Academy Award nod, Jessica Chastain plays CIA analyst Maya, a composite character based on multiple women who were largely responsible for tracking down the leader of Al-Qaeda.

Over two hours of absorbing procedural leads up to a breathless, muscular, intensely realistic reenactment of the successful Navy SEAL mission that took out the most wanted man in the world in May 2011. It’s important to note Zero Dark Thirty has always been highly controversial for its depiction of torture. It’s also been widely acclaimed and even favorably compared to Bigelow’s much-lauded Hurt Locker; which pair to form an uncommonly psychological double bill of the war genre.

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‘Come and See’ (1985)

Directed by Elem Klimov

Image via Sovexportfilm

From its poetic early stretches to a finale that’s perhaps the most notoriously intense and disturbing in all of film, Elem Klimov‘s Come and See sees the Nazi occupation of Belarus through the eyes of teen Florya (Aleksey Kravchenko, in world film’s most effective loss-of-innocence performance). This darkest of all coming-of-age movies follows the boy as he recesses from a naïve, wide-eyed patriot who dreams of the resistance to a shell of a young man, all within a matter of hours.

In the final scenes of Come and See, the Nazis burn a packed, locked church to the ground. It isn’t seen so much as heard. It’s a scene that probably should be accompanied by a surgeon general’s warning. That’s not to in any way not recommend the movie; it’s a European cinema landmark that every cinephile should watch once, if only once. Sometimes it’s the movies that remind us of what evil looks like and is capable of. Come and See becomes the rarest of things: an exploration of the ugliest parts of humanity that is breathtakingly beautiful in its artistry.

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‘The Best Years of Our Lives’ (1946)

Directed by William Wyler

Image via RKO Radio Pictures

An ensemble cast including Dana Andrews, Fredric March, Myrna Loy, Teresa Wright, Virginia Mayo and perhaps most notably non-actor and real-life vet Harold Russell, former U.S. Army operative William Wyler‘s critically revered box-office hit (this was the most-attended film in North America post-Gone With the Wind) explores the lives of three U.S. servicemen of varying ranks returning to their homes of varying social stature. This is an essential American drama, and one of the first movies about the social aftermath of the Second Great War.

The ironic title The Best Years of Our Lives is frankly about as captivating as the film itself. This is a picture that explored the intergenerational cost of war in a way that was ahead of its time; it’s still a highly potent work enlivened by terrific performances. Along with the more escapist and purely entertaining Casablanca, this represents the greatest of the Greatest Generation.

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‘Black Hawk Down’ (2001)

Directed by Ridley Scott

Image via Sony Pictures Releasing

Ridley Scott is a visual stylist without peer, one of the most purely talented compositors of moving images to ever live; it’s also not really a hot take to say he’s often only as good as the script he’s working with. In his follow-up to Best Picture winner Gladiator, he’s working with a propulsively dramatic and focused script by Ken Nolan, about military catastrophe, namely the 1993 Battle of Mogadishu, which stranded dozens of U.S. soldiers in hostile Somali desert.

Black Hawk Down is a high-wire act that successfully balances action that’s both fittingly harrowing and pulse-pounding, all while juggling many characters in a way that only strengthens the punch to the gut, the statement about the cost of war. Black Hawk Down was nominated for four Oscars including Best Director, and Roger Ebert named it the best film of Scott’s career, ahead of classics like Blade Runner, Alien and Thelma & Louise.

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‘Platoon’ (1986)

Directed by Oliver Stone

Image via Orion Pictures

Oliver Stone has directed numerous American movies that are varying levels of controversial, many that are great with some notable misfires. The Oscar-winning, boldly confrontational Vietnam War drama Platoon stands as perhaps his magnum opus. Charlie Sheen stars as an idealistic university student whose idealism and psyche take a hit upon enlisting in 1967. Tom Berenger and Willem Dafoe also star.

In addition to directing the picture, and its immersive, groundbreaking action scenes, former Vietnam infantryman Stone wrote the script, notable for its compelling characters who fundamentally spar along the lines of morality and the futility of the war. This is the first Hollywood movie about the Vietnam War written and directed by a veteran, and out of eight nominations, Platoon won four Academy Awards, including Best Picture and Best Director. This is the first of three Vietnam War pictures from Stone, followed by similarly acclaimed Born on the Fourth of July and the tepidly received Heaven & Earth.

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‘Hacksaw Ridge’ (2016)

Directed by Mel Gibson

Image via Lionsgate Films

Bombastic, graphically violent, and sentimental in the extreme in a way that borders on schmaltz without ever crossing that line, Mel Gibson‘s Hacksaw Ridge tells the story of Desmond Doss (Andrew Garfield), Congressional Medal of Honor recipent who never lifted a weapon in battle. It’s a story that almost feels too sensational to be real, but the basic facts that drive the film (Doss rescued 75 men, and ultimately became the first conscientious objector to receive the U.S. Armed Forces’ highest military decoration) simply play out, if in remarkably dramatic fashion.

Garfield received his first Academy Award nod, for a nimble, something like balletic performance that’s still a career-best. Supporting turns from Vince Vaughn, Hugo Weaving, Luke Bracey and the ever-underrated Teresa Palmer are also of great value to the film. This is a picture whose resounding emotional power is hard to overstate.

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‘Three Kings’ (1999)

Directed by David O. Russell

Image via Warner Bros. Pictures

At this point in time, David O. Russell‘s professional reputation is—well, let’s just say it could be better. Still, it’s impossible to ignore the fact that he’s made some of the finest, critically acclaimed and audience-approved American films of the past quarter-century: from Siliver Linings Playbook to American Hustle to The Fighter. Some would even contend his best movie is this dark comedy set in the aftermath of the Persian Gulf War.

George Clooney, Mark Wahlberg and Ice Cube star in the genre-bending thriller with elements of classic American caper in its DNA, but with a modern and even prophetic cynicism. It’s about U.S. soldiers who attempt to steal gold from Saddam Hussein’s troves, when a kidnapping and chaos ensues. The production was infamous (succinctly, Russell was reportedly overbearing on set and even fought with Clooney), but the end result is stunning to this day. In a rave four-star review, Roger Ebert called Three Kings “a weird masterpiece, a screw-loose war picture that sends action and humor crashing head-on into each other and spinning off into political anger.”

Directed by Stanley Kubrick

Image via Warner Bros.

There’s a case to be made for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb being Stanley Kubrick‘s best war movie (or perhaps its Paths of Glory), but the perfectionist auteur’s penultimate movie absolutely feels like his definitive statement in the genre. Based on Gustav Hasford‘s autobiographical book The Short-Timers (Hasford co-wrote the script along with Kubrick and Michael Herr) Vietnam war pic Full Metal Jacket plays out in two distinct halves: the first playing out in a South Carolina boot camp under the tutelage of an abusive drill seargeant (R. Lee Ermey), then the screen time is dedicated to deployment and all-out warfare.

Though Full Metal Jacket released to critical acclaim and is widely regarded as a remarkably intense (if exceptionally cynical and perhaps even nihilistic) war classic today, it’s worth noting Roger Ebert had a famous dissenting opinion, giving a thumbs down on his TV show, saying in print he felt the movie was “unsure of where to go.” Ebert also famously never embraced Kubrick’s iconic and disturbing sci-fi adaptation A Clockwork Orange.

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‘Saving Private Ryan’ (1998)

Directed by Steven Spielberg

Image via DreamWorks Pictures

Saving Private Ryan is absolutely not Steven Spielberg‘s only war film, but as was the case with Kubrick and Full Metal Jacket, this arguably feels like an iconic director’s definitive contribution to the genre. As was the case with 1930’s All Quiet on the Western Front, this is a watershed moment in terms of how combat is depicted on-screen, most famously in its hyper-realistic depiction of D-Day. Spielberg’s epic drama centers on a group of soldiers (spearheaded by Tom Hanks‘ Captain John Miller), tasked with the mission of safely delivering the titular officer (Matt Damon) home after his three brothers die in combat.

As sentimental as Full Metal Jacket is cynical (each so very fitting within their respective directors’ filmographies), Saving Private Ryan is specifically an American enterprise, bookended with haunting scenes filmed on-location in the Normandy American Cemetery. For over a quarter-century, Saving Private Ryan has been a uniquely emotional experience for veterans and their families.

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‘Casablanca’ (1942)

Directed by Michael Curtiz

Image via Warner Bros.

The best WWII film made during wartime remains, quite possibly, the most enduringly beloved winner of the Academy Award for Best Picture. Humphrey Bogart played many iconic, much-quoted roles in the Golden Age of Hollywood, smooth-talking club owner Rick Blaine is the part he’s best remembered for, and one of the best screen heroes of all time.

In Casablanca, expatriate Blaine is gobsmacked when former flame Ilsa Lund (Ingrid Bergman) walks into his gin joint (of all the gin joints), only now she’s partnered with noble freedom fighter Victor Laszlo (Paul Henreid). There are only two letters of transit out of Casblanca, you see, and this is where the drama kicks off. It’s as absorbing and affecting as screen drama has ever been, and the best thing about Casablanca is how proud we are of everyone in the end; all of the heroes make the difficult, but right choices. This is the best of us.

Igho “Tiny” Ubiribo, the social media personality who built an Instagram following of more than 185,000 by documenting his luxury lifestyle, died at age 43 following complications from a cosmetic procedure in Thailand.

A U.K. coroner confirmed to TMZ in September 2026 that Ubiribo suffered a pulmonary embolism during a genital enlargement surgery at an unidentified Thai clinic the previous March. A pulmonary embolism occurs when a blood clot becomes lodged in an artery in the lung and blocks blood flow, per the Mayo Clinic.

Keep scrolling to learn more about the late influencer and his untimely death:

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Related: Influencer Igho ‘Tiny’ Ubiribo Dead at 43 After Penis Enlargement Surgery

Influencer Igho ‘Tiny’ Ubiribo has died. He was 43. Ubiribo, who also went by Denisi and Ego on social media, died after experiencing complications from a genital enlargement procedure in Thailand, a U.K. coroner confirmed to TMZ on Saturday, September 5. According to the medical examiner, Ubiribo suffered a pulmonary embolism during the cosmetic surgery. […]

Who Was Igho ‘Tiny’ Ubiribo?

Ubiribo was a businessman and social media personality, also known as “Denisi” and “Ego” online. He cultivated an Instagram following by chronicling his travels and upscale lifestyle alongside his wife, Danielle Simba Allen.

How Did Igho Ubiribo Die?

An inquest from the Inner West London Coroners’ Court found that Ubiribo had 40 milliliters of hyaluronic acid and lidocaine injected into his penis at the Thai clinic in March 2026 in an attempt to enlarge his appendage. After the procedure, he experienced chest pain and fainted, per the inquest, before he was rushed to a local hospital and later died.

Igho Ubiribo’s Career as a Luxury Lifestyle Influencer

Ubiribo’s online presence leaned heavily on aspirational content — travel, style and the couple’s marriage. Anniversary tributes were among the most personal glimpses he shared with his thousands of fans, with a grid built around carefully staged vacation posts.

Igho Ubiribo’s Marriage to Danielle Simba Allen

Ubiribo and Allen said “I do” in 2022 and celebrated their third wedding anniversary in 2025.

“Happy anniversary, my love. Every day with you is a gift, and every moment feels like magic,” Ubiribo wrote via Instagram in July 2025. “I thank God for you always, my heart, my home, my forever. 💖.”

Allen has not yet publicly addressed her husband’s death. Her most recent Instagram post, dated November 2025, was a carousel of photos from one of the couple’s vacations, captioned, “✨The Drafts Be Piling Up, These Deserved A Little Spotlight✨.”

Igho Ubiribo’s Emotional Tributes to His Wife

Ubiribo frequently gushed about his marriage via his social media platforms, and to mark two years of marriage in 2024 said that his heart “swells with gratitude.”

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“Today marks two years since we made a commitment to each other, and I can’t help but marvel at the beautiful tapestry of moments we’ve woven together,” he wrote at the time. “These past 730 days have been a testament to the depth of our connection, the strength of our bond, and the unwavering support we’ve provided each other. From the laughter that echoed through our shared adventures to the quiet moments of understanding during challenges, each experience has etched itself into the core of our relationship.”

He continued, “Your presence in my life is a source of endless joy and comfort. Your laughter is the soundtrack to my happiest moments, and your strength is a beacon guiding us through any storm. Together, we’ve faced the highs and lows, navigating life’s twists and turns hand in hand. Your love has been my anchor, grounding me in times of uncertainty and lifting me to new heights in moments of triumph.”

This story was compiled with the help of AI tools and edited by journalists. 

Sister Wives’ Janelle Brown is sharing another glimpse of her now-frequent date nights with her new boyfriend.

“The Sunday that started it all,” Brown, 57, wrote via Instagram on Sunday, September 6, alongside a selfie featuring her beau, Pete. “We had a free afternoon and decided to check out a local winery. We had a glass of wine, sat in the shade and listened to the music. It was such a beautiful day.”

She continued, “We decided then, that whenever we had a Sunday free, we would find a way to spend it together doing something like this.”

Brown went public with her romance with Pete last month, sharing a selfie of the pair.

“Some chapters are meant to unfold quietly before they’re shared,” she wrote via Instagram at the time. “I wasn’t looking. I certainly wasn’t expecting you. And somehow, you turned out to be exactly what I didn’t know I needed. And it has been pretty wonderful. 🩷Everyone please meet Pete.”

Days later, Brown uploaded a photo of the couple posing on a dock beside boats. In the image, the pair placed their arms around each other as they smiled.

“A beautiful evening by the water (this may be becoming a theme for us 😃),” Brown wrote via Instagram in August. “Had dinner while we watched the boats.”

Prior to her relationship with Pete, Janelle wed Kody Brown in 1993 while he was married to Meri Brown. Kody went on to marry Christine Brown in 1994 and have a spiritual ceremony with Robyn Brown in 2010. He then legally divorced Meri in 2014 to legally marry Robyn and adopt her three children.

Related: A Look Back at Sister Wives’ Janelle Brown and Ex Kody Brown’s Relationship

Sister Wives‘ Janelle Brown and Kody Brown’s plural marriage was anything but conventional ahead of their 2022 split. Janelle and Kody’s lives were intertwined well before they spiritually tied the knot in 1993. Janelle’s late mom, Sheryl Brown, and Kody’s dad, William Winn Brown, were married for years before William’s death in 2013, making the eventual […]

Christine shared in 2021 that she and Kody separated, with Janelle revealing one year later that she and the Special Forces alum had also split months prior. In 2022, Meri confirmed her own split from Kody. Robyn, for her part, is still married to Kody. Between his four partners, Kody is a father to 18 children. (Janelle and Kody’s son Garrison died at age 25 in 2024.)

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Last month, Janelle took to Instagram to reflect on her past relationship dynamic.

“Have you ever wondered about what the version of you who second-guess everything would think of you now?” Janelle wrote over an August video. “I think about her sometimes. The version of me who ran every decision past three people before she trusted it enough to move.”

“She would probably not even recognize the version of me who bought land without a plan, who changed course mid-week because it stopped feeling right, who doesn’t ask permission before making the call anymore,” Janelle continued. “I don’t think she’d think I got braver, necessarily. I think she’d just be relieved. Like she’d been waiting a long time for someone to finally believe her instead of everyone else.”

Dolly Parton’s official social media account has shared a deeply emotional message less than two weeks after the country icon’s death. On Sunday, the singer’s verified Instagram account posted a pink graphic featuring the opening words from her uplifting classic “Light of a Clear Blue Morning.” The design also included Parton’s signature and a butterfly, while the caption contained only a blue butterfly emoji. The unexpected post caught fans off guard, with some admitting they weren’t prepared to see new content on Parton’s page after her death at age 80.

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The graphic began with the lyric, “I can see the light of a clear blue morning,” before continuing with Parton’s hopeful message that everything would be all right. The choice carried added emotional weight because “Light of a Clear Blue Morning” was one of Parton’s most personal songs about finding hope after a painful period.

The response was immediate. Within approximately an hour, the post had received more than 226,000 likes and 2,000 comments.

Fans Were Not Ready For The Posthumous Update

Seeing a new post on Parton’s verified account left many followers emotional. “I’m not ready for posthumous posts yet,” one person admitted. Another fan reacted with humor through tears, writing, “I KNEW THEY HAD INSTAGRAM UP THERE IN HEAVEN.”

Others viewed the message as a sign of comfort from the beloved country singer. “I see butterflies everywhere now. I’m calling them ‘Dolly winks.’ We miss you, Dolly,” one follower wrote.

Celebrity supporters also joined the outpouring of grief. Tess Holliday shared a touching message about Parton’s impact on those who admired her. “We all have a real-life angel now. I hope we all can be a fraction of the kind and loving person you were,” Holliday wrote.

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Actress Yassir Lester simply pleaded, “Come back,” while other followers filled the comments with hearts, butterflies, and messages about how deeply Parton is missed.

‘Light Of A Clear Blue Morning’ Had A Special Meaning To Dolly

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Parton originally wrote “Light of a Clear Blue Morning” in 1976 during a period of major personal and professional change. The song followed her difficult departure from “The Porter Wagoner Show” as she attempted to establish an independent career beyond her longtime musical partnership with Porter Wagoner.

What began as a song about emerging from a dark chapter eventually became one of Parton’s most recognizable messages of resilience. The meaning became even more significant in January 2026, when Parton released a new rendition to celebrate her 80th birthday and the 50th anniversary of writing the song. The recording featured Miley Cyrus, Reba McEntire, Lainey Wilson, Queen Latifah, David Foster, and the Christ Church Choir.

According to Parton’s official website, she revisited the song because its message of hope remained meaningful five decades later. Net proceeds from the recording and its accompanying music video were directed to the pediatric cancer research program at Monroe Carell Jr. Children’s Hospital at Vanderbilt in Nashville.

Dolly Parton Died At Age 80

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Parton died peacefully in Nashville on August 25 after what her representatives described as a brief battle with cancer. The singer was surrounded by loved ones at Vanderbilt-Ingram Cancer Center. She was later laid to rest during a private family funeral.

Since her death, Parton’s team has promised to continue the numerous creative and philanthropic projects she had in development. Her estate has also announced DollyFest, a two-day celebration expected to take place in Nashville and London across consecutive weekends in 2027.

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Dollywood Will Add New Features To Honor Dolly Parton

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Dollywood is preparing several permanent additions that will allow visitors to celebrate Parton’s life and legacy at the theme park she helped transform into one of East Tennessee’s biggest destinations. According to a local news station, park officials announced plans to introduce a character called the Dream Maker, inspired by Parton’s Imagination Library literacy program.

Dollywood will also add a waterfall and stained-glass windows to a chapel inside the park to reflect the country icon’s deep Christian faith.

Visitors will be able to leave their own thoughts and memories about Parton at new interactive kiosks. Additional features are also planned for The Dolly Parton Experience, the multi-building attraction dedicated to her childhood, career, fashion, and personal history.

President Donald Trump has seemingly ditched his infamous hair style for a brand new look.

Trump, 80, was spotted on Friday, September 4, sporting a darker hair ‘do while landing in New Jersey to spend the weekend at Trump National Golf Club Bedminster amid the ongoing war in Iraq and upcoming midterm elections.

His hair also appeared to be parted on the opposite side of his head — a rebuke of his traditional style, which typically features a golden-blonde coloring.

Hours later, Trump was photographed golfing with Fox New anchor Bret Bair and others while wearing a red “Trump was right about everything” hat, covering his darker hairdo.

Related: Jelly Roll Got in ‘More Trouble’ Than Rosie O’Donnell for Trump Jokes

Jelly Roll has no regrets about poking fun at President Donald Trump as he temporarily takes over Jimmy Kimmel’s late night show. “What a turn of events! Who would’ve guessed I’d get in more trouble with the president than Rosie O’Donnell?” Jelly Roll, 41, said on the Tuesday, August 25, episode of Jimmy Kimmel Live! […]

Weeks before, Trump made headlines when Jelly Roll commented on his physical appearance while filling in for Jimmy Kimmel on Jimmy Kimmel Live!

“The president seemed to enjoy the IndyCar race, which was a real switch-up for him because normally he only likes his own race,” Jelly Roll, 41, quipped during his monologue in an August episode. “Trump also drove around the track in his motorcade doing what they call the ‘lap of honor.’ Which sounds like a loyalty program at a strip club.”

He continued, “Sadly, those are the only laps Trump’s been doing lately. According to The Washington Post, a lot of doctors are worried about the president’s weight. After his last physical, we found out Trump gained 14 pounds, which means he’s now tipping the scales of almost 240.”

Jelly Roll (real name Jason DeFord) has been public about his weight-loss journey, revealing he has shed 300 pounds in the past few years.

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Related: Jelly Roll Addresses Political Affiliation Amid Backlash Over Trump Jokes

Jelly Roll opened up about his political views after taking heat for making jokes about President Donald Trump while guest hosting Jimmy Kimmel Live! The country music star, 41, gave an impassioned monologue to kick off his final night on the ABC talk show on Thursday, August 27, addressing speculation about his political affiliation. “It […]

“That means I’ve lost an entire Donald Trump,” he said. “And let’s be honest, based on his approval rating, it seems like most of the country wants to do the same thing. Now listen, we should take it easy y’all. We shouldn’t be making fun of the president for his weight because we know he would never do that to other people.”

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Several clips then began playing of Trump commenting on people’s appearances during his speeches.

“Well if that ain’t the pot calling the kettle fat. Well Mr. President, from one fat pig to another, take it from me that physical fitness is very important,” Jelly Roll said. “And trust me, you’ll be happy to see your penis again.”

He continued, “I should speak from a little bit of experience here y’all. The first time I seen mine recently, I was surprised at how cute it was. It kind of looked like a little Labubu doll.”

Taylor Swift’s “I Know It, I Knew You” track for Toy Story 5 is so much more than meets the eye — or ear, that is.

“The word daze is spelled ‘d-a-z-e’ in the lyrics, but you could also, if you wanted to think of it as days ‘d-a-y-s’ you could perceive it as that,” Swift, 36, said during an interview on iHeartCountry House Party aired on Saturday, September 5. “But, I thought of it, like, a childhood daze you look back and you see this sort of blurry, beautiful memory that’s kind of blurry at the edges and blades of the grass in summer that harkens back to childhood and playing and using your imagination.”

“I knew you / Through the daze of the blades of the grass in summer,” Swing sings on the song featured on the Toy Story 5 soundtrack, which dropped in June. “Parachutes / For the free fall of being younger / I memorized the sound of your bare footsteps.”

Swift wrote an original song for the latest installment of the beloved Pixar films, centering the track around cowgirl figurine Jessie (voiced by Joan Cusack) and her beloved first owner, Emily. (Jessie had long been abandoned when Emily grew up and subsequently left behind her unused toys.)

“There’s the added meaning of they’re toys, they can only see up to the height of blades of grass,” Swift added on IHeartCountry of her lyrical inspiration. “‘Parachutes for the free fall of being younger.’ There’s the actual parachute army toys in Toy Story, as well as symbolically, somebody who helps you grow up, helps your landings be softer.”

Swift penned the track, a return to her country music roots, after watching an early cut of the feature film.

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“For Jessie, I feel like the line, ‘I watched you drive around the bend for what I thought would be the last time I saw my friend,’ that hits me really hard because that movie just broke my heart,” Swift recalled during an appearance on the film’s accompanying 20/20 special in June. “So I’m really happy to, like, give her a happy moment. ”

For Swift, she felt particularly “grateful” to follow in composer Randy Newman’s footsteps. (Newman, 82, created the music for the entire Toy Story franchise. Swift is the only other musician to lend her voice to the animated franchise.)

“I felt wonderful knowing that I had Randy’s blessing to write for this film, given that I’m the first songwriter to get to partake in the Toy Story world outside of Randy,” Swift added at the time. “I was absolutely dazzled by [the movie]. It is my favorite Toy Story movie. Don’t mind me, just really liked the movie.”

Editor’s note: The below recap contains spoilers for Lanterns Episode 4.

After last week’s detour into John Stewart’s (Aaron Pierre) psyche, Lanterns returns to 2016 as Hal Jordan (Kyle Chandler) dons the Green Lantern uniform to confront none other than Sinestro (Ulrich Thomsen). The Manhunter threat is real, and as Antaan’s (Paul Ben-Victor) forces start closing in, this episode narrows its focus on uncovering the truth behind what’s happening in Rushville. In a town full of secrets and lies, only Hal and John stand between the Nebraskan heartland and total annihilation — the question is, will they finally learn to trust one another? Episode 4 suggests that trust may be harder to come by than power rings.

‘Lanterns’ Episode 4 Returns to Hal and Sinestro

Continuing from where Episode 2 left off, “The Weenie” picks up with that momentous reunion between Hal and Sinestro (Ulrich Thomsen) — if by momentous we really mean short-lived. Hal wonders how Sinestro heard about John in the first place, but the villain dodges the question entirely. “You don’t really think he’s your backup, do you, Hal?” he asks. Of course, Hal knows better and finally admits the truth that John is meant to be his replacement. Sinestro attempts to convince him to kill John, but Hal isn’t some evil psychopath. So, Sinestro instead tells Hal what he needs to know about Manhunters, but not before suggesting the Green Lantern of Earth learn to control John Stewart so as not to make the same mistake that he (Hal) did with him (Sinestro) previously.

Back in Rushville, John ducks a call from his father and goes in search of a scope. The man behind the counter resists at first due to John’s connection to Green Lantern (they can’t stand that guy), but he eventually purchases what he’s looking for and holds up in the nearby water tower, peering into the Macon ranch. Hal promptly shows up, and John informs him that Macon has a hidden building on the compound. He calls this particular structure a “weenie” in reference to an architectural term coined by Walt Disney meant to subconsciously attract the attention of Disneyland guests. Yes, this is why the episode is titled “The Weenie.” Moving on, John notes that a mysterious payload has been dropped off inside, but before they can investigate, Hal has a promise to keep.

The Lanterns meet up with Sheriff Kerry Kane (Kelly Macdonald) and give her the lowdown on the Manhunter: Antaan’s crew plans to kill the Manhunter or annihilate Rushville in the process. “What does this thing want?” Kerry asks, but, of course, they don’t really know. Although the sheriff suggests using the alien detectors to uncover the truth behind the Manhunter’s identity, that wouldn’t quite work because the Manhunter isn’t, well, alien. It’s technically a machine, albeit a sentient one, so it’s pretty difficult to tell for sure — although, as Hal reveals later in the episode, Manhunters’ hearts crystallize when removed. Not that that helps this trio all too much. Kerry wonders why she isn’t a suspect in Hal’s eyes, but the Green Lantern informs her that 1) it would have to be someone who has been here since Abin Sur crashed all those years ago and 2) her previously explained Gotham backstory checks out. The best that they can do now is hit the ranch to see who William Macon’s (Garret Dillahunt) mystery “benefactor” is — and what he’s hiding in the compound.

Back at the motel, John continues to dodge his father’s call. However, the Guardian Lianna (Laura Linney) shows up and demands to know why he hasn’t checked in. She informs John about Hal’s apparently oath-breaking visit to Sinestro (can Green Lanterns not interrogate prisoners?), noting that his actions have moved up the Guardians’ timetable for his replacement. So, now John has new orders: next time Hal gives him the ring, he should recite the oath and become the official Green Lantern for Sector 2814. John pushes back, wondering why the Guardians won’t install him themselves, but Lianna plays his emotional fiddle the same way his parents did, wondering aloud if his weakness is to be trusted. John insists that Hal doesn’t deserve the ring, that he has worked hard to earn it — all Hal is doing is keeping it warm.

‘Lanterns’ Episode 4 Puts Hal and John in the Manhunter’s Crosshairs

Image via HBO

That evening, John knocks on Hal’s motel door and suggests tunneling into Macon’s compound from underground. He even comes up with designs for the type of device he’s imagined for the job. So, when they arrive at the edge of the ranch, Hal gives John the ring and has him create the excavating machine he drew. John does just that, and though he thinks about reciting the oath then and there, he instead follows Hal’s orders. Here we get some real camaraderie between these two. John shares a bit about his backstory (and his interest in art), while Hal reveals that his mother died of cancer. The conversation drifts into the story of his father’s death and Hal’s belief that his father’s supposed “fearlessness” was all an act. Before he can elaborate, they arrive at the weenie and crawl to the structure. Inside, they discover an arsenal of high-tech alien weapons and equipment. Hal believes that Macon’s benefactor must be the Manhunter, but before John can give the ring back, Hal steps on a pressure mine, setting off an alarm which brings in a whole unit. The militia uses a weapon that creates darkness, preventing John from effectively using the ring in time.

The Lanterns are taken to Macon, who strips down in front of them as John draws him on the spot — all while making Zoe (Poorna Jagannathan) stay to watch. Hal points out that the whole thing is super weird, and, frankly, that’s an understatement. Hal breaks the awkwardness by noting that the darkness guns seem “tailor-made for disabling Green Lanterns,” which Macon doesn’t deny. In fact, he goes even further by revealing to the GL that his benefactor (who he now calls his “boss”) actually cured his cancer. “You talk about him like he’s a god,” Hal remarks, but Macon notes that everything changed when he showed up. Rushville’s crops now thrive, and the world is much better off — nobody gets sick here, hence the empty hospital that Hal clocked a few episodes ago — so long as they protect the Manhunter. Hal, however, refuses to leave. Thankfully for the alien detectives, Kerry arrives and removes them from the situation in just the nick of time. Frustrated, Kerry tells them that if Zoe hadn’t called her, they would’ve been in trouble. She tells the pair that she’s close to finding out who the benefactor is, but they need to stay in their motel and not get in the way. Kerry gives Hal back his ring and hands John a weapon, knowing that Macon will likely retaliate.

In his motel room, John laments to his mother over the phone that the Guardians aren’t going to give him the ring; they’re making him take it from Hal by force. But before long, Zoe arrives at John’s doorstep. He wonders what she’s doing there, holding her at gunpoint, but doesn’t get an answer. Instead, they sleep together again before Zoe tells him it has to be the last time. “Your choices are pretty much leave town or get killed,” she tells him. John can’t leave, though. He knows that everyone in town (Zoe included) has been lying to him, admitting that he knows because that’s exactly what he is doing. Zoe tells him that if she tells him what she knows, everything will change. It turns out that she is the one who saved Macon’s life, and now she’s trying to save John’s, too. That said, when Zoe leaves his room and drives off, she is immediately blown into oblivion by an energy weapon from space. Hal flies into the atmosphere to discover where it came from and returns promptly with a weaponized satellite.

Generating a giant green shield over the motel, Hal and John meet with a distraught Kerry, who tracks down Macon’s NDA to three possible companies. John recovers a serial number, and they discover that Atlas Inc. is the brand behind this device. Atlas is owned by a man named Hector Hammond, a name that both longtime DC Comics fans and casual viewers who watched Green Lantern back in 2011 will recognize. However, John thinks this is all too easy. He rightly wonders why they’re still alive, why Zoe was killed and not them. Killing Zoe wasn’t just a threat; it was an invitation. Hal and John drive to Hammond’s place, and Hal asks John how he’s doing in the wake of his “girlfriend’s” death. “I’m handling it,” the former Marine replies. Hal tells him that people dying is part of the job, and that avoiding real relationships is the best thing for him from here on out. “You ever talk with the other Lanterns?” John asks, but Hal notes that the rest of the Corps basically want nothing to do with him. Oh, and John tries to get Hal to give him the ring as a “decoy,” but the GL denies the request.

‘Lanterns’ Episode 4 Concludes With Another Car Crash

Image via HBO

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Upon arriving at Atlas’ high-tech slaughterhouse, the place is like a ghost town haunted by zombie-like employees who pay them no mind. It’s an eerie scene that feels lifted from some brand of sci-fi horror movie, especially once the pair wind up in an all-white room playing soft jazz. A portal opens in front of them (not unlike the one that the Guardians used to send John to the abandoned mall in the last episode), and they watch as a cow is obliterated by lasers. “That’s why I’m vegan,” John jokes, a reminder that Lanterns seems to have finally hit its stride in the Hal/John dynamic department. Unfortunately, things get rocky again for these two almost immediately after it gets good. The two stumble upon Atlas frontman Hector Hammond, who claims to be the Manhunter and threatens to use his satellites to kill John’s parents in their home if he doesn’t cave to his demands. He then shares John’s phone conversation with his mother about Hal, which doesn’t put the trainee in a good light.

But Hal uses the whole situation to his advantage. Threatening Hector with the removal of his heart, he puts the Stewarts’ lives on the line (to John’s complete dismay) and forces Hector to come clean. Aaron Pierre kills it in this scene, with John fearing for his parents more than he ever has before. Fortunately, Hal gets Hector to turn off the orbital laser, and he reveals that his name isn’t “Hector Hammond” at all (a silly ruse that will, no doubt, frustrate some) but Hector Gutiérrez. He also tells the pair that Macon is the Manhunter, and always has been. Despite the news, the ride home is rockier than things have been since the “Pilot.” John tries to convince Hal that he always planned to give the ring back, and that he just wanted to show him what he was capable of. However, Hal knows that the complaints John voiced to his mother weren’t all untrue. He warns John not to trust everything the Guardians say, noting that Sinestro told him that the Manhunters are attracted to power and like to spread fear.

John feigns agreement that the Manhunter must be Macon, despite what Zoe told him earlier. Hal pulls over and tells John to call Antaan to meet them (or at least him) at the café just outside of town. However, Hal has once more outsmarted his trainee, as he has put two and two together about the Manhunter himself. Wondering how long John has known the truth about Zoe, Hal realizes he can’t fully trust the ex-Marine and jumps out of the car, letting it crash into a telephone pole with John inside. John should never have let Hal get behind that wheel…

New episodes of Lanterns air Sundays on HBO and HBO Max.

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Release Date

August 16, 2026

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Network

HBO

Directors

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Alik Sakharov, James Hawes, Stephen Williams

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Pros & Cons

• We can finally see a real partnership forming between Hal and John.
• John’s struggle over deciding whether to take the ring is possibly the first time he has shown any real personal agency, which is really great to see.

• Hasn’t the show already done the “I can’t trust you” thing between Hal and John?

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More than a dozen individuals were hospitalized following The Chainsmokers’ Friday, September 4, concert in San José, California.

“At 8:22 p.m. on Friday, September 4, the San José Fire Department responded to an outdoor concert at Discovery Meadow for reports of multiple patients requiring medical attention,” a statement shared via the police station’s official X account read. “SJFD immediately requested an Ambulance Task Force, two additional advanced life support fire units, and a Battalion Chief to manage the incident and provide additional medical resources.”

Per the SJFD, 14 ambulances responded on the scene and transported 14 unidentified patients to local area hospitals.

“SJPD assisted with traffic control,” the statement concluded. “All SJFD resources returned to service at approximately 10:34 p.m.”

Related: Chainsmokers’ Drew Taggart: I’ve ‘Struggled With Drinking’ in My Career

Drew Taggart got candid about how his alcohol addiction has affected his life over the years. The Chainsmokers performer, 33, took to social media on Wednesday, June 14, to share a video of himself playing the group’s recent single “Self Destruction Mode,” describing its meaning in the caption. “I’ve struggled with drinking throughout my career […]

Further details have not been revealed, with a local NBC affiliate reporting that the concerns included “suspected alcohol intoxication and drug-related issues.”

The Chainsmokers, featuring musicians Alex Pall and Drew Taggart, performed at Discovery Meadow in San José on Friday. They are currently on tour.

“Back2Europe,” the band snapped an airplane selfie via their Instagram Stories on Sunday, September 6, before arriving in Montenegro.

The electronic DJs initially rose to fame in 2014 with the release of single “#Selfie.”

“Part of the thing with The Chainsmokers is, we felt on some levels like we were becoming people’s dirty little secret,” Pall, 41, told Billboard in 2022 of the group’s success. “By being like, ‘We’re in on the joke, we get the joke, we love the joke,’ it disarms people and allows people to enjoy the music for what it is. Whatever people imagine from past experiences with us, I think it was really important to kind of reset the tone.”

By 2022, the duo embraced a new type of sound as they dropped more records.

“It does feel like we’re a new band starting over in a lot of ways,” Pall added at the time. “I don’t mean that in any sort of negative way. It’s the best feeling ever.”

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Neither Pall nor Taggert, 36, have publicly addressed the fan hospitalizations. Taggert, for his part, has previously been candid about his struggles with substance abuse. (Us reached out to the group’s rep for comment.)

“I’ve struggled with drinking throughout my career as it’s an addiction that’s woven into the environment we exist in,” he wrote via Instagram in June 2023. “This guilt of not being good enough or not being better ironically sends me into a spiral that restarts my bad habit cycle. … I know that I’m flawed. I know that I am great and so are you. Never forget it.”

If you or someone you know is struggling with substance abuse, contact the Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline at 1-800-662-HELP (4357).

Editor’s note: The following contains major spoilers for The Walking Dead: Dead City Season 3, Episode 7.

In Episode 307 of The Walking Dead: Dead City, entitled “Hourglass,” things wrapped up in dangerously scary new ways as Dillard (Jimmi Simpson) was pushed beyond his breaking point. The moment that Negan (Jeffrey Dean Morgan) killed both of his walker pets, Dillard’s heartbreak caused a fracture that couldn’t be repaired. And the more things progressed, the more Dillard wanted revenge and to hurt his friend even more deeply than he was hurting himself. It also left things in a place where it feels like there’s still room for things to spiral even further before all is said and done this season.

Collider recently got the opportunity to chat with Simpson about the events of Season 3’s penultimate episode. During the interview, he discussed Dillard’s tragic backstory and why he lived the way he did in this community, how he and Negan connected over not fitting in, cracking Dillard’s mind and breaking his heart, why he wants to kill Maggie, putting on the police uniform, how much he enjoyed working with Morgan, and why he wouldn’t have wanted to change where Dillard ends up in the finale.​​​​​

Dillard Would Have Been Happy To Live Out His Days Alongside Negan and His Walkers

“It was a mutually beneficial love affair with friends.”

Image via AMC

COLLIDER: There is a chunk of this season where Dillard and Negan are just hanging out in a bar and spending their days together. Do you think he believed that he could just go on forever that way with his pet zombies and Negan and everything would just be fine?

JIMMI SIMPSON: Oh, 1,000%. Dillard found a real peace because of his really tragic history in the human world before this particular apocalypse. Everything was difficult about how humans treated each other, to him as a police officer. And so, there is this real sense of relief for him to only be in a world where the humanoid characters’ intentions are clear, their motivations are the same, and they don’t lie. We may see a hermit and it’s like, “Oh, gosh, that must be awful.” They are actually very happy. Something has happened that has made them finally be like, “Oh, this is where I’m more comfortable.” And that’s where Dillard was.

And so, when Negan enters his bar, he’s like, “Who are you?” We’ve both been doubted by a lot of people, so we have that in common. That sparked an immediate friendship and an ability to see each other the way others don’t see us. I bring in a little bit of weird. You see Negan with those glasses, and he can just be his straight-up weird self. And he brought Dillard this understanding of, “Humans are actually pretty cool. You don’t need to save so much space for walkers in your life. You can let humans in too.” It was a mutually beneficial love affair with friends. It only would have kept on going. They would have done everything together. Everything would have made sense. In my mind, the way I saw Dillard’s experience, they were set up for a real sweet life.

That first scene in Episode 7, when Dillard walks back into the bar to talk to Negan and Fabian’s bloody body is on the floor is pretty intense. He realizes Negan shot one of his walkers just before he shoots the other one. What was it like to share all of that with Jeffrey Dean Morgan, and to have the relationship that you built up over the other episodes really take a turn in that way?

SIMPSON: It was such a pleasure. All the beats were so emotionally grounded. Neither Negan nor Dillard strayed from who they are. Negan believes very strongly and has seen way more shit in the Walker world than Dillard has. Dillard’s contrast was that humans are tough, these guys are easy. Negan had to fight tooth and nail to stay alive, for years and years and years. So, he was just following his own impulse. It just happens that it clashed so deeply with Dillard’s emotional truth of how everybody else sees a Walker and thinks, “How do I get away from that?” And Dillard thinks, “Well, maybe we’re not giving these guys a fair shake.” Like any kind of creature with claws and nails that might be designed to kill, they still are true.

I thought the writers just set it up beautifully and the friendship was so tangible. Luckily, Jeffrey and I just fell in love with each other as bros, so that’s infused. All of that relationship was very authentic to me. And then, the clashing of belief systems, when he takes my family from me, it was deeply emotionally connected in a couple of ways. Not only were the walkers his family, and the ones that have never lied to him, tricked him, or done anything like that, but by taking them away, Negan took away our friendship, and that was the undiscovered country for Dillard of love. That was like, “Oh, this can be an addition to your life.” It’s why Dillard allowed himself to have a little crush and let go and really be at peace with humans.

So, to break all those things at once was the perfect way to crack a human being’s mind and to break their heart. And then, in the next scene, cutting your face and blaming someone else is generally not a sign that things are going great. That was just a perfect articulation of his emotional interior. That was such a joy to be able to have that little catalyst of, first, my family is taken away, my new friend is taken away, and then I start destroying myself because I’m so broken-hearted. Like any heartbroken person, you want the other person to feel the pain too. And so, that’s where that mission came from.

Dillard Is Out for Revenge Against Negan With the Events of Episode 7 in ‘The Walking Dead: Dead City’ Season 3

“He wants to take Maggie away from Negan.”

Image via AMC

The moment he decides he’s in charge and he kills Renata definitely crosses a line he can’t come back from. And then, he declares they’re also going to kill Maggie and not just Negan. Is he just completely out of his mind by that point? Does he have any rational thought left?

SIMPSON: No more out of his mind than someone who’s had their heart broken and then screams or has an interaction with that former lover and tells them off. It’s coming from a place that they believe is true, but as an outsider, you’re like, “Wow, you’re really overreacting.” When your friend has a broken heart, they don’t go and start murdering people, but they behave in ways that are just like, “Wow, that’s not serving you.” But you need to let them have that. So, Dillard’s experience just deeply turned up. Renata and Maggie are all deeply attached to Dillard’s love of Negan, and then broken heart because of Negan.

Saying “because” is just Dillard’s perception. Negan didn’t try to break his heart. He just happened to follow his own path, and that resulted in loss for Dillard. The goal is to make Negan feel pain. Once Negan broke his heart, Renata doesn’t matter. That’s just one more element that Dillard can be like, “I’ll take that.” I think Dillard had this deep perception on the quality of Maggie and Negan’s actual friendship, even though they’re always like, “Do I trust you?” He saw that there’s this storied connection that will probably inevitably last forever. And so, it wasn’t anything Maggie did that made Dillard want to kill Maggie. It’s Negan, and he wants to take Maggie away from Negan.

By the time that he puts the police uniform on, is he just a full-on villain by that point? Did you see that as his super villain costume?

SIMPSON: I saw that as a way for a person going through a thing to try to back up his broken, emotional inside. It’s also an abandonment of the peace he’d felt in the past two eras – the friendship with humans and his peace with the walker world. He’s like, “You’ve taken me back three eras to when I was a cop and I truly believed humans were disgusting, and when I thought that humans are damaging and a problem for the world. You forced me to go back there.” It wasn’t for effect. It was like, “I have nothing left besides this old me that I’ve really tried to let go, and I thought you had helped me, Negan, truly let it go. But you showed me that nothing changes, so I’ve got to go back to square one, where that was.” It all makes sense. I really love playing people that have insane situations and then react in a way that makes total sense to them, even though it might be outrageous to those watching. It’s all connected emotionally, very clearly, to me.

Jimmi Simpson Wouldn’t Want Dillard To End Up Any Other Way in ‘The Walking Dead: Dead City’

“It’s part of the reason I signed on to do this.”

When I spoke to Jeffrey Dean Morgan about the season, he thought that where Dillard ends up at the end of the season was the perfect ending for the character. Without spoilers about Dillard’s exact fate in the finale, how do you feel about where he was left? Would you have wanted something different for him? Do you also feel like it was the perfect ending for your character?

SIMPSON: It’s part of the reason I signed on to do this. I thought it was such a clear articulation of struggle and then homecoming. He would have lived happily ever after in his bar with his walkers. Maybe he would have to change them out as body parts fell. He only has so much tape and glue. It’s this community that accepted him and he finally became part of it. As I spoke to the showrunner about maybe doing the show, it was a pleasure to learn [that his ending] came with a sigh of relief. Truly, the ending is just irreplaceable. It all made sense to me. I was really grateful for that arc to be so thoughtful and complete from the team at Dead City.

The Walking Dead: Dead City airs on AMC.

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Release Date

June 15, 2023

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AMC

Showrunner

Eli Jorne, Seth Hoffman

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Directors

Kevin Dowling, Loren Yaconelli

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Writers

Brenna Kouf

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