It’s become incredibly difficult for shows to last for more than three seasons given the constraints put on them by the industry. Streaming services tend not to let shows go on for too long because they might lose viewership over time, and studios don’t want to renew shows when the required wages for writers and crew members increase after the third season. Although it is an unfortunate reality, it’s something that television creators have to contend with in a changing media landscape.

It’s impressive when a show can make economical choices to tell its story in a short amount of time without feeling like any characters or storylines are slighted. When considering how many shows have lost their essence over time due to an endless number of seasons, it can be preferable to cap off a finale after just three installments, offering a tight and conclusive ending that satisfies everyone.

10

‘Legion’ (2017–2019)

Image via FX
 

Legion is one of the best comic book shows ever made because it embraces the surrealist, psychedelic side of Marvel’s source material and offers a fresh perspective on the experiences of being a mutant. Although it is inspired by a more obscure run of X-Men comics, Legion doesn’t have anything to do with any of the live-action installments in the franchise; in fact, its creative and emotionally charged approach to the mythology might resonate with those that have otherwise dealt with “superhero fatigue.”

Legion created a compelling protagonist in David Haller, played by Dan Stevens in one of his greatest performances, who is a mutant who struggles to determine whether he is a hero or villain. While the outlandish comedy and musical sequences make Legion feel like an avant-garde approach to the genre, it ends up being a surprisingly emotional series based on how profoundly David’s story ends.

9

‘The Comeback’ (2005–2026)

Image via HBO

The Comeback is one of the most unique sitcoms on HBO because it had three seasons that were released over the course of two decades, allowing it to examine how rapidly the entertainment system had evolved in the time since. Lisa Kudrow’s performance as a vain, struggling former sitcom star is not only a self-referential role, but one she uses to explore how the excess of celebrity has made Hollywood even more challenging.

The Comeback is a ruthless satire of how decisions are made in entertainment, but it’s also completely hilarious, and manages to say something about the rights of artists. The third and final season was particularly noteworthy for how it examined the destructive capabilities of artificial intelligence, which was a bold move during a time in which many studios have proven that they will bend over backwards to cut out humans from the process.

8

‘Daredevil’ (2015–2018)

Image via Netflix

Daredevil was a game-changing comic book adaptation that served as the first series from Marvel Studios to debut on Netflix, where it was allowed to be much darker and grittier than anything that had been seen in the live-action films. Although many fans were highly disappointed by the 2003 film about the character, Daredevil found a smart way to do the origin story and found the perfect casting of Charlie Cox, who has completely embodied the role of Matt Murdock.

Daredevil also featured an all-time great comic book villain in Wilson Fisk, played brilliantly by Vincent D’Onofrio in a completely terrifying, complex performance. Although the show was sadly canceled as part of the expiration of Disney’s deal with Netflix, the rebooted series Daredevil: Born Again debuted on Disney+ and reunited many of the leads from the original run of episodes.

7

‘American Crime Story’ (2016–2021)

Image via FX

American Crime Story is the best show that Ryan Murphy has ever made, and has done the anthology approach to exploring real incidents in American history much better than Monster. The three seasons focused on different historical cases that were significant within popular culture, including the arrest and trial of O.J. Simpson, the death of fashion mogul Gianni Versace, and the impeachment of United States President Bill Clinton.

American Crime Story featured brilliant performances from A-list actors throughout, and was able to look at all different angles to these cases in order to explore the social, political, and legal repercussions. Even if there were liberties taken with how these stories were told, they do serve as conversation starters because they were willing to look beyond the headlines to show the complex machinations involved with highly combustible and complicated media circuses.

6

‘I Think You Should Leave with Tim Robinson’ (2019–2023)

Image via Netflix

I Think You Should Leave with Tim Robinson is one of the funniest sketch shows of all-time, and is more than a suitable replacement for those who have felt that Saturday Night Live has lost its momentum in recent years. Tim Robinson is a remarkable performer and writer who was able to completely reboot what sketch comedy looked like by taking humorous situations and pushing them beyond normal limits to be weirder, more uncomfortable, and increasingly surreal than they would be in the hands of any other creator or showrunner.

Many of the sketches from I Think You Should Leave with Tim Robinson have subsequently gone viral, but there are so many hidden gems within every single installment that it is worth revisiting all three seasons to experience the full extent of Robinson’s radically inventive, hilariously genius sense of humor.

5

‘The Office’ (2001–2003)

Image via BBC One

The Office is one of the most groundbreaking sitcoms of all-time and an early achievement in the mockumentary genre that set a template for other shows to follow. While the American remake did become quite popular and served as a “comfort watch” for many fans, the original British version of The Office is even more incisive and brilliant, and managed to accomplish even more in just three seasons.

The Office offered a definitive perspective on the mundanity of cubical work that spoke to anyone who has ever hated their job or been irritated by an obnoxious coworker or employer. Although Ricky Gervais is an actor and comedian who can be very polarizing, he unquestionably tapped into genius with his portrayal of David Brent, a character who belongs in the hall of fame when discussing the funniest characters in the entire history of television.

4

‘Hannibal’ (2013–2015)

Image via NBC

Hannibal was a surprising new twist on the iconic Thomas Harris source material that justified its existence by offering a different perspective on the events covered in films like Manhunter and The Silence of the Lambs. Although Mads Mikkelsen’s performance as Dr. Hannibal Lecter was worthy of all the other great actors who had occupied the role, credit must also be given to Hugh Laurie for his performance as Will Graham because of how well the show works as a cat-and-mouse chase.

Hannibal is the rare show that has a completely perfect finale that resolved all the series’ mysteries, and solidified Bryan Fuller as one of the best showrunners working in television today. Although there have been constant rumors about a potential continuation that would introduce Clarice Starling, it’s hard to imagine that any new installments would be able to live up to the incredible legacy of Hannibal.

3

‘Deadwood’ (2004–2006)

Image via HBO

Deadwood is the greatest Western in the history of television because it is based on more than just the tropes of the genre. The real history of America’s frontier era was much more fraught than it’s often depicted as being in films and shows, and Deadwood explored the process in which a territory becomes an official town within the Union in an exciting way that featured dialogue worthy of Shakespeare.

Deadwood was one of the first examples of what HBO could do when it committed to a specific genre and aesthetic, as David Milch’s exacting vision for the series ensured that every character and storyline was fascinating in its own right. Deadwood may have been cancelled after the end of its third season, but Milch returned 13 years later to direct the standalone HBO film Deadwood: The Movie, which served as a proper finale.

2

‘The Leftovers’ (2014–2017)

Image via HBO

The Leftovers is a major achievement in television because it expanded beyond being a strict adaptation of an acclaimed novel to become a rich, mythic odyssey about the quest for answers that captured a shockingly poignant depiction of how humanity would react to a global tragedy.

The Leftovers is a show that only could have existed on HBO, as it asked viewers to buy into some truly strange tonal shifts and ambiguity, as Damon Lindelof has never been the type of showrunner who gives viewers the answers to all of their questions at once. Although Lindelof’s process of mystery-baiting proved to be controversial during the highly divisive ending of Lost, The Leftovers didn’t suffer the same backlash because its finale “The Book of Nora” offered a completely satisfying emotional conclusion to the beautiful romance that the series had built over the course of three seasons.

1

‘Twin Peaks’ (1990–2017)

Image via ABC

Twin Peaks is one of the most foundational works in television history because David Lynch revamped what a serialized mystery could look like by creating a series that had a “watercooler effect,” in which fans gathered to unpack the mysteries between weeks.

Twin Peaks dared to be more than just a procedural because it explored the complex aftermath of the death of the high school prom queen Laura Palmer (Sheryl Lee), and how it leads to secrets being revealed about her entire town. Twin Peaks was sadly cancelled by ABC in its second season after the network had forced Lynch to solve the murder, which resulted in a crashing of ratings. Although Lynch directed the prequel film Twin Peaks: Fire Walk With Me to unpack the show’s events from Laura’s perspective, he would finally make a Season 3, subtitled Twin Peaks: The Return, which aired on Showtime in 2017.

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Twin Peaks

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Release Date

1990 – 1991-00-00

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Directors

Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham, Tim Hunter, Todd Holland, Tina Rathborne, Diane Keaton, Graeme Clifford, James Foley, Jonathan Sanger, Mark Frost, Stephen Gyllenhaal

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With a baby on the way, Anne Hathaway has to prioritize comfy summer fashion. It inevitably leads her to the ugly-cute sandals trend, and since we’re talking about Hathaway, hers lean mega chic. We found the equally practical and stylish look on sale for just $25!

Spotted vacationing in Saint Tropez, the actress wore a breezy white dress paired with chunky platform sandals. Cushiony, slightly orthopedic and quietly leg-lengthening, her sandal style turns heads in the best way. Nothing screams ‘confidence’ like ugly-cute shoes!

Get the Coutgo Platform Sandals for $25 (was $33) at Amazon! Please note, prices are accurate at the date of publication but are subject to change.

Her exact sandals are probably wildly expensive, but these Coutgo Platform Sandals nail the aesthetic. You get the same double-strap design, chunky platform and beige tone that goes with absolutely everything in your closet, from linen sundresses to wide-leg jeans. Shiny gold hardware is a welcome upgrade.

Better yet, the straps are hook-and-loop, making these summery wonders easy to get on and off. And unlike flat sandals, the padded footbed means you can wander through the farmers’ market with happy feet. One Amazon shopper shared, “You can dress them up or down and they are so comfortable! I walked in these for hours and had no issues.”

Another five-star reviewer wrote, “Have seen the exact shoe in higher-priced brands. These shoes have been through hiking, water, mud, sand and hills, and they have held up.”

Hathaway wasn’t hiking uphill, but she probably could in this sandal style. Her Saint-Tropez moment proves that real elegance is being comfortable enough to actually enjoy yourself, so skip the blisters, elevate your summer wardrobe, and let your feet thank you later.

Get the Coutgo Platform Sandals for $25 (was $33) at Amazon! Please note, prices are accurate at the date of publication but are subject to change.

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

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Related: Shh! Comfy Rich Mom Sandals Just Went on *Major* Sale

Rich moms live in sandals during the summer, but that doesn’t mean they sacrifice comfort. They seek out equally comfy and chic styles — and we found 17 on-sale pairs that look expensive, yet start at just $9, courtesy of Amazon Prime Day. Prime Day runs from June 23 through June 26, but we don’t […]

Dutton Ranch‘s Finn Little is warning viewers to be “very worried” about the season 1 finale of the Yellowstone spinoff.

During a joint interview with Natalie Alyn Lind exclusively for Us Weekly, Little, 20, poked fun at offscreen concerns, joking, “At least three people — is it three or four people that die in the finale?”

Lind, 26, for her part, remained more tight-lipped.

“I don’t want to give anything away,” she said to Us before adding, “Nobody dies. Everybody dies. .. Oh, wait, they’re all dead.”

Yellowstone initially introduced viewers to the Dutton family in 2018. The Paramount Network show came to an end in 2024, expanding its universe with Luke Grimes’ CBS show Marshals and Dutton Ranch, which premiered in May.

Earlier this month, cast member Marc Menchaca weighed in on whether the deadly twists on the show had him worried about his character Zachariah’s fate. “It’s always a possibility — and I have a pretty good track record of saying bye-bye on a show,” he told Us.

Menchaca, 50, poked fun at his bad luck on screen.

“My wife [Lena Headey] made a death reel for me for my birthday this last year. It was about 10 minutes and it didn’t even have all my deaths,” he quipped. “So I was a little bit [worried].”

He continued: “I was like, ‘They may take me out so I better get on everybody’s good side.’ Hopefully, it won’t happen but the way things are now, you get these scripts just a little bit before. Then you start going through and you’re like, ‘Is it gonna happen next scene?’ Thankfully it has not [yet].”

Juan Pablo Raba, meanwhile, recalled the moment he was worried about his future on the show.

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“When I got episode 6 and I opened the page and I see Chet walking to me with a gun, my first thought was, ‘Well, it was nice while it lasted,’” he quipped to Us. “I was like, ‘God, it was so short. But why didn’t they call me? That’s rude.’”

He continued: “You hope for the best and you hope it’s going to be a long run. But you really don’t know. I really hope we can really work this for many seasons because I think there’s so much story to tell.”

Dutton Ranch airs Fridays on Paramount+.

By Chris Snellgrove
| Published 1 hour ago

John Wick changed the action film landscape so thoroughly that it became a part of our cinematic lexicon … for example, when you want to describe a movie built around big celebrities, epic fights, and intricate worldbuilding, you might say something like “Nobody is Bob Odenkirk’s John Wick.” There is currently no shortage of these movie homages, and some are inevitably better than others. One of the best such films is Gunpowder Milkshake, a John Wick clone with a girl power twist now streaming on Netflix.

A Cross Between Fire Power And Star Power

What is Gunpowder Milkshake about, exactly? This is mostly the story of a veteran hit-woman who works for a mysterious organization and can handle almost any job with ease. But when she has to protect the young girl of one of her victim’s fathers, she must reunite with her estranged mother and recruit some unexpected allies if she wants to have any hope of survival.

As with the John Wick films, a large part of Gunpowder Milkshake’s appeal is its cast of quirky actors. Karen Gillan (best known as a fan-favorite Companion Amy on Doctor Who) plays our chief hit-woman protagonist, and Lena Headey (best known as Cersei on Game of Thrones) plays her estranged mother turned professional killer. Other big names in this great cast include Paul Giamatti as a shady assassin employer, and Michelle Yeoh as a member of a very special sisterhood of warriors.

A Perfect Mix Of Violence And Charisma

While it’s not quite as good as John Wick (more on this later), Gunpowder Milkshake does a good job of emulating that film’s best characteristics. For example, the fights are well-choreographed and complex, and every single bullet fired helps to propel the narrative relentlessly forward. All of the cast has great chemistry, and the organic worldbuilding in the script is reminiscent of killer action films like Mad Max: Fury Road. 

When Gunpowder Milkshake debuted on Netflix, it made a big splash, establishing itself as the most-watched film in America that week. This positive buzz was enough for a sequel to be announced in 2021, but there hasn’t been any real movement or announcements since then. Fingers crossed for more of this strange cinematic universe, but the lack of updates has me worried that this particular milkshake machine may be broken (the McDonald’s curse strikes again?).

Good, But Not Better Than The Best

Gunpowder Milkshake may have been a highly-streamed hit when it came out, but critics were a bit mixed in their opinions. On Rotten Tomatoes, the movie currently has a 60 percent critical rating, meaning that it barely eked into “fresh” territory. Critics generally praised the colorful and entertaining universe and its stylish ultra-violence but noted that, like a more conventional milkshake, it might be nothing more than a sugar-filled rush of empty calories.

I think that’s a generally correct assessment, and I feel the same way about Gunpowder Milkshake. It’s not as good as John Wick, but that isn’t meant as a slam…if we’re being honest, that Keanu Reeves genre-defining classic is better than most movies. But this newer film notably manages to deliver Wick-style thrills and charismatic characters while taking some very big swings to establish its own unique cinematic identity.

GUNPOWDER MILKSHAKE SCORE

Gunpowder Milkshake is ultimately a great film for anyone who likes great action scenes, and if you happen to love Gillan, Headey, and Yeoh (honestly, who doesn’t?), it’s even better. Of course, milkshakes aren’t for everyone, and you won’t know if this is your new favorite sugar bomb or just a bomb in general until you stream it on Netflix. Fair warning: if you’re a Doctor Who fan like me, you might spend half the movie singing “Amy’s got a gun” to the dulcet tones of Aerosmith.

Bunnie Xo is setting the record straight on the speculation surrounding her divorce from Jelly Roll.

“I’ve seen this narrative online where people are like, ‘Bunnie was embarrassing Jelly.’ That’s why he wanted the divorce. ‘She’s not good for his PR,’” Bunnie, 46, said during the Friday, June 26, episode of her “Dumb Blonde” podcast. “I’m just like, please, it’s not me, OK. It’s not me, and that’s completely false.”

In the wake of their split, Bunnie (real name Alisa DeFord) told listeners that her DMs are open. While some podcast listeners have written in asking for advice, others have written “crazy” things.

Friday’s episode of the podcast was an “ask, tell, confess” installment, meaning listeners wrote into Bunnie. One message came from a man getting out of a “10-year bid” in prison asking for “a time” with her when he’s released.

“What I don’t like is he said, ‘Let me go out and have a time with you.’ So that’s where it’s like, OK, so you’re just expecting me to put out on this first date?” Bunnie said. “Listen, same. I just got out of a 10-year bid too, bitches, what are we talking about?”

Bunnie was laughing while telling listeners that she’s “gonna get a phone call” from Jelly (real name Jason Bradley DeFord) after that comment.

“I’m sorry, OK,” she said. “Just cutting a rug, buddy.”

Jelly submitted a petition for divorce in Tennessee on May 18. However, their split news didn’t go public until June 15.

“On Mother’s Day, we had a little bit of an argument, which I don’t think the details are necessary,” Bunnie explained on the June 18 episode of her “Dumb Blonde” podcast, detailing what led to their divorce.

“I was so fed up and so tired that I just looked at him and I said, ‘Well, then file the f***ing divorce papers,’” she claimed. “And in our relationship, that is the one cardinal thing that you don’t say. Even though my husband has said it numerous times ‘cause he’s the runner.”

Related: Inside Bunnie Xo and Jelly Roll’s Shocking Split: What Went Wrong?

Bunnie Xo is ready to shine a light on what went wrong in her nearly 10-year marriage to Jelly Roll. “My family was always so important to me, and when I said those vows with him, I really meant them,” Bunnie, 46, shared on the Thursday, June 18, episode of the “Dumb Blonde” podcast. “J […]

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Jelly was apparently “so mad” that he did what she said.

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“Was I blindsided? And was this divorce mutual? No, it was not mutual,” she added. “Even though I told him to file the divorce papers, I was speaking out of anger and just frustration.”

Bunnie referred to Jelly as her “best friend” despite their breakup.

“I don’t care how f***ed up our relationship was, which it wasn’t that f***ed up. I don’t care how much we didn’t communicate or how things shook out,” she said. “I was riding with this motherf***er till the wheels fell off. I didn’t care. I felt like we deserved a chance to go to therapy and figure s*** out. He didn’t feel that way and I respect it.”

When Superman premiered last year, it accomplished something the DC brand had struggled to find for years: a clear creative identity. James Gunn proved audiences were ready to embrace a version of DC that was colorful, optimistic, unabashedly comic book, and completely sincere. It was exactly the kind of reset the franchise needed after years of tonal uncertainty. That identity is one of the DCU’s greatest strengths, but it also carries its biggest risk.

After watching Supergirl, I’m less concerned about whether the movie succeeds on its own than I am about what it suggests for the future of the franchise. The movie introduces an excellent Kara Zor-El in Milly Alcock, but it also feels strangely hesitant to establish its own personality. Too often, it feels like it’s chasing the same rhythms that made Superman work rather than discovering what makes Supergirl unique. If that’s the template going forward, the DCU could end up making the same mistake every shared universe eventually faces: confusing consistency with sameness.

The DCU Needs an Identity, Not a Formula

There’s a reason Superman resonated with so many people, and it wasn’t simply because it was hopeful. It was because Gunn committed to a very specific vision from beginning to end. Every emotional beat, joke, action sequence, and supporting character felt like it belonged to the same filmmaker. Whether someone loved the movie or hated it, nobody walked away wondering whose voice they had just watched. That’s exactly what the opening chapter of a cinematic universe should accomplish. The problem is that a filmmaker’s voice isn’t something that can be copied by someone else. You can recreate the broad ingredients: offbeat humor, obscure comic references, heartfelt speeches, quirky side characters, licensed music. You can’t recreate the instincts behind them.

That’s where Supergirl stumbles. The movie frequently feels like it’s working from the outline of what a Gunn movie looks like without fully understanding why those choices worked in Superman. The result is a movie that often feels familiar but rarely surprising. Scenes unfold exactly as you’d expect them to, emotional moments arrive on schedule, and even the dialogue starts to feel predictable, as though every character is speaking with the same cadence. That’s not a franchise identity: that’s a formula.

Shared Universes Work Best When Directors Leave Their Fingerprints

Image via Warner Bros. Pictures

The best cinematic universes don’t ask every filmmaker to make the same movie, they ask every filmmaker to tell a different story inside the same world. That’s why some of the strongest entries in the MCU still stand apart years later. Captain America: The Winter Soldier feels nothing like Guardians of the Galaxy. Black Panther has a completely different energy from both. They’re connected through continuity, but they’re driven by distinct creative voices. The DCU should want the same thing. That doesn’t mean abandoning the hopeful tone Gunn established, it means giving filmmakers permission to explore different genres, different visual styles, and different emotional perspectives while respecting the universe they’ve inherited.

Ironically, that’s exactly what DC Comics has always done well. Batman, Superman, Swamp Thing, Wonder Woman, and Supergirl all inhabit the same universe on the page, but their stories rarely feel interchangeable. The characters shape the storytelling, not the other way around. That’s what Supergirl needed more of. Kara shouldn’t simply feel like she’s existing inside Superman’s creative shadow, she should have a perspective, rhythm, and emotional identity that belong entirely to her. Alcock gives the character that spark throughout the movie. The movie surrounding her never quite catches up.

James Gunn’s Biggest Job Isn’t Directing ‘Superman’ Anymore

Gunn has already proven he knows how to make a great DC movie. The bigger challenge is proving he knows how to build a universe where other filmmakers can make great DC movies, too. That’s an entirely different responsibility. If every project starts chasing the tone that made Superman or any of other Gunn’s superhero projects successful, audiences will eventually notice the repetition. One of the biggest advantages comic book adaptations have over almost every other franchise is the sheer variety of stories they can tell. The DCU should feel big enough for political thrillers, cosmic adventures, gothic horror, fantasy epics, and intimate character dramas to coexist. That’s how comic books have survived for generations.

Supergirl doesn’t convince me the DCU has found that balance yet. It feels caught between honoring Gunn’s vision and establishing one of its own. That’s a difficult line for any filmmaker to walk, but it’s also one the franchise has to figure out sooner rather than later. Because the future of the DCU shouldn’t depend on every director trying to make the next James Gunn movie, it should depend on finding filmmakers who understand these characters well enough to make them feel unmistakably like themselves.

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Release Date

June 26, 2026

Runtime

108 minutes

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Writers

Ana Nogueira

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Producers

James Gunn, Lars P. Winther, Nigel Gostelow, Peter Safran

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Social media users are weighing IN after Willie Taylor said Day 26 would have “smoked” Pretty Ricky and B2K in a Verzuz.

RELATED: Raz-B Turns Heads With “PSA” Message For Pretty Ricky As Pleasure P Spills Tea On Verzuz Plans (PHOTO + VIDEOS)

Willie Taylor Says Day 26 Would Have “Smoked” Pretty Ricky & B2K In Verzuz

On the evening of Thursday, June 25, Willie Taylor took to Instagram, initially sharing a brief text post.

“Honestly Speaking… We would have SMOKED both Groups Tonight!!!! SMOKED!!” he wrote before adding an additional caption. “Great Show tonight fellas. But for what verzuz consist of easy Work!!!”

Subsequently, Taylor then shared footage of himself, elaborating on his thoughts in real time. Ultimately, Taylor doubled down on his claim that Day 26 would have B2K and Pretty Ricky off the stage.

Social Media Users Are Weighing IN After Willie Taylor Said Day 26 Would Have “Smoked” Pretty Ricky & B2K In Verzuz

Social media users quickly slid into TSR’s comment section, sharing their thoughts on Willie Taylor’s statement about Day 26 and largely defending Pretty Ricky.

More On The Groups’ Battle

As The Shade Room previously reported, Pretty Ricky and B2K faced off in a Verzuz battle on Thursday, June 25. Ultimately, the battle left most social media users declaring Baby Blue, Spectacular, and Pleasure P the victors.

RELATED: Social Media Goes Off Over B2K And Pretty Ricky Verzuz As The TL Brings All The Smoke (VIDEOS)

The Secret Lives of Mormon Wives’ Whitney and Conner Leavitt are giving fans an update on the show’s fifth season.

Production on season 5 of the hit Hulu reality show was paused back in March amid allegations of a domestic incident between Taylor Frankie Paul and ex Dakota Mortensen. The Salt Lake County District Attorney’s Office ultimately declined to press charges against Taylor, 32, in April.

After news broke of the charges being dropped, Us Weekly confirmed that production on Mormon Wives season 5 was set to resume.

“It’s not completely wrapped up. We just need to finish out the season, which will finish soon, and then that’ll be my last one,” Whitney, 33, shared on Trisha Paytas’ “Just Trish” podcast on Thursday, June 25.

Related: What to Know About ‘The Secret Lives of Mormon Wives’ Season 5

MomTok will be back on the screen for The Secret Lives of Mormon Wives season 5. The series, which premiered on Hulu in 2024, introduced fans to Jen Affleck and husband Zac Affleck, Demi Engemann and husband Bret Engemann, Whitney Leavitt and husband Conner Leavitt, Mikayla Matthews and husband Jace Terry, Mayci Neeley and husband […]

Conner, 32, claimed that Hulu has “cut the season short … five episodes only.”

“They’re having everyone go back to basically do interviews, wrap up a couple of things,” he added. “I think that’ll be a very abbreviated season considering all the things that happened publicly.”

As Whitney prepares to leave Mormon Wives, she also gave an update on her relationships with her fellow MomTok influencers.

“I feel the support. I feel like this is literally the first time ever I’m, like, good with everyone. It’s a breath of fresh air. No drama,” the Dancing With the Stars alum said.

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Related: What Whitney Said About Leaving ‘Mormon Wives’ Before Her Official Exit

Whitney Leavitt wasn’t afraid to hint at her potentially leaving The Secret Lives of Mormon Wives well before her official exit. During Hulu’s hit reality TV series’ 2024 inaugural season, Leavitt flirted with the idea of quitting the show when she decided to leave MomTok, the Mormon Wives stars’ content creation group. Despite leaving the […]

Whitney, who also recently played Roxie Hart in Chicago on Broadway, confirmed her Mormon Wives exit in May.

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“You’re going to want to sit down for this video. I am leaving The Secret Lives of Mormon Wives. Take a minute. Take it in,” she said in an Instagram video. “I feel like I had to start my video that way. I’ve seen a lot of conversation on my announcement, so I just wanted to come on here and share my thoughts.”

“Just to be very clear, I am finishing season 5. So yes, I will be in that season. But also yes, it will be my last,” Whitney added. “It’s honestly so crazy to me looking back on this journey because I had been trying to get into theater and film way before Secret Lives even came into my life.”

“I feel content,” Whitney said. “I feel like this is a chapter that’s closing in my life and honestly, I believe that’s how it was always meant to be. I’m so grateful for The Secret Lives of Mormon Wives. It’s got me where I am today. It’s given me the opportunities that you all have seen, but I’m ready. I’m ready for the next chapter, and I cannot wait to share with you guys what’s next.”