For present purposes, if a movie is 100% animated in any style (or like 99% animated), and it’s great and/or historically significant in some way, there’s a good chance you’ll find it below. This does disqualify certain movies, though, like the ones that are made up of animated and live-action elements (like Who Framed Roger Rabbit and Marcel the Shell with the Shoes On). Also, the two Avatar sequels are borderline works of animation, but not enough to be considered here in any event.

There’s a combination of kid-friendly and adult-focused animated movies below, too, to demonstrate how animation can indeed be for all ages, but not necessarily all the time. There’s also an attempt to not have too many movies from the same source below, but the heavy-hitters won’t be restricted to just one title or anything (so be prepared for multiple Studio Ghibli, Disney, and Pixar movies, inevitably).

25

‘Mary and Max’ (2009)

Image via Screen Australia

To start with something that’s just about as heavy as any animated movie has ever been, here’s Mary and Max, a movie sure to upset any kids who accidentally watch it, and one likely to upset any adults who willingly watch it (but in a good way… sort of). Basically, it’s about two pen pals who live on opposite sides of the world and are also at very different stages of their respective lives.

One is a young girl, and the other’s a middle-aged man, but both are going through some stuff and find that letters from the other make the other, more miserable parts of their lives a little easier to handle. That’s not to say Mary and Max is super heartwarming or anything, because if it’s bittersweet, it’s probably more bitter than sweet, but at least there is still some heart here among all the darkness and misery.

24

‘Sleeping Beauty’ (1959)

Image via Walt Disney Studios Motion Pictures

Get used to seeing some Disney movies show up here, because look, Disney’s Disney, and good old Walt’s company was a pretty significant one if you’re talking about animated films. Sleeping Beauty isn’t one of the very oldest, but it’s far back enough in history to very much be a classic, and the story here is… you know, Sleeping Beauty.

There’s an evil fairy, a princess who’s under the protection of some non-evil fairies, and then a prince who inevitably has to save the princess because this is a pretty straightforward fairy tale sort of thing, but that’s okay. Sleeping Beauty really shines because, fittingly for a movie with the word “Beauty” in its title, it’s really beautiful to look at, and the images on offer do leave quite a mark, regardless of the age you’re at when you first watch this movie.

23

‘Flow’ (2024)

Image via Baltic Content Media

A film that plays out without any dialogue, and little by way of a concrete story, even, Flow doesn’t need those things that the vast majority of movies nowadays have to prove compelling. There’s a flood that forces a cat onto a boat, and joining the cat on the boat are a bunch of other displaced creatures, and the bunch of them have to survive the strange and desolate world they find themselves in.

It’s really beautifully made, and quite moving at times, also utilizing animation well in the sense that it’s not the kind of thing you could make in live-action. Flow is also worth highlighting as a film that all ages can likely enjoy, even if it’s not primarily focused on being a kids’ movie, since it’s a little more eerie and experimental than most, owing to the mysterious narrative (or lack thereof) and the fact that it’s all dialogue-free.

22

‘Redline’ (2009)

Image via Tohokushinsha Film

An animated sports movie (kind of), Redline is about futuristic car racing done in space, and so everything is much faster than the comparatively pitiful racing that those of us stuck in the (relatively) early 21st century might be used to watching. The story here is serviceable, but you don’t need much more than the basics, since the style and racing sequences are where Redline shines.

Its action is incredibly ambitious, since Redline was famously animated using surprisingly old-school means for a film that feels anything but old-school in style and intensity. The production sounded painstaking, which makes it extra sad that not enough people really know about the movie in general. If you’re even a little interested in seeing something uniquely animated and executed, it’s basically required viewing.

21

‘The Nightmare Before Christmas’ (1993)

Image via Touchstone Pictures

A movie that boldly says “You can be both a Christmas and a Halloween film at once,” and does so without necessarily being a horror movie as well, The Nightmare Before Christmas is instead a fantastical stop-motion musical, because why not? It’s a lot, and it’s also not long, at just 76 minutes, and it’s not for everyone, but it sure is something.

There aren’t really any other movies like The Nightmare Before Christmas, though some Tim Burton stop-motion movies scratch a similar itch… he didn’t helm this one, though, since Henry Selick was the director. Even if you find this one kind of annoying at times, and not particularly funny (though it seems like it’s trying to be), the animation is honestly pretty stunning to behold, and it’s hard not to give the film at least a few points for being so distinctive.

20

‘Shrek’ (2001)

Image via DreamWorks Pictures

Some say Shrek is life, some say Shrek is love, but really, Shrek is just Shrek. It is not the greatest kids’ movie that’s got its fair share of stuff only older viewers will pick up on and appreciate, nor was it the first to target different age groups in different ways, though it did so particularly well, and also proved influential with its tone and approach to comedy.

And it was okay that Shrek proved influential, since it really is strong on a comedic front, all the while also having a level of heart that kind of sneaks up on you, since the movie is very irreverent until it’s not. It makes fun of fairy tales and then delivers quite a bit by way of fantasy and romance, though not in the way you’d necessarily expect. Naturally, Shrek doesn’t feel as surprising nowadays, owing to comparable films that have come in its wake, but considering it came out almost 25 years ago, it’s pretty easy to appreciate a lot here.

19

‘The Wolf House’ (2018)

Image via Globo Rojo Films

The Wolf House is best summed up as an absolute nightmare, but also an absolutely absorbing one. It’s hard to describe just why it’s so unsettling and effective as a stop-motion horror movie, since you kind of just have to see it. The way it’s animated is certainly a factor, since it utilizes what feels like a real-world environment, just animated things that seem otherworldly within that space, and in a more three-dimensional way than you might be used to seeing in a stop-motion movie.

It’s also based on a real-life cult in Chile that was formed around the middle of the 20th century, with the narrative involving someone escaping from said cult and being haunted by the memories and trauma associated with it. So, The Wolf House is not easy viewing, by any means, and proves deeply unsettling with both its subject matter and its style of animation, though it is also quite the remarkable experience if you’re feeling up to handling something extremely dark.

18

‘South Park: Bigger, Longer & Uncut’ (1999)

Image via Paramount Pictures

After being controversial and profane in its early seasons (which do seem quaint now, in hindsight), South Park escalated things considerably by doing a movie surprisingly early in its run: South Park: Bigger, Longer & Uncut. The movie came out while the third season of the show was on the air, and it made use of its status as an R-rated film by being more profane and crude, kind of in line with where the show would go in its (much) later seasons.

Narratively, South Park: Bigger, Longer & Uncut is also pretty ambitious, since it’s about a profanity-related moral panic spiraling out of control and leading to an all-out war between Canada and the U.S. It’s a movie with lots to say, on a satire front, and it’s also a musical… a surprisingly great one, honestly. It’s not exactly fair to compare it to individual episodes of the show, but if you wanted to, then there are only really a few classic episodes that rival it in creativity, provocation, and comedy.

17

‘Beauty and the Beast’ (1991)

Image via Walt Disney Studios Motion Pictures

Like with Sleeping Beauty, there’s a story in Beauty and the Beast that’s very much a fairy tale, and centered around a young woman and a prince, but the woman feels a bit more like a full-formed character, and the prince is actually, you know, a beast. And the beast keeps the beauty locked up for a while, early on, but comes to care for her, and also isn’t the ultimate villain of the story.

You do have to get past the kidnapping stuff, and so too do the titular (and eventual) lovers, but Beauty and the Beast handles it pretty well without things feeling too uncomfortable. If Beauty and the Beast had been attempted some decades before the 1990s, it might not have been pulled off so well, but those working for Disney in this decade really knew how to spin a good story out of premises that might’ve initially seemed questionable… well, excluding Pocahontas, at least.

16

‘Finding Nemo’ (2003)

Image via Pixar Animation Studios

You’re not going to believe this, but in Finding Nemo, there’s a fish called Nemo, and he needs to be found, and there’s your movie. It came out at a time in Pixar history when the studio had put out a couple of surprisingly emotional movies about toys, and one pretty damn good movie about monsters, but Pixar wasn’t as much of a powerhouse (both power and houses were plentiful and noticeable by about 2010), so maybe some might’ve found such a premise questionable, back in 2003.

But Finding Nemo really makes you care about the relationship between the titular Nemo and his father, and why finding the former is so important. It also works as a pretty great undersea adventure movie, or like a road movie without any cars and with lots of fish, but it’s the movie’s emotional core that elevates it from good to great.

Eric Swalwell has suspended his campaign for Governor of California amid claims he sexually assaulted and harassed at least four women.

“I am suspending my campaign for Governor,” the politician, 45, announced via X on Sunday, April 12. “To my family, staff, friends, and supporters, I am deeply sorry for mistakes in judgment I’ve made in my past.”

The post continued, “I will fight the serious, false allegations that have been made — but that’s my fight, not a campaign’s.”

The post was shared just hours after one of four women who have formally accused the congressman of misconduct spoke out publicly.

Related: Eric Swalwell Releases Video Amid Additional Sexual Assault Allegations

Congressman Eric Swalwell, a Democrat representing California’s 14th congressional district, is addressing claims he sexually assaulted and harassed numerous women, including former coworkers, while in office. “A lot has been said about me today through anonymous allegations. I thought it was important that you see and hear from me directly,” the congressman, 45, said in […]

Ally Sammarco, the only woman who revealed her identity, wrote via an X post of her own on Sunday, “This has not been easy for me or the other women. I have so much respect for them for telling their stories.”

Sammarco continued, “I shared mine publicly because I have a platform and resources that others may not — and I wanted to help validate their experiences. None of this is our fault. This is about abuse of power. No one paid us to come forward.”

Per a CNN investigation that brought all allegations to light, Sammarco accused Swalwell of offering to “share her resume” with congressional offices before allegedly sending “very inappropriate” messages via Snapchat “insinuating we should get together and hook up.”

Four women have accused Swalwell of sexual misconduct and harassment. CNN first reported on Friday, April 10, that all four women allegedly had encounters with the politician, ranging from inappropriate messages to rape.

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Related: What to Know About Eric Swalwell’s Misconduct Scandal and Investigation

Congressman Eric Swalwell is facing sexual assault allegations from multiple women, a Manhattan District Attorney’s investigation and calls from top Democrats to end his campaign for California governor. Four women — including a former staffer who claims the politician raped her — accused Swalwell in April 2026 of sexual misconduct and harassment. Swalwell has categorically […]

Swalwell was the frontrunner in the gubernatorial race at the time of the public allegations. Prior to his formal withdrawal, numerous prominent members of the Democratic party called for him to end his campaign.

“Following the incredibly disturbing sexual assault accusations against Congressman Eric Swalwell, we call for a swift investigation into these incidents and for the Congressman to immediately end his campaign to be California’s next governor,” House Minority Leader Hakeem Jeffries said in a joint statement alongside Democratic Whip Katherine Clark and Democratic Caucus Chair Pete Aguilar.

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“This is unacceptable of anyone — certainly not an elected official — and must be taken seriously,” the statement continued. “We commend the courageous women for sharing their experiences. In this and all circumstances, we must ensure that those who come forward with allegations of sexual assault and harassment are heard and respected. All perpetrators of sexual assault and harassment must be held accountable.”

Us Weekly has reached out to Swalwell’s communications director for comment.

If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). https://www.rainn.org/

Dax Shepard and Eric Dane were close friends; however, things weren’t always great between them. In fact, Shepard recently revealed that he initially “hated” the “Grey’s Anatomy” star after having an intense interaction with him during a recovery meeting. Once the dust between them had settled, though, the actors realized they were more alike than they realized.

Dax Shepard ‘Hated’ Eric Dane … Described Him As A ‘Bit Of A Bully’

Speaking with Anderson Cooper at the New Orleans Book Festival, Shepard recalled the first time he bumped heads with Dane.

“Eric Dane, I can now say I met in recovery and we hated each other. I hated him,” Shepard said. “I thought he was a bit of a bully.”

Shepard went on to reveal that things had reached a boiling point between them when he noticed Dane allegedly exerting his power over a younger guy.

Shepard said he’d had enough by that point and said to Dane, “Let’s go. Outside. Right now.” Shepard explained that the pair made their way to the parking lot to throw down, but others intervened.

How Dax Shepard Found Himself Relating To Eric Dane After Almost Getting Into A Physical Fight

And while the pair almost came to blows, Shepard said Dane chose to return to their recovery meetings.

From there, the pair formed a friendship over the “course of the next two years.” Shepard said he “found myself starting to kind of relate to him. I heard his story.”

Shepard revealed that Dane allegedly opened up about the hardships in his life, such as losing his father by suicide and being forced to suppress his grief.

“So that little boy held onto that. And then that little boy grew up without a dad, like I grew up without a dad, and he was so in search of masculine validation, and it took all these shapes that I hated. That I’m sure he hated in me,” Shepard said.

Eric Dane Relapsed While Filming ‘Grey’s Anatomy’

Dane has been open about his struggles with addiction. In the past, he said he was sober for years before joining the cast of “Grey’s Anatomy”; however, he relapsed in 2007.

“If you take the whole eight years I was on Grey’s Anatomy, I was f—ed up longer than I was sober and that was when things started going sideways for me,” he said, according to PEOPLE.

Dane was let go from the series in 2012 when his character, McSteamy, was killed in a crash. And despite relapsing while filming, Dane said his drinking was not the reason he was let go.

“I was struggling. They didn’t let me go because of that, although it definitely didn’t help,” he said. “I was starting to become — as most of these actors who have spent significant time on the show — you start to become very expensive for the network.”

Eric Dane Passed Away In February 2026 After A Years-Long Battle With ALS

According to a previous report from The Blast, Dane passed away in February 2026 after a years-long battle with ALS. He was 53.

ALS, or Amyotrophic Lateral Sclerosis, is a nerve-system disease that causes loss of muscle control, according to the Mayo Clinic.

Dane’s family released a statement to TMZ after his passing, confirming the actor was surrounded by family at the time of his death.

In addition to his role on “Grey’s Anatomy,” Dane also starred in “The Last Ship,” “Bad Boys: Ride or Die,” “X-Men,” and “Euphoria.”

Shonda Rhimes Pays Tribute To Dane Following His Sudden Passing

Several of Dane’s former co-stars paid their respects to the late actor, according to The Blast. “Grey’s Anatomy” creator Shonda Rhimes also gave her condolences before remembering him with a moving social media post.

“Eric Dane was a beloved member of the Shondaland and Grey’s Anatomy families. He was truly a gifted actor whose portrayal of Dr. Mark Sloan left an indelible mark on the series and on audiences around the world. We are grateful for the artistry, spirit, friendship, and humanity he shared with us for so many years. Our hearts are with his family, loved ones, and all who were touched by his work,” Rhimes captioned a photo of them on Instagram.

Bravo superfan Jon Hamm has broken his silence on the drama surrounding the “Summer House” crew lately. While promoting his Apple TV series “Your Friends & Neighbors” on the red carpet, the actor gave his honest opinion on West Wilson and Amanda Batula, who recently announced they were dating after weeks of speculation.

Jon Hamm Gets Real About What’s Going On Amongst The Cast Of Bravo’s ‘Summer House’

For those who may be unfamiliar, Hamm is a loyal Bravo watcher, often speaking with Bravo figurehead Andy Cohen about his love of the “Real Housewives” franchise.

However, in April 2026, he took a moment to speak with Us Weekly about the ongoing drama between Wilson, Batula, and the rest of the “Summer House” cast.

While he admitted he doesn’t keep up with the show that much, he knows what’s going on.

“I know that kid West because he’s from Missouri, so I’ve talked to him on a red carpet,” Hamm said. “Seems like a nice guy. Seems to be in over his head.”

Hamm Says Things Must Be ‘Tough’ For The ‘Summer House’ Crew Right Now

According to The Blast, Wilson and Batula confirmed their relationship in a joint Instagram post in late March 2026.

“We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity,” their statement read. “It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we need a little space to process things privately before speaking on it.”

Hamm acknowledged the complexities of Batula and Wilson’s relationship, especially considering Wilson used to date Batula’s former best friend, Ciara Miller, calling it a “tricky thing.”

“I can’t imagine living your life with cameras in front of your face when you’re not on set. So I don’t know how — that must be tough. I feel for all of them,” he added.

‘Summer House’ Stars Wilson And Batula Confirm Relationship After Weeks Of Speculation

Wilson and Batula’s relationship came as a major surprise to Bravo viewers and even other “Summer House” cast members. Although the rumors had been circulating for weeks, Wilson and Batula repeatedly denied them.

Most recently, Wilson shot down the speculation on an episode of “Watch What Happens Live,” telling Cohen that he and Batula were seen hanging out in NYC as platonic friends. “But if it’s not clear, that’s a very important person to me, and I care about her a lot,” he said.

After backtracking and later confirming that they were, in fact, seeing each other, Batula’s ex, Kyle Cooke, said he was “frustrated” with her about the situation. “I’m obviously disappointed in her,” he added.

Batula finally spoke out after facing online backlash, revealing her plan to return to her normal life amid the chaos.

“Hi guys, I’ll keep this short and sweet. I’ve obviously been MIA, but I wanted to come back on and say that I’m truly sorry to everyone I’ve disappointed and hurt, especially those I know personally who I’ve reached out to individually,” she said.

“For the sake of my mental health, I’m going to try to start living life with some sense of normalcy. If you see me out or posting online, please know that this still weighs very heavily on me. I’m not ignoring what’s happened or what’s unfolded.”

Batula confirmed she would attend the “Summer House” season 10 reunion, scheduled to be filmed in the coming weeks, and vowed to answer questions there.

Miller Shares Cryptic Post About Loyalty After Learning Of Wilson And Batula’s Relationship

Miller hasn’t said much about the scandal; however, she shared a cryptic message about loyalty on her Instagram.

Sharing snaps of herself in the NYC streets with a Sephora bag, Miller captioned the flicks, “@sephora actually rewards loyalty.”

Miller had been open on the show about how the fallout of her relationship with Wilson affected her.

According to Bravo’s Daily Dish, Miller blasted Wilson at the “Summer House” reunion, revealing Wilson introduced her to his parents, slept with her, and then dumped her because he didn’t want to miss out on other relationship opportunities.

“I think that’s mean to take someone to your parents’ house and want to sleep with them when you have no intention of doing anything,” Miller said through tears.

“Summer House” is streaming now on Peacock.

Kim Kardashian and Lewis Hamilton spent quality time together at Coachella 2026.

The reality TV star, 45, and Formula 1 racer, 41, were spotted linking arms while attending Justin Bieber’s headlining set in Indio, California, on Saturday, April 11. In photos published by TMZ the following day on Sunday, April 12, the pair were seen concealing their faces with scarves and bandanas to maintain a low profile.

Kim also posted footage of Bieber, 32, performing on stage at the annual music and arts festival via her Instagram Stories once the pop star’s set wrapped.

Hamilton, who shared a friendship with Kim before Us Weekly confirmed in February that the pair had begun casually dating, showed his support for Bieber by wearing a hoodie emblazoned with the word “Bieberchella” across the front.

Related: What to Know About Kim Kardashian and Lewis Hamilton’s Romance

Kim Kardashian and Lewis Hamilton’s romance was years in the making. Sources exclusively told Us Weekly that the friends-turned-lovers are “really happy” — and those closest to both of them believe their newfound relationship “could be endgame.” FULL STORY: [Here] Here’s everything to know about their blossoming courtship so far: • Kardashian and Hamilton’s friendship […]

Kim, meanwhile, flaunted her famous figure in a low-cut black halter top paired with skintight black pants.

The pair have been spending ample time together in recent weeks, with Kim spotted as a passenger in Hamilton’s car earlier this month. In a Monday, April 6, Instagram post, shared by the racecar driver, the SKIMS founder smiled for the camera before the vehicle came to a halt. “That’s insane,” she then said.

Us reported on February 3 that Kim was “ready to put herself back out there recently,” after a tumultuous few years that saw her divorce ex-husband Kanye West and break off a romance with Pete Davidson.

An insider told Us at the time that Hamilton and Kim were “going strong and really happy” after they were seen sitting together in a private box at Super Bowl LX.

A second source told Us, “Lewis is head over heels and those closest to him believe he has finally met his match. He has waited over a decade for his dream girl and is crazy about her.”

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The insider continued, “They are both very committed to making things work no matter how long the distance is or how busy they are. Because their relationship started with a friendship first, those closest to them believe this could be endgame for them both.”

More recently, Kim visited Tokyo, Japan, with several of her children and sister Khloé Kardashian, where Hamilton joined the group. During the vacation, multiple social media videos showed Hamilton walking along streets with Kim and Khloé, 41. (Kim shares daughters North, 12, Chicago, 8, and sons Saint, 10, and Psalm, 6, with West, 48.)

Kim and Hamilton’s friendship goes as far back as 2014 when they posed together at the GQ Men of the Year ceremony alongside West and Hamilton’s then-girlfriend Nicole Scherzinger.

The season 3 premiere of Euphoria had fun with the time jump by having Rue smuggle — and poop out — drugs in balloons while Cassie is enjoying life as a right-wing suburban wife.

During the Sunday, April 12, episode of the hit HBO series, Rue (Zendaya) recapped how her debt to a drug dealer turned into her smuggling fentanyl from Mexico to America through drug balloons. She would swallow them and have to make it back home in time to poop them out to help distribute.

Rue tried to pivot careers by asking a strip club owner named Alamo (Adewale Akinnuoye-Agbaje) to employ her. They connected after she told him she believed in God and following a brief test where he tried to shoot an apple off her head, Rue and Alamo were in business.

Cassie (Sydney Sweeney), meanwhile, was living in a right-wing area with Nate (Jacob Elordi). She wanted to have a big wedding, which meant Cassie was trying to make it big on OnlyFans by creating sexy videos of her as a dog — amongst other things.

Related: ‘Euphoria‘ Cast: See the HBO Show‘s Stars Then and Now

Euphoria fans have watched the cast change on and off screen since the series first debuted. Based on the Israeli series of the same name, Euphoria follows troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The series also explores topics including mental illness, toxic relationships, sexuality and more. After […]

Then there was Lexi (Maude Apatow) who was working in Hollywood as an assistant and avoiding Fez’s calls. (It was mentioned that he was serving 30 years behind bars as a way to explain Angus Cloud‘s death.) Maddy (Alexa Demie) was also finding mild success working for a talent manager.

Euphoria, which premiered in 2019, originally followed troubled high school student Rue as she struggled to remain sober after rehab. The hit HBO series was quickly renewed for a second season after its premiere, but it took nearly three years for the episodes to air.

Season 3 was originally set to air on HBO in 2025 before facing several obstacles, including Levinson’s commitment to his short-lived series The Idol. The dual WGA and SAG-AFTRA strikes, which took place in late 2023, prolonged the delay.

Euphoria ultimately went into production later that year on the show’s final season. Since season 2 concluded, the cast went through a loss when Cloud died at age 25 in July 2023 following an accidental overdose and Eric Dane‘s death in February after a battle with ALS.

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Related: ‘Euphoria’ Tragedies: Most Shocking Deaths Through the Years

The Euphoria cast and crew have mourned the deaths of some of their colleagues over the years. Euphoria, which premiered in 2019, originally followed troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The hit HBO series was quickly renewed for a second season after its premiere, but it took […]

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“Some people ask why it took so long between seasons 2 and 3. There were obvious factors — the strikes, trying to make a schedule work with our very in-demand cast, but the real time was in trying to figure out how to find a way to pay respect to those who we lost,” creator Sam Levinson said in a speech ahead of the season 3 premiere.

He continued: “When Angus died, it was tough. I loved him deeply, and I fought hard to keep him clean. The year he died, in 2023, he was one of 73,000 people in America who died of a fentanyl overdose. I learned a whole lot that year, but what I realized more than anything is that death is what gives life meaning. You can’t be arrogant about existence. You’re forced to reckon with the fact that life itself is a wonder, a gift, a profound blessing.

Euphoria airs on HBO Sundays at 9 p.m. ET.

Euphoria‘s season 3 premiere found a way to pay tribute to Eric Dane after his death.

Before the episode aired on Sunday, April 12, a title card with Dane’s photo was shown, with the message, “In remembrance of Eric Dane.” The actor is still expected to make an appearance in the upcoming season as Cal.

News originally broke in February that Dane died after a battle with ALS, which is a nervous system disease that affects nerve cells in the brain and spinal cord and has no cure.

“He spent his final days surrounded by dear friends, his devoted wife, and his two beautiful daughters, Billie and Georgia, who were the center of his world,” read a statement from Dane’s loved ones. “Throughout his journey with ALS, Eric became a passionate advocate for awareness and research, determined to make a difference for others facing the same fight. He will be deeply missed, and lovingly remembered always.”

Related: ‘Euphoria’ Tragedies: Most Shocking Deaths Through the Years

The Euphoria cast and crew have mourned the deaths of some of their colleagues over the years. Euphoria, which premiered in 2019, originally followed troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The hit HBO series was quickly renewed for a second season after its premiere, but it took […]

The statement concluded: “Eric adored his fans and is forever grateful for the outpouring of love and support he’s received. The family has asked for privacy as they navigate this impossible time.”

Dane originally went public with his diagnosis less than a year prior.

“I have been diagnosed with ALS,” he said in an April 2025 statement. “I am grateful to have my loving family by my side as we navigate this next chapter. I feel fortunate that I am able to continue working and am looking forward to returning to [the] set of Euphoria next week. I kindly ask that you give my family and I privacy during this time.”

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Dane isn’t the only costar the Euphoria cast has lost. Angus Cloud, who played Fez, died in July 2025 following an accidental overdose. He was 25.

Related: ‘Euphoria‘ Cast: See the HBO Show‘s Stars Then and Now

Euphoria fans have watched the cast change on and off screen since the series first debuted. Based on the Israeli series of the same name, Euphoria follows troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The series also explores topics including mental illness, toxic relationships, sexuality and more. After […]

“Some people ask why it took so long between seasons 2 and 3. There were obvious factors — the strikes, trying to make a schedule work with our very in-demand cast, but the real time was in trying to figure out how to find a way to pay respect to those who we lost,” creator Sam Levinson said in a speech ahead of the season 3 premiere.

He continued: “When Angus died, it was tough. I loved him deeply, and I fought hard to keep him clean. The year he died, in 2023, he was one of 73,000 people in America who died of a fentanyl overdose. I learned a whole lot that year, but what I realized more than anything is that death is what gives life meaning. You can’t be arrogant about existence. You’re forced to reckon with the fact that life itself is a wonder, a gift, a profound blessing.”

A lot of World War II movies are built around heroism, sacrifice, and the broader sweep of history. Fury has some of that in it, sure, but what it really wants you to feel is mud, exhaustion, terror, and the sense that everyone involved is hanging on by a thread. David Ayer’s 2014 war film is ugly on purpose, and that’s why it works. It isn’t interested in making combat look noble. It wants it to feel like hell. Netflix subscribers won’t have much longer to watch it there.

Fury is among the films leaving Netflix on May 1, and it has also been singled out as one of the major departures in the service’s early-May lineup. That makes this the last stretch for anyone who’s been meaning to revisit one of the more punishing modern studio war films.

Written and directed by Ayer, the film follows a battle-hardened American tank crew pushing through Nazi Germany in the final months of the war. Brad Pitt stars as Don “Wardaddy” Collier, with Logan Lerman as Norman Ellison, Shia LaBeouf as Boyd “Bible” Swan, Michael Peña as Trini “Gordo” Garcia, and Jon Bernthal as Grady “Coon-Ass” Travis.

Is ‘Fury’ Worth Watching?

Collider’s review stated that Fury is a powerful and brutal war movie, but it does not dig much deeper than its central point that war destroys people. Set during the final stretch of World War II, the film follows the crew of a tank led by Pitt’s Wardaddy, Logan Lerman playing Norman, a young recruit thrown into horrors he is nowhere near ready for. Their relationship gives the movie its emotional core and is easily the strongest part of the film.

“At one point, Wardaddy tells Norman, ‘Ideals are peaceful; history is violent,’ and Fury has a whole lot of violence to show that people are capable of any atrocity on the battlefield. I admire that the men of Fury aren’t good guys but we get the idea that they’ve become bad through war. They were all Normans at one point, but surrounded by so much horror, it’s almost impossible to avoid taking on a new identity in order to make it through hell. It’s the only way for them to survive. Unfortunately, much like their tank, Fury can hit with a bang, but there’s never much room to maneuver.”

Fury leaves Netflix next month.

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Release Date

October 17, 2014

Runtime

135 Minutes

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[Editor’s note: The following contains major spoilers for DTF St. Louis.]

From creator/writer/director Steven Conrad, the season finale of the seven-episode HBO limited series DTF St. Louis has aired, finally revealing the circumstances around the tragic death of Floyd Smernitch (David Harbour). Never set up as a puzzle in need of solving, but instead more of an emotional unraveling, a messy love triangle that shined a light on the loneliness of three people who loved each other and were desperate for connection while looking for it in all the wrong places ultimately collapsed on itself. Clark (Jason Bateman) seemed to genuinely want to boost his friend’s confidence but did so in such a misguided way that it left Floyd feeling trapped in a black hole without the validation and love he so desired. What makes it all even more heartbreaking is watching Clark and Floyd attempt to shortcut fulfillment through the DTF app instead of just getting real with each other and their loved ones about what they were really feeling.

Collider recently got the opportunity to chat one-on-one with Conrad about the season’s undeniably bittersweet ending and what led to Floyd’s fate. During the interview, he discussed the impact Bateman had on who Clark became, creating tension through conversation, Floyd’s Playgirl past and how it affected his present, the unscripted moment in the kitchen in the first episode of the season, having a very clear sense of Floyd’s fate and why it had to play out this way, avoiding fan theories, and whether there could be another season.

Jason Bateman Helped Shape Who Clark Forrest Became in ‘DTF St. Louis’

“His draw to Floyd is immediate because it just makes him feel safe.”

Image via HBO

Collider: You had been working on the development of the series and the characters for a bit of time before you finally got to shoot it. I would imagine there were changes that happened with the characters when it went from Pedro Pascal being in the series to Jason Bateman being in the series. What were the biggest changes that happened with this that you think ultimately worked to the advantage of what the series is now?

STEVEN CONRAD: I hadn’t quite apprehended it, but when Jason and I started to talk about doing this together, he mentioned that some of what Clark’s energy could be is that his draw to Floyd is immediate because it just makes him feel safe. He wanted to start with, “I like being with this guy. This guy is big, he’s keen, he’s really sweet, and he’s funny, and I like being with him.” Jason could do that. You could see Jason’s Clark enjoying being with Floyd in a way that I knew could start somewhere. And then, if you have a place to start, you have a place to go. Jason made that explicit, and it seemed like a very important foothold.

It seems like very different versions of all these characters could have existed.

CONRAD: Clark needs a friend. He really needs a friend. That’s a tricky thing to count on an actor being able to dramatize. I would be so challenged if someone said to me, “Okay, start and make this clear that you need a friend.” I wouldn’t know how to start behaving like that. Jason inherently knew how to do that.

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From a writing standpoint, it feels like there’s a huge challenge you had with this show, with big chunks of episodes being conversations between characters, whether it’s Clark and the detectives, or Clark and Floyd. There are a lot of just people having conversations. Were you ever worried about or nervous about making that interesting and keeping that interesting?

CONRAD: If you just bear in mind, all the time, that you’re really creating tension, and all of it is there to create tension, you can create tension with conversation the same way you can create tension with score. But if you forget that that’s the point, then it can be boring. Hopefully, if they were to be dissected, the idea that this was a genre piece that did have something to say about a mystery, a thriller, a psychological thriller, a weird kind of erotic thriller, these conversations circulate inside the thoughts that would exist in those genres.

Floyd Smernitch Was a Man Fully Committed to His Bad Ideas in ‘DTF St. Louis’

“It probably seemed like a good idea at the time for guys to do an exposé in Playgirl in the ‘90s.”

Image via HBO

How did Floyd’s Playgirl past come about? What led to that detail?

CONRAD: It probably seemed like a good idea at the time for guys to do an exposé in Playgirl in the ‘90s. Our art department researched, and they weren’t really helped out by the concepts. They were very cheap, Top Gun, super macho, comically not good, full commitment to a bad idea kind of thing. I felt like the earlier we could get this notion out, that previously there have been full commitments to bad ideas, it would seem just as likely now that you’re going to make this same commitment to a middle-aged bad idea, something that lacked sense but was also beautiful. Floyd felt very free about his body and didn’t have inhibitions about that. It’s true of his marriage. He’s married to a partner who has very few sexual inhibitions. I like that about their partnership. It’s evolved over time. Some years were more intense, some years very, very quiet. But I feel like those two have a sexuality that was really very rewarding.

Playgirl just came from me wanting to get to know Floyd a little more and wondering what he was like when he was 24. How stupid could he have been? How smart had he been? What was he proud of? There’s a really small detail in there that I’m not even sure is visible, but he has a little get-to-know-you section where they ask him what his favorite snack is and what he wants to be someday. His answers are really very beautiful and honest, and I just wanted that to feel honest, not knowing that someone else might laugh at it.

There’s a shot in the first episode with David Harbour and Linda Cardellini in the kitchen, when he rests his stomach on the celery that’s on the counter. Was that scripted? Did you have a conversation about that? How did that moment happen?

CONRAD: That wasn’t scripted. That was one of the first things we shot. I was still getting to know David, as a partner, on the set. I saw the setting, and he’d come in and out with his belly. I knew that belly could touch the to touch the food that Carol was preparing if he just stood normally by the table. The trick would be to say, “This character is so used to this that he doesn’t even think about where this part of his body is anymore.” David plays a character who is 30 pounds heavier than David usually is. This person ends way in front of where they used to end and maybe isn’t aware that that’s where they end now because they didn’t always end there. It seemed to me like he didn’t know that he went out that far, so he would likely not know that he brushed up against anyway.

That sounds really complicated, but it was really a simple little piece of comedy. The best comedy says other things. The idea of having such a divorced relationship to your body in middle age just seemed so understandable to me. So, I thought it up in the moment. Instantly, he recognized that as something he wanted to do, and he just worked out the timing of it all. There’s another element to that scene. It’s the full box of Cheez-Its that he has tucked under his arm that’s holding the Batman comic book, and that was David’s idea, to have Cheez-Its, belly, Batman. That’s all you need to know about Floyd at the moment.

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Once you did have a sense of what the series was and you were ready to shoot it, did you always know by that point how it was going to end and how everything would play out? I know sometimes people do a show like this, and they’re still changing their mind and working on the ending of it all the way through. Did you know exactly what your ending would be?

CONRAD: Yes, I have done both of those versions of things too, over the many years. You could fall into a group of fellow filmmakers and they like the spontaneity of creating something on the day. I’m terrified by that. I love to be able to say to our filmmaking partners, “The last time we’re going to see this character is going to be this.” We made a TV show called Patriot for Amazon, and I knew what the last image was going to be, ultimately of our final season, and I could share with our lead actor. I could always say to him, “We are going to wind up here, and you are going to be sharing this. That’s coming. That’s three hours away.” I don’t know what I would say to them if we couldn’t start the show with Floyd feeling some huge emotional deficit, some real driving need. The first time we see him, he’s struggling to connect with his stepson. His clothes don’t fit anymore. You know he’s not comfortable in his skin anymore. He took the time to write this note about grownupsies. You have a sense that this man knows what grownupsies feels like. I like to be able to say to David, “This is where you start and this is where we’re headed. And there’s a lot to do between now and then.”

I think that destination is very important. It helps you pick your mood. So much of what we do is allowing the audience to feel a certain kind of mood. I didn’t have this with HBO, but it’s been true with other places I’ve worked, where you start to have conversations about the lighting, and they’ll resist there being any darkness in the show. Shouldn’t it have a mood? Shouldn’t it make you feel a kind of way? If there’s no mood, then you’re not feeling. And if you’re not feeling, you’re going to probably stop watching. Knowing where the show goes really helps me make all those other decisions. So, I don’t think I’ll allow myself to be in a situation that is open-ended. All the scripts were written before we started to make the show. Everything changes a little bit, but wholesale changes don’t happen to us when we go to shoot.

‘DTF St. Louis’ Was Never Meant To Be Viewed as a Puzzle That Needed Solving

“It has to deliver other satisfactions to the audience.”

I initially thought that maybe Floyd killed himself. Then, I thought maybe he had a heart attack. And then, I suspected Clark. And then, I suspected Carol. And then, I suspected Richard. Did you want to keep us guessing until the end? Did you want us to keep questioning those characters’ motives because it feels like some of that comes from how the audience perceives the characters and what they project onto them?

CONRAD: That’s a good question. Having some awareness of what you’re up to is probably a real good idea in a story like this because it’s not a puzzle. I don’t think it should be approached entirely like it’s a puzzle because it has to deliver other satisfactions to the audience. They didn’t take a puzzle out to try to solve. They sat down to watch seven hours of drama. So, it’s important that there’s curiosity because there’s curiosity on the part of the detectives, and you shouldn’t be ahead of them, otherwise there’s less engagement. Wondering is a great quality to provoke from somebody in the audience, but making it too much of a game can turn it into another preoccupation.

Honestly, if your whole goal was just to figure these things out, you could do it because it’s going to be someone who’s in the pilot unless it’s just sloppy. There’s only so many choices and so many scenarios that you could figure it out. But I think anybody who enjoys it tells themselves to stop trying to figure it out so they can just enjoy it. It’s tough to turn that part of your motor skills off. You just go, “I could solve this crime. I know more than they do.” But the experience of how this happened is as important as what happened. Making sure you are good at how is important too.

What led to your specific decision for Floyd’s ultimate fate? As you were trying to figure that out, why did this feel right? Had you thought of other possibilities?

CONRAD: No. Going in, this all made sense. You could just see it. Somehow, something happened and you could just see the dilemma. It was the invention of DTF St. Louis and their tagline, “All the excitement, none of the consequences.” As soon as that dropped into our creative world, we thought, “Oh, this is going to be a thing they’re playing with like matches.” None of the consequences seemed to be a bad bet. You watch two people you kind of like think there won’t be consequences, but of course there are. When you share intimacy with anyone, there will be consequences. So, I knew they would be mistaken about that gamble. And then, I started thinking about, what could be the most consequential thing for this man to lose?

I knew it wasn’t his marriage. I knew it was going to be a greater achievement, and that achievement of a stepfather or a stepmother to a young person is such a monumental thing to be good at, if you can find a way to be good at that. I knew this was going to have that tragic feel at the end. I thought, “This ought to be the thing that breaks and can’t be fixed because of recklessness and because you’ve allowed this reckless thing into your home, one way or another, and you didn’t see this coming. Here’s a consequence you never expected. You’d be assessed and misunderstood by a young person who isn’t capable yet of recognizing what it is you’re doing and only feels strange and lonely because he’s seen you do it.” I knew that was going to happen. The rest of it was there for me to try to figure out how to create a path that ultimately seems obvious in terms of it being satisfying, but not so obvious that it doesn’t have energy.

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Did you see any of the theories that viewers were talking about as they watched the season?

CONRAD: No, I can’t. That’s just a recipe for four hours of sitting down and tearing your hair out. No, and don’t tell me about it either. People are probably going to guess it in one way or another. The answers are sort of there. Floyd’s ideation, he’s suffering from heavy duty depression, he hasn’t bought new clothes, he’s suffering economically, he lacks intimacy. It wouldn’t take a genius, an emotional genius, to know that this person needs a tremendous amount of tenderness. The only repository for it is his weather broadcasting partner, which was almost enough, except that flirting with the fun of this new friendship allowed for a really dark unexpected incident to happen, and it was enough to destroy. Floyd was easy to destroy because he was barely keeping himself together.

Creator Steven Conrad Says There Could Be a Way To Do Another Season of ‘DTF St. Louis’

“You could do it somewhere else and find another vein of storytelling.”

Image via HBO

Is this a series where you feel like you’ve completed the story you wanted to tell and that’s it? Because I would tune in for another season of Homer and Jodie working on another case together.

CONRAD: That’s exciting. If you take The White Lotus model, and you have the upstairs-downstairs thing with these privileged people with problems, and then these people who work at this place, you could do it somewhere else and find another vein of storytelling. I don’t know. Sex and violence, you could spend your whole career just writing about those two things and not repeat yourself. The possibility is there, for sure. Homer has got to retire, though. He might be a consultant on some future DTF crime. I like the idea of Jodie. She’s my kind of hero. She’s like Rocky. She always had it. All she needed was some events to draw it out of her. She didn’t change. She just got recognized. I like her an awful lot, and I like Joy Sunday considerably, too.

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Release Date

2026 – 2026-00-00

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Network

HBO

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Showrunner

Steve Conrad

Directors

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Steven Conrad

Writers

Steven Conrad

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DTF St. Louis airs on HBO and is available to stream on HBO Max.

As U.S. Marshal Kayce Dutton (Luke Grimes) continues to make waves on Marshals, the neo-Western procedural takes a sharp turn into the political realm as the team deal with an assassination attempt in “Family Business.” Several plotlines converged this week as the plot itself served as a backdrop for genuine character development and an expansion of the world as it continues to ride further away from the Taylor Sheridan series that sparked it. Here’s where Kayce and the team went on this week’s Marshals.

“Family Business” Begins With An Offer and An Assassination Attempt

This week’s Marshals opens at Yellowstone East Camp, with Kayce once again trying to tame the unruly stallion that was Monica’s before her death. Just then, Dolly Weaver (Ellyn Jameson) rides up asking for a tour of Montana. As they ride across Paradise Valley, the two not-quite-yet-lovebirds speak about how Kayce grew up with “the world’s greatest backyard.” Afterward, Dolly and Kayce are met by her father, Tom (Chris Mulkey), who offers to make Kayce dinner. Elsewhere, Pete “Cal” Calvin (Logan Marshall-Green) is dealing with neck pain from his years overseas. But upon leaving the hospital, he runs into Belle Skinner’s (Arielle Kebbel) husband, Jared (Eddie Aguirre), who appears to be in the middle of an affair. Pivoting to the Bullet ‘n Barrel Saloon, Belle, Cruz (Ash Santos), and Miles (Tatanka Means) enjoy a night on the town. Miles’ cousin Sabrina (Chelsea Gray) shows up and spills some Broken Rock lore before scamping off with her boyfriend. This prompts Cruz and Belle to ask Miles if he’s interested in anyone, but he vaguely notes that it “probably isn’t meant to be.” That night, the team’s latest case becomes clear when Federal Judge Paula Ayers (Christine Dunford) and her nonprofit director husband, Blake (Christopher Stanley), narrowly avoid being blown up in a car explosion.

Enjoying a nice elk dinner, Kayce and the Weavers discuss the world of ranching. While Kayce asserts that the “old ways are the right ways,” Tom notes that the Yellowstone Dutton Ranch never quite made a profit by following those ways. “The way of life is a true reward when it comes to ranching, sir,” Kayce notes. But a good evening turns sour when Tom explains his aim to secure more land and more cattle by using modern technologies and expanding his reach, which means he hopes to see East Camp fall under the Weaver umbrella, too. Unsettled, Kayce dismisses his house guests, though Dolly was clearly uncomfortable with her father’s proposition in the first place. When Tom leaves, Kayce confronts her about their ploy, though she insists that she had no idea of her father’s intentions. “We were having fun until he ruined it, weren’t we?” Dolly asks. Though he agrees, he refuses her further romantic advances before she walks out the door.

The next day at Marshals HQ, Cal and the team find themselves with the new case involving the aforementioned judge. Cruz’s first suspect is a man named Clint Gallow (Joshua Dov), who threatened revenge a decade earlier for bombing a women’s health center. With the team tasked with keeping the Ayers family safe, Cruz suggests that she and Kayce go after the ex-con who may be responsible. “Last thing we need is an open season on judges,” Cal remarks. It isn’t long before Cal, Belle, and Miles set up shop at the Ayers home, and the judge and her husband aren’t terribly thrilled to be brought into protective custody. Neither is their daughter, Fallon (Abigail Rhyne), who is clinging to the hope that she could go to an upcoming music festival. Meanwhile, Kayce and Cruz find Gallows just in time for him to make a break for it. In the pursuit, Cruz body slams the suspect while Kayce hogties him. All in a day’s work.

‘Marshals’ Leans Into the “Family Business” Of It All As the Truth Comes Out

Image via CBS

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Back at the Ayers home, Paula and Belle discuss how their respective husbands give them a hard time for going after society’s worst, with the latter noting that she and Jared always find common ground. The whole thing is clearly unsettling for Cal, who debates his next move. Things get even more complicated when he asserts to Belle that the best thing that they can do for the family is to tell them what they know. The problem is that Belle believes that family drama ought to remain in the family. At Marshals HQ, Gallows claims his innocence, noting that he is nowhere near the only enemy of the judge who dreamed of taking her out. But back at the Ayers’ house, tensions are high as the team observes some passive-aggressive comments made between husband and wife. Belle and Cal have a quick sidebar about how putting work before family can fracture relationships, with the former brushing it off as a problem that Cal is having with Madison (Morgan Lindholm) rather than the other way around. Things get heated, however, the moment Fallon gets too close to a nearby window. As gunfire hails into the Ayers’ home, the marshals spring into action and protect those in their charge.

Soon after, Belle and Miles check the perimeter but come back empty-handed. A nearby parking garage appeared to be the best vantage point, but they didn’t find any bullet casings. “The only thing certain is that the assassin knows where the judge is,” Cal remarks, and he’s right. Gallows clearly isn’t the would-be killer, and the whole thing has gone back to square one. Cal sends Blake and Fallon “off grid” with Kayce and Cruz to East Camp while he takes Paula with him to Marshals HQ. Blake is familiar with Kayce and believes that their family is in good hands. According to an FBI analysis, the type of bomb that was used in the assassination attempt is often associated with domestic terrorism, with the group concluding that the suspect must be military. Back at the Ayers home, Miles speaks with Lt. Colleen Park (Reesa Ishiyama) about the shooting and discovers that Blake had been hiding passports in the walls with an alias. At Marshals HQ, Cal and Belle investigate Blake’s phony IDs. Belle believes it all has to do with him having finances that pivot from shell corporation to shell corporation across different countries, including Equatorial Guinea in South Africa, which happens to be where the FBI traced the bomb as having come from.

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Cal believes that Blake would rather collect on a life insurance policy than face a judge in divorce court. Things at East Camp, Cruz fails to cheer up Fallon by explaining that both her and Kayce’s fathers were killed as a result of their jobs. But when Fallon reveals that she wants something terrible to happen to whoever is behind the attack on her mother, Kayce notes that there’s “a big difference between craving vengeance and getting it.” Upon receiving a call from Cal, Kayce goes outside to find Blake, only to discover that he is nowhere to be found. Of course, this enrages the judge, who blames the marshals, but when they reveal her husband’s alias, “Joseph Peddit,” Paula starts to wonder what’s going on. To make things worse, the team has security footage from a nearby ranch of Blake being abducted, which means that he was the target all along. According to his hard drive, he had been aiding a resistance group in Equatorial Guinea by using his nonprofit to smuggle weapons — weapons that the oppressive government regime now wants to find, using Blake to track down the recipients.

This Week’s ‘Marshals’ Ends With a Kiss and Hope for Kayce’s Future

Image via CBS

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On the way to bring Fallon to her mother, Cruz and Kayce get a call about the men who abducted Blake: Ryland Hightower and Nate Porter (Gabe Rios). These men are private contractors who have been hired by the forces coming after Blake. When Kayce asks if these men came from a group out of Texas, Cruz wasn’t sure, but those of us who remember those last few episodes of Yellowstone certainly know what he’s thinking. The property is only a few miles from their location, and knowing that Blake doesn’t have much time, they decide to take the risk with Fallon in the truck. Leaving Cruz with the girl, Kayce jumps into the line of fire and finds the contractors torturing Blake for information. A firefight breaks out, unsurprisingly, and Kayce takes out one of the guys. The other gets the upper hand on Kayce, nearly choking him out before he wrestles back control and kills the man responsible. Blake is soon returned to his family, with Paula welcoming him back despite all the lies. “Is my dad a monster?” Fallon asks the marshals, looking on at her father. Kayce tells her that, in his own messed-up way, he was just trying to protect her.

Later, Belle invites Cal to the Bullet for a drink, but he decides to pass. Needing a buffer between work and her home life, Belle pours them some drinks, and they enjoy them from the comfort of the break room at HQ. After a few drinks, Cal finally asks if her marriage would last if, like Blake and Paula, she discovered that Jared had a secret life. But Belle pushes back, believing that she knows everything about her husband — at least until he tells her that he caught Jared with another woman. “He’s supposed to be discreet,” she says. It turns out, Belle and Jared have gone their separate ways romantically, but have kept up appearances for the sake of their son, Braxton (Koah Williams). Then, after they’d been dancing around it for some time, Cal and Belle kiss. However, after some quick steam, she pulls away, and they call it a night.

Meanwhile, at the saloon, Kayce, Miles, and Cruz enjoy a night on the town. Cruz tries to encourage Miles to ask out the girl he’s interested in. When he takes a drink of liquid courage and stands up, they’re shocked to learn that the girl in question is actually Madison, who he doesn’t know is Cal’s daughter until she reveals as such. Kayce and Cruz hang back while Miles and Madison hit it off, with the latter wondering about Kayce’s love life post-Monica. According to our favorite Dutton cowboy, being with Dolly felt like cheating on Monica, despite her death. But when Cruz challenges our hero on whether Monica would want that for him, he wonders if maybe he ought to give her another chance. The next day, Dolly returns to East Camp and asks for another Montana tour, to which Kayce obliges.

Marshals airs Sundays on CBS and is available for streaming the next day on Paramount+.

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Release Date

2026 – 2026

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Showrunner

Spencer Hudnut

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Writers

Spencer Hudnut, Tom Mularz, Dana Greenblatt

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Pros & Cons

• The twist that Blake was running arms was much better than him being the mastermind behind the assassination attempts. Glad it went in that direction.
• The parallels between Kayce and Cruz offer a really interesting perspective on John Dutton and the results of mismanaged family legacies.
• I disliked Dolly a lot less after her father’s presumption, so that’s a score in her book.

• We’re diving into this Cal/Belle romance plot real quickly. If Marshals wants this to happen, the show needs to take its time.
• We’re not at all concerned about Tate’s middle-of-the-night whereabouts?

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