Euphoria Is Officially Over — Show Ends With Season 3, HBO Confirms

 It's confirmed that Euphoria season three is the last season of the show.

After the season three finale aired on Sunday, the show's creator, Sam Levinson, shared the news on Popcast, a music podcast by The New York Times.

 The Hollywood Reporter also confirmed the same information.

The season three finale had some shocking deaths and a heartfelt tribute to Angus Cloud, who passed away in 2023 at the age of 25 due to an accidental overdose from acute intoxication.

 You can read The Hollywood Reporter's recap of the finale here.

It wasn't a surprise that the show is ending, as Zendaya has mentioned in interviews that she believed this season would be the last.

 There was also a four-year break between season two and three, and there were rumors of conflicts behind the scenes.

When asked about the long delay, Francesca Orsi, the executive vp of HBO programming and head of HBO drama series and films, told The Hollywood Reporter: "It was important that everyone felt season three was moving the story forward in a meaningful and ambitious way.

 When Sam began sharing how much more expansive the world of the show would feel this season, there was genuine excitement about returning."

Levinson warned fans not to wait to watch the final episodes as they come out over the next 10 days. "

If you're not watching episodes seven and eight live — the moment they drop — they will get spoiled," he said, without giving much more of a hint. "There's some big things that happen."

Earlier this month, Levinson told an audience at the American Cinematheque that he thinks season three is "hands down our best season," teasing that "there's some big things that happen" in the episodes leading up to the finale.

Clearly, he wasn't kidding: last week's episode (spoiler alert!)

 saw the death of Jacob Elordi's character, Nate Jacobs. This week's finale featured two deaths: Martha Kelly's Laurie, who took her own life, and Zendaya's Rue, whose drugs were laced with fentanyl.

‘Euphoria’ Season 3 Finale Pays Tribute to Angus Cloud; Sam Levinson Says “He Deserved More Time”

 Sam Levinson spoke about Angus Cloud, who played Fezco in *Euphoria*, during a screening of the show's third season. He said, "Moments like these are rare. This season we lost Angus. Many of you loved him the way I did. He deserved more time, a longer, fuller life." He added, "But he was taken, like far too many people in this country, by fentanyl."

After the third season premiere, which started with a tribute to Eric Dane, who played Cal, Nate's father, and died from ALS, some fans wondered why Cloud wasn't honored in the same way.

In the show, Fezco lived on.

 During a heartfelt post-show segment, Levinson explained, "Angus didn't make it in real life, so at least in the made-up world of *Euphoria*, he's still alive." The episode revealed that Fez was serving a 30-year prison sentence after a raid in season two.

Throughout season three, Fez remained a presence even though he didn't appear on screen.

 Rue talked about speaking with him on the phone, and Lexi, whose relationship with Fez had been hinted at earlier, also mentioned him in conversations with Rue.

Audiences finally saw Fez in the finale.

 During a dream sequence before Rue overdoses, she sees a news report saying Fez has escaped prison and goes to find him. She arrives at the gas station where he once sold drugs. Then, an unseen clip of Fez and Rue standing together in a field appears on screen, both smiling as they look toward the horizon. According to Esquire, this footage had never been used in the show before.

Cloud died in 2023 at the age of 25 from an accidental overdose, just one year after season two.

 Fentanyl was found in his system, making Rue's fate in the finale even more touching.

At the season three premiere in Los Angeles, Levinson reflected on how Cloud's death affected him and the direction of the show.

 He said, "I loved Angus very deeply and fought hard to keep him clean while he was here. When he passed away, it made me step back and think about what story I want to tell, what it is I want to say. What matters in life? If I was going to do another season, I wanted it to speak to a larger idea about meaning and purpose and who we are. It made me want to tackle the idea of faith and belief in something greater than ourselves."

After the finale was released, Levinson and HBO confirmed that season three would be the series' last.

 Jackie Strause contributed to this report.

Backrooms’ Stuns With $81 Million Debut, ‘Obsession’ Has Another Unprecedented Jump, ‘Mandalorian and Grogu’ Suffers 70% Drop

This weekend was a big deal for movie theaters. People, especially young people, flocked to see two horror movies that were really popular. One of them, "Backrooms" from A24, made a huge amount of money — $81 million — from over 3,400 theaters in just one weekend. Another movie, "Obsession" from Focus Features, did even better. It made $26.4 million in its third weekend and crossed the $100 million mark in the US. Both movies were directed by YouTube creators and cost very little to make, which is surprising because people usually think big budgets are needed for big hits.

Jeff Bock, an analyst, said this shows the industry can be more creative.

 He noted that a new group of young people are really excited for this kind of content. He also said this kind of movie is now competing with the big summer blockbusters.

This is especially interesting because summer is usually the time for big franchise movies.

 But Disney's "The Mandalorian and Grogu" didn't do well in its second weekend. It dropped by 70%, showing that it's not appealing to a wide audience anymore. Despite playing in more theaters, it ended up third behind "Backrooms" and "Obsession."

"Backrooms" was directed by Kane Parsons, a 20-year-old.

 It has already made $118 million worldwide and is one of the most profitable movies of the year. The movie is based on Parsons' web series and follows a man who finds a secret door that leads to endless rooms. His therapist tries to save him. Most viewers were under 35, and over half were 25 or younger.

Parsons and other YouTubers are turning their online followings into movie careers.

 For example, Mark Fischback directed "Iron Lung" which earned $50 million on a $3 million budget. Paul Dergarabedian from Comscore said this new path from YouTube to the big screen is a new way of making movies.

Surprisingly, "Backrooms" and "Obsession" did not hurt each other at the box office.

 In fact, "Obsession" kept growing in sales, increasing 10% from the previous weekend. It's the first movie since 1982's "E.T. The Extraterrestrial" to keep rising in sales outside the holiday season. "Obsession" has made over $106 million in the US and $148 million worldwide, with a production cost of only $1 million. It's the highest-grossing movie for Focus Features ever.

Jason Blum, a producer, said on Twitter that it's a great time for scary movies.

 He mentioned that Blumhouse-Atomic Monster now has two number one movies in the country, both made with very little money. Theaters are packed with people.

While "Backrooms" and "Obsession" got most of the attention, "The Mandalorian and Grogu" dropped to third place with just $25 million from over 4,300 theaters.

 This big drop shows the movie didn't stay popular after being away for seven years, even though Disney knew it could have been released on their streaming service. So far, the movie has made $137.4 million in the US and $246.6 million worldwide. Disney made it for $165 million and hopes that next summer's "Star Wars: Starfighter," directed by Shawn Levy and starring Ryan Gosling, will bring the franchise back.

Jeff Bock also said the big drop for "The Mandalorian and Grogu" shows the movie's reception is different from the whole Star Wars universe.

Meanwhile, two other new movies didn't do as well.

 Sony's PG family comedy "The Breadwinner" and Focus Features' war drama "Pressure" both underperformed.

"The Breadwinner" made it to the top five in North American theaters, earning $7.5 million from 2,352 locations. It came right after Lionsgate's musical movie "Michael," which has been playing for six weekends. "The Breadwinner" features Nate Bargatze, a top comedian, as a dad who stays home after his wife gets a deal on "Shark Tank." People liked the movie more than the critics, as shown by the "A-" CinemaScore and 28% on Rotten Tomatoes. Sony made the film for $25 million.

David A. Gross, who runs the box office newsletter FranchiseRe, says, "The movie is doing better in the middle part of the country."

 But he adds, "these kinds of comedies usually don’t do well overseas."

"Pressure" started at number seven with $5.4 million from 1,829 theaters.

 It's a World War II drama meant to compete with family movies and horror films, but older audiences weren't interested in going out. Those who did go saw it and gave it an "A" on CinemaScore. Brendan Fraser plays Dwight D. Eisenhower in "Pressure," which covers the 72 hours before D-Day.

"Michael" has kept doing well since April, making $11.7 million over the weekend.

 So far, the movie has made $339.9 million in North America and $851.3 million worldwide. It should soon pass "Bohemian Rhapsody" ($911 million) as the highest-grossing musical biopic ever.

Next weekend could bring a horror triple threat with Paramount's parody sequel "Scary Movie."

 Summer will be busy with Steven Spielberg's sci-fi adventure "Disclosure Day" on June 12, Pixar's "Toy Story 5" on June 19, and DC's "Supergirl" on June 26. July has Universal's "Minions and Monsters" on July 1, Disney's "Moana" remake on July 10, Christopher Nolan's "The Odyssey" on July 17, and Sony's "Spider-Man: Brand New Day" on July 31. Box office experts think the four-month period, usually the busiest and most profitable for the industry, might reach $4 billion for only the second time since the pandemic.

David A. Gross says, "Moviegoing is really hot.

 'Backrooms' and 'Obsession' are exciting the market, and it's awesome." He also adds, "But the industry also needs the big summer movies and franchises to do well."

Woody, Odysseus, and Peter Parker — the industry is looking to you.

Warner Bros.’ Mike De Luca Hails the Benefits of YouTube Filmmakers: ‘A Little Bit Like the 70s

Michael De Luca at the 16th Annual Produced By Conference at Universal Studios, on Saturday, May 30, 2026 in Los Angeles, Calif.

 Pictures Chief Mike De Luca knows exactly why A24’s “Backrooms” and Focus Features’ “Obsession” are doing really well at the box office — and it has everything to do with where the directors came from.

“they work on their skills online.

 Kane worked on ‘Backrooms’ for five years,” De Luca said Saturday at the Produced By Conference. “these filmmakers talk directly with their audience from the beginning. their followers help shape each part of their work.”

The success of both movies, De Luca said, comes down to access — the old gatekeeping that kept young filmmakers out of Hollywood has changed.

“It used to be really expensive for a young writer-director to make a short film or an actual full-length independent movie,” De Luca added.

 “Now the tools for making films are cheaper. You can put something on YouTube and have a producer see it, and you don’t need to go to film school.”

De Luca also gave credit to producers for doing the hard work, pointing out “Obsession” producer James Harris, who found Barker by watching shorts on YouTube.

“good for him for finding that guy first,” De Luca said.

 “But that’s available to all producers. YouTube and TikTok and Instagram are where new talent is. They’re improving their skills without needing to go to film school or follow some strict path.”

De Luca’s comments match what Jason Blum, from Blumhouse, said earlier in the day.

 He compared today’s filmmakers, who started on YouTube, to the 1970s film auteur movement.

“a little bit like the 70s, I would say the writer-director is the star again, which I think is fantastic,” he said.

Marcia Lucas, Oscar-Winning Editor Behind ‘Star Wars,’ Dies at 80

Marcia Lucas, the film editor who won an Oscar for her work on *Star Wars* and was married to director George Lucas, has passed away. She was 80 years old.

She died on Wednesday in Rancho Mirage, California, from cancer.

Her family released a statement saying, "Marcia will be remembered as a brilliant storyteller, a trailblazer for women in film, a loving mother and grandmother, a generous host and a loyal friend.

 Her humor and sparkle filled every room she entered. Her influence on film is indelible, but those who knew her best will remember the way she made life feel more vivid, more beautiful, more fun and more full of love."

Marcia was born in California.

 She began her editing career through the Motion Picture Editors Guild apprenticeship program and later became an assistant to the famous editor Verna Fields, who worked on films like *Jaws* and *Paper Moon*. It was while working with Fields that she met her future husband, George Lucas, who was a film student at the University of Southern California.

Marcia married George in 1969.

 She worked as an assistant editor on his first film as a director, *THX 1138*. With Fields, she helped edit his next film, *American Graffiti*, which earned her her first Oscar nomination for best film editing in 1974. Although William Reynolds won that year for *The Sting*, Marcia later won an Oscar for her work on *Star Wars*. She shared the award with editors Paul Hirsch and Richard Chew, and it was one of six Oscars that *Star Wars* won, including best art direction, sound, score, costume design, and visual effects.

A 1977 review in the *Hollywood Reporter* praised *Star Wars*’ editing, calling it "perfectly paced."

 In his book about George Lucas, *Skywalking: The Life And Films Of George Lucas*, writer Dale Pollock referred to Marcia as his "secret weapon."

George once told *Rolling Stone* in 1977, "My wife, Marcia, can normally cut a whole reel— all ten minutes of the film—in one week.

 I think it took her eight weeks to cut that battle. It was extremely complex and we had 40,000 feet of dialogue footage of pilots saying this and that. And she had to cull through all that, and put in all the fighting as well. Nobody really has ever tried to interweave an actual plot story into a dogfight."

Marcia also suggested that Darth Vader kill Obi-Wan Kenobi, played by Alec Guinness.

 George told *Rolling Stone*, "The more I thought about Ben getting killed the more I liked the idea. It made the threat of Vader greater and that tied in with The Force and the fact that he could use the dark side."

Outside of her marriage to George, Marcia worked with acclaimed director Martin Scorsese in the 1970s.

 She edited *Alice Doesn't Live Here Anymore* and helped with the edits on *Taxi Driver* and *New York, New York*.

She later edited another *Star Wars* movie, *Return of the Jedi*, which came out in 1983, the same year she and George divorced.

 George said that Marcia handled the emotional scenes in *Return of the Jedi*, and that was the last film where she was credited as an editor. She later married and divorced artist Tom Rodrigues.

In 1983, she told *Time Magazine*, "I love film editing.

 I have an innate ability to take good material and make it better, and to take bad material and make it fair."

She is survived by her daughters, Amanda Lucas and Amy Soper, and her grandchildren.

Backrooms’ Makes $10.4 Million in Previews, Shattering A24 Record

A24 and Chernin Entertainment's new horror movie, based on director Kane Parsons' YouTube creepy series of the same name, is expected to be another hit for movie theaters.

 It has made $10.4 million in Thursday previews at the box office.

'Backrooms' will break A24's record for the company's largest box office opening of all time.

 It's expected to beat its already huge projection of $40 million to $50 million, which would beat Alex Garland's 'Civil War' for the A24 record. The 2024 political thriller made $2.9 million in previews and opened to $25.5 million. With just a $10 million production budget, 'Backrooms' will be a major financial success for A24 and 20-year-old Parsons, who's making his feature directorial debut.

  

The psychological horror movie revolves around liminal spaces, which are eerie, endless rooms and structures that have become popular in online forums like Reddit and 4chan.

 Parsons created a popular web series called 'Backrooms' about a fictional research group that attempts to explore the odd liminal spaces. Now, he's bringing the concept to the big screen with stars like Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Avan Jogia, Lukita Maxwell, and more.

This weekend's other new releases include Sony and comedian Nate Bargatze's 'The Breadwinner,' which is aiming to debut with $8 million after making $750,000 in previews.

 Focus Features, StudioCanal, and Working Title's 'Pressure,' a historical drama about D-Day that stars Brendan Fraser as Dwight D. Eisenhower, is projected to make $6 million.

Fellow horror movie 'Obsession' is looking to make $15 million to $20 million in its third weekend after its huge second week surpassed its opening in a rare feat, especially for an indie feature.

 Disney's 'Mandalorian and Grogu' is also looking to make around $40 million in its second weekend, a standard 50% decline from its Memorial Day weekend launch.

The Breadwinner Movie

The Breadwinner

2026 | PG | 1h 35m

Genre: Comedy, Family

Directed by Eric Appel

Written by

Nate Bargatze

Dan Lagana

Produced by

Jeremy Latcham

Nate Bargatze

Dan Lagana

Starring

Nate Bargatze

Mandy Moore

Colin Jost

Zach Cherry

Martin Herlihy

Kumail Nanjiani

Will Forte

Cinematography Eigil Bryld

Music by

Leo Birenberg

Zach Robinson

Production

companies

TriStar Pictures

Wonder Project

Distributed by Sony Pictures Releasing

Release date

May 29, 2026

Running time 99 minutes[1]

Country United States

Language English