‘Avengers: Doomsday’ Footage, ‘Euphoria’ S3E2, and ‘Margo’s Got Money Troubles’ Episodes 1-3

Summary of ‘Avengers: Doomsday’ Footage, ‘Euphoria’ S3E2, and ‘Margo’s Got Money Troubles’ Episodes 1-3

by The Ringer

1h 14m•April 20, 2026
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Overview of The Watch — “Avengers: Doomsday’ Footage, ‘Euphoria’ S3E2, and ‘Margo’s Got Money Troubles’ Episodes 1–3”

Hosts Chris Ryan and Andy Greenwald (The Ringer) cover recent entertainment news and TV reviews, focusing on: leaked and strategic Marvel moves around the upcoming Avengers: Doomsday and an Endgame re‑release; a deep conversation about Euphoria season 3, episode 2; and a three‑episode read on Apple TV+’s Margot’s Got Money Troubles (adapted from a recent novel). The discussion ranges from story and tone to casting, production choices, and where television stands right now.

Key segments and takeaways

Avengers: Doomsday / Endgame re‑release

  • Joe Russo and others screened Doomsday footage publicly (CinemaCon reports & leaks). The footage reportedly includes many characters from the recent, less‑successful Marvel phase.
  • Disney/Marvel are re‑releasing Endgame with new footage to “prime” audiences for Doomsday and to retcon/recontextualize the MCU’s recent narrative direction.
  • Hosts read the move as Marvel trying to course‑correct after several missteps (multiverse complexity, uneven projects, cast controversies).
  • Discussion points: retrofitting old films to new narratives (comparison to Star Wars retcons); whether this kind of mid‑stream tweaking has precedence and what it says about franchise stewardship.

Euphoria — S3E2 ("America, My Dream")

  • General verdict: both hosts find the season leans into Sam Levinson’s maximalist, stylistic impulses — sometimes disorienting, but often compelling.
  • Zendaya: described as “compulsively watchable” and delivering layered ambiguity that keeps the show engaging.
  • Tone & form: the season mixes visual languages — desert, noir, strip‑club/silver‑slipper worlds — treating the series as a “bucket” for Levinson’s ideas rather than a single linear tone.
  • Character notes:
    • Rue: confirmed (in their exchange) as canonically gay; her emotional thread remains central and anchoring.
    • Nate (Jacob Elordi): voiced as darker and more dangerous than a first‑glance interpretation; examples of violent, sociopathic tendencies are discussed.
    • Cassie / Maddy / Nate love triangle: some confusion/less clarity for listeners unfamiliar with earlier seasons; the hosts note it sometimes feels tonally and narratively opaque.
    • Eric Dane’s performance (Cal) is praised as vulnerable and dignified.
  • Structural praise: the show’s photography and some genuinely moving, striking images keep interest even when the storytelling gets messy.
  • Broader point: Euphoria is exciting because it’s unpredictable, directorally bold, and visually ambitious — even if that means tonal whiplash.

Margot’s Got Money Troubles — Episodes 1–3 (Apple TV+)

  • Adaptation: based on a recent novel (hosts referenced author name; the show is a quick page‑to‑screen adaptation).
  • Casting & production highlights: Elle Fanning leads, Michelle Pfeiffer, Nick Offerman, Marcia Gay Harden and others; episodes are appreciably lean (36–42 minutes), which the hosts praise.
  • Positives:
    • Production design and location work get credit for a believable, specific Southern California palette (not “poverty porn”).
    • Nick Offerman singled out as excellent; Elle Fanning is sympathetic and watchable.
    • Runtime discipline (sub‑hour episodes) is welcomed as a modern quality control choice.
  • Criticisms:
    • Tone is “twee,” too predictable; scenes often telegraph their beats and outcomes.
    • Celebrity presence sometimes softens edge/complexity (e.g., Michelle Pfeiffer’s charisma changes tonal reading of scenes).
    • The central pregnancy / OnlyFans arc feels overfamiliar and doesn’t surprise dramatically; stakes rarely feel truly dangerous.
  • Overall: a competent, well‑cast example of Apple’s glossy, safe TV — likable but not revelatory. Works as comfort/character drama, less compelling as risky storytelling.

Broader TV industry observations

  • The hosts map a pattern: many big‑budget streaming shows now aim to be “dependable” and starry (safe bets for renewals and awards) rather than wildly risky.
  • Tension between two modes of TV now:
    • Director‑driven, stylistically adventurous shows (Euphoria, The Pit) that demand attention and deliver surprises.
    • Comfortably serialized, star‑led adaptations and dramas that smooth edges for broad appeal (Margot, Your Friends and Neighbors).
  • Runtime matters: 36–42 minute drama episodes are increasingly preferred (concise storytelling wins points).
  • The hosts worry about predictability and the glut of content — many hours to fill means some stories get padded or sanded down.

Notable opinions & quoted insights

  • “Euphoria is a ‘bucket’ show for Sam Levinson” — meaning Levinson uses the series as a receptacle for many stylistic and thematic interests.
  • Zendaya is “compulsively watchable” and anchors the show’s ambiguity.
  • Marvel’s Endgame re‑release + Doomsday footage = explicit attempt at narrative course correction.
  • Apple’s shows trend toward smoothing and contouring drama for large audiences — attractive but sometimes anaemic.

Other items mentioned (quick hits)

  • Steven Soderbergh’s The Christophers (recommended): intimate chamber piece with Ian McKellen and Michaela Coel; Soderbergh experimenting with AI for visualization.
  • X‑Men casting rumors: Odessa A'zion rumored for Rogue; Peter Claffey linked to Beast; Wolverine casting still unresolved.
  • Other shows in conversation or on the hosts’ radar: Beef (season 2), Your Friends and Neighbors, DTF, Big Mistakes (Dan Levy), Bandy, Hacks, Abbott Elementary (behind), Dark Winds, The Audacity.
  • Cultural aside: OnlyFans as recurring modern trope/plot device in both Euphoria and Margot.

Recommendations from the hosts

  • Watch Euphoria S3 (if you like bold visuals and tonal risk).
  • Try Margot’s first three episodes if you prefer character dramas with strong casting and shorter episode lengths — temper expectations about surprise or edge.
  • Keep an eye on Avengers: Doomsday news and the Endgame re‑release as they may reshape MCU perception and marketing for late 2024/2025.
  • Consider Soderbergh’s The Christophers for a small, well‑acted film experience.

Final takeaway

This episode of The Watch is a mix of news and tonal criticism: Marvel is actively trying to steer its franchise back into place; Euphoria remains a directorially adventurous but sometimes messy centerpiece that rewards visual and emotional investment; and Apple’s Margot exemplifies polished, starry streaming drama that’s enjoyable but safe. The larger thread: TV today is split between high‑risk artistic moves and carefully curated, dependable prestige — and viewers’ appetite for either will shape what succeeds next.