Actor Walton Goggins.Image via Faye’s Vision/Cover Images
Few stars have risen to fame in the last few years as much as Walton Goggins, who has become one of TV’s all-time great character actors thanks to his roles in a few popular shows. One of the first series that immediately comes to mind is The White Lotus, where he played Rick flawlessly in the third season of the HBO original drama. Goggins’ fans would also call attention to his performance as The Ghoul in Fallout, the Prime Video original sci-fi Western with over 100 million views. Goggins even has a key voice role in another Prime Video series, Invincible, which is confirmed for Season 5 next year. Goggins’ legendary TV roles go back years, though, to older shows such as Justified and The Shield, which were television staples in the early 2000s.
Back in 2012, Goggins made the most of limited screen time in the 2012 Western, Django Unchained, which was written and directed by Quentin Tarantino. The film is one of two Tarantino-directed features to win leading star Christoph Waltz an Oscar — the other title belongs to Inglourious Basterds, which co-stars Brad Pitt and Michael Fassbender. Django Unchained is still Quentin Tarantino’s highest-grossing movie to this day, with over $400 million in total box office earnings. The film did cost $100 million to make, but its total haul ensured that it brought home at least $100 million in net profit. All these years after it first hit theaters, Django Unchained is streaming on both Paramount Plus and Starz, and the film has also surged into the VOD top 10 on both Prime Video and Apple TV in a handful of countries around the world.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Is Walton Goggins in ‘Fallout’ Season 3?
Prime Video has confirmed that Walton Goggins will reprise his role as The Ghoul in the third season of Fallout, which is set to begin shooting soon. While the streamer has not yet announced an official return date for the sci-fi Western series, it’s all but confirmed that Season 3 will air sometime in 2027, likely in Q3 or Q4. Goggins has also been tapped to star in a new action thriller from John Wick writer Derek Kolstad, Painter, with Amber Midthunder. Alan Ritchson was originally due to star in the project before backing out due to scheduling conflicts.
Check out Django Unchained on Paramount Plus or Starz, and stay tuned to Collider for more updates and coverage of Goggins’ future projects.
