Zara Larsson is clapping back after Chris Brown unexpectedly dragged her name into his latest social media rant over criticism surrounding his new album. The pop singer responded after Brown referenced her while venting about Pitchfork’s brutal review of his latest project, Brown, which the outlet famously scored a dismal 1.3 out of 10. During his Instagram Stories rant, Brown told critics unhappy with the album, “If you not my fan, I don’t want you to listen to my sh-t. Go listen to motherf-ckin’ Zara Larsson or somebody.”

Larsson did not stay quiet for long. After Brown’s comments began circulating online, the Swedish pop star responded bluntly. “Who the f-ck are you?” Larsson reportedly said while reacting to the unexpected name-drop.

Larsson has been openly critical of Brown for years, particularly due to his history of abuse allegations and controversies. Earlier this year, she revealed during an interview with Cosmopolitan that she intentionally blocks certain artists from appearing in her Spotify playlists.

“There are so many artists I have blocked on Spotify, and all of them are, like, abusers,” Larsson explained in the February interview. “You certainly wouldn’t find, like, a Chris Brown song.”

Following the exchange, fans quickly flooded social media with reactions, with many claiming Brown’s attempt to mock Larsson actually boosted support for the singer instead. Several users began comparing streaming numbers, album reviews, and Spotify listeners between the two artists. “Trust me Sh-t Brown….we ARE listening to Zara Larsson,” one user wrote online while pointing out that Larsson currently has more monthly Spotify listeners than Brown.

Brown’s comments toward Larsson came shortly after Pitchfork’s review of Brown went massively viral online, reportedly earning more than 10 million views across X within a single day. “[Brown] isn’t romantic or funny or sexy or sultry or dancey or soulful or vulnerable or honest or creative or inspired whatsoever,” Pierre wrote. “It’s soulless, hit-chasing music with nothing going for it if you aren’t personally invested in the Chris Brown culture wars.”

Chris Brown Insists He’s Unbothered By Album Backlash

Despite the backlash and harsh reviews, Brown’s album is still projected to debut at No. 5 on the Billboard 200. Pitchfork’s now-viral review labeled the project “soulless” and accused Brown of making “hit-chasing music,” further fueling debate online over the singer’s career and continued popularity.

Still, Brown has insisted he remains unfazed by the criticism and previously told fans he knows exactly who his audience is.

The online drama surrounding Larsson and Brown comes just days after the pop singer made headlines for an unexpected wardrobe malfunction during her performance on NBC’s “Today” show. Larsson helped kick off the morning show’s Summer Concert Series on May 8, performing several of her hits, including “Midnight Sun,” “Pretty Ugly,” and “Stateside,” in front of fans gathered at Rockefeller Plaza.

However, things took a chaotic turn during her performance of “Lush Life” when one of her sparkly silver heels reportedly broke mid-dance routine. The moment happened shortly after Larsson invited “Today” co-host Sheinelle Jones onstage to participate in the viral “Lush Life” dance, something the singer often does with fans during concerts. “

We gotta dance extra hard because I lost my heel!” Larsson joked while lifting her foot to reveal the broken stiletto heel, and that she did. Later, when she returned during the “3rd Hour of Today” to perform her song “Blue Moon,” the damaged shoe had been swapped out for a fresh pair.

Just weeks before finding herself at the center of the Chris Brown drama, Larsson opened up about the legendary artists who inspired her own music career. While attending the Billboard Women in Music event at the Hollywood Palladium in Los Angeles on April 29, the Swedish singer was honored as this year’s Breakthrough Artist.

During the event, Larsson revealed which four artists she believes belong on her personal “Mount Rushmore” of pop music. “My four are the people that raised me,” the “Midnight Sun” singer said before naming Christina Aguilera, Céline Dion, Beyoncé, and Whitney Houston.

The summer of 2025 came to a screeching halt last September when fans held watch parties and kept their tissue boxes close for the series finale of Prime Video’s The Summer I Turned Pretty. The good news is that we know we’ll be heading back to Cousin’s Beach one way or another, thanks to a feature-length film that will pick up where we last left off with the beloved characters at the center of the string of novels penned by Jenny Han. In the months since the Lola Tung-led series came to an end, the streamer has been cooking up several new treats for YA romance. Thanks to the impending arrival of Every Year After, which will serve as an adaptation of Carley Fortune’s bestselling novel, Every Summer After, our next genre favorite is just right around the corner. Today, as part of Collider’s Exclusive Preview event, we’ve got a first look at the project that will hit screens just in time for summer break on June 10.

Starring Sadie Soverall (Fate: The Winx Saga) and Matt Cornett (High School Musical: The Musical: The Series), the story follows Percy (Soverall) and Sam (Cornett), two childhood best friends who see one another every summer at the popular lake town of Barry’s Bay. Over six years, viewers will follow the pair and their loved ones as they navigate life, relationships, and love. Additionally, the ensemble lineup also features the talents of Abigail Cowen (Chilling Adventures of Sabrina), Aurora Perrineau (When They See Us), Joseph Chiu (Fear Street: Prom Queen), Michael Bradway (Chicago Fire), and Elisha Cuthbert (House of Wax).

Our exclusive sneak peek of the upcoming series showcases the relationship between both Percy and Sam as well as Percy and her mother, Sue (Cuthbert). The first shot captures a loving moment between the couple at the center of the tale, with Sam and Percy taking a break from cooking up a storm to stare into one another’s eyes. The other image depicts the tight-knit bond between daughter and mother, as Percy and Sue share some laughs while shooting some pool.

Who’s Behind ‘Every Year After’?

Amy B. Harris (The Wilds) will serve as the title’s showrunner and also executive produce alongside Fortune, Lindsey Liberatore, Amy Rardin, John Stephens, and Grace Gilroy. Considering Prime Video’s track record with similar genre hits, including The Summer I Turned Pretty, Maxton Hall, and The Runarounds, Every Year After is on track to be yet another home run for the platform.

Check out the two new images from Every Year After above and stay tuned for more to come from Collider’s Exclusive Preview event.

Lala Kent is addressing claims that Lisa Vanderpump once tried to set her up with Tom Sandoval.

The Valley star, 35, was quizzed about the rumor, which former Vanderpump Rules costar Scheana Shay first alluded to on her podcast back in March, during an appearance on Watch What Happens Live With Andy Cohen on Wednesday, May 13.

“Y’all are killing me right now,” Lala joked before laughing.

She continued, “I do not want to talk about this woman at all,” before adding, “Stuff happens, you know? Things are said. People ask questions.”

“I won’t confirm or deny that that did or did not happen,” the Vanderpump Rules alum teased. “You catch what I’m putting down?”

During a March episode of her “Scheananigans” podcast, Scheana, 41, claimed that Lisa, 65, encouraged Lala to hook up with Tom, 42, during season 11 of Vanderpump Rules.

“The same person who allegedly pushed the Dorit [Kemsley] dog storyline. The same person who tricked me into working a party at Sur one time,” Scheana said of Vanderpump, per Reality Tea. “The same person who tried to get Lala and Sandoval to hook up [in] season 11.”

“[Lisa] called Lala and suggested that. And Lala was like, ‘I would sleep with Ken [Todd] before I would sleep with Tom,’” Scheana claimed.

Vanderpump Rules season 11 followed the fallout of the “Scandoval” drama after Ariana Madix discovered Tom’s affair with costar Rachel Leviss.

While Scheana and Lala appeared to be on good terms after Vanderpump Rules was rebooted with a new cast in 2025, Scheana shared on her podcast in October 2025 that she and Lala had fallen out.

“After extending grace last week, I do feel the need to address it because Lala knows why our friendship is in the state that it’s in,” Scheana said, claiming Lala “did not take accountability” for their feud.

“This is not just about not posting my book for a week. It is about so much more than that,” Scheana added, referring to her memoir, My Good Side: A Memoir, which was published in July 2025.

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According to Scheana, Lala told mutual friends about her husband Brock Davies’ infidelity, which she first revealed in her memoir and said she had privately disclosed to Lala before the book’s release. (Last year, Scheana said Brock cheated on her while she was pregnant with their daughter, Summer.)

“Not one — but two — of my closest friends repeated the Brock affair story to other people. One of those that it was repeated to was Brittany [Cartwright]. I know Brittany doesn’t have bad intentions. I wanted to tell her myself but I didn’t have a chance,” Scheana said. “That one that I can’t get over is Lala telling [our mutual friend] Jenna Willis, who I have not been on good terms with since last season.”

She continued: “Lala did it to humanize me because she said that Jenna was going so hard on me that she wanted to tell her about what I was actually going through. Now I understand the intent was not malicious. … I kept this to myself for two years and then I told one of my best, closest and dearest friends and you go and tell someone. That was extremely heartbreaking.”

Are you ready for The Vampire Lestat‘s big tour? In anticipation of Interview with the Vampire‘s return for Season 3 on AMC and AMC+, the titular creature of the night, played by Sam Reid, has been hard at work preparing for his ascendance to rock godhood, releasing not one, but two new tracks to whet viewers’ appetites for this next chapter. First came “Long Face,” a very David Bowie-inspired glam rock track that leans into the energy of other artists of the 1970s, followed by “All Fall Down,” the official opening theme for the upcoming season. Now, we’re excited to collaborate with the immortal rockstar as part of Collider’s Exclusive Summer Preview series and share a peek at a new single from his discography.

Lestat’s latest is one of the 20 original songs composed by IWTV‘s acclaimed composer Daniel Hart and sung by Reid for this rock-centric season. Compared to the previously released tracks, it’s also a showcase of how the vampire artist evolves throughout the season with a more modern sound. It’s accompanied by a video hyping a bloody takeover of the stage that will highlight his inner diva and leave a lot of bodies in his wake. Like Bowie, he’s about to go on a musical journey with an ever-evolving sound based on some of the most flamboyant rock stars to ever live, only with a lot more violence. Any fans lucky enough to have gotten tickets to The Vampire Lestat: One Night Only – LIVE will even get to hear some of his songs performed in-person in preparation for the musically inclined season.

The change to the title The Vampire Lestat was made to mark the shift to adapting Anne Rice‘s sequel novel of the same name, published in 1985. This time, Lestat will sit in the position once occupied by his former lover, Louis de Pointe du Lac (Jacob Anderson), telling his “truth” to Daniel Molloy (Eric Bogosian) in a way only he can. Said story follows him on a multi-city tour as his power and influence over humans and vampires alike grow to epic proportions with the popularity of his band, though he’s tormented by the muses he can’t outrun from his past. His newfound status as a rock icon also draws the attention of other beings seeking to contend with him in the wake of the Great Conversion that unnaturally boosted the vampire population. Through it all, viewers will get to see Lestat at his absolute pinnacle and witness as he’s forced to reckon with his actions.

‘The Vampire Lestat’ Will Be the Wildest Chapter of the Series Yet

Between the rocking tunes, the new era, and the shift to the diva that is Lestat as the new storyteller, The Vampire Lestat will be a complete transformation for the AMC hit. In an interview with Collider’s Perri Nemiroff during San Diego Comic-Con last year, series creator and showrunner Rolin Jones warned viewers may get a bit of “whiplash” from the first two Louis-focused seasons. “It’s going to be on the back of Lestat living like Lestat, embracing like Lestat. It’ll be contradictory and hallucinogenic and strange and wild.” Assad Zaman, Delainey Hayles, and Jennifer Ehle are among the other returning cast members with Reid, Anderson, and Bogosian, while Sheila Atim, Noah Reid, Ryan Kattner, Seamus Patterson, and Sarah Swire will make their IWTV debut.

To ensure the songs were completely intertwined with the story, Jones and Hart worked closely together, with Hart even co-writing an episode. For Reid, it was an entirely new experience seeing the project unfold over time and witnessing how each track fit into the context of Season 3 as he was learning to perform all of them. He told Nemiroff:

“The thing that has changed this year, for Lestat, is the music. Getting music before getting a script is a real mind-bleep, because I’d never done that before. It was a really complicated way to start a character, because without context, music is incredibly subjective. But also, how do you connect? ‘What is the context of this?’ I kept saying this, ‘Where did this come from? Why is he doing this?’ Then slowly, as the context came in… But I’m having to learn these songs, we’re having to record them, and poor Daniel was being incredibly patient, like, ‘It’s this, and this, and this.’ I was like, ‘I need to know!’ [Laughs] But then, as this context comes in, they open up, and you just see how incredibly brilliant this music actually is. It’s just that I was naive to being able to fully understand it, but I had to learn the mathematics of the songs, which are incredibly complex. Daniel Hart’s an incredibly talented songwriter and musician, and he writes gigantic songs. They are mega, mega songs. Rolin also writes mega texts, but I’ve been used to that. It’s been a big change, but super fun.”

Interview with the Vampire Season 3, The Vampire Lestat, premieres on AMC and AMC+ on June 7. Check out the new teaser above and visit Lestat’s official artist page on Spotify, Apple Music, and more to follow along as new songs drop throughout the season. Stay tuned here at Collider as well for more exciting looks at the latest in television and film from our summer preview event throughout the coming weeks.

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Release Date

October 2, 2022

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AMC

Directors

Levan Akin, Alan Taylor, Craig Zisk, Emma Freeman, Keith Powell

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Writers

Jonathan Ceniceroz, Coline Abert, Eleanor Burgess, Ben Philippe

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  Jacob Anderson

  Louis de Pointe du Lac

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Much like the very experience of being human, in Jane Schoenbrun’s movies, there are no easy answers. We’re All Going to the World’s Fair is a hypnotic journey through the darkest corners of the internet and how a young girl’s loneliness and alienation set her on this path. I Saw the TV Glow is an odyssey of two souls exploring their identities through the power of television and fandom.

While Schoenbrun’s trippy imagery and non-linear narratives toy with the conventions of horror, sci-fi, and thriller, the story always traces back to the relationships we have with ourselves, our identities, and our desires. Opening the Un Certain Regard section at this year’s Cannes Film Festival, Teenage Sex and Death at Camp Miasma is Schoenbrun’s most horror-leaning outing yet, but Schoenbrun remains true to their confounding but awe-inspiring lamentations on belonging and one’s journey to finding and accepting who they really are.

‘Teenage Sex and Death at Camp Miasma’ Is a Movie Made for Slasher Fans

Image via MUBI

Hannah Einbinder stars as Kris, a queer filmmaker and slasher buff who has been given the reins to reboot the “Camp Miasma” film series, a long-running, backwoods slasher franchise à la Friday the 13th. The series needs reviving with a new “woke” direction due to the transphobic origins of its central killer, Little Death. It’s a not-so-subtle reference to the distasteful and downright hateful twist of 1983’s Sleepaway Camp, a film that attributes the killer’s psychotic thirst for blood to their gender confusion. Kris is set on casting the actress who played the original final girl, Billy Prestley (Gillian Anderson), who has not worked since and resides deep in the snowy mountains on the set of the original movie. Kris travels to stay with her, and, over the next couple of days, the two watch the “Camp Miasma” movies, eat candy, and reveal more of themselves to each other than they ever have before.

It’s easy to describe Teenage Sex and Death at Camp Miasma as a movie made for slasher fans, but that’s exactly what it is. Just about every famous slasher series and final girl is mentioned, and the original “Camp Miasma” film hits every trope of the genre imaginable. But Schoenbrun’s film is not a slasher itself. Far from it. It’s an odyssey of the self that the audience is led through, and Hannah Einbinder’s Kris is the vessel. We see how horror movies have shaped the underlayer of Kris, forming their deepest desires and fantasies, which bring them both solace and great shame. It’s here that Teenage Sex and Death at Camp Miasma shifts into one of the most nuanced depictions of eroticism and desire in recent years. Schoenbrun understands that movies shape who we are, but so too does sex and how we derive pleasure. Much of the film exists in the mind of someone on the edge of climax, experiencing discomfort and eroticism in equal measure. Shame permeates Schoenbrun’s filmography, and Teenage Sex and Death at Camp Miasma is a glorious crescendo that sees the filmmaker confidently revel in and celebrate what gets us off.

Director Jane Schoenbrun’s Latest Is More Conventional but Still Wildly Original

Image via MUBI

Teenage Sex and Death at Camp Miasma also sees Schoenbrun’s visual style at its most conventional but still mesmerizing. Some sets are your classic backwoods horror settings, but the painted landscapes in the backdrop conjure up a Wes Anderson feel that suits Schoenbrun’s reality-bending vision. Sequences filled with splatter and gore are given a tender melody as the Counting Crows croon while Little Death fights back against a world that has alienated them. Slasher fans will delight in the woods scenes with copious amounts of fog and outrageous levels of blood squirting, with some sequences feeling straight out of a video game or reminiscent of the fight scenes in Malignant. But it’s in the intimacy scenes where Schoenbrun’s grip feels the most present, zooming in on Kris’ and Billy’s faces and drawing us into the intoxicating pull between the two leads. It all works to create a truly engulfing experience, giving the themes of intimacy and selfhood the palpability they require.

Hannah Einbinder’s lot in life seems to be playing opposite maddening older women, and Gillian Anderson is yet another castmate she creates irresistible chemistry with. As our protagonist, Einbinder subtly creates a hidden torment within Kris, one that they slowly unveil as they become closer to Billy. Schoenbrun’s filmography has given us some dynamic characters who grapple with their identity, and Einbinder more than accomplishes the task in her portrayal of Kris. Anderson is a propulsive force of alluring melancholy, brushing off her Blanche DuBois accent that leaves you hanging on every delicious word. There’s a great deal of humor in Anderson’s characterization of Billy, while always returning the character to a place of pain and misunderstanding. While brilliant as their own characters, they bring out the best in each other, and Schoenbrun draws out another two magnetic performances.

Any horror aficionado knows that sex is a key ingredient to any good slasher, and Teenage Sex and Death at Camp Miasma reckons with the effect that has on the viewer, especially queer folk who have been led to believe that their desires are something to bury deep at the bottom of the lake, with the likes of Jason Vorhees and Little Death. Pacing issues somewhat hurt the second half, but no one should expect a conventional narrative structure from Schoenbrun. That said, overall, this is their most conventional film yet, and it further cements Schoebrun as one of the pre-eminent queer filmmakers of today, one who continues to bring clear vision and nuance to themes of identity, sex, and selfhood.

Teenage Sex and Death at Camp Miasma premiered at the 2026 Cannes Film Festival. It releases in theaters in the U.S. on August 7 before arriving on Mubi.

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Release Date

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August 6, 2026

Runtime

112 minutes

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Director

Jane Schoenbrun

Writers

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Jane Schoenbrun

Producers

Dede Gardner, Jeremy Kleiner

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Pros & Cons

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• Gillian Anderson and Hannah Einbinder have palpable chemistry.
• The film is a treat for horror and slasher fans.
• Jane Schoenbrun creates another tender story of belonging and identity.

• The pacing can sometimes feel stilted in the second half.

The long and violent saga of Cillian Murphy‘s Tommy Shelby came to an explosive end by the order of Netflix earlier this year, as Peaky Blinders: The Immortal Man, a sequel to the hit series Peaky Blinders, exploded onto global streaming and even in limited theaters. Earning 25.3 million views in its first three days of release, the movie became the most-watched title on Netflix in countless countries around the world, even holding strong into its second week with an impressive 19.4 million views.

Creator and writer Steven Knight pulled out all the stops with the back of Netflix for The Immortal Man, to make sure Murphy’s iconic flat cap-wearing criminal went out with a bang. However, the end of Tommy doesn’t mean the end of the Peaky Blinders, with it confirmed that the BBC, Netflix, and Knight will continue the story with two 6-episode seasons that will expand the Shelby saga. It was previously reported that production is already underway on this next series, which is set to star Jamie Bell as the heir to Tommy’s empire, Duke, a character previously portrayed by Conrad Khan in Peaky Blinders season 6, and Barry Keoghan in The Immortal Man.

Knight, as usual, has been far from quiet about the upcoming next chapter in the story, and has recently given the most exciting production update yet for the next installment of Peaky Blinders. Speaking in an interview uploaded to social media during the BAFTA TV Awards, Knight confirmed that, “We’re filming it at the moment, and it’s going really well,” before adding, “We’ll have it in the can in a few weeks.” This gives us the best idea yet of when the series might return, with the end of production in the next few weeks perhaps signalling a 2027 release. Knight also said, “I think people are going to be pleasantly surprised at how it has turned out. It’s so good.”

Who Else Stars in the New ‘Peaky Blinders’?

Bell is far from the only star set to feature in this new series, with an undeniably glaring hole left in the cast now that Murphy is gone. Lashana Lynch, Cal O’Driscoll, Fintan Shevlin, and Jacob Wright are also set to lead the next era of Peaky Blinders, with it confirmed that the historical series is moving forward in time, with the upcoming series set in a post-WWII Birmingham. “In a new era of Steven Knight’s Peaky Blinders, the race to own Birmingham’s massive reconstruction project becomes a brutal contest of mythical dimensions,” the official synopsis reveals.

You can watch both Peaky Blinders and The Immortal Man on Netflix. Stay tuned to Collider for more updates.

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Release Date

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2013 – 2022-00-00

Network

BBC One, BBC Two

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Showrunner

Steven Knight

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Directors

Anthony Byrne, Colm McCarthy, David Caffrey, Otto Bathurst, Tim Mielants, Tom Harper

Writers

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Stephen Russell, Steven Knight, Toby Finlay

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Over the last decade, horror television has become more mainstream. It feels like streaming platforms are always releasing new supernatural and psychological thrillers. However, that level of saturation has also created a strange problem where absolutely brilliant horror is often excluded from mainstream conversations. Horror has also always been a subjective genre. What terrifies one person might not affect someone else at all.

That’s exactly why massive popularity doesn’t always define the quality of a horror story. In fact, some of the greatest horror shows ever made were either misunderstood during their original run, released too early for audiences to fully appreciate, or just failed to reach the right viewers at the right time. This is a list of such near-perfect horror shows that pushed the genre to its limits, but no one remembers today.

‘American Gothic’ (1995–1996)

Image via CBS

American Gothic is one of the greatest horror shows most people don’t even know about, which is honestly a shame considering just how ahead of its time it was. The series takes place in the small South Carolina town of Trinity and follows young Caleb Temple (Lucas Black), who is caught in a battle between good and evil after a horrific family tragedy leaves him orphaned. The story also includes the charming Sheriff Lucas Buck (Gary Cole), who seems to control the entire town through manipulation, fear, and supernatural influence. The more Caleb learns about Buck, the more disturbing things become, especially once it’s revealed that the sheriff has a deeply personal interest in the boy and may even be his biological father.

That premise is enough to hook just about anyone in, but the best part about American Gothic is how subtle and psychological its horror felt. The series never relied heavily on gore or cheap jump scares. Instead, the fear came from Buck himself because of how Cole plays the character with this unsettling sense of menace that’s impossible to look away from. Buck rarely acts openly evil. Many modern prestige horror shows clearly draw inspiration from American Gothic‘s themes of religion and family trauma. Unfortunately, the series rarely gets the credit it deserves because of CBS’ mishandling, which included airing episodes out of order and constantly changing time slots. Even then, though, American Horror developed a passionate cult following because the audience recognized how unique the show really was.

‘Channel Zero’ (2016–2018)

Image via SYFY

Channel Zero is a horror anthology that deserves way more recognition than it gets. The Syfy series, created by Nick Antosca, adapts a different creepypasta into a self-contained nightmare each season. That alone gave the show a unique identity because it was pulled from internet horror in a way that felt fresh, strange, and truly unsettling. Channel Zero Season 1, titled Candle Cove, follows a child psychologist who returns to his hometown and discovers that a disturbing children’s puppet show may be connected to old disappearances. Season 2, No-End House, follows a group of friends visiting a sinister house of horrors, while Season 3, Butcher’s Block, and Season 4, The Dream Door, push the series into even more grotesque and otherworldly territory.

What made Channel Zero so effective was how seriously it treated its bizarre ideas. The stories it told could have easily felt ridiculous and campy in the wrong hands. However, the show leans into a slow-burning sense of dread with eerie visuals and an uncomfortable atmosphere. The horror comes from the fact that the characters only understand the rules of their world when it’s already too late. The anthology format also helped the show stay fresh. Each season had its own tone, mythology, and visual identity, but all of them shared the same unsettling dream logic. That variety is exactly why horror fans still talk about Channel Zero even though it ended way too soon.

‘Penny Dreadful’ (2014–2016)

Penny Dreadful is another horror show with a premise that still feels one-of-a-kind. The series takes place in Victorian London and brings together some of the most iconic figures from Gothic literature, including Victor Frankenstein (Harry Treadaway), Dorian Gray (Reeve Carney), Dracula (Christian Camargo), and other familiar monsters from 19th-century horror fiction. On paper, that could have easily turned into a messy crossover gimmick, but Penny Dreadful gives these characters genuine depth. The story begins with explorer Malcolm Murray (Timothy Dalton) and the mysterious Vanessa Ives (Eva Green) hiring American gunslinger Ethan Chandler (Josh Hartnett) to help rescue Murray’s daughter from a supernatural threat.

From there, the show slowly introduces vampirism, witchcraft, monsters, demons, and all kinds of horrific terrors. However, the spectacle of it all never overpowers the emotional core of the story. Every major character feels haunted by something, which gives the horror a tragic intensity that most shows in the genre can’t even aim for. The series also deserves credit for its costumes, sets, music, and gloomy Victorian atmosphere, which make almost every scene feel like a Gothic painting brought to life. Penny Dreadful is the perfect mix of classic literary horror with layered character drama, and it deserves to be remembered as one of the greatest shows of the 2010s.

‘Hemlock Grove’ (2013–2015)

Image via Netflix

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The best way to describe Hemlock Grove is strange, but that’s not necessarily a bad thing. The series, produced by Eli Roth and based on Brian McGreevy‘s novel, is extremely addictive once the audience is immersed in its dark world. The story takes place in a Pennsylvania town filled with old money, corruption, and dark supernatural secrets. Hemlock Grove follows Peter Rumancek (Landon Liboiron), a mysterious teenager rumored to be a werewolf, who forms an unlikely friendship with Roman Godfrey (Bill Skarsgård), the eccentric heir to the wealthiest family in town.

After a series of brutal killings begins terrorizing Hemlock Grove, the two start investigating the mystery while slowly uncovering horrifying truths about themselves and the town around them. The premise isn’t exactly groundbreaking, but the show’s dreamlike atmosphere sets it apart from other supernatural shows. Hemlock Grove fully commits to its madness and psychological horror instead of trying to play it safe. That unpredictability is exactly why so many viewers became obsessed with it despite its flaws. Skarsgård and Liboiron make for an interesting on-screen duo, and their dynamic grounds the show’s over-the-top storylines with something that feels surprisingly human. Despite its flaws, Hemlock Grove remains one of the most fascinating horror series of all time and deserves credit for all the risks it took.

‘Masters of Horror’ (2005–2007)

Image via Showtime

Masters of Horror is a love letter to the genre from the filmmakers who helped define it. The anthology series, created by Mick Garris, brought together some of the biggest names in horror, including John Carpenter, Dario Argento, Tobe Hooper, Takashi Miike, Stuart Gordon, Joe Dante, and Don Coscarelli, and gave each of them complete creative freedom to tell their own standalone nightmare. Every episode in the show functions like a self-contained horror film, which means the tone constantly changes from week to week. Some episodes lean into psychological terror, while others embrace dark comedy or supernatural folklore.

This unpredictability keeps things exciting and gives the show a distinct identity. Masters of Horror pushed boundaries because it trusted all these horror directors to commit to their weirdest instincts instead of telling palatable stories. Even the weaker episodes still carried a sense of ambition that most horror television lacked at the time. The show may not have reached massive mainstream popularity during its original run, but over the years, it has developed cult status among horror enthusiasts. In many ways, Masters of Horror revitalized anthology storytelling on TV and paved the way for shows like Black Mirror and The Haunting of Hill House to make the format popular again.

‘Marianne’ (2019)

Image via Netflix

If there’s one horror show from the last decade that was truly terrifying, it was Marianne. The French Netflix series quickly developed a reputation as one of the scariest horror shows ever made because of how relentlessly unsettling it is from the very first episode. Marianne follows successful horror novelist Emma Larsimon (Victoire Du Bois), who realizes that the terrifying witch from her books may actually exist in the real world. After her childhood friend suddenly dies, Emma returns to her hometown and slowly uncovers a decades-old supernatural nightmare tied directly to her past.

Marianne stands out from most supernatural horror series in how aggressively it commits to pure fear. The show constantly creates the feeling that something is deeply wrong, even during seemingly normal conversations. Ordinary situations become nightmarish within seconds, and the series rarely gives the audience time to recover before the next one. A lot of that fear comes from Mireille Herbstmeyer‘s performance as Madame Daugeron, the elderly woman possessed by Marianne. The story itself becomes increasingly chaotic as Emma discovers that the events she writes in her novels begin manifesting in reality. It’s a shame that the show was cancelled after just one season because it’s the kind of show that’s meant for hardcore horror fans.

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Marianne

Release Date

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2019 – 2019-00-00

Network

Netflix

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Directors

Samuel Bodin

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Writers

Quoc Dang Tran

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We’ll never grow tired of Heidi Klum‘s elaborate outfits. Even when she’s not dressed as a literal statue at the Met Gala, she’s working flashy pieces into her everyday wardrobe, like the sheer (yet sleek) black top she recently wore in France ahead of the Cannes Film Festival. Surprisingly, her body-baring top isn’t what first caught our eye. We’re totally fixated on the model’s black croc-embossed loafers style, which gave her look a classic, collegiate spin.

Klum later walked the red carpet in a dramatic Elie Saab gown, so we assumed the brand behind her casual footwear is high-end as well (as it turns out, they’re Christian Louboutin). Still, you don’t have to shop designer to copy her luxe, polished look because we found a similar pair on Amazon for just $40.

Get LifeStride’s Margot Loafers for $40 (was $80) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Now is truly the time to get your hands on LifeStride’s Margot loafers. Not only do they look just like Klum’s pair, featuring a ‘gator’ design made of faux black leather, but they’re also 50% off — and the deal likely won’t last long. Loafers are the ‘It’ shoe among stylish women everywhere, with a range of stars including Meryl Streep, Rihanna and Kate Middleton who have rocked a pair in recent months. There are tons of options out there, including white versions that feel like a sneaker replacement, but a black croc-embossed option really says ‘I’m fancy and rich’ like no other.

Related: Not a Sneakers Fan? These Cloud-Like Loafers Are Honestly Better

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Sneakers may be the default, but they’re not the only option for spring. Loafers are stepping in as the more polished alternative — and they’re just as comfortable, if not more. This season, it’s all about swapping sporty styles for something a little more elevated. Amazon is full of comfy loafers that deliver on both […]

The LifeStride pick is also pretty comfortable, and aside from easily slipping right on (no buckling or lacing required!), they’re cushioned, supportive and flexible enough that your feet won’t be aching an hour after leaving the house. The 1-inch heel will also keep you from wobbling around like a baby deer, and even if you end up on slippery ground, these shoes have traction for extra stability.

Amazon shoppers compare these shoes to “walking on clouds,” swearing that they’re the “most comfortable shoe” they’ve ever worn.

“These shoes are perfect for my job, which requires me to be on my feet all day,” one reviewer wrote. “I’ve found that they’re more comfortable than more expensive brands, and they don’t hurt my feet at all!!”

“These look good with so many things,” added another customer, who called the shoes their new favorite. “Will purchase in additional colors.”

If black croc loafers aren’t quite your style, the same shoes come in brown and classic black, with wide sizing available. No matter which color you choose, you’ll likely be surprised at how many ways you can wear these babies. While Klum used her own pair to pull together her sheer top, black blazer and jeans combo, the LifeStride alternative would also work well with a breezy shirtdress, structured work trousers and even an itty-bitty mini skirt. You’ll likely wear them as often as your ballet flats or sneakers, so that $40 will be well spent!

Shop this pair now and embrace your inner style icon.

Get LifeStride’s Margot Loafers for $40 (was $80) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

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

Related: Copy Katie Holmes’ $1,090 Rich Mom Spring Loafers Look for Just $47

Katie Holmes is proving (once again) that no one does polished spring style quite like she does. The actress turned New York City sidewalks into her personal runway with a breezy blue-and-red printed maxi skirt, a simple white T-shirt and sophisticated black loafers that instantly caught our attention. The entire look feels effortless, elevated and […]

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