Logan Paul
Confronted By Overzealous Fan
… Bodyguard Shoves Him

Published
February 9, 2026
8:00 AM PST

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The moment I found out Forbidden Fruits would star Lili Reinhart, Lola Tung, Alexandra Shipp, and Victoria Pedretti, I was instantly sold. But, then I heard Meredith Alloway dub her movie, “Mean Girls, but a slasher,” and I quietly sat there wondering, “Is she making this movie for me?” I wouldn’t be surprised if many others felt that same way. Not only has this hugely talented all-star ensemble amassed quite the following over the years, but Forbidden Fruits is channeling the vibes of a number of iconic and beloved clique movies like Mean Girls, The Craft, Jennifer’s Body, and then some.

The movie takes place entirely in a mall where The Fruits are the queen bees. Led by Reinhart’s Apple, by day, The Fruits run one of the hottest stores in the mall, Free Eden. By night? They turn to witchcraft. When Apple, Cherry (Pedretti), and Fig (Shipp) cross paths with Lola Tung’s Pumpkin, she appears to be an ideal new member for their coven. But, when Pumpkin begins to question their sisterhood, The Fruits wade into some especially dark territory.

Forbidden Fruits is based on Lily Houghton’s stage play, Of the Women Came the Beginning of Sin, and Through Her We All Die. Given Houghton and Alloway share a manager, have a number of mutual friends, and also have some similar storytelling interests, they made an ideal match. While visiting the Forbidden Fruits set in the Sherway Gardens Mall in Toronto in March 2025, Alloway recalled:

“I was coming off of a lot of research on female serial killers and female criminals, and so was Lily on another movie, and I was like, ‘Why do we keep having these male serial killer stories? Women kill or commit crimes for very different reasons.’ It’s like the Medea of it all. She did those things to protect her children in her mind. And I was like, ‘I want stories like this. I want to write about women’s dynamics.’ And then I read this play, and I was like, ‘It’s Mean Girls, but a slasher.’ That was the first thing I said, so it’s so crazy that the mall we’re shooting at is where they shot the Mean Girls fountain scene.”

Every ‘Mean Girls’ Needs a Regina George — For ‘Forbidden Fruits,’ It’s Lili Reinhart’s Apple

“Blood should be thicker than water, and when it isn’t, how do you create your own family?”

Casting is vital to any production, but when it comes to a witchcraft movie, finding the perfect coven is make or break.

Reinhart takes on one of the most exciting cinematic opportunities with the role of Apple; she’s challenged with crafting a villainous character you can’t help but love. Reinhart actually boarded Forbidden Fruits while still working on Riverdale, so when filming kicked off, she had been thinking about how to tackle the character for two years.

Reinhart admitted that for a good while, she told people, “I’m playing the villain in a movie!” She continued:

“I had to be like, ‘Wait, wait, wait. I have to play this girl and connect to this woman and be her, and she doesn’t think she’s doing anything wrong, so I can’t think she’s doing anything wrong.’ So, almost weirdly, finding a way and working with a coach to empathize with her actions, which, when you see the movie, you’re like, ‘How does one do that?’ But I did it, and I love her dearly.”

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Another important aspect of Apple that Reinhart had to get just right in order to ensure the audience always felt a connection to her was rooting Apple’s extreme qualities and actions into some sort of grounded truth. As Reinhart explained, “She has such a facade and wears such a mask. That’s why her wig and her hair were so important to me.” Throughout much of the movie, Apple is wearing that mask and “is not a grounded human being,” but when that facade starts to crack, there needs to be a degree of human truth underneath, and that’s something that’s hinted at via the reasons why Apple turns to witchcraft. Here’s how Reinhart put it:

“A betrayal from people who weren’t supposed to betray you. Blood should be thicker than water, and when it isn’t, how do you create your own family? And that’s why you can’t see her as a villain if you see where she’s coming from. You still can, but you have to see the person who’s struggling within her situation and what is happening to her to lead her to do what she does ultimately.”

The Fruits Are Intoxicating

“If I see my friend doing something wrong or bad, do I stop it, or do I join?”

The family Apple creates includes Alexandra Shipp’s Fig, a character Shipp describes as a loner who doesn’t want to be one anymore. “What she gets out of it is friendship.” Trouble is, that makes Fig especially susceptible to doing whatever is necessary in order to avoid losing those friends, even if it means abandoning her morals.

“In the film, she does say, ‘I don’t want to lose these girls as friends,’ and I think that that can be a really dangerous place to live in because you become so malleable, morally. And so I think that Fig kind of bends a lot of her morals and ideals for this group because she doesn’t want to be the outsider, [the] loner that she’s been her entire life up until this point. I think that her motivation is just like, ‘These women mean so much to me,” which is key. Every girl should feel that way about their friends, you know what I mean? Your friends are like your blood. They’re coursing through your veins. And yet, at the same time, Fig makes me ask the question of, ‘If I see my friend doing something wrong or bad, do I stop it, or do I join?’”

Photo by Adam Martignetti

As for Lola Tung’s Pumpkin, she’s the new girl in town who’s embraced by The Fruits. As Tung explained, Pumpkin has loads of assumptions about the group and how they operate, but what winds up catching her off guard is “an unexpected sense of community.”

Tung considers Pumpkin to be the kind of person who is “friends with everybody, but kind of nobody at the same time.” She added, “I think she’s never felt a closeness and vulnerability like this.” Even when Forbidden Fruits veers into darker territory, The Fruits have a magnetizing quality. Tung explained:

“In certain moments, they talk about things that nobody else talks about, and they make you feel like you’re part of something special and unique. That building of the friendships makes it hurt all the more when things start to happen.”

The Dangers of Performative Sisterhood

Balancing the appeal of The Fruits and their disturbing dark side, and also the characters’ more extreme behaviors and their rawer moments calls for some tonal gymnastics. Alloway explained:

“I think that Forbidden Fruits, at its core, is sort of a satire. I hope that there’s humor. American Psycho is a big guiding light tonally because I think that everyone in the movie is taking their lives really seriously, and it can be kind of fun to laugh at it, but there are also extremely dark moments that feel very raw and real. You can experience that movie in so many different ways. And I think that with Fruits, we sort of took that as like, ‘Okay, let’s keep it playful.’ Ultimately, this should be a fun cinematic experience, but there are scenes that dig into the brutality of female relationships.”

Photo by Adam Martignetti

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Initially, Alloway and Houghton labeled this problematic form of friendship “girlboss ways,” but ultimately came to realize that Forbidden Fruits is tapping into something quite prevalent but far less explored on screen. Alloway recalled:

“We were sitting around the table, and we were like, ‘Performative sisterhood is more what’s going on here,’ and this sort of need to be accepted, and what we’ll do, anyone, to feel accepted and a part of something and a part of a family. And in this movie, I feel like if the women just really were like, ‘Are you okay? Because I’m not okay,’ none of the chaos would ensue.”

Forbidden Fruits is set to celebrate its World Premiere at SXSW 2026 on March 16 before opening in theaters on March 27.

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Director

Meredith Alloway

Writers

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Lily Houghton, Meredith Alloway

Producers

Mary Anne Waterhouse, Diablo Cody, Mason Novick

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As a child, having a healthy bond with your parents is crucial; it promotes mental, emotional, and linguistic development and is ultimately one of the most powerful connections two people can share. Many remark that a daughter’s first love is her father. While this isn’t always the case, it actually happens a lot. It’s always heartwarming to witness these strong relationships translated into film, especially when a movie highlights how safe and secure a child feels with her caregiver.

Throughout the years, many touching features have successfully depicted beautiful father-daughter relationships, showing how inspiring, unconditional, and encouraging a father’s love can be. To celebrate this unique bond, we look back at some of the best movies about fathers and daughters, ranking them by how accurately they depict this strong connection as well as their entertainment value.

40

‘Trouble with the Curve’ (2012)

Image via Warner Bros. Entertainment

Amy Adams plays a daughter, Mickey, who seeks to repair her strained relationship with her father (Clint Eastwood), a once-celebrated baseball scout who is now facing health problems, in this Robert Lorenz film. Determined to make amends, she joins him on a recruiting trip that could be his final one. As they spend time together, their tensions come to the surface, but so do moments of understanding.

In Trouble with the Curve, baseball is the source of healing and a common language between the two characters; it is touching despite its lack of over-the-top arguments, and precisely because of the quiet unraveling of misunderstanding. With a refreshing, understated ending that focuses on small victories, the 2012 film has captured the attention of those moved by daughter-father narratives despite being a critically mixed movie.

39

‘Definitely, Maybe’ (2008)

Image via Universal Studios

Starring Ryan Reynolds in the lead role and set in New York City, Definitely, Maybe is an Adam Brooks romantic comedy that follows 30-something political consultant Will Hayes as he attempts to explain to his 11-year-old daughter, played by Little Miss Sunshine‘s talented child actor Abigail Breslin, his divorce, past relationships, and how he ended up marrying her mother.

While it doubles as a romantic comedy, Definitely, Maybe is an incredible father-daughter movie, featuring a believable bond between a dad and his kid at its core. What’s so great about this all-around nice and enjoyable film is, too, its well-cast characters and the funny, emotional moments. Furthermore, Definitely, Maybe does not shy away from tackling serious themes such as divorce and politics.

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38

‘Hearts Beat Loud’ (2018)

In Hearts Beat Loud, a single dad and record store owner (Nick Offerman) and daughter (Kiersey Clemons) form an unlikely songwriting duo in the summer right before she leaves for college.

Out of all the father-daughter movies listed here, this is probably one of the lesser-known. That said, Brett Haley’s often overlooked film (which deserves all the audience’s love) is still very much worth watching: it delivers two great performances — especially from The Last of Us and Parks and Recs‘ Offerman — and provides audiences with a meaningful narrative that is both fulfilling and touching with an incredible duo at its center.

37

‘The Whale’ (2022)

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Although this functions as a character-driven film about a 600-pound English online college professor (Brendan Fraser) struggling with mental health rather than a traditional father-daughter narrative, The Whale also centers on his distant relationship with his daughter (Sadie Sink), whom he left after choosing a lover. Now dying, Charlie reaches out with money as if it could substitute for presence.

When the topic is paternal abandonment, The Whale is a poignant entry precisely because it is harsh and heartbreaking. Aronofsky’s brilliance lies in the way he reveals what Ellie’s cruelty actually conceals: a girl abandoned at eight who learns that tenderness invites abandonment, and in highlighting how Ellie’s armor cracks as the film progresses. Although it has received mixed reviews from critics and audiences, it would be untrue to say Aronofsky’s film isn’t moving.

36

‘Daughters’ (2024)

Image via Netflix

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Those who are looking for something a bit more raw, humanistic, and perhaps less fictional, this moving Netflix documentary might be worth a watch. Daughters illustrates four young girls preparing for a special Daddy/Daughter Dance with their imprisoned fathers as part of a unique fatherhood program in a Washington, D.C. jail.

Directed by Natalie Rae and Angela Patton, this deeply empathetic documentary offers powerful, heartfelt storytelling about the father-daughter relationship, particularly within the specific context of incarceration. Through a narrative that feels authentic rather than overly-staged, Daughters highlights, at its core, the significance of fathers in their daughters’ lives and emphasizes how these bonds often survive in the face of challenge.

35

‘On the Rocks’ (2020)

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Sofia Coppola‘s father-daughter movie and comedy-drama, On the Rocks, stars Bill Murray and Rashida Jones as the ultimate father-daughter duo as they attempt to find out whether her husband (Marlon Wayans) has been unfaithful on an adventure through New York.

While beautifully executed like many other films in Coppola’s filmography, On the Rocks is likely a different film from what audiences usually expect from the filmmaker. What is so interesting about On the Rocks is how it perfectly captures the dynamic between both characters. While it is not necessarily among Coppola’s best movies, it shines a beautiful light on the relationship between a more mature daughter and her, of course, much older father.

34

‘King Richard’ (2021)

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Will Smith steps into the shoes of Richard Williams, the father and coach of famed tennis players Venus and Serena Williams (played by Demi Singleton and Saniyya Sidney), in this critically acclaimed film that landed Smith his Best Actor Academy Award in 2021, after getting his first Oscar nomination in 15 years. The biopic follows Williams as he brings willpower and determination to another level, carving his daughters’ names into history.

There is no doubt that the highly praised film features heartwarming father-daughter bonds. As it navigates through the Williams’ lives, King Richard sheds an important light on the close relationship the family shares, especially the sisters’ relationship with their father. It highlights how big a role Williams played in the girls’ lives, both on and off the court.

33

‘Gifted’ (2017)

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Centering on a super smart kid, 2017’s Gifted is set in Florida and focuses on Frank Adler (Chris Evans), a single man who is responsible for raising his highly intelligent niece, Mary (McKenna Grace, who has been cast in tons of exciting projects). When the mathematical abilities of prodigy 7-year-old Mary catch the attention of Frank’s mother, Evelyn (Lindsay Duncan), a wild turn of events takes place.

Deeply moving and entertaining, this Marc Webb film touches on very sensitive topics, including suicide and parental abandonment, even if it mostly revolves around a second-grader. Nevertheless, Gifted showcases the importance of standing up for others, all while translating a beautifully written and complex daughter-father relationship to the screen.

32

‘Somewhere’ (2010)

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Although it isn’t as popular as other Sofia Coppola pictures, Somewhere is an interesting entry by the filmmaker. The movie stars a young Elle Fanning as Cleo and explores her relationship with her father (Stephen Dorff), a passionless Hollywood star who reevaluates his life when she steps back into the picture.

Coppola enjoys examining girlhood and father-daughter bonds in her movies and has successfully done so in the past. The latter is evident not only through Somewhere but also On the Rocks; while both are great and even a tad underrated movies in this niche category, they are likely to appeal to different age groups, as the nostalgic Somewhere plays like a coming-of-age and features a teenage protagonist, while On the Rocks, a more mature story, is led by a young woman.

31

‘Father of the Bride’ (1991)

Image via Walt Disney Studios Motion Pictures

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Steve Martin’s George Banks is devastated when his beloved daughter (Kimberly Williams-Paisley) decides to marry a wealthy man, as he can’t imagine what life is going to be like without her. When their wedding takes place at their home, George finds himself descending into a nightmare.

This romantic comedy by Charles Shyer may not fit everyone’s liking, but it is still a charming and well-executed movie; the average moviegoer who’s keen on the genre may actually enjoy it. On top of featuring one of the most iconic father-and-daughter duos in film, Father of the Bride is funny and even touching at times. Its depiction of a father realizing that his baby daughter is not a baby anymore is precise and makes the movie a relatable picture to some.

For decades, Fallout has trained audiences to look underground for its worst secrets. Vaults hide experiments. Vaults warp people. Vaults are where the real horror lives. But in the Season 2 finale, Fallout finally says the quiet part out loud, and in doing so, reframes the entire franchise.

“The surface is the experiment, not the vaults.”

Spoken by Hank Maclean (Kyle MacLachlan), the line isn’t a shocking revelation so much as a confirmation. It’s the thesis Fallout has been circling for years, now stated with brutal clarity. The vaults were never the end goal. They were infrastructure. The real test has always been what happens when humanity is released back into a world shaped by controlled collapse.

The Vaults Were Always a Distraction

Image via Prime Video

From the beginning, the vaults have functioned as misdirection. They are grotesque, self-contained, and easy to catalog as evil. Each vault has a premise, a variable, a failure point. They feel like the obvious crime scene. But Fallout has always been more interested in what happens after the experiment concludes. Season 2 makes that explicit. The surface isn’t chaos born from negligence; it’s chaos by design. Societies are allowed to form, fracture, and weaponize ideology without intervention. Factions rise believing they are restoring order, never realizing they are still operating within parameters established long before they existed. Hank’s line confirms that the vaults were never meant to preserve humanity in isolation. They were meant to shape what kind of humanity would emerge when isolation ended.

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Control Never Stopped — It Just Became Invisible

What makes this revelation so dark isn’t that someone is watching. It’s that the watching never required interference. The experiment succeeds precisely because the surface world believes it is free. Season 2 repeatedly emphasizes how institutions persist even when morality fails. Power structures inherit the language of survival and dress it up as necessity. Leaders speak in terms of protection and order, never questioning whether the framework they’re enforcing was designed to be humane in the first place. By positioning the surface as the experiment, Fallout reframes its central tragedy. Humanity isn’t being punished for its mistakes: it’s being observed while repeating those mistakes under slightly altered conditions. Progress is measured not in justice or compassion, but in predictability.

This Changes How Every ‘Fallout’ Story Lands

Hank’s line retroactively sharpens the entire franchise. It explains why no faction is ever allowed to fully “win,” and why every attempt at rebuilding recreates hierarchy, exclusion, and violence. The surface world isn’t meant to heal — it’s meant to demonstrate how power inevitably reorganizes itself when left unchecked. This is also why Fallout has always been skeptical of saviors. Anyone claiming to fix the world is unknowingly validating the experiment’s premise. Stability achieved through control is still control. Civilization rebuilt on old logic is still part of the test. Season 2 forces its characters — and its audience — to sit with that realization. Lucy’s belief in moral choice collides with a system that was never designed to reward it. Maximus’ loyalty fractures as he begins to see how easily institutions survive by consuming those who serve them. Hank’s calm certainty is perhaps the most chilling response of all: acceptance without resistance.

The Horror of ‘Fallout’ Has Never Been the Bombs

Image via Prime Video

One of the most unsettling implications of Hank’s statement is how little resistance the experiment now requires. There is no singular villain pulling strings, no dramatic reveal of a mastermind intervening from the shadows. The system perpetuates itself through belief alone. People inherit the logic of the old world and enforce it willingly, convinced that survival demands repetition rather than reinvention. In that sense, the experiment has succeeded beyond its designers’ expectations. The darkest realization Fallout offers in its Season 2 finale is that the apocalypse wasn’t the catastrophe: it was the setup. The real horror is how cleanly humanity stepped into the role assigned to it. The vaults feel cruel because they are visible. The surface feels natural because it isn’t. By flipping that perception, Fallout exposes its most unsettling idea yet: that freedom, in this world, is just another variable being tracked. “The surface is the experiment, not the vaults” isn’t a twist. It’s a confession. And once it’s spoken, it becomes impossible to see Fallout — past, present, or future — as anything other than a long-term study in how willingly humanity rebuilds the systems that destroyed it. Season 2 doesn’t just deepen Fallout’s lore: it clarifies its worldview, and it confirms that the franchise’s darkest truth was never buried underground at all — it was always playing out in plain sight.

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Release Date

April 10, 2024

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Network

Amazon Prime Video

Showrunner

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Lisa Joy, Jonathan Nolan

Directors

Frederick E. O. Toye, Wayne Che Yip, Stephen Williams, Liz Friedlander, Jonathan Nolan, Daniel Gray Longino, Clare Kilner

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Writers

Lisa Joy, Jonathan Nolan

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