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Entertainment

10 Faith-Based Movies To Watch if You Love ‘King of Kings’

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Jim Caviezel as Jesus talks to other people as they sit at a table together in The Passion of the Christ

Hollywood doesn’t dabble in blockbuster religious epics these days, which means that we’re unlikely to ever get another film like King of Kings in the near future. Directed by Nicholas Ray, the 1961 film is considered by many to be one of the greatest biblical epics ever made, pulling from all four New Testament gospel accounts to compile a large-scale three-hour narrative detailing the life of Jesus Christ, played here by The Searchers star Jeffrey Hunter. But if you’re looking for something along those same lines, then we have some suggestions for you.

In the last 100 years, the biblical epic has come in many forms, beginning in the silent era and moving all the way to the present digital age. From animated pictures to live-action, black-and-white to color, the story of Christ has transcended the pages of the Bible itself and become an important display of subversive heroism, sacrifice, and the miraculous on the big screen. If you’re looking for a powerful religious epic to indulge in this weekend, look no further than these films that echo the greatness of King of Kings.

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10

‘The Passion of the Christ’ (2004)

Jim Caviezel as Jesus talks to other people as they sit at a table together in The Passion of the Christ
Jim Caviezel as Jesus talks to other people as they sit at a table together in The Passion of the Christ
Image via Newmarket Film Group

When it comes to modern takes on the story of Christ, Mel Gibson‘s The Passion of the Christ is the feature film that draws the most attention. Known for its egregiously violent (and yet, historically accurate) trail and crucifixion sequences, Jim Caviezel shines magnificently as Jesus here, emphasizing both his humanity and divinity in a film chronicling Christ’s final days. Well, until the resurrection, that is. In addition to pulling from the biblical gospel accounts, The Passion also relies heavily on Catholic tradition.

With an R rating, The Passion of the Christ is not for the faint of heart. While it’s the type of biblical epic that can live up to King of Kings in scope, it’s a far more intimate picture that highlights what Christ suffered for the sins of the world. To tell the complete story, Gibson is currently working on a two-part sequel, The Resurrection of the Christ, which is set to premiere next Easter.

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9

‘The Greatest Story Ever Told’ (1965)

Max von Sydow as Jesus Christ on the cross in 'The Greatest Story Ever Told' (1965)
Max von Sydow as Jesus Christ on the cross in ‘The Greatest Story Ever Told’ (1965)
Image via United Artists

Off the heels of King of Kings, The Greatest Story Ever Told took bold leaps only four years later to retell the full story of Jesus Christ (here played by Max von Sydow) from birth to the “Great Commission.” Directed by Hollywood heavy George Stevens, the picture is a direct adaptation of the novel of the same name by Fulton Oursler and Henry Denker, though it took clear inspiration from the scriptures as well. With an over three-hour runtime, this is truly a time investment.

The Greatest Story Ever Told brought many Hollywood icons together, and featured appearances of plenty of notable stars including John Wayne, Charlton Heston, Sidney Poitier, Pat Boone, Martin Landau, José Ferrer, and, in their final on-screen roles, Claude Rains and Joseph Schildkraut. Talk about a stacked cast. Although not the most famous film about Christ, The Greatest Story Ever Told does its best to live up to its name.

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8

‘The King of Kings’ (1927)

Jesus Christ (H.B. Warner) encounters the adulterous woman (Viola Louie) surrounded by a crowd in Cecil B. DeMille's 'The King of Kings' (1927)
Jesus Christ (H.B. Warner) encounters the adulterous woman (Viola Louie) surrounded by a crowd in Cecil B. DeMille’s ‘The King of Kings’ (1927)
Image via Pathé Exchange

Did you know that King of Kings is a remake? Well, sort of. It shares a title, at least, with Cecil B. DeMille‘s original silent biblical epic, The King of Kings. The second installment in DeMille’s unofficial silent-to-sound religious epic trilogy that began with his original 1923 The Ten Commandments and concluded in 1932 with The Sign of the Cross, this tale of Christ (who is played by H. B. Warner) runs for over two and a half hours. That’s a lot for a silent picture, but with DeMille’s epic style, who could blame him?

The King of Kings uses direct scripture quotes from the New Testament gospels as intertitles, with DeMille going so far as to include both chapter and verse. It may not be as colorful and visually stunning as the 1961 version, but for all you film history buffs who appreciate the scale of what DeMille was trying to do, it’s a must-watch. As it’s been in the public domain for quite some time, this one is easy enough to find online.

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7

‘Barabbas’ (1961)

Barabbas (Anthony Quinn) in action as a gladiator in 'Barabbas (1961)
Barabbas (Anthony Quinn) in action as a gladiator in ‘Barabbas (1961)
Image via Columbia Pictures

Up to this point, most of these films have centered pretty directly on Christ himself, but Barabbas tells the story of Jesus through the fresh eyes of the murderer whose place he took on the cross: Anthony Quinn‘s Barabbas. After Pontius Pilate (Arthur Kennedy) spares his life, Barabbas witnesses the crucifixion of Christ (played here by an uncredited Roy Mangano) and his whole life begins to change. He wrestles with the man he once was, only to find himself traveling to Rome, where he meets the apostles.

Based on the novel by Pär Lagerkvist, Barabbas is a truly unique take on this story that reframes Christ’s death and resurrection, as well as early Christian persecution, through the eyes of the man whose death may have prevented it all — if not for divine intervention, that is. Quinn’s performance as the title figure has been praised, and the film — directed by Richard Fleischer — remains a favorite of many.

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6

‘Jesus’ (1979)

Jesus Christ (Brian Deacon) looks upward with the Holy Spirit resembling a dove perched on his shoulder in 'Jesus' (1979)
Jesus Christ (Brian Deacon) looks upward with the Holy Spirit resembling a dove perched on his shoulder in ‘Jesus’ (1979)
Image via Warner Bros.

Allegedly the most-watched movie ever made, Jesus (also known as The Jesus Film) is a two-hour biblical drama directed by Peter Sykes and John Krish with funding from the parachurch organization Campus Crusade for Christ. Meant to be an evangelistic tool, the final product is actually quite an accurate depiction of the Gospel of Luke that aims to be as true to the text as possible. Brian Deacon played the title Messiah here in a film that also holds the Guinness World Record for “most translated film.”

While most of the films on this list were shot elsewhere, Jesus was one of the few adaptations of Christ shot on-location in Israel. Between its adherence to the text and fine stained-glass performances, those looking for something a bit more 1:1 with the New Testament will be pleased here. As the movie poster puts it, this is a Jesus “stripped of myth and mystery.”

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5

‘The Gospel According to St. Matthew’ (1964)

Enrique Irazoqui as Jesus Christ carrying his cross in 'The Gospel According to St. Matthew.'
Enrique Irazoqui as Jesus Christ carrying his cross in ‘The Gospel According to St. Matthew.’
Image via Arco Film

Of course, there are three other gospel accounts besides that of Luke, and if you’re looking for something a bit out-of-the-box that follows another, give The Gospel According to St. Matthew a try. Evoking the Italian neo-realist style, director Pier Paolo Pasolini (himself an athiest) took a different approach to Christ (Enrique Irazoqui), shooting the picture almost as if it’s a documentary. In that way, it becomes more intimate than the usual biblical epic, and, interestingly, doesn’t stray much from the text.

Even famed film critic Roger Ebert praised this picture for being “one of the most effective films on a religious theme.” The best Jesus movie according to Rotten Tomatoes, The Gospel According to St. Matthew is a fascinating watch for its unique take on the material that utilizes Byzantine-inspired costuming and support from many Catholic viewers, including the Vatican itself. It was even filmed in some of the same locations that Mel Gibson would use for The Passion of the Christ decades later!

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4

‘Risen’ (2016)

RISEN, l-r: Joseph Fiennes, Tom Felton, 2016. ©Sony Pictures Releasing/courtesy Everett Collection
RISEN, l-r: Joseph Fiennes, Tom Felton, 2016. ©Sony Pictures Releasing/courtesy Everett Collection
Image via Sony Pictures Releasing/courtesy Everett Collection

Billed upon release as an “unofficial sequel” to The Passion of the Christ, Risen is a biblical thriller that follows Roman soldier Clavius Aquila Valerius Niger (Joseph Fiennes) after he and his aid Lucius (Tom Felton) are ordered by Pontius Pilate (Peter Firth) to find the supposedly stolen body of Yeshua (Cliff Curtis) — Yeshua being the Hebrew name of Jesus Christ. As Clavius investigates the incident, he is lead to the risen Christ and his apostles, and his life will never be the same. It’s certainly a perspective on the events that we don’t typically get.

Directed by Kevin Reynolds, the mind behind The Count of Monte Christo, Robin Hood: Prince of Thieves, and Hatfields & McCoys, Risen is an engaging twist on the historical thriller. As Reynolds’ last picture to date, the filmmaker knows how to draw out the tension and spin a new take on the genre that deserves closer examination, especially considering Curtis’ performance as the risen hero in question. Risen was slept on upon its initial release, but continues to be a hit on streaming.

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3

‘Jesus of Nazareth’ (1977)

Robert Powell as Jesus with crown of thorns in 'Jesus of Nazareth', looking up Image via ITV

Okay, this one is a bit of a cheat because Jesus of Nazareth is not exactly a movie… Although often billed as a film or a made-for-TV feature, the truth is that this Franco Zeffirelli-directed epic is actually a four-part miniseries. With 90-minute installments that detail everything from all four New Testament accounts — The Gospels of Matthew, Mark, Luke, and John — this is arguably the most detailed depiction of Jesus’ (Robert Powell) ministry put to the screen without egregious artistic liberty (looking at you, The Chosen).

With a stacked cast that includes the likes of Christopher Plummer, Laurence Olivier, Ernest Borgnine, Anne Bancroft, and James Earl Jones in one of his best television roles, Jesus of Nazareth was a seriously ambitious effort that deserves high marks for first bringing the story of Christ to television with both artistry and authenticity. With an emphasis on Jesus’ divinity, it’s a great complementary piece to King of Kings, even if it runs a few hours longer…

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2

‘The King of Kings’ (2025)

king of kings 14
A still from The King of Kings.

Another picture bearing the King of Kings title, The King of Kings, like the DeMille film before it, is not at all connected to the Nicholas Ray feature. Instead, this truly inspired take on the New Testament story is an animated film directed by Seong-ho Jang and loosely based on The Life of Our Lord by Charles Dickens. Yes, that Charles Dickens; and true to his written account, the film follows Dickens (Kenneth Branagh) as he recounts the story of Jesus Christ (Oscar Isaac) to his young imaginative son, Walter (Roman Griffin Davis).

Blending the morals of A Christmas Carol (which Dickens is performing when his son interrupts him) with the tale of Christ is quite a creative way to engage with the text. The film also features the vocal talents of Uma Thurman, Mark Hamill, Pierce Brosnan, Ben Kingsley, Forest Whitaker, and James Arnold Taylor. Perfect for all ages, The King of Kings may share a name with the 1927 silent film and the 1961 historical epic, but it couldn’t be farther from them in style.

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1

‘Ben-Hur’ (1959)

Ben-Hur (Charlton Heston) comes face-to-face with Jesus (Claude Heater) in 1959's 'Ben-Hur'
Ben-Hur (Charlton Heston) comes face-to-face with Jesus (Claude Heater) in 1959’s ‘Ben-Hur’
Image via Loew’s, Inc.

We all knew it was coming. Ben-Hur is the definition of a biblical epic, often considered the greatest religious or historical epic of all time. The William Wyler-directed adaptation of Lew Wallace‘s famous novel, Ben-Hur: A Tale of the Christ, stars Charlton Heston as Judah Ben-Hur, a Jewish prince who is adopted by a Roman and struggling with his identity. As he returns to Judea at the same time as Jesus’ (Claude Heater) ministry, he finds himself at odds with his childhood friend Messala (Stephen Boyd), now a Roman tribune.

Although Christ himself doesn’t appear much, part of the brilliance of Ben-Hur is how intertwined the stories of Judah and Jesus truly are. Over the course of this four-hour epic, Ben-Hur immerses you in a tale of revenge and honor that ultimately turns into a vehicle to explore themes of sacrifice, faith, and love. While Ben-Hur had been adapted twice in the silent era and again in 2016, it’s the 1959 version that remains a classic — and no other biblical epic, including King of Kings, holds a candle.













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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
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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

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🪙No Country for Old Men

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01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





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02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





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03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





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04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





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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?





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06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





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07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





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08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





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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.





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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?





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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.

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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.

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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.

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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.

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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.

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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.

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King of Kings


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Release Date

October 11, 1961

Runtime

171 minutes

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Director

Nicholas Ray

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Extremely R-Rated 80s Erotic Thriller Is A Hidden-Camera Murder Mystery

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Extremely R-Rated 80s Erotic Thriller Is A Hidden-Camera Murder Mystery

By Robert Scucci
| Published

Here’s a little bit of life advice that I’ll give you for free. If the last person to see your wife alive is a disgraced filmmaker who’s presently working on a snuff film, he’s probably the person responsible for her death. Furthermore, if you become the primary suspect in her murder, the filmmaker posts your bail after talking to the police and asks you to help him finish the film he started when your wife was still alive, you should probably try working directly with the authorities instead of the person who seems to know a little too much about the case after bringing one of the officers on to consult on the storyboard. This is the plot to 1984’s Special Effects, a movie within a movie that is one of the most out-there psychological thrillers I’ve seen in a minute.

It’s one of those movies where you know who the killer is because you see it happen early on, and you think he’s going to get away with it. He just might, too. The tension comes from watching everybody else, not knowing what you know, try to piece everything together even though they only have their suspicions and the kind of circumstantial evidence that wouldn’t hold up in court anyway.

Everybody, aside from the antagonist, is so comically clueless in Special Effects that it’s charming. It’s equally frustrating, though, because he’s the last guy you want to root for.

The Movie Within The Movie

Special Effects has a simple setup that extrapolates into absurdity, but almost always wears a straight face. We’re introduced to Andrea Wilcox (Zoe Lund), a struggling actress trying to make it big in New York City. She earns her living shooting nudie photos, which upsets her estranged husband, Keefe (Brad Rijn), prompting him to travel to New York and try to convince her to come back home to Dallas, where he and their toddler live. They have a fight, and Andrea storms out, finding herself near the residence of disgraced filmmaker Christopher Neville (Eric Bogosian).

Christopher is looking for his big comeback after becoming so reliant on special effects that he was blacklisted from Hollywood following a number of big-budget failures. While attempting to make love to Andrea, Christopher becomes enraged and strangles her to death. The entire exchange is recorded on a hidden camera in his bedroom, and he thinks it might be his big score.

When Keefe becomes the primary suspect in Andrea’s murder, he’s arrested by Det. Lt. Phillip Delroy (Kevin O’Connor). Christopher pays for a lawyer, and Keefe makes bail, meaning he’s now indebted to the filmmaker, who has plans for the murder footage. He explains his intention to make a movie about his and Andrea’s life, offering Keefe the position of technical advisor. Detective Phillip is put at ease when he’s offered a consulting job on the project, meaning he’ll hand over any files related to Andrea’s murder because he thinks he’ll get a writing credit out of it.

Knowing that he’s only out of jail thanks to Christopher’s generosity, Keefe buys into the project and even finds a woman named Elaine (also portrayed by Zoe Lund), who just so happens to be a dead ringer for Andrea. Christopher, in so many words, intends to make a snuff film using the actual footage of Andrea’s murder hidden inside the finished movie, with Elaine serving as her stand-in up to that point. Keefe, who knows Christopher is up to something but can’t quite put his finger on what, plays along, hoping the filmmaker will slip and show his true colors. Time is running out, though, because Christopher only becomes more unhinged as the film progresses.

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Quite The Ride Despite Its Destination

As much as I wanted to give Special Effects a perfect score, it’s not without problems. Not a single person in this movie is believably human, which takes away from the story it’s trying to tell. Christopher Neville is so comically evil that the only thing he’s missing is a mustache to twirl and a top hat to go along with it. The detectives are completely incompetent, which never really makes you feel worried about Keefe, who was essentially framed for murder. This dynamic undermines the kind of tension a thriller like this needs, but the story itself is fun despite how underwhelming I found the execution.

Watching a disgraced filmmaker try to incorporate the murder he committed into his next outing because he’s going back to his roots and using practical effects (read: an actual dead body) is a great way to explore the insane lengths creatives will go in the name of “authenticity.” The irony that he’s the most disingenuous person in the room isn’t lost on me, either. But without any real outside pressure from the characters who are supposed to provide it, the whole thing kind of falls apart in the third act.

Special Effects, as a concept, is a really fun film. While I’m not 100 percent thrilled with its characterization and execution, it remains a solid watch, especially before Christopher goes fully off the rails. If you’re looking for a thriller that isn’t afraid to go all in on its own insanity, you can stream Special Effects for free on Tubi as of this writing.


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Tubi Asserts Dominance Over Other Streamers With Hostile Alien Vacuum Cleaner Takeover

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Tubi Asserts Dominance Over Other Streamers With Hostile Alien Vacuum Cleaner Takeover

By Robert Scucci
| Published

Every so often, which is about once a week for me, I watch something on Tubi that’s so absolutely insane that I need to tell you all about it. I just scroll past a title like 1989’s Over-Sexed Rugsuckers From Mars, notice that it clocks in at under 90 minutes, and decide to take one for the team. And why wouldn’t I? The entire film is about an alien race of vacuum cleaners trying to aggressively reproduce with their human counterparts in an effort to take over the planet. The aliens themselves, who barely get any screen time, are stop-motion puppets, and the vacuum cleaners they use as their instruments of mass destruction are the kind you could buy at any store.

There are no special effects in Over-Sexed Rugsuckers from Mars, and I think I prefer it that way. There’s no need to “not show the monster” because the monster is simply a Eureka ESP Bagged Upright. In this case, you don’t need to worry about the zipper on the back of the beast because that’s just how you change the bag.

Oh Boy, Where Do I Start?

Over-Sexed Rugsuckers From Mars 1989

Over-Sexed Rugsuckers from Mars barely has a coherent plot, but I’ll do my best to do it justice. Though it’s never explicitly stated, which required me to do some research just to get the cast names straight, here’s what I picked up on: an alien race implied to have created humanity millennia ago is disappointed with the progress of their project, so they decide to create a new hybrid race that’s half vacuum cleaner and half human.

They attempt this through a homeless man named Vernon (Richard Monda), who unknowingly drinks alien pee from his flask, which is some form of extraterrestrial aphrodisiac, or something. They do the deed, and Vernon names his new lover Dusty. 

Over-Sexed Rugsuckers From Mars 1989

Once Dusty’s sexual appetite is primed, it goes on a rampage, trying to reproduce with as many human subjects as possible. Things completely go off the rails when Tom (Billybob Rhoads) spots Dusty in a storefront and buys the device for his wife, who is then murdered, among other things, by the vacuum, implicating Tom in the crime.

This prompts Lt. Kane (Ralston Young), Detective Madder (Ken Sweet), and a SWAT officer to follow every lead they can in order to uncover the identity of the real killer. While all of this is happening, Dusty claims another victim, Rena (Jean Stewart), who survives the attack but becomes impregnated by the appliance and, understandably, traumatized by the entire experience.

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Over-Sexed Rugsuckers From Mars 1989

From this point forward, in this movie about a rogue vacuum cleaner that sexes people to death, it’s nothing but gag after gag. If you’re the kind of person who’s built specifically to enjoy this sort of thing, Over-Sexed Rugsuckers from Mars spends most of its time following noir beats in which detectives show up at vacuum cleaner stores and even have witnesses identify different makes and models through a one-way mirror in a police-lineup-style setup.

Meanwhile, Dusty is still on the loose, and Vernon spends much of the movie running through town looking for his beloved rugsucker like it was the Craigslist missed connection of a lifetime.

Has No Right Being This Funny

If you’re looking for a sci-fi schlockfest that’s not afraid to fully explore the limites of its $4,000 budget, Over-Sexed Rugsuckers from Mars should be your next Tubi watch. The only reason I clicked on the title is because it’s so ridiculous, and I’ll always admire the audacity of filmmakers who seemingly don’t care about their reputations at all.

It’s a freakin’ vacuum cleaner on strings trying to thrust its victims into submission, and for the most part, it succeeds. It’s rude, crude, grainy, and technically a sci-fi flick, but it leans hard into its neo-noir, bumbling-detective vibe, making the whole thing feel like a rejected I Think You Should Leave sketch that was somehow adapted into a feature-length film.

Over-Sexed Rugsuckers From Mars 1989

OVER-SEXED RUGSUCKERS FROM MARS SCORE

You’re either going to love or hate this movie, but if you’re down for about 87 minutes of total insanity where nothing makes sense but everybody acts like it does, you can stream Over-Sexed Rugsuckers from Mars for free on Tubi, the only streamer brave enough to carry this kind of stuff, as of this writing

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General Hospital: Carly & Valentin’s Steamy Romance Explodes – What Happens Next?

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General Hospital: Carly Spencer (Laura Wright) - Valentin Cassadine (James Patrick Stuart)

General Hospital has Carly Spencer (Laura Wright) and Valentin Cassadine (James Patrick Stuart) getting frisky all the time, but it also looks like they are legit falling for each other. Plus, they’re building up quite a fan following.

So, I think James Patrick Stuart is going to stick around. And I suspect Carly and Valentin are endgame and they are going to be a big official super couple. So, we’re going to talk about what might be next for Carly and Valentin and what has to happen so that they can actually build a future together.

Carly And Valentin’s Undeniable Chemistry on General Hospital

So, I will say off the cuff, I haven’t enjoyed many of Carly’s pairings in the past. Some I have, some I haven’t. And Valentin has had some messy love stories, but I did like him with Anna Devane (Finola Hughes). But ever since Carly spun into Valentin’s orbit, I think it’s been magic. Once Carly went in disguise to visit Valentin at Steinmauer to recruit him to help her take down Jack Brennan (Chris McKenna), it was on.

Then things got even more fun once Carly tricked Jack into transferring Valentin back to the US because then that set the stage for him to take down the WSB guards on the transport plane and he stole a parachute, dove out of the plane right to his freedom. And once he showed up and Carly stashed him in her attic, that’s when things really started sizzling.

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Gor me, Valentin and Carly’s chemistry is off the charts. I know a lot of fans share that opinion. Their banter is hilarious and they are clearly catching feelings for each other and a whole pile of GH fans have caught feelings for them as a pair. There’s a big Carly and Valentin fan base as they call it. But for Valentin and Carly to be endgame, certain things are going to have to change.

Getting The WSB Off Valentin’s Back on GH

So, first of all, they got to get the WSB off of Valentin’s back so that he’s not a fugitive anymore. Nothing can move forward for them really until Valentin is in the clear legally. I think he and Carly may help take down Jenz Sidwell (Carlo Rota) and Ross Cullum (Andrew Hawkes). Then that’ll likely score Valentin some points with Sonny Corinthos (Maurice Benard) because he is determined to take Sidwell down also.

And it’ll also score some points with Brennan since Cullum is, you know, low-key still considering killing Jack and he’s in Turning Woods trapped and pretending to be locked-in. So, this is bad. Once Sidwell and Cullum are exposed and hopefully dead or in Steinmauer prison or even Pentonville, the WSB should finally get off Valentin’s case and he should be free and clear and can be Carly’s man out in public and not just in her bedroom and in her attic.

Making Peace with Jack

So, once that’s all taken care of, the next thing they need to do is make peace with Jack so he is also off of Valentin’s back. And of course, right now, Jack is still on fire and he’s furious that Carly was cheating with Valentin. So, right now, Jack absolutely hates Valentin and he’s not a big fan of Carly’s at this point either.

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So, Jack’s stuck in Turning Woods faking Locked-in Syndrome and simmering with rage over Carly. And this week, Jack told Nina Reeves (Cynthia Watros) she needs to go over and talk to Valentin because they need to work with him. So, the good news is that Jack is setting his jealousy aside to save his butt.

Now, obviously, Valentin and Jack have a more dangerous common enemy, too, actually, Sidwell and Cullum. So, that should help them get past hating and trying to kill each other. But, if Valentin helps save Jack from Cullum and helps get rid of the big WSB boss villain, obviously that would be a huge moment. It’d be a game changer.

General Hospital: Valentin & Jack Bury the Hatchet?

If you remember, Valentin and Jack were once best friends. So, we know that they can work together. They also ran Pikeman together. And you know, at this point, I don’t think Valentin and Jack will ever be bowling buddies again, but they might get back to a good place. Especially if Jack realizes Valentin didn’t break him and Carly up.

It was the fact that Jack recruited Josslyn Jacks (Eden McCoy) into the WSB and repeatedly lied right in Carly’s face. That’s what made her stop loving him. So, I could eventually see Jack not necessarily giving Valentin and Carly his blessing, but accepting their relationship and just moving on.

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Getting Family Acceptance on GH

And the next thing is once Josslyn is back home safe and sound, Carly’s going to need to get all the people that she cares about to accept her relationship with Valentin. So, Carly’s going to want Sonny and Lucas Jones (Van Hansis) and Josslyn and Michael Corinthos (Rory Gibson) all on board with her seeing Valentin.

Honestly, I think it’ll be easier for Carly to get them to accept Valentin than it was to get them to accept Franco Baldwin (Roger Howarth). Just for instance, I mean, Valentin can be ruthless, but Franco was a serial killer who was presumed to have set Michael up to be raped in prison.

Even though Valentin has killed before, it’s generally bad guys. He doesn’t go around killing innocent people. And obviously Charlotte Cassadine (Bluesy Burke) is on board with Valentin dating Carly because she’s ticked off at Nina and feels betrayed by her and Charlotte likes Carly and appreciates her protecting her dad.

General Hospital: Carly Spencer (Laura Wright) - Valentin Cassadine (James Patrick Stuart)General Hospital: Carly Spencer (Laura Wright) - Valentin Cassadine (James Patrick Stuart)
General Hospital: Carly Spencer – Valentin Cassadine  

Valentin Getting a Job and Reintegrating in Port Charles

Now, the next step once Valentin is not wanted by the WSB and is not a fugitive anymore and Carly’s loved ones accept their relationship, what they need next is to get Valentin reintegrated into the fabric of Port Charles society. He’s obviously going to need a job and some sort of income source.

So, maybe he’ll wind up working for Jack if they make peace on General Hospital. You know, Valentin may land some sort of consulting role for the local WSB office. Or if something happens to Jack, because we’ve heard rumors that he might be killed off, we could see Valentin running the local WSB office. That would be cool.

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You know, he’s not exactly the kind of guy who can go land a job selling car insurance or anything, but maybe private security or as a private eye or a consultant to the PCPD. Although we know Dante Falconeri (Dominic Zamprogna) is not exactly a fan and he’s the current commissioner. Or maybe, you know, once Carly’s family accepts Valentin, we might see Michael offer Valentin a job at Aurora Media or ELQ. Obviously, that would be a favor to Carly, but also Michael might do it partly to keep an eye on Valentin. And I’m sure Carly would offer him a job at the Metro Court, but I don’t see Valentin bartending or changing sheets or giving people drinks by the pool.

Carly And Valentin’s Future on General Hospital

So, the final thing I think we could see for Carly and Valentin once all this other stuff is done is for them to make it official with a wedding. We could see her walk down the aisle and become Mrs. Carly Cassadine. That’s a pretty cool name. And I like the sound of it.

I think long run Valentin would put a ring on it if he sticks around. I do think Carly and Valentin are endgame and I hope it works out for them. James Patrick Stuart is an amazing actor. He’s a fan favorite.

And while I did like Valentin with Anna, there’s also a lot of baggage because of their long history and his past obsession with her. And despite the oddball way that they began, I do think Valentin’s relationship with Carly is much healthier than the one he had with Nina.

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You know, because that was just whackadoo and based off nothing initially. And also, it’s without the painful history that he had with Anna. So, I’m hoping we get a lot more of Valentin and Carly’s love story, including them falling head over heels in love and making it all official.

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David Harbour Says Avengers: Doomsday Silenced His Criticism : Coastal House Media

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Tom Holland Reveals How Christopher Nolan's The Odyssey Helped Save Spider-Man: Brand New Day : Coastal House Media

Tom Holland is giving fans a fascinating look behind the scenes of Spider-Man: Brand New Day, revealing that Christopher Nolan’s upcoming epic The Odyssey may have played a major role in shaping the next chapter of Peter Parker’s story.

Speaking about the development of the highly anticipated Marvel sequel, Holland explained that Spider-Man: Brand New Day was originally scheduled to film alongside Nolan’s adaptation of The Odyssey. However, the scheduling conflict forced him to make a difficult choice.

Rather than rushing into production, Holland pushed for Spider-Man: Brand New Day to be delayed, allowing the creative team additional time to refine the script and find the right direction for the project.

According to Holland, the decision ultimately paid off.

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“I convinced the studio to delay the movie,” Holland said, explaining that the extra development time gave the filmmakers an opportunity to strengthen the story and fully realize their vision.

The actor also credited his experience working with Christopher Nolan for changing the way he approaches filmmaking. Holland said Nolan’s commitment to preparation, purpose, and storytelling inspired him to push for a higher standard on Spider-Man: Brand New Day.

Tom Holland, The Odyssey [credit: Universal Pictures]

“I wanted it to be a real movie,” Holland explained, emphasizing that he wanted the project to focus on storytelling rather than simply becoming another blockbuster production.

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The additional development time reportedly allowed Marvel and Sony to bring in director Destin Daniel Cretton and spend several months refining the screenplay before cameras rolled. Holland now believes the result could be the strongest Spider-Man film yet.

Spider-Man: Brand New Day serves as a fresh start for Peter Parker following the events of Spider-Man: No Way Home, which erased Peter’s identity from the world’s memory. Holland previously described the new film as a “fresh start” and a “rebirth” for the character as he returns to a more street-level version of Spider-Man.

The film is directed by Destin Daniel Cretton and stars Tom Holland, Zendaya, Sadie Sink, Jon Bernthal, and Mark Ruffalo. The movie is scheduled to swing into theaters on July 31, 2026.

Meanwhile, Holland will also appear in Christopher Nolan’s The Odyssey, which arrives just one week earlier on July 24, setting up a massive summer for the actor.

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Jenny Mollen Faces Backlash Over Photos With 12-Year-Old Son

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Jenny Mollen Faces Backlash Over Photos With 12-Year-Old Son: Controversy Explained

Jenny Mollen is facing backlash over a post with her 12-year-old son.

Mollen welcomed her son Sid with ex Jason Biggs in 2014. The pair also share son Lazlo, 8. Us Weekly confirmed in May that Biggs and Mollen had separated after 18 years of marriage.

“They are on great terms and remain focused on raising their two boys,” a rep for the estranged couple told Us at the time.

Before news broke of their split, Mollen reflected on feeling like the “spare” in her marriage to Biggs.

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“When I got together with Jason, I always had a chip on my shoulder in the beginning because I felt like suddenly I went from being the oldest daughter and I felt like I had my s*** together and then suddenly, I married this guy who in a lot of ways — career wise — totally eclipsed me,” Mollen shared on a May episode of the “What Matters With Liz” podcast. “Everybody was like, ‘Oh my God, Jason Biggs,’ and I became the guest. And it drove me crazy to always just be, like, brushed to the side.”

“To be the spare and not the heir,” Mollen continued. “It was like, ‘What is happening?’ I was the spare. I was the American Pie spare. I relate to [Prince] Harry. That drove me mad and I always had this feeling.”

Scroll down to learn more about why Mollen faced backlash for her post:

Jenny Mollen Faces Backlash Over Photos With 12-Year-Old Son: Controversy Explained
Courtesy of Jenny Mollen/Instagram

What Did Jenny Mollen Post?

Mollen shared two images via Instagram on May 25, which displayed her laying on top of Sid on a bed. In the pic, she placed her hands around the back of his head and lay next to him. Both of their faces were not visible.

In another image, Mollen lay on top of her son with her hands behind his head. Sid placed his hands in front of Mollen’s face, which covered their faces.

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Did Jenny Mollen Remove the Caption?

Mollen has since removed the caption of her post, which still contains the two images, and instead included a period. Her initial caption reportedly read, “Your eldest son will be the most toxic guy you ever date.”

What Have Users Said About the Post?

Mollen’s upload has led to mixed reactions from users in the comments section.

“Saw the original post with the original caption. 😳 Super weird. And I have boys the same age. And yes we hug and cuddle but that caption was creepy AF,” one user wrote, while another added, “Hugging your kids: Healthy and encouraged. Calling your child your boyfriend and posting photos of you lying between their legs on a bed: Not healthy or encouraged. Your child is not your boyfriend. A boyfriend is a romantic partner.”

Others, however, defended Mollen in the comments section.

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“What in the f***? She’s not doing anything wrong. That’s her son. That’s his mom. We already known she a lot and eccentric. I love her ❤️🙌😂😂,” one user wrote, while another added, “Jenny, it’s all good. You go ahead and hug your kids as much as possible!! Before you know it, they’ll be off on their own … and then you’ll have to get a cat 🐈!!”

How Did Jenny Mollen Respond to the Criticism?

Mollen vented about feeling like she was under the microscope amid her breakup.

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“It’s like because I’m getting separated, because I’m not protected by the institution of marriage, I’m suddenly like a different kind of target in what I’m posting,” Mollen said in a statement shared via her Instagram Stories on June 1. “Like this is absolutely jaw-dropping. A photo of me hugging my 12-year-old child is getting ridiculed.”

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Dua Lipa shares new photos from her wedding to Callum Turner

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Dua Lipa wed Callum Turner in an intimate London ceremony in May 2026.

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Euphoria’s Darrell Britt-Gibson Played Bishop on Autism Spectrum

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Why Did Bishop Betray Alamo in Euphoria Finale Before Death?

While breaking down his approach to playing Euphoria‘s new fan-favorite character, Darrell Britt-Gibson confirmed he saw Bishop as on the autism spectrum.

“I don’t think Black people get to play that enough,” Britt-Gibson, 39, told Variety on Monday, June 1. “I don’t like the way that people who are on the spectrum are spoken about.”

Britt-Gibson wanted to offer accurate representation, adding, “There are a lot of people in my life and my family who are on the spectrum, and they are the most beautiful, deep, soulful people.”

He continued: “I thought, ‘If I get to do this and play him like that, I want to be able to do it justice and make it thoughtful and layered.’ That was something I inherently thought about. I wanted to give it that care.”

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Britt-Gibson, who joined the show in season 3, recalled putting in a lot of thought into the character.

“It wasn’t really described to me in any way, and [that’s] the beauty of it. [Creator] Sam [Levinson] saw an audition of mine for another part, and he wanted to craft Bishop around what I brought to it,” he noted. “Sam is so amazing in that way — he’s a ‘best idea wins’ type of creator. I had this idea of a character who moves more like a samurai in a world of cowboys. Somebody who you can’t really figure out until it’s time to figure him out.”

The actor credited Levinson for wanting to “build the character around what I presented,” saying, “Then he wrote this beautifully intricate, nuanced and layered character. … Sam told me the idea for Bishop’s backstory, which is so incredible, but I don’t even want to say it. I want to let the world make their own opinions.”

Why Did Bishop Betray Alamo in Euphoria Finale Before Death?
Eddy Chen / ©HBO / Courtesy Everett Collection

After playing Alamo’s (Adewale Akinnuoye-Agbaje) fixer throughout the season, Bishop had his hero moment during the Sunday, May 31, episode of the HBO show. The show ended with Ali (Colman Domingo) coming into the Silver Slipper to avenge Rue’s (Zendaya) death. He held Alamo at gunpoint before they agreed to a Western-style showdown.

Alamo’s plan failed because when he drew his gun, it misfired. He realized Bishop secretly unloaded the gun so there wouldn’t be any bullets.

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“Bishop didn’t agree with a lot of what Alamo did, but it was a job for him,” Britt-Gibson told Variety. “I think what Alamo did to Rue was the final straw for Bishop.”

Why Did Bishop Betray Alamo in Euphoria Finale Before Death?


Related: Why Did Bishop Betray Alamo in Euphoria’s Finale Before Brutal Death?

Viewers were left confused by why Bishop betrayed Alamo in Euphoria‘s series finale. During the Sunday, May 31, episode of the HBO show, Ali (Colman Domingo) came into the Silver Slipper to avenge Rue’s (Zendaya) death. He held Alamo (Adewale Akinnuoye-Agbaje) at gunpoint before they agreed to a Western-style showdown. But when Alamo drew his […]

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Britt-Gibson explained how Rue’s death affected Bishop, adding, “He’s also having that conversation with Maddy in the car. Rue was a bridge too far, and he’s like, ‘I promise I’m not going to let you get to Maddy.’”

Despite some viewers assuming Bishop didn’t care for Rue, Britt-Gibson thought differently.

“There are a million different ways to look at it, from a character standpoint. It plays like he doesn’t care, but if you look deep enough, there are moments of Bishop being like a big brother who is hard on her,” he explained. “You know those figures in your life who are like, ‘Don’t hang out with those people. Those are not good people. You shouldn’t be here.’ The way Yana Grebenyuk Sam [Levinson] wrote it is up to interpretation. He gives it space for it to be seen however people want to see it.”

He concluded: “He’s been waiting. He’s so calculated. It’s chess. It’s always chess for Bishop.”

Euphoria is currently streaming on HBO Max.

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Michael Kors recalls unhinged fan request during event with Anna Wintour: 'Please sign my ass'

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“She put her butt in my face.”

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‘Aliens’ Star Reveals How the US Military Co-Opted James Cameron’s Sci-Fi Tech [Exclusive]

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0122102_poster_w780.jpg

For a man who adores his world-building, James Cameron didn’t have to do much heavy lifting when it came to Aliens. Unlike, say, Pandora, the 1986 sequel to Ridley Scott‘s Alien chooses not to stop every five minutes and show you something that might have lore to it. Yet, despite that, the attention to detail in the Colonial Marines’ gear is one of the finest you’ll see in cinema, and it’s almost as memorable as the Xenomorphs themselves. They aren’t just cool, they feel like the future.

Speaking during a Big Lick Comic Con NOVA panel moderated by Collider’s Maggie Lovitt, Aliens stars Ricco Ross and Jennette Goldstein reflected on some of Cameron’s more forward-thinking ideas in the film. Ross, who played Private Frost, brought up the way Cameron adapted the Steadicam concept for the Marines’ heavy weapons, particularly the massive guns carried by Goldstein’s Vasquez and Mark Rolston’s Drake.

“That’s when they say, what is it? Life imitates art. The Steadicam that Jenette and Mark would use in the film, the idea, the concept of having a Steadicam, so that the camera, even though you’re running and moving, it stays pretty steady on the site, and for James to think, ‘Let’s put a gun, a rifle on that, and then the target, even if you’re running, it will be there as well,’ was such a brilliant idea at the time.”

The steadicam makes the Marines feel like part of a specific military future, one where technology has advanced, but everything is still heavy, dangerous, and terrifyingly physical. Ross said the idea was so striking that he had even heard of outside interest in the concept. “So brilliant that I heard that the military asked him if they could use it,” said Ross, “because he actually made sure that he got the rights for that.”

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Collider Exclusive · Sci-Fi Survival Quiz
Which Sci-Fi World Would You Survive?
The Matrix · Mad Max · Blade Runner · Dune · Star Wars

Five universes. Five completely different ways the future went wrong — or sideways, or up in flames. Only one of them is the world your instincts were built for. Eight questions will figure out which dystopia, galaxy, or desert wasteland you’d actually make it out of alive.

💊The Matrix

🔥Mad Max

🌧️Blade Runner

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🏜️Dune

🚀Star Wars

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01

You sense something is deeply wrong with the world around you. What do you do?
The first instinct is often the truest one.





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02

In a world of scarcity, what resource do you guard most fiercely?
What we protect reveals what we believe survival actually requires.





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03

What kind of threat keeps you up at night?
Fear is useful data — if you’re honest about what you’re actually afraid of.





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04

How do you deal with authority you don’t trust?
Every dystopia has a power structure. Your approach to it determines everything.





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05

Which environment could you actually endure long-term?
Survival isn’t just tactical — it’s physical, psychological, and very much about where you are.





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06

Who do you want in your corner when things fall apart?
The company you keep is the clearest signal of who you actually are.





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07

Where do you draw the line — if you draw one at all?
Every survivor eventually faces a moment that tests what they’re actually made of.





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08

What would actually make survival worth it?
Staying alive is one thing. Having a reason to is another.





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Your Fate Has Been Calculated
You’d Survive In…

Your answers point to the world your instincts were built for. This is the universe your temperament, your survival instincts, and your particular brand of stubbornness were made for.

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The Resistance, Zion

The Matrix

You took the red pill a long time ago — probably before anyone offered it to you. You’re a systems thinker who can’t help but notice the seams in things.

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  • You’re drawn to understanding how the system works before figuring out how to break it.
  • You’d find the Resistance, or it would find you — your instinct for spotting constructed realities is the machines’ worst nightmare.
  • You function best when you have access to information and the freedom to act on it.
  • The Matrix built an airtight prison. You’d be the one probing the walls for the door.


The Wasteland

Mad Max

The wasteland doesn’t reward the clever or the well-connected — it rewards those who are hard to kill and harder to break. That’s you.

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  • You don’t need comfort, community, or a cause larger than the next horizon.
  • You need a vehicle, a clear threat, and enough fuel to outrun it — and you’re good at all three.
  • You are unsentimental enough to survive that world, and decent enough — just barely — to be something more than another raider.
  • In the wasteland, that distinction is everything.


Los Angeles, 2049

Blade Runner

You’d survive here because you know how to exist in moral grey areas without losing yourself completely.

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  • You read people accurately, keep your circle small, and ask the questions others prefer not to answer.
  • In a city where humanity is a legal designation rather than a feeling, you hold onto something that keeps you functional.
  • You’re not a hero. But you’re not lost, either.
  • In Blade Runner’s world, that distinction is everything.


Arrakis

Dune

Arrakis is the most hostile environment in the known universe — and you are precisely the kind of person it rewards.

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  • Patience, discipline, and political awareness are your core strengths — and on Arrakis, they’re survival tools.
  • You understand that the long game matters more than any single victory.
  • Others come to Dune and are consumed by it. You’d learn its logic and earn its respect.
  • In time, you wouldn’t just survive Arrakis — you’d begin to reshape it.


A Galaxy Far, Far Away

Star Wars

The galaxy far, far away is vast, loud, and in a constant state of violent political upheaval — and you wouldn’t have it any other way.

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  • You find meaning in being part of something larger than yourself — a cause, a crew, a rebellion.
  • You’d gravitate toward the Rebellion, or the fringes, or whatever pocket of the galaxy still believes the Empire’s grip can be broken.
  • You fight — not because you have to, but because standing aside isn’t something you’re capable of.
  • In Star Wars, that willingness is what makes all the difference.

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The U.S. Military Borrowed James Cameron’s Technology

Years on, Cameron still spends half his time inventing tech to achieve his filmmaking visions that go on to have numerous real-world applications. See also: numerous pieces of tech, VFX, and cameras for Avatar: The Way of Water. Goldstein, who played Private Vasquez, also pointed to another idea from the movie that seems almost obvious now because real-life technology eventually caught up with it. She brought up the small cameras used in the film, comparing the concept to what audiences would later know through GoPro-style devices. Goldstein said:

“The camera, the GoPro that everybody used. I mean, there was no such thing as a GoPro. It was this really cool idea he had. He was like, you know, ‘What if there was a little camera, and you know, those big video cameras that you had in the ’80s were there,’ and now we just think, like, ‘Oh yeah, of course, a GoPro.’”

To be honest, that’s a huge part of why Aliens holds up so well, because it doesn’t feel like our future; it’s a dirty and grimy future, and the sort you can never say feels aged. It feels like it was built for soldiers to protect them against aliens. And that’s exactly what it did. Aliens is streaming now on Hulu and Disney+.


0122102_poster_w780.jpg
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Release Date

July 18, 1986

Runtime

137 minutes

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Director

James Cameron

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Writers

James Cameron

Producers
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Gale Anne Hurd

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Stassi Schroeder Reportedly Followed 600-Calorie Diet

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Stassi Schroeder at Los Angeles special screening of 'Midnight In The Switchgrass'

Vanderpump Rules” alum Stassi Schroeder recently walked in a Sports Illustrated fashion show in a bright orange bikini. As she strutted down the runway, onlookers stared in amazement, and netizens on social media praised the reality TV star, complimenting her looks. Now that the show has come and gone, a source is opening up about what Schroeder reportedly went through to become runway ready.

A source told The Daily Mail that Schroeder wanted to look her best for the Sports Illustrated fashion show. So, in order to get into the best shape, the Bravo veteran reportedly stuck to a very strict diet.

“Stassi really wanted to look incredible for the show so went on a massive diet,” the source said, claiming that she “skipped breakfast, had only a salad for lunch and then did not touch a carb after 5 p.m.”

They added, “So she was only having about 600 calories a day.”

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What Was Stassi Schroeder Eating And Drinking To Get Prepared For The Sports Illustrated Fashion Show?

Stassi Schroeder at Los Angeles special screening of 'Midnight In The Switchgrass'
O’Connor/AFF-USA.com / MEGA

According to the source, Schroeder’s alleged diet was so effective that the mother of two started seeing results almost instantly.

“The weight just melted off her body, but that kind of diet is very hard to do because the cravings are insane,” the source shared. “It’s not easy for her to diet that hardcore, but the results are amazing and she felt great about herself.”

It’s unclear exactly what Schroeder ate while dieting, but in the past, she said her routine consisted of a caffeinated Celsius drink in the morning and, for lunch, a Chinese chicken salad with chicken, lettuce, carrot slices, ginger, and almonds.

Regarding dinner, the “Vanderpump Villa” star would eat a snack to keep her full throughout the night.

Stassi Schroeder Previously Said She Stays Thin By Trying To ‘Starve’ Herself

S. Schroeder posing on the red carpet.
MEGA

Schroeder previously raised eyebrows when she confessed to starving herself to stay thin during a 2017 interview.

When asked about her fitness routine, Schroeder claimed, “I’m really lazy. I stay thin by trying to starve myself for the most part, if I’m being totally honest.”

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She went even further, sharing, “When I’m home in LA, it’s like one meal a day, but when I go out of town or on work trips, it’s breakfast, lunch and dinner.”

Despite her limited intake, Schroeder said she enjoys foods such as cheeseburgers, hot dogs, macaroni and cheese, pizza, and Mexican dishes.

Later in that interview, Schroeder got candid about getting work done on her body, saying, “I’ve always been really open. Even when I got a chin implant when I was 18 years old, and anyone who asked me, I would always tell them.”

For Schroeder, being honest was more important than putting “on this facade” that she was perfect. “Then the rest of us look at it and feel badly about ourselves. I’m all about plastic surgery or Botox and fillers, but be open about it, because there’s nothing to be ashamed of,” she said.

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Who Else Walked In The Sports Illustrated Fashion Show In Summer 2026?

Schroeder wasn’t the only public figure to appear in the Sports Illustrated fashion show. According to Page Six, “Truth Hurts” singer Lizzo walked the runway along with Alix Earle, Ilona Maher, Bethenny Frankel, Brooks Nader, Maura Higgins, Jena Sims, and more.

Beyoncé Followed A Strict Plan To Get Prepared For Coachella In 2019

Schroeder isn’t the only celebrity who has followed a structured plan ahead of a major event. Beyoncé has spoken about losing weight after welcoming twins Rumi and Sir Carter in 2019, a process made even more demanding by her approaching Coachella performance.

“Good morning. It’s 5 a.m., and this is day 1 of rehearsals for Coachella,” she says in a video shared on her YouTube. “Every woman’s nightmare…this is my weight,” she said before stepping on the scale. “175. Long way to go. Let’s get it!”

To shed the weight, Beyoncé followed a program called 22 Days Nutrition, founded by her friend, trainer, and exercise physiologist, Marco Borges. In the “Homecoming” documentary, Beyoncé said her diet consisted of “no bread, no carbs, no sugar, no dairy, no meat, no fish, no alcohol.”

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