Erotic cinema gets flattened more cruelly than almost any other kind of film. If it is explicit, people reduce it to heat. If it is elegant, people call it stylish and move on. If it is dangerous, they remember the scandal more than the craft. And if it is genuinely great, if it uses desire to expose grief, class shame, self-invention, power, loneliness, rot, fantasy, or the humiliating distance between what people want and what they can safely admit they want, it still somehow ends up being treated like a side corridor of film history instead of one of the genre spaces where filmmakers have often been bravest.
That is why lists like this matter. Not because these films need pity. They do not. They are alive. They are sharp. They are often smarter than the movies that overshadowed them. But they do need rescuing from the lazy idea that erotic films are only about surface. These 10 films are erotic and they’re actually great with substance and plot and everything. Lock in.
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10
‘White Palace’ (1990)
Image via Universal Pictures
What I love about White Palace is that it understands sex as class collision before it understands it as romance. That is the thing people miss when they treat it like some vaguely “unlikely couple” drama. Max Baron (James Spader) is grief-stricken, polished, educated, younger, and moving through a world of upper-middle-class taste and coded restraint. Nora Baker (Susan Sarandon) is older, rougher, louder, more direct, more alive in a way that threatens every defensive layer he has built around his bereavement and his social identity.
When they come together, the film is asking whether he can survive being stripped of the superiority and control his whole emotional life is leaning on. And Sarandon is extraordinary because she never lets Nora become a fantasy of earthy authenticity for some younger man’s awakening. She is sexual, yes, but also embarrassed, proud, wounded, funny, defensive, and fully alert to how the world judges her body, her age, her background, her appetite. That makes the film much more painful than its premise sounds. Every tender moment is brushing up against humiliation or social violence or the possibility that attraction is not enough to bridge the lives around it. White Palace matters because it knows desire does not level class and shame. It exposes them.
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9
‘Dream Lover’ (1993)
Image via Gramercy Pictures
This is one of those erotic thrillers that feels like it should be mentioned much more often than it is, because Dream Lover understands the core pleasure of the form better than a lot of bigger titles do. It is not only about sex, and it is not only about deception. It is about how erotic obsession makes people willingly unreadable to themselves. Ray Reardon (James Spader) falls for Lena Mathers (Mädchen Amick) with the exact kind of hungry certainty that thrillers like this need. He wants her quickly, confidently, and with just enough self-satisfaction to make the audience nervous on his behalf. That nervousness is where the movie lives.
And then Amick starts doing the real work. The film keeps letting Lena stay slightly ahead of definition, in a way that makes desire itself feel complicit. Ray keeps treating intimacy as knowledge, as if sleeping with someone, marrying them, possessing access to them, must eventually stabilize who they are. Dream Lover knows that is fantasy. It keeps turning marriage into a hall of mirrors where sex, money, suspicion, and self-invention get knotted together until trust itself starts looking like an erotic mistake.
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8
‘Sirens’ (1994)
Image via Roadshow Film Distributors
There is a softness to Sirens that makes people underestimate how sly it really is. On the surface it is all sun, skin, art, teasing, pre-Raphaelite beauty, and social comedy. A young clergyman and his wife visit an eccentric painter in Australia and step into this sensual, half-mocking, half-seducing world built around the body and image and temptation. That sounds light, and in some ways it is. But the film’s intelligence is in how it turns erotic energy into a test of temperament rather than a cheap moral provocation. Everyone is exposed differently by the atmosphere of the place.
Estella Campion (Tara Fitzgerald)’s awakening feels like the film recognizes that repression and innocence are not the same thing, and that beauty can destabilize people not because beauty is evil but because it reveals how frightened they are of desire once it stops being abstract. The painter’s household has this languid, unserious surface, though the movie is quietly doing something deeper underneath, asking what forms of purity are actually just fear in ceremonial clothing. Sirensseduces and laughs at the same time. That is a hard balance, and it makes the film linger.
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7
‘The Duke of Burgundy’ (2014)
Image via Artificial Eye
This is one of the most exquisitely made erotic films of the last few decades because it understands that ritual can be both erotic structure and emotional prison. The setup sounds simple enough, a relationship between two women involving elaborate dominance-and-submission routines, but the film is so much more than a “BDSM drama.” It is about repetition. It is about maintenance. It is about how desire can remain real while the performance of desire starts exhausting the person trying to keep another person’s fantasy alive. That is such a sad, adult thing for an erotic film to understand.
And because the movie is so beautifully tactile, the fabrics, the rooms, the sounds, the little ceremonial humiliations and corrections, the ache gets stronger, not softer. Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D’Anna) negotiating love through power, and those negotiations are full of disappointment, tenderness, resentment, caretaking, longing, and the unbearable knowledge that what turns one person on may be what quietly tires another person out. The Duke of Burgundy is erotic in the deepest sense because it treats desire as a pattern with emotional consequences. That addition gives it depth.
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6
‘Swimming Pool’ (2003)
Charlotte Rampling in Swimming PoolImage via Focus Features
This is one of those films where the erotic charge is inseparable from authorship and envy, which is exactly why it is so rich. Sarah Morton (Charlotte Rampling) arrives in France blocked, controlled, chilly, and faintly contemptuous, a writer whose relationship to sex seems more observational than lived. Then Julie (Ludivine Sagnier) blows into the house like a deliberate disruption, all appetite, noise, danger, body confidence, and narrative instability.
The obvious reading is older woman versus younger woman, repression versus freedom, watcher versus exhibitionist. The film keeps giving you that material and then making it slipperier every minute. What I adore is how mercilessly Swimming Pool links erotic fascination to creative theft. Sarah is magnetized by Julie. She watches, judges, absorbs, rearranges. The sexual atmosphere becomes inseparable from the artistic one. Is Julie a real person? A projection? A fantasy of everything Sarah cannot admit she wants, fears, or envies? The movie never locks the door neatly, and that ambiguity is the whole seduction.
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5
‘In the Cut’ (2003)
Meg Ryan as Frannie wearing a police jacket and sitting at a police station in In the Cut Image via Sony Pictures Releasing
I will defend In the Cut forever because it is one epic New York erotic thriller and was punished, in part, for how completely it refused to flatter anybody. Jane Campion made the city feel bruised, sweaty, literate, dangerous, and uncomfortably intimate. Frannie Avery (Meg Ryan) is not written as a glossy thriller heroine drifting through a sexy mystery. She is solitary, observant, turned on by danger in ways she does not fully respect in herself, and moving through a story where language, violence, and eroticism keep sticking together in ways that feel dirty rather than sleek. That dirtiness is the point.
What makes the film so good is how little distance it puts between desire and vulnerability. Frannie’s attraction to Giovanni Malloy (Mark Ruffalo) is not romanticized as “bad-boy chemistry” in the cheap sense. It feels like compulsion mixed with curiosity mixed with self-endangerment. Ruffalo gives him exactly the right kind of rough, unreadable pull, and the movie keeps asking whether Frannie is moving toward him because she sees something true in him or because truth itself has become erotically fused with threat. The murder plot matters, yes, but less than the atmosphere of female subjectivity under siege by its own appetite. In the Cut is messy, feverish, and emotionally exposing. That is why it is great.
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4
‘Damage’ (1992)
Image via Entertainment Film Distributors
This film is so punishing and so elegant that watching it can feel like being trapped inside a confession somebody should never have made out loud. Louis Malle strips the affair down to something almost ceremonial in its inevitability. Stephen Fleming (Jeremy Irons) and Anna Barton (Juliette Binoche) are not simply in love and not simply behaving recklessly. The movie treats their desire like a force that humiliates ordinary language. Politics, family, adulthood, social roles, parental obligation, all of it starts looking flimsy the moment they enter a room together.
That kind of fatal eroticism is very hard to pull off without becoming ridiculous. Damage pulls it off because it never blinks from the destruction. Anna is not a simple temptress figure and not a solved psychological profile. She carries silence like a weapon, and the film is wise enough to let that silence keep its danger. Irons, meanwhile, understands Stephen’s collapse not as romantic liberation but as something much more degrading. He becomes smaller under the appetite, less articulate, less dignified, more frighteningly willing to destroy everything that once told him who he was. That is what makes Damage so powerful. It does not treat passion as noble.
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3
‘The Last Seduction’ (1994)
Image via October Films
This is one of the sharpest erotic thrillers ever made. This film, for once, shows that sex and intellect can be fused into the same predatory style without softening either one. Bridget Gregory (Linda Fiorentino) is the center of everything, of course, and she is so good that she almost broke the category around her. She does not play femme fatale as some old-school decorative danger but like an appetite armed with contempt. Bridget is always reading people, always measuring weakness, always two moves ahead, and the movie’s whole pleasure lies in how ruthlessly it lets her stay that way.
What makes the film more than just a deliciously evil ride is the precision of its social understanding. Men keep misreading Bridget because they want to, because desire flatters them into believing they are the one player in the room who cannot possibly be handled. That makes their downfall feel less like plot mechanics and more like character truth. The eroticism in The Last Seduction is inseparable from power’s theater. That is hard, bright, vicious filmmaking.
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2
‘Bound’ (1996)
Gina Gershon and Jennifer Tilly in Bound Movie smiling.Image via Gramercy Pictures
I love Bound because it is one of the sexiest films ever made about competence. Not just bodies, though it has plenty of charge there. Competence. The Wachowskis probably understood that erotic thrillers become transcendent when desire and plotting start feeding each other, and Bound does that with an almost impossible amount of confidence. Corky (Gina Gershon) and Violet (Jennifer Tilly) are hot together, obviously, but what makes the movie truly intoxicating is the way attraction sharpens into strategy. Every glance becomes a transfer of information. Every seduction becomes a practical maneuver. Every intimate moment deepens the con. That is movie pleasure at a very high level.
And the film is so beautifully engineered. The apartment geography matters. The money matters. The mob pressure matters. Caesar (Joe Pantoliano) is all sweat and unraveling masculine panic, which gives the film this deliciously claustrophobic counterpoint to the cool, lucid charge between Corky and Violet. One is grounded, tensile, built for action-space. The other is breathy, performative, slippery, and much smarter than the performance first suggests. Bound is one of the purest examples of how sex, suspense, and formal precision can make each other smarter.
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1
‘Exotica’ (1994)
Image via Alliance Communications Corporation
Atom Egoyan’s Exotica is not great for an erotic film. It is just great. Full stop. The club itself is one of the most beautiful and sorrowful locations in modern cinema, all ritualized desire, repeated music, controlled fantasy, and private damage humming under every performance. People go there to look, yes, but also to mourn, to displace, to rehearse, to punish themselves, to sit inside longing without naming what the longing is really for. That is such a devastating thing for a movie to understand.
And the film’s whole structure deepens that insight. Christina (Mia Kirshner) is not just an object of desire. Francis (Bruce Greenwood) is not just a lonely man with an obsession. Eric (Elias Koteas) is not just a jealous DJ. Thomas (Don McKellar) is not just a pet-shop owner with his own clandestine life. Everybody in Exotica is trying to manage pain through ritual, and the erotic atmosphere makes that pain visible rather than hiding it. The film keeps rearranging who knows what, who wants what, and why desire in this world is so knotted up with memory and guilt. It makes erotic performance feel unbearably sad without draining it of its charge. That is true magic. That is why it belongs at number one.
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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.
The “Halloween” star mourned her sister, who was the eldest daughter of Janet Leigh and Tony Curtis: “She will be remembered for her loving generosity.”
Larsa Pippen‘s son, Preston Pippen, had an open and honest conversation with his “Calabasas Confidential” co-stars about her alleged affair with Future. In the latest batch of episodes, Preston, 23, spoke about how much his mother’s reported romance with the rapper affected him, revealing that he had to deal with weird dynamics at school as a result of her alleged actions.
Netflix
On the new Netflix reality series, Preston opened up to his friends about what it’s like to be the child of famous parents. He admitted that his mom was once in a “weird place” after entering into a “new relationship per usual.”
Preston, son of NBA legend Scottie Pippen, explained that he was happy he no longer had to deal with being in his parents’ shadow. He also spoke about how their divorce had a negative impact on him.
“It kind of sucks when your parents are divorced. That’s one thing, and then once they start dating, it’s another thing. If they get remarried, then it’s a bigger thing,” he said.
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Preston Pippen Opens Up About Larsa’s Alleged Affair With Future
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As the episode continued, Preston got real with the audience about the negative attention his family faced a decade ago. For those who may be unfamiliar, in addition to her alleged affair with Future, Larsa was also best friends with Kim Kardashian.
Preston said in his confessional that the news about his family was everywhere and that the drama even followed him to school.
“It was just all over the place. You would think, at that age, when you’re going to school, that it is safe and you’re dodging the drama at home,” he said. “People I thought were my friends would make jokes, and there’s already so much noise in the house.”
“Kids at school, like my friends, would play music by a rapper that my mom was taking to at the time, and it was just sh-tty,” he continued, adding, “I am removed from it now, so it’s easy to kind of talk about.”
Larsa Pippen Detailed Her Relationship With The Rapper In 2020
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While Larsa initially denied her relationship with Future, she opened up about their connection in a 2020 interview with Hollywood Raw, according to Complex.
“It was definitely a respectable relationship. It wasn’t like a—it was just like we were friends and we needed each other at that moment. And that was basically it,” the “Real Housewives of Miami” star said. “I think people make more of it. It’s just better conversation for people to say, oh she cheated on him, she this, she that. It was none of that. Scottie wasn’t even living at home with me.”
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Continuing, Larsa said that dating Future wasn’t what she expected, noting that he was “very romantic.”
“We related on the most simple, organic way. I didn’t need anything from him, he didn’t need anything from me. … It wasn’t how you’d think,” she said.
Larsa And Scottie Pippen Officially Divorced In 2021
Aissaoui Nacer / MEGA
According to PEOPLE, Larsa and Scottie divorced in December 2021.
“All issues were resolved amicably. The parties are now focusing successfully coparenting their remaining minor children,” Larsa’s lawyer, David Glass, shared.
Larsa and Scottie married in 1997 and have four children together: Scotty Jr., Preston, Justin, and Sophia.
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“Although they are no longer to be married, Larsa remains hopeful that she and Scottie will always do what is best for their 4 beautiful children and jointly raise them with love and respect,” one of Larsa’s reps said at the time.
Brandi Glanville Spoke About Her Son On The Same Show
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According to a previous report from The Blast, “Real Housewives of Beverly Hills” alum Brandi Glanville appeared on the same Netflix show as Preston and spoke about her relationship with her son, Mason Cibrian.
While hanging out with Mason and his friend, Glanville boasted about her son’s girlfriend, Sarah Dower, saying, “She’s the best.”
Elsewhere in the scene, Glanville opened up about the time she learned her son was no longer a virgin.
“I remember realizing he wasn’t a virgin when I walked by his room, and I heard a spanking being given,” she shared. “I was just like, ‘F-ck my life, my son is not a virgin anymore.’”
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She went even further, sharing, “I think he was 15 or 16, and I was crying. I’m like, ‘I am so uncomfortable right now. But at least he’s giving a spanking at least. He’s got some moves.’”
Stream season 1 of “Calabasas Confidential” on Netflix.
For every unexpected blockbuster like Backrooms, which is breaking box-office records in its debut weekend, there is an unfortunate counterpart that must settle for future cult status. The cult hit of 2026 has already been crowned, and it’s doing tremendously well on the PVOD market even as movies like Backrooms and Obsession break through the clutter to achieve box-office success. In a way, the year 2026 will be seen as a pivotal period in the history of Hollywood, where a contingent of new filmmakers took over the baton from giants who’ve dominated the industry for decades. What else can explain Backrooms, which cost less than $10 million to produce, delivering a domestic debut in the same range as Christopher Nolan‘s Oppenheimer? It’s a figure that even Steven Spielberg will find impossible to surpass with Disclosure Day in a few weeks.
Spielberg, Nolan, and Denis Villeneuvearen’t the only mavericks who are eying theatrical success this year. Some months ago, director Gore Verbinski made his directorial comeback after a decade with a movie so strange that the only logical outcome for it was flopping at the box office and promptly establishing itself as a niche oddity at home. Verbinski, who achieved culture-defining success in the 2000s with his Pirates of the Caribbean trilogy and won an Oscar with the brilliant animated movie Rango, was sent to solitary in director jail following two back-to-back underperformers. In 2016, he directed the psychological horror movie A Cure for Wellness, which failed to recoup its reported $40 million budget. But it was the infamous, Disney-damning failure of The Lone Ranger that caused the most damage to his reputation.
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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
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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
🏜️Dune
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🚀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.
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.
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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.
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.
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Los Angeles, 2049
Blade Runner
You’d survive here because you know how to exist in moral grey areas without losing yourself completely.
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.
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Arrakis
Dune
Arrakis is the most hostile environment in the known universe — and you are precisely the kind of person it rewards.
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.
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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.
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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A Sci-Fi Gem for the Ages Is Waiting to Be Discovered at Home
Verbinski’s latest movie is Good Luck, Have Fun, Don’t Die — a highly topical sci-fi gem in which a time traveler from the future recruits the patrons of a diner to fight a war against artificial intelligence with him. The movie grossed roughly half of its reported $20 million budget at the box office, despite a “Certified Fresh” 81% score on Rotten Tomatoes. The aggregator website’s consensus reads, “A gleeful high-concept comedy with a serious message at its core, Good Luck, Have Fun, Don’t Die lets Sam Rockwell rip with thrilling results while marking a very welcome return of director Gore Verbinski in peak form.” In his review, Collider’s Aidan Kelley described the movie as “a raucous sci-fi comedy with extremely ambitious goals and insightful commentary.” The film’s positive reviews seem to be fulfilling their purpose and driving audiences toward it on PVOD. According to FlixPatrol, Good Luck, Have Fun, Don’t Die has now spent more than 60 days on the domestic iTunes and Google Play charts. Stay tuned to Collider for more updates.
A Pennsylvania mayor is being blasted online after making a dig at one of the city’s ex-cops who left public work to go film the newest season of Peacock’s hit reality series “Love Island.” Sean Reifel, 29, is from Easton, Pennsylvania, and was announced as one of season eight’s OG islanders. While the fans are excited about the upcoming season, J. William Reynolds, mayor of Bethlehem, Pennsylvania, is not.
For those who may have been unfamiliar, Peacock recently revealed the next lineup of “Love Island” reality stars set to enter the villa. Season 8 of the series will air on Tuesday, June 2, at 9 PM EST. Among the cast is Reifel, a former Pennsylvania police officer looking for love.
“I’m not a model, not an actor, I’m a police officer actually,” he said in the show’s trailer. “You could be having the worst day of your life, and I’ll just help you sift through that.”
J. William Reynolds isn’t too pleased with the 29-year-old’s decision, though. In fact, he made public comments about Reifel’s exit, criticizing him for leaving public work behind for fame.
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Reynolds Lets Loose On Reifel For Choosing ‘Love Island’ Over Police Work
“Our police department spent a lot of time training and we paid thousands of taxpayer dollars to send him to the police academy. We are disappointed he left as we now have another vacancy in our department that is impossible to fill until next year,” Williams said, according to ABC27.
And he didn’t stop there. He added, “I never thought I’d see the day in America where reality show participation wins out over being a police officer.”
Reifel, badge number 532, was sworn into the Bethlehem Police Department in August 2025, according to a post shared on Facebook. The post also includes photos of Reifel standing next to Williams, shaking his hand, and smiling.
Reynolds Is Being Dragged Online For Making A Dig At A Former City Employee
“Love Island” fans have been reacting to Reynolds’ comments about Reifel on Reddit, slamming him for taking a shot at a former employee.
“What a loser this mayor is,” someone posted, while another said, “Lol, this amuses me. They are BIG mad.”
A third user posted, “This is stupid. Anyone can quit their job at anytime as long as they don’t have a contract obligation. I know you probably want to stay in a job, especially one that requires training, for longer, but he hasn’t done anything wrong here.”
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Someone else chimed in, alleging that Reynolds was “jealous” of Reifel, and another said his comments were completely “unprofessional.”
‘Love Island’ Is Returning To Peacock In Just A Few Days
Peacock | Ben Symons
“Love Island” is one of reality TV’s most-talked-about shows, and this season, viewers are in for big surprises.
The 12 sexy singles will enter the villa on June 2, and in the coming weeks, the islanders and viewers alike will be introduced to new islanders (bombshells) who will test the already-formed connections with the other contestants.
By the end of the series, the viewers will vote for their favorite couples to win their share of $100,000.
Like “Big Brother,” “Love Island” is filmed in real time, so the drama that watchers will see nightly on Peacock happened mere hours before.
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“I’m always surprised by who ends up coupling up,” host Ariana Madix said about the series. “Sometimes I think you can feel an energy between people that maybe you don’t even see on camera but when you’re there in person you can always kinda feel like, ‘Oooh, there’s some chemistry here.’”
Peacock And ‘Love Island’ Are Reminding Viewers To Keep Things Respectful This Season
The last season of “Love Island” was filled with drama, and it spilled over into real life. Passionate viewers took to various social media forums to defend their favs while also blasting other castmates.
Peacock recently uploaded a statement to their Instagram, reminding viewers to keep things respectful before the season starts.
“The Villa runs on good vibes, and so does this community,” the post read. “We love seeing your reactions, opinions, and debates, but everyone deserves to feel safe and respected.”
The post continued, “This is a space for fun, not negativity – so keep it kind, keep it positive, and remember: this is LOVE Island!”
Morgan Freeman long ago turned his sprawling 124-acre Mississippi ranch into a sanctuary for bees after growing concerned about their declining population.
The actor’s quiet conservation effort is now drawing renewed praise online, with fans applauding him for using his land to support the environment without turning it into a publicity campaign.
Freeman has previously opened up about his love for beekeeping, explaining the ins and outs of caring for the bees.
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Soon to turn 89, Freeman has also spoken about his acting career, saying his “appetite” for the craft is still alive, although he admitted that it has “dimmed a little.”
Xavier Collin/Image Press Agency / MEGA
Freeman has played everything from the voice of God to the president of the United States, along with several other iconic screen figures. These days, however, one of his most admired roles is tied to environmental preservation.
Over the years, the “Bruce Almighty” actor transformed his sprawling 124-acre ranch in Mississippi into a sanctuary for bees, per Forbes. The effort was aimed at helping protect pollinators amid concerns about their declining population and the broader threat to the species.
To support the project, Freeman reportedly imported 26 hives from Arkansas to his estate in 2014. He also began planting bee-friendly vegetation, including lavender, clover, and magnolia trees, to make the land more welcoming for the insects.
Fans Praise Freeman’s Quiet Bee Mission
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Freeman’s bee sanctuary has been drawing renewed attention online, with social media users focusing on the actor’s decision not to publicize his efforts. One X user praised the actor for turning his land into a bee haven without making a public fuss of it.
“Morgan Freeman quietly turned 124 acres into a bee sanctuary over a decade ago and never made it a press tour. That’s the version of celebrity environmentalism that actually means something,” the user wrote.
Another fan used Freeman’s example as a reminder that people do not need massive ranches to help, noting that planting native flowers or avoiding pesticides can still support local bee populations. A third joked that the famous voice-over actor did not just narrate creation, but helped protect it.
Morgan Freeman Spoke Passionately About Saving Bees
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Freeman’s journey into apiculture reportedly began as a personal response to the growing environmental crisis facing bee populations, but it eventually became part of a broader conservation effort.
He first spoke publicly about his love for beekeeping during a 2014 appearance on Jimmy Fallon’s “The Tonight Show,” where he discussed both his hands-on experience and the importance of protecting wild bees.
At the time, Freeman revealed that he was actively involved in caring for the bees himself. He said he fed them sugar and water, did not wear a bee suit or hat while doing so, and had never been stung.
Freeman Is Not Turning Bees Into A Business
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Money does not appear to be the driving force behind Freeman’s bee sanctuary, as the “Lucy” actor previously revealed that he does not harvest the hives for commercial gain.
“There is a concerted effort for bringing bees back onto the planet,” Freeman told Fallon. “We do not realize that they are the foundation, I think, of the growth of the planet, the vegetation.”
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His initiative comes at a critical time for the environment, as bees continue to face threats such as habitat loss, pesticides, and parasites.
The U.N. Environment Programme has also highlighted the importance of bees to biodiversity and food production. Since bees help pollinate a significant portion of the food humans consume, their survival remains closely tied to global food security.
Morgan Freeman Says He Still Has An Appetite For Acting
Image Press Agency / MEGA
Freeman’s appearances on the big screen have become more sporadic in recent years, but he maintains that he is not ready to walk away from acting.
In November, he sat for an interview with The Guardian, where he said his “appetite is still there” for the profession, although more than six decades in the industry may have slightly changed how he feels about it.
“I will concede that it’s dimmed a little. But not enough to make a serious difference,” he admitted.
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The Oscar winner also explained that the idea of retirement has crossed his mind a few times, but he has never taken it too seriously.
“Sometimes the idea of retirement would float past me, as soon as my agent says there’s a job or somebody wants you, or they’ve made an offer, the whole thing just boils back into where it was yesterday,” Freeman told the outlet. “How much [are you] going to pay, where we’re gonna be?”
If there’s one director working right now who simply doesn’t get the credit they deserve for having essentially forged a career akin to that of Steven Soderbergh, it’s David Mackenzie. He simply cannot be put in a box, having made movies that belong to genres as diverse as epic historical (Outlaw King) and prison drama (Starred Up). His most popular movie, however, remains the Taylor Sheridan-penned neo-Western Hell or High Water, starring Chris Pine, Ben Foster, Jeff Bridges, and Gil Birmingham. The movie holds a near-perfect 97% score on the aggregator website Rotten Tomatoes, which, in any other circumstances, would have set up Mackenzie for life. However, he didn’t jump to major franchise filmmaking or prestige television following Hell or High Water‘s admirable success. He continued down his chosen path of making genre movies. And now, his latest film is emerging as a sudden hit on the PVOD market.
Keeping with his adventurous approach to filmmaking, Mackenzie explores an entirely new genre with his new movie. It stars Theo James, Aaron Taylor-Johnson, Gugu Mbatha-Raw, and Sam Worthington. The heist-thriller follows a squad tasked with defusing a supposed World War II-era bomb in the middle of London, while a crew of bank robbers attempts to make the most of the distraction by infiltrating a nearby facility. The movie is titled Fuze, and it recently debuted on PVOD following a limited theatrical release. His previous movie, the thriller Relay, had a similarly limited theatrical run before finding success on home video.
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Collider Exclusive · Action Hero Quiz Which Action Hero Would Be Your Perfect Partner? Rambo · James Bond · Indiana Jones · John McClane · Ethan Hunt
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Five legends. Five completely different ways of getting out alive — with style, with muscle, with charm, with luck, or with a plan so intricate it probably shouldn’t work. Ten questions will reveal which action hero was built to have your back.
🎖️Rambo
🍸James Bond
🏺Indiana Jones
🔧John McClane
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🎭Ethan Hunt
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01
You’re dropped into a dangerous situation with no warning. What do you need most from a partner? The first few seconds tell you everything about who belongs beside you.
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02
You have to get somewhere dangerous, fast. How do you travel? How you get there is half the mission.
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03
You’re pinned down and outnumbered. What does your ideal partner do? This is when you find out what someone is really made of.
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04
The mission is paused. You have one evening to decompress. What does your partner suggest? Who someone is when the pressure drops is who they actually are.
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05
How do you prefer your partner to communicate mid-mission? Good communication is the difference between partners and a liability.
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06
Your enemy is powerful, well-resourced, and has the upper hand. How should your partner approach them? The approach to the enemy defines the partnership.
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07
Things go badly wrong and you’re captured. What do you trust your partner to do? Who someone is when you need them most is the only thing that matters.
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08
What does your ideal partner bring to the table that you couldn’t replace? A great partner fills the gap you didn’t know you had.
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09
Every partnership has a cost. Which of these can you live with? No one comes without baggage. The question is whether you can carry it together.
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10
It’s the final moment. Everything is on the line. What do you need from your partner right now? The last question is the most honest one.
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Your Partner Has Been Assigned Your Perfect Partner Is…
Your answers have pointed to one action hero above all others. This is the person built to have your back — for better or considerably, spectacularly worse.
Rambo
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Your partner doesn’t talk much, doesn’t need to, and will have assessed every threat in your immediate environment before you’ve finished your first sentence. John Rambo is not a man of plans or politics — he is a force of nature shaped by survival, loyalty, and a capacity for endurance that goes beyond anything training can produce. He will not leave you behind. He has never left anyone behind who deserved to come home. What you get with Rambo is the most capable, most quietly ferocious partner imaginable — one who has been through things that would have broken anyone else, and who chose to keep going anyway. You’ll never need to ask if he has your back. You’ll just know.
James Bond
Your partner will arrive perfectly dressed, perfectly briefed, and with a cover story so convincing it’ll take you a moment to remember what’s actually true. James Bond is the most professionally dangerous person in any room he enters — and the most disarmingly charming, which is the point. He operates in a world of layers, where nothing is what it appears and every advantage is used without apology. You’ll never be bored. You’ll occasionally be furious. But when it matters — when the mission is genuinely on the line and the margin for error has collapsed to nothing — Bond is exactly the partner you want. He has survived things that have no business being survivable. He does it with style. That is not nothing.
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Indiana Jones
Your partner will know the history, the language, the cultural context, and exactly why the thing everyone else is ignoring is actually the most important thing in the room. Indiana Jones is brilliant, reckless, and occasionally impossible — but he is also one of the most resourceful, most genuinely knowledgeable partners you could find yourself beside. He approaches every situation with a scholar’s eye and a brawler’s instinct, which is an unusual combination and a remarkably effective one. He hates snakes and gets personally attached to objects of historical significance, both of which will slow you down at least once. It doesn’t matter. What Indy brings is irreplaceable — and the adventures you’ll have together will be the kind people write books about. Assuming you survive them.
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John McClane
Your partner was not supposed to be here. He does not have the right equipment, the right information, or anything approaching the right odds. He has a sarcastic remark and an absolute refusal to accept that the situation is as bad as it looks. John McClane is the greatest accidental hero in the history of action cinema — a man whose superpower is stubbornness, whose contingency plan is improvisation, and whose capacity to absorb punishment and keep moving would be alarming if it weren’t so useful. He will complain the entire time. He will make it significantly more chaotic than it needed to be. And he will absolutely, unconditionally, without question come through when it counts. Yippee-ki-yay.
Ethan Hunt
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Your partner has already run seventeen scenarios by the time you’ve finished reading the briefing, and the plan he’s settled on involves at least two things that should be physically impossible. Ethan Hunt operates at the absolute edge of human capability — technically, physically, and intellectually — and he brings the same relentless precision to protecting his partners that he brings to dismantling organisations that shouldn’t exist. He is not easy to know and he will never fully tell you everything. But he will carry the weight of the mission so completely, so absolutely, that your job is simply to trust him — and the remarkable thing is that trusting him always turns out to be the right call. The mission will be impossible. He will complete it anyway.
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David Mackenzie’s Star-Studded New Thriller Gains Steam on Streaming
According to FlixPatrol, Fuze was among the most-watched movies on the domestic iTunes chart this week, cracking the top 10 immediately after its debut. The movie grossed around $4 million in its theatrical run earlier this year, which is a low number despite the positive reviews. Fuze holds a “Certified Fresh” 73% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Unapologetically leaning into its own pulpy excess, Fuze detonates as a stylish thriller with energy, craft, and twists to spare.” Reviewing the thriller at the 2025 Toronto International Film Festival, Collider’s Ross Bonaime called it a “big, mediocre action film, and with a twist that the audience can see coming from a mile away.”
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Release Date
April 24, 2026
Runtime
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98 minutes
Director
David Mackenzie
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Writers
Ben Hopkins
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Producers
Gillian Berrie, Callum Grant, David Mackenzie, Sebastien Raybaud
Throughout Chris Sails’ career as a YouTuber, he has often been known for trolling others online. Whether involving fellow creators, his ex and R&B singer Queen Naija, or her current partner Clarence NYC, his antics have frequently sparked reactions across social media. Those moments have kept parts of his personal life in the spotlight for years. They have also fueled conversations and, at times, strained his co-parenting relationship with Queen Naija. Over the years, the pair have been involved in several public disagreements that played out online. As a result, fans have often weighed in on their relationship and parenting dynamic. Now this! As Queen Naija and Clarence NYC celebrated CJ’s elementary school graduation, Chris Sails addressed questions about his absence.
Chris Sails Addresses Questions About Why He Didn’t Attend CJ’s Graduation
On Friday, clips of Chris Sails answering questions from supporters about why he wasn’t in attendance at CJ’s elementary school graduation began circulating online. While responding to comments on live, Chris claimed that he was not invited to the ceremony and acknowledged that some of his past actions may have contributed to the situation.
Chris said, “I know I made it harder on myself, so I don’t blame them over there for not inviting me; I don’t think it’s their fault.”
The YouTuber also read comments suggesting that he could have made time to attend once he found out about the graduation. Another commenter argued that he needed to put more effort into it. Chris appeared to agree with those sentiments. One commenter accused Chris of lying and claimed that he was aware of the graduation beforehand.
“I didn’t lie n****, I just corrected myself. Shut yo goofy a** up,” Chris responded. “They didn’t tell me that he had a graduation. I had asked them when I could get my son for the summertime. She said anytime after this time because he’s graduating. So that’s how I found out. It wasn’t an invitation-type of find out.”
Chris continued by saying that he does not blame them for not inviting him because he understands that his past actions may have made things harder for him. Despite that, he admitted that he still feels he should have been extended an invitation. However, he added that he does not want anyone to feel uncomfortable. Chris also shared that he plans to speak with CJ about the situation and ask how he feels regarding the graduation and his absence.
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Chris Sails And Queen Naija Faced A Similar Situation During CJ’s Kindergarten Graduation In 2021
This is not the first time Chris Sails and Queen Naija have faced questions surrounding one of CJ’s graduations. Five years ago, Chris shared similar frustrations after missing CJ’s kindergarten graduation. At the time, a commenter asked why he was not in attendance. Chris replied, “I didn’t get an invitation. And also didn’t even know he was graduating today. That’s messed up.”
After Chris’ comments began making rounds online, Queen Naija responded and shared her side of the story. She explained that Chris was dealing with legal matters at the time and said their co-parenting relationship was strained. Queen also revealed that she was caring for a sick two-year-old during that period. The situation sparked debate across social media, with many users weighing in on both sides. Queen Naija’s younger sister Tina, who was estranged from her at the time, also joined the conversation and shared that she was upset about not receiving an invitation.
Social Media Weighs In
Folks gathered in The Shade Room Teens’ comment section to react to Chris Sails’ video. While some agreed that Queen Naija and Clarence should have invited him, others felt it was not Queen’s responsibility. Several commenters argued that Chris should have been more proactive and asked questions about CJ’s graduation on his own.
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Instagram user @thasweetest1_ wrote, “Mann if u involved in your child’s like you’d know. Simple as that.. he musta thought Cj was in 3rd grade or sum 😂🫠”
Instagram user @september22ndd_wrote, “You’re the dad, call the school and get the information. CJ is also old enough to communicate these things. These are excuses.”
While Instagram user @theregoesfefe wrote, “cj gon graduate high school and chris gon be tb how he didn’t get a invite again see yall in 2033 😭”
Instagram user @anti_social1926 wrote, “Queen and Clarence are definitely wrong af idc.”
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Instagram user @aaliyahebaby added, “Naw Queen wrong for that.. He should know everything that boy has going on in school and should have been able to be at the graduation..could sit on another side of the room or matter fact that man could have kept his butt at him”
While Instagram user @yellow_tatted wrote, “You know everybody business but your own 😭”
Instagram user @ishanilatrice.m wrote, “Yall find any way to blame the mom ….. he know what grade he in and talks to his son … im not obligated to make sure a dad is being a dad regardless of being in different states wtf?! Yall okay?”
Instagram user @gyt.jas added, “Watching Chris on TikTok I can say he’s matured a lot since that last situation they was in. I feel like they should’ve at least sent the invite.”
While Instagram user @gothamlibra wrote, “For all the ones who saying she should have told him HE SAID HE ASKED ABOUT GETTING CJ FOR SUMMER AND SHE TOLD HIM AFTER “HIS GRADUATION” he knew and didn’t want to go. He let the ball slip. He acknowledged it and hopefully he’s at the next one. Yall be slow and intentionally missing information just to have dense opinions.”
Kai Cenat is giving fans a rare update while taking a break from streaming. The streamer took to X to answer questions from his community ahead of the platform’s decision to remove all communities from the social media site following a decline in usage.
Kai Cenat Shares His Thoughts On The Current State Of Streaming
On Friday, May 29, Kai Cenat shared a tweet to his community of over 55,000 members, inviting supporters to ask him questions before the community ends on May 30. During the Q&A, one of the most-viewed questions centered on a topic supporters have been asking for months: When is Kai returning to streaming?
Although Kai did not provide a specific date, he reassured fans that his passion for content creation has not changed. In response to one user, Kai wrote that he would “never lose passion for streaming” and would return “when it’s time.” Meanwhile, another fan asked Kai for his thoughts on the current state of streaming. Keeping his answer brief, the content creator responded that streaming simply “needs more inspiration.”
Kai Cenat Also Opened Up About Music, Books and Life Away From The Camera
Beyond streaming, Kai also answered several light-hearted questions about his personal interests and what he’s been up to while away from the spotlight. The streamer shared details about the book he’s currently reading, offered his thoughts on the upcoming Michael Jackson biopic, and revealed some of his favorite songs from Drake’s latest project, ‘Iceman.’ Kai also gave fans a glimpse into his day-to-day life outside of content creation. According to the AMP member, he’s been spending much of his time reading and hanging out with his AMP group when he’s not working.
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Social Media Reacts
Fans quickly flooded social media with reactions to Kai’s responses.
Instagram user @jesseniaa.__ wrote, “Well he’s talking to us again, that’s great, I’m glad he’s taking his time tho. We all we be tuned in soon as he go, live 😂”
Another Instagram user @0k.imani wrote, “Kai choosing himself 👏👏”
While Instagram user @its.trinnn wrote, “Who tf do kai think he is fr 😂😂”
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Instagram user @afkingp wrote, “I feel like he’s gonna make his own streaming platform.”
Another Instagram user @maaaack.kingg wrote, “Bro u just a fallen off streamer, relax with the celebrity bs 😭😂”
While Instagram user @lizzycoker10 wrote, “He just wanted to show us the new words he discovered from his dictionary 😭”
Instagram user @for.ou6992 wrote, “Streaming so boring without him 😭 they only doing it for money now and you can tell. Nobody hold my attention fr not even Rakai and clover. It’s just ain’t the same”
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Another Instagram user @latricee._ wrote, “just yapping”
While Instagram user @fly4carti wrote, “Why are you guys so upset he’s answering questions? If he speaks it’s a problem if he doesn’t it’s a problem just leave the man alone 💀”
Keanu Reeves in ‘John Wick: Chapter 3 – Parabellum’Image via Lionsgate
Shattering its already outrageous pre-release box-office projections, the new horror film Backroomsis breaking records as we speak. It’s also working hand-in-hand with the holdover hit Obsession to launch what seems like a new era in not just horror, but in mainstream Hollywood as a whole. No one would have expected a movie made by a 20-year-old debutant to gross more thanOppenheimer in its opening weekend, but that’s exactly what’s happening with Backrooms. Directed by Kane Parsons, the film was initially eyed to gross around $25 million in its domestic debut, a number that subsequently ballooned to around $45 million, and then $75 million. Don’t be surprised if it hits the $90 million mark come Monday’s final report.
For now, a handful of achievements are clear. Backrooms will break A24‘s domestic debut roughly thrice over, and will become one of the indie studio’s highest-grossing movies ever in just three days of release. It will also become A24’s top-grossing domestic release of all time in its first week, overtaking Marty Supreme‘s record of around $95 million. This would have been a remarkable achievement for any filmmaker, but it’s made all the more special because Parsons was a teen when he signed on. Like Obsession director Curry Barker, Parsons honed his skills on YouTube before making the jump to Hollywood.
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Collider Exclusive · Horror Survival Quiz Which Horror Villain Do You Have the Best Chance of Surviving? Jason Voorhees · Michael Myers · Freddy Krueger · Pennywise · Chucky
Five killers. Five completely different ways to die — if you’re not smart enough, fast enough, or self-aware enough to avoid it. Only one of them is the villain your particular set of instincts gives you a fighting chance against. Eight questions will figure out which one.
🏕️Jason
🔪Michael
💤Freddy
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🎈Pennywise
🪆Chucky
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01
Something feels wrong. You can’t explain it — you just know. What do you do? First instincts are the difference between the survivor and the first act casualty.
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02
Where are you most likely to find yourself when things go wrong? Setting is everything in horror. Where you are determines which rules apply.
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03
What is your most reliable survival asset? Every survivor has a quality the villain didn’t account for. What’s yours?
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04
What kind of fear is hardest for you to fight through? Knowing your weakness is the first step to not dying because of it.
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05
You’re with a group when things start going wrong. What’s your role? Horror movies are brutally clear about who survives group situations and who doesn’t.
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06
What’s the horror movie mistake you’re most likely to make? Honest self-assessment is a survival skill. Denial is not.
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07
What’s your best weapon against something that can’t be stopped by conventional means? Every horror villain has a weakness. The survivors are always the ones who find it.
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08
It’s the final scene. You’re the last one standing. How did you make it? The final survivor always has a reason. What’s yours?
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Your Survival Odds Have Been Calculated Your Best Chance Is Against…
Your instincts, your strengths, and your particular way of thinking under pressure point to one villain you actually have a fighting chance against. Everyone else — good luck.
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Camp Crystal Lake · Friday the 13th
Jason Voorhees
Jason is relentless, but he is also predictable — and that is the gap you would exploit.
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He moves in straight lines toward his target. He doesn’t strategise, doesn’t adapt, doesn’t outsmart. He simply pursues.
Your ability to keep moving, use the environment, and resist the panic that freezes most victims gives you a genuine edge.
The Crystal Lake survivors were always the ones who stopped running in circles and started thinking about terrain, water, and distance.
You think like that. Which means Jason, for all his indestructibility, would face someone who simply refused to be where he expected.
Haddonfield, Illinois · Halloween
Michael Myers
Michael watches before he moves. He is patient, methodical, and almost impossible to detect — until it’s too late for anyone who isn’t paying close enough attention.
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But you are paying attention. You notice the shape in the window, the car parked slightly wrong, the silence where there should be sound.
Michael’s power lies in the invisibility of ordinary suburbia — the fact that nothing ever looks wrong until it already is.
Your spatial awareness and instinct to map every room, every exit, and every shadow before you need them is precisely the quality Laurie Strode had.
You are not a victim waiting to happen. You are someone who already suspects something is wrong — and acts on it.
Elm Street · A Nightmare on Elm Street
Freddy Krueger
Freddy wins by getting inside your head — using your own fears, your own memories, your own subconscious as weapons against you. That strategy requires a target who can be destabilised.
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You are harder to destabilise than most. You’ve faced uncomfortable truths about yourself and you haven’t looked away.
The survivors on Elm Street were always the ones who understood what was happening and chose to face it rather than flee from it.
Freddy’s greatest weakness is that his power evaporates in the presence of someone who refuses to give him the fear he feeds on.
Your psychological resilience — the ability to stay grounded when reality itself becomes unreliable — is exactly the quality that keeps you alive here.
Derry, Maine · It
Pennywise
Pennywise is ancient, shapeshifting, and feeds on terror — but it has one critical vulnerability: it cannot function against someone who genuinely stops being afraid of it.
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The Losers Club didn’t survive because they were braver than everyone else. They survived because they faced their fears together, and faced them honestly.
You ask the questions others avoid. You look directly at what frightens you rather than turning away.
That directness — the refusal to let fear fester in the dark — is Pennywise’s worst nightmare.
It chose the wrong target when it chose you. You are exactly the kind of person whose fear tastes like nothing at all.
Chicago · Child’s Play
Chucky
Chucky’s greatest advantage is that nobody takes him seriously until it’s already too late. He exploits the gap between how something looks and what it actually is.
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You don’t have that gap. You take threats seriously regardless of how they present — and you never make the mistake of underestimating something because of its size or appearance.
Chucky relies on surprise, on the delay between recognition and response. You close that delay faster than almost anyone.
Your instinct to treat every unfamiliar thing with appropriate scepticism — rather than dismissing it because it seems absurd — is the exact quality that keeps you breathing.
Against Chucky, not laughing is already winning. You are very good at not laughing.
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History Is Being Made at the Box Office
Obsession is eying another increase in weekend-to-weekend box office revenue, which is unprecedented in itself. Together with Backrooms, the two movies will contribute more than $100 million in domestic box office revenue this weekend. This overperformance spells doom for Disney’s The Mandalorian and Grogu, which is looking a greater second-weekend drop than Solo: A Star Wars Story. Backroomsgrossed around $38 million on opening day, which is a greater haul than those of John Wick: Chapter 4 and Dune: Part Two. Starring Oscar nominees Renate Reinsveand Chiwetel Ejiofor, the critically acclaimed movie holds a “Certified Fresh” 90% score on Rotten Tomatoes. The aggregator website’s consensus reads, “A startlingly assured feature debut from director Kane Parsons, Backrooms bends the liminal spaces that have haunted the internet for years into a horror film that’s as mesmerizing as it is terrifying.” The movie has also earned a B- grade on CinemaScore, which is below the mark for mainstream horror. Stay tuned to Collider for more updates on the box-office fireworks this weekend.
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