By Robert Scucci
| Published 1 hour ago

I’ve got to say that my life is pretty good these days, as the biggest problem I’m having lately is looking up information about obscure sci-fi flicks on Tubi only to realize they all have multiple titles depending on the markets they were trying to reach. One such Fred Olen Ray film, 1995’s Cyberzone, loves to change the stationery, as it also exists as Droid Gunner and Phoenix 2. Really, none of these titles work, and I would much rather call it Blade Runner with Sex Bots, but that would be too on the nose.

The reason I constantly seek out schlocky, trashy B-movie titles like Cyberzone is because they’re just so fun and outside the box. You can expect that from any one of the over 200 Fred Olen Ray joints in his filmography, but this one is absolutely bonkers compared to 1988’s Terminal Force while still carrying the same sleazy energy that keeps bringing me back to his filmmaking.

Oh, Jack! Fetch Me My Sex Bots!

Cyberzone is a straight-up blast and wastes no time introducing us to Jack Ford (Marc Singer), a futuristic bounty hunter living in the year 2077. Fifty years prior, an 8.9-magnitude earthquake destroyed the West Coast, submerging California entirely and making Phoenix, Arizona, the busiest sea and spaceport on the New West Coast. Jack spends his days hunting down androids for chump change, but his life changes when he’s offered the gig of a lifetime. He’s summoned by the exceedingly wealthy Mr. Reginald (Cal Bartlett), who operates out of the same set used in Bio-Dome (1996).

Mr. Reginald lives in a fortified suburb, far removed from Jack’s stomping grounds, which are irradiated, polluted, and relegated to the dregs of society, where every man fends for himself. Mr. Reginald has deep pockets, and he needs help tracking down his four pleasure bots, which were stolen by an intergalactic smuggler named Hawks (Matthias Hues), who plans to deliver them to a crime lord named Chew’Bah (Robert Quarry), who lives beneath the newly constructed New Angeles, an alleged utopia that forbids any form of carnal pleasure. In Chew’Bah’s ideal world, he’ll have a monopoly on sex, drugs, and gambling, giving people what they want, but at a steep price.

Jack is reluctantly teamed up with a robotics expert named Beth (Rochelle Swanson) because he’s not trusted to bring the fembots back in one piece. The problem is that Jack doesn’t trust Beth to fend for herself in the futuristic ghettos, where bodies are sold as currency and she could easily be sold into slavery for $10,000. It’s a classic odd-couple setup because Beth claims to be fluent in martial arts thanks to her extensive simulated training protocols, but she dresses like a sheltered bureaucrat.

Since this is a Fred Olen Ray film, we know that Beth is actually an absolute smoke show, and when she’s forced to throw hands, she’s not only competent but frighteningly good at close combat, impressing Jack, who just wants to finish the job and collect his bounty.

The Humor Comes From Lack Of Enthusiasm

While it’s obvious that Cyberzone has taken more than a few pages from the Blade Runner playbook as far as its aesthetic goes, we get more of a buddy-cop experience here. Jack and Beth’s dynamic evolves into your typical romantic tug-of-war because they come from two very different worlds, but the real charm comes from Matthias Hues’ portrayal of Hawks, the most reluctant smuggler you’ve ever seen in a film.

When he first successfully captures the sex droids under the guise of “reconfiguring their oral programs,” he couldn’t look more bored. The only things he cares about are making sure his ship reaches its destination in one piece and collecting his fee. He’s surrounded by babes who will do anything he wants, and he brushes them off on several occasions because they’re distracting him from his navigation system. The look of frustration on his face is not only palpable but reliably hilarious every time this happens.

Beth’s shift from prude bureaucrat to smoking-hot femme fatale of the wasteland is sudden, but she leans fully into it when it’s time to deliver a proper beatdown, and her character arc is surprisingly satisfying when all is said and done. She evolves from a blissfully ignorant cog in a sanitized world into a ballsy heroine after finally catching a glimpse of how the other side lives.

As you would expect, the special effects in Cyberzone are crude, but they succeed in getting the job done. If anything, a big-budget production might actually take away from its charm. Thanks to its willingness to lean fully into its schlock and awe delivery instead of trying to be something it isn’t, Cyberzone remains a memorable outing because it embraces its sleaziness while operating within a familiar retro-futuristic framework that any sci-fi fan can get behind.

As of this writing, you can stream Cyberzone for free on Tubi.

Days of Our Lives excites as Gwen Rizczech (Emily O’Brien) just dropped a nuclear bombshell on EJ DiMera (Dan Feuerriegel) this week. And worse yet, he found out about it from somebody else that he hates, Paulina Price (Jackée Harry). And so now, EJ is furious that Gwen is planning to buy Salem University Hospital.

She’s trying to snatch it out from under her former co-conspirator and it’s about to get messy. You got to love EJ’s outrage over Gwen sticking up for herself and sticking a knife in EJ’s back.

Gwen’s Revenge Plan Takes Shape on Days of Our Lives

So, Gwen has been wanting to get revenge on EJ ever since he reneged on their financial deal for the miracle serum resurrection serum. It was Gwen who funded the secret lab project to help EJ and he promised Gwen a 50/50 split and they were expecting big millions of dollars in future sales.

And if not for her, EJ probably couldn’t have funded Dr. Wilhelm Rolf’s (Richard Wharton) secret resurrection research. And then once Lexie Carver (Nikki Crawford) was successfully revived, that’s when EJ turned around and he did her really dirty. Not only did he tell Gwen that it would be quite some time before they made any cash on the serum.

That’s fine. But EJ said the percentage of the proceeds that she was going to get would be far less than Gwen expected. And of course, EJ was smug because he thinks Gwen has no recourse. She’s got no way to come back at EJ and force him to give her what he promised, at least not in a court of law.

Gwen’s Devious Plot on DOOL

But ever since EJ announced that he was stabbing her in the back, Gwen has been busy plotting. First, she went and talked to Xander Cook Kiriakis (Paul Telfer)  about going in with her and buying the hospital. But of course, money is tight over at Titan thanks to Tony DiMera Thaao Phenglis) and Gabi Hernandez (Cherie Jimenez) corporate sabotage. However, Gwen has got a big fat divorce settlement from Dimitri Von Leuschner (Peter Porte) and she seems to be planning to use it to stab EJ right in the back to get revenge for his betrayal. But Gwen also knows that going to war with EJ is very dangerous.

The Dead Man’s Switch on Days

So, this week, Gwen went to her former best friend, Leo Stark (Greg Rikaart), because Gwen knows that he has wanted to get the scoop of the century and expose EJ’s shady dealings that he knows are going on down in that lab. So Gwen told Leo he can have all the dirty details of what EJ has been up to, but the terms of Gwen’s deal are that Leo cannot write the story until Gwen is dead or missing.

And it turns out she gave all the information to a third party. All the dirt on EJ and Rolf’s sketchy science is in her lawyer’s hands. The whole story is in a sealed letter that she left with her attorney. And that letter will drop right into Leo Stark’s hands if Gwen dies or if she doesn’t contact her attorney every 10 days.

Days of our Lives: Leo’s Worried about Gwen

So, this dirt that Gwen promised to Leo is a much bigger deal than just Rolf and EJ resurrecting Lexi. And immediately Leo was concerned that Gwen might be in danger. And Leo told Gwen, “Oh, okay. What you did? You set up a dead man’s switch.” That’s the thing in action movies where the villain like has a hand grenade taped to their hand. You know something where you have to hold the switch constantly or occasionally push a button or something or else the bomb detonates like in a case of death or incapacitation. So, Leo was intrigued but also worried.

And the best part I thought was when Gwen made a big confession to Leo. Gwen finally admitted to Leo that although yes, she’s mad about what happened with him and Dimitri, she knows that Leo is still the truest friend that she’s ever had. Gwen knows she can trust Leo to follow through if something happens to her. And of course, he’s hoping that Gwen won’t die. However, there’s also the chance that Leo could double cross her and maybe prevent Gwen from contacting her lawyer for more than 10 days, which would trigger the dead man switch so Leo can get the letter detailing EJ’s dirty deeds and publish it.

EJ Gets the News

It was big fun, I thought, also to see Madame Mayor Paulina personally deliver the news to EJ that the state medical board voted to censure him. Paulina said that is one step closer to stripping EJ of his hospital ownership, but he mocked her and said they can’t do it because they need another buyer.

And when Paulina said they have an offer on the table, EJ assumed it was Xander. And then he was basically laughing at her because EJ knows that Xander can’t afford to buy it. Paulina was so pleased to tell EJ that no, it’s not Xander, it’s Gwen who made an offer to buy the hospital. And he knows she’s got the money to do it. She’s got all those Dimitri dollars.

And after letting Leo know about the dead man’s switch, you know, just in case something happened, Gwen marched over to tell EJ that she’s returning the knife he stabbed her in the back with, and she’s doing it blade first. And since Gwen knows he’s dangerous, she let EJ know if anything happens to her, he will be ruined. But we also know he’s not going to let Gwen get away with betraying him, even though EJ betrayed her first.

The War Escalates on Days of Our Lives

But now the ball is rolling on Days of Our Lives. I can see him trying to wreak havoc on Gwen, especially if she moves forward with buying the hospital. And it appears that she still wants to let Xander in on that deal because she called him after confronting EJ. And of course, you know, he was feeling smug until she did this. Because Gwen and EJ didn’t have any legally binding contract because they were doing something dodgy.

But that also means that the blade cuts both ways and Gwen can also do whatever she wants. She knows Caleb Brady will support her purchasing the hospital. Anything to get rid of EJ. So, we’ll have to wait and see if it happens. However, I don’t think it will because the summer promo shows that EJ is still in control of the hospital because he fires a very shocked Sarah Horton (Linsey Godfrey). So, something may happen to slow up or prevent the sale. But even so, Gwen’s not going to stop.

Big Negotiation Coming Up

We know that she and Rafe Hernandez (Galen Gering) get together with Leo and Dimitri for an intense negotiation in the next few weeks. Leo and Gwen are now rekindled as besties. And of course, Leo has had to accept that Javi Hernandez (Al Calderon) has moved on with firefighter Gus (Michael Ocampo). So, when Dimitri comes back to Salem their dynamic is different.

There’s a little potential there. And it looks like Rafe, Gwen, and Leo are trying to get Dimitri to conspire with them. And it’s probably against EJ because Rafe still wants to take him down. He’s working with the FBI, and the ISA. So, it looks like they need Dimitri for some reason. And Leo may offer himself as a bargaining chip because he tells Dimitri, “If you won’t make a deal with Rafe, maybe you’ll make one with me.”

So, yeah, whatever they’re asking, if Dimitri winds up getting Leo back, he might agree to it. So, even if EJ manages to hang on to the hospital and block Gwen from buying it, that doesn’t mean she lost the war. Just that battle. So, wait to see, but it is about to get really, really messy between EJ and Gwen. And I can’t wait.

Allie Hayes’ hair was one of the notable book-to-screen changes in Off Campus — and there’s a reason for that.

“Her skin tones factored into it because once you start changing those hair colors, the skin tones change,” series hairstylist Debra Wiebe told Elite Daily in an interview published Wednesday, June 3, referring to actress Mika Abdalla, who brings Allie to life onscreen. “We enhanced the color to make it a bit more golden. Her highlights had more of a golden blonde tint, where Stephen [Kalyn]’s was lighter and more pastel.”

Off Campus is adapted from Elle Kennedy’s bestselling hockey romance series of the same name, in which Dean Heyward-Di Laurentis and love interest Allie Hayes both have blonde locks. In the Prime Video adaptation, Dean and Allie are portrayed by Kalyn, 28, and Abdalla, 26, respectively. 

Much like his book counterpart, Kalyn’s Dean had a bleached ‘do. Abdalla, meanwhile, kept her naturally dark tresses for the role.

“Sometimes those conversations go on before I’m in the room. When producers are casting, they put the two actors beside each other and decide on the look,” Wiebe told the outlet. “Then, we all had a conversation of, ‘Can we lighten her hair just a bit?’”

For Wiebe, giving Abdalla blonde highlights helped nod to the literary inspiration and distinguish the character from her BFF Hannah Wells (Ella Bright).

Off Campus season 1 highlighted Hannah’s love story with Dean’s hockey teammate Garrett Graham (Belmont Cameli). Abdalla and Kalyn will take the reins in the already renewed season 2, after fans got a peek at their journey at the end of the first season.

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“I’m just really looking forward to digging deeper into who Allie and Dean are,” Abdalla exclusively told Us Weekly ahead of last month’s premiere. “They both, kind of, have these fronts, these personas that are hard to kind of crack through. They are kind of stereotypes of themselves. But in the books, as we know, there’s so much beneath the surface of Dean, and there’s so much beneath the surface of Allie.”

She continued at the time, “When it is time for our season, I’m excited to dig emotionally into that a little bit more, because, you know, we see Allie and Dean as their exteriors a lot in season 1. While that is fun, and they are super fun characters to play, I think as actors, selfishly, both of us are really excited to, kind of, like, get psychological.”

Off Campus season 1 is currently streaming on Prime Video, while season 2 recently started production.

Social media users are mentioning Klay Thompson while droppin’ mixed reactions to Megan Thee Stallion‘s latest song snippet.

RELATED: There He Go! Klay Thompson Takes To Livestream Following His Split From Megan Thee Stallion (WATCH)

More On Megan Thee Stallion’s Latest Song Snippet

Earlier this week, Megan Thee Stallion took to Instagram to share a video clip with her more than 32.7 million followers. Furthermore, the clip featured background audio of a woman repeatedly singing, “That man ain’t s**t.” This, while Meg appeared to be on a yacht alongside other women, rocking a multi-colored swimsuit.

As the beat dropped, Meg began rapping about putting “wifey s**t” to “bed.”

Peep the clip and song snippet below.

Social Media Users Mentioning Klay Thompson While Droppin’ Mixed Reactions To Megan Thee Stallion’s Latest Song Snippet

Social media users slid in TSR’s comment section and began mentioning Klay Thompson while dropping mixed reactions to Megan Thee Stallion’s song snippet.

More On A Recent Verse Where The Rapper Seemingly Mentioned Klay Thompson

Before Megan Thee Stallion’s latest song snippet, she seemingly mentioned Klay Thompson on a recent song feature. As The Shade Room previously reported, Megan recently dropped a feature verse on the remix to Bossman Dlow’s ‘Motion Party.’ In her verse, she rapped about not looking through phones and noted that if she catches her man cheating, she’s dropping deuces, seemingly referencing her recent breakup with Thompson.

RELATED: Over It? Megan Thee Stallion Seemingly Addresses Klay Thompson Split In NEW Song As Fans Decode Lyrics (PHOTO)

UPDATE — 6/4/26, 1:22 p.m. ET: Tyler Baltierra is clarifying his comments about Amanda Conner and Catelynn Lowell.

“I was not comparing addiction to adoption. I was comparing society’s empathy, awareness & understanding towards addicts and birthmothers,” Baltierra, 34, wrote via his Instagram Story on Wednesday, June 3. “This was in no way to ‘shade’ Amanda AT ALL. I would never shame anyone in recovery. If you listen to the whole episode, I say it multiple times how I wish her & her family nothing but healing.”

According to the Teen Mom star, his comments were a “simple observation of societal/cultural differences when it comes to how we sympathize with addicts who are suffering vs how we sympathize with birthmothers who are suffering.”

“I’m the first one to know the affects [sic] of addiction & the struggles that come along with recovery,” he added. “I’m proud of [Amanda] for seeking help & I’m rooting for her.”

Original story below: 

Teen Mom’s Tyler Baltierra is openly wondering why fans seem to be sympathizing with Amanda Conner following her arrest for an alleged DUI, but not with his wife, Catelynn Lowell, amid the challenges of adoption.

“One thing that always shocks me though is that the comments are, ‘She’s struggling and this is part of addiction and relapse is part of recovery and she’s going through a hard time right now. Please get better,’” Baltierra, 34, shared on the May 27 episode of the “Cate & Ty Break It Down” podcast. “All of this sentimental, empathetic, sympathizing, which is great. I think we as a society have learned more about what that looks like and how it affects people. I’m glad that society is more sympathetic.”

News broke on May 24 that Conner was arrested and charged with child abuse/neglect for allegedly driving under the influence with a baby in the car. She also was charged for allegedly driving on the wrong side of the road.

Days later, Conner broke her silence on the arrest, confirming that she relapsed after three years of sobriety.

Related: Teen Mom’s Tyler Won’t Talk About Daughter Carly Despite Hearing ‘Lies’

Tyler Baltierra is standing firm in his and wife Catelynn Lowell’s vow not to speak about their daughter Carly following drama with her adoptive parents. “Listen, if I attempted to address every rumor, media misinformation or conspiracy theory about us, I would never be able to stop,” Tyler, 33, wrote via his Instagram Story on […]

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“I have let you all down and I’ve let my family down,” she said via TikTok on May 27. “Just saying that out loud, just letting it be known, it’s just so uncomfortable, it’s shameful, I’m disappointed, I feel guilty, scared. I’m not perfect.”

Conner’s bond was set for $16,000. Following her release, she was ordered not to contact the alleged child victim.

In his latest podcast episode with Lowell, 34, Baltierra couldn’t help but point out the different comments Conner received compared to the times his wife has opened up about her journey with adoption. (Baltierra and Lowell placed their daughter Carly for adoption when they were both 16. Carly is now 17 years old and has no contact with her birth parents, per Baltierra and Lowell.)

“It’s interesting that we’re talking about a woman in recovery who relapsed and during that relapse, put her child in danger and herself in danger,” Baltierra claimed. “She gets this amount of empathy and sympathy because she is struggling with this addiction problem. At the same time, my wife will make a post — who is sober, a great mom — about how hard it is that she can’t see the baby she relinquished out of desperation for her birthday. The comments of that vs. this always blows my mind.”

He continued, “It’s just a representation of how adoption is still in the shadows and mental health in general of adoption. How is it possible that a woman who endangered her children because she’s a drug addict gets more sympathy and empathy over a birth mother who relinquished out of desperation, talking about missing her on her birthday?”

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Related: Teen Mom’s Tyler Baltierra ‘Heartbroken’ After Photos of Carly Leak Online

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Teen Mom’s Tyler Baltierra is “beyond heartbroken” to see photos of daughter Carly being leaked online. “To say I’m disappointed is an understatement. It’s literally heartbreaking & sad that people are still continuing to share pictures & now videos of Carly,” Baltierra, 33, wrote via his Instagram Story on Saturday, April 5. “The same people […]

Although Conner has not publicly commented on her arrest, she admitted in a TikTok video that she is currently dealing with the “consequences’ of her actions.

“It’s not going to be polished, it’s going to be authentic, real and what happens in my life when you relapse and do stupid s***, there’s consequence,” she said. “We’re not going to give up, we’re going to fight and we’re going to get back on track. So with that said, we’re going to get ready to go meet the lawyer, so stay tuned.”

If you or someone you know is struggling with substance abuse, contact the Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline at 1-800-662-HELP (4357).

Nearly a year ago, Netflix released a fantasy animation film that became a global phenomenon. Nobody expected that a movie involving K-pop and demon hunting would dominate the streaming platform to the point that it would lead to recognition in both the movie and music industries. Many months have passed since its release, and it still dominates the Top 10 charts.

Throughout Netflix’s history, many titles have broken many records for the streaming giant. For example, Wednesday Season 1 is still the most-streamed show, with over 1.7 billion viewing hours since its 2022 release. Or how all three seasons of Squid Game dominate Netflix’s Top Non-English shows of all time, with the first season generating over 2.2 billion watched hours alone. But there’s another Netflix exclusive that broke a massive milestone, a record that it holds alone.

KPop Demon Hunters, an animated fantasy musical by Sony Pictures Animation, holds the record for a 50-week streak on Netflix’s Top 10 English Movies. As of writing, it sits at #9, between Remarkably Bright Creatures and Guess Who, but has never left the Top 10 since its release on June 20, 2025. Additionally, Kpop Demon Hunters is the most-streamed movie of all time, with over 541 million viewed hours, just under Red Notice‘s 454 million watched hours.

How ‘Kpop Demon Hunters’ Became a Global Phenomenon

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Kpop Demon Hunters follows a 3-member Kpop idol group called Huntr/x, who are also demon hunters. Tired of his plans getting thwarted, the demon king, called Gwi-Ma (Lee Byung-hun), agrees to follow Jinu’s (Ahn Hyo-seop) plan of creating a demon boyband to weaken the demon hunters. Since its release, K-pop Demon Hunters has gone viral on social media for its K-drama-inspired storyline and worldbuilding. Not to mention, the songs were catchy enough to generate millions of streams, with “Golden” the most-streamed at 1.7 billion.

Additionally, the Kpop Demon Hunters was highly praised, earning a 91% Certified Fresh Critics’ Score and a near-perfect 99% audiuence score on Rotten Tomatoes. Collider’s Jeff Ewing gave Kpop Demon Hunters an 8/10 in his review, praising the animation, musical performances, and voice acting, but thought some of the lore was underexplored due to narrative reasons.

Netflix has confirmed that a sequel to Kpop Demon Hunters has been greenlit and is scheduled to release sometime in 2029, following its streaming success and award-season wins. A plot has yet to be announced, but according to KDH’s director, Maggie Kang, one of the things she wants to address if the film were to continue is the unanswered questions the first movie left behind.

Kpop Demon Hunters is available to stream on Netflix. Follow Collider for more updates.

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Release Date

June 20, 2025

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Runtime

96 minutes

Director

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Chris Appelhans, Maggie Kang

Writers

Hannah McMechan, Chris Appelhans, Maggie Kang, Danya Jimenez

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Producers

Michelle Wong

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By Robert Scucci
| Published 4 seconds ago

There’s nothing I love more than a generic plot that lets you lean into and have fun with its characterization. I’m not even being facetious here. I think it’s a model that works for commercial filmmaking because, if we’re being real, we’re all just watching the same movies over and over again with different titles. There are expected genre conventions that allow filmmakers to bust out a quick storyboard, get some great talent involved, and let them chew the hell out of the scenery.

1989’s L.A. Bounty is just another “lone bounty hunter looking for revenge” flick, but it works because Sybil Danning is serious as a heart attack in the lead role, and then she has to face off with Wings Hauser, who seems to be having just a little too much fun acting like a murderous psychopath.

You know all the beats going into this one, but you’ll want to stick around because the exchanges that happen between those beats make the entire viewing experience worthwhile. And at the end of the day, aren’t we all just trying to be entertained?

Mayors, Mobsters, And Murder

L.A. Bounty kicks off with the kidnapping of Mike Rhodes (Robert Hanley), who’s running for mayor in the next election. A lone bounty hunter, Ruger (Sybil Danning), intervenes, allowing Mike’s wife, Kelly (Lenore Kasdorf), to escape traumatized but safe. We learn that Mike was kidnapped by psychotic drug kingpin Cavanaugh (Wings Hauser), who spends most of his time painting portraits of nude women and killing people on a whim when he’s not moving unthinkable amounts of drugs to his cohorts.

When Cavanaugh learns that Kelly is still a loose end, he sends his men to ambush her, but Ruger is already one step ahead of him, and she’s pissed. This isn’t Ruger’s first run-in with Cavanaugh, but she’s hoping it will be her last. Previously, Ruger worked as a narcotics officer trying to take down the kingpin, but she resigned from the force after he killed her partner in cold blood, giving her current protection job more personal stakes than Kelly would like to be involved with.

Meanwhile, Lieutenant Chandler (Henry Darrow) works closely with Mayor Burrows (J. Christopher Sullivan), who wants to know who’s behind the kidnapping. Being this close to the election, the only thing he cares about is saving face, and he doesn’t want the public, or any of his constituents for that matter, to think he had anything to do with his rival’s kidnapping.

Sybil Is Serviceable, Hauser Is Next Level 

While L.A. Bounty didn’t boost Sybil Danning’s career like she thought it would, she’s doing everything she’s supposed to be doing here. Ruger is a woman of few words, but she knows how to hold her own in action scenes. She convincingly portrays a jaded bounty hunter with an axe to grind, while still bringing plenty of B-movie energy to the forefront. That isn’t necessarily a bad thing, but she was clearly hoping this flick would be her ticket to action-thriller franchise stardom, which is quite the reach if I’m being brutally honest. The film’s $2.2 million budget leaves it rough around the edges, and she performs well within those limitations, so credit where it’s due.

The real star of the show in L.A. Bounty is Wings Hauser as Cavanaugh. He’s so delightfully twisted that it borders on comical, but the contrast between his personality and Danning’s makes for some genuinely entertaining moments. Cavanaugh thinks he’s some brilliant artist, but we don’t see what he’s painting until well into the third act, which makes you want to rewind the whole thing and revisit every scene set in his lair. Early on, when he’s philosophizing and talking about his evil plans, you build up an image in your head of beautiful photorealistic portraiture or some insanely detailed abstract art. What you finally get to see recontextualizes everything that came before because he’s laughably terrible at art.

The final action sequences have their limitations, but there are a few great kills that make the juice worth the squeeze. One thing I admired, which I’ve been thinking a lot about lately, is how we need to bring back the warehouse showdown. Sometimes all you need to make a low-budget action movie really pop off is a few practical explosions, a floor littered with shell casings, and a badass bounty hunter rocking the Atomic Blonde haircut decades before Charlize Theron ever did.

As of this writing, you can stream L.A. Bounty for free on Tubi.

It’s that time of year again, when ‘Love Island’ viewers gather daily to tune in as singles search for love in the Fiji villa. Last Thursday, ‘Love Island USA’ officially revealed the official cast for Season 8. Viewers quickly began discussing the Islanders, sharing who they were shippin together and rooting for this year.  However, one Islander didn’t even get the chance to make her Season 8 debut after her time on the show was cut short. Now, she has returned to social media to address the backlash surrounding her exit.

RELATED: Yikes! Social Media Reacts After Huda Mustafa Loses Huda Beauty Partnership Over Livestream Controversy (PHOTOS)

‘Love Island USA’ Removes Vasana Montgomery Before Her Season 8 Debut After Videos Allegedly Showing Her Using The N-Word Resurface.

Shortly after the cast announcement, videos of one contestant began circulating online. By Saturday, May 30, it was revealed that Vasana Montgomery’s chance to find love in Fiji had been cut short. According to TMZ, the Season 8 contestant was removed from the show after footage resurfaced that allegedly showed her singing the n-word in a song lyric. TMZ reports that the clip was allegedly a private video that had not previously been shared publicly. To note, NBC News adds that a second video showing Montgomery using a racial slur also surfaced within the past week.

As previously reported, two contestants from ‘Love Island USA’ Season 7, Yulissa Escobar and Cierra Ortega, were also removed from the show after their past use of racial slurs resurfaced online.

Vasana Montgomery Addresses The Backlash Following Her Removal From ‘Love Island USA’

Following the controversy surrounding Vasana Montgomery’s removal from the cast, she officially took to Instagram to address the backlash. In a statement shared to her Instagram Story, Vasana apologized for using a racial slur in resurfaced videos from her teen years. She took responsibility for her actions and said she has grown since then.

She wrote, “I want to address a couple videos from my teen years that have recently resurfaced. In those videos, I used a racial slur. There is no excuse for it, and I am deeply sorry. I am embarrassed and disappointed by my words.

I take full responsibility for what I said and understand why it has hurt and upset people. Since then, I have grown a lot as a person and taken the time to educate myself, listen, learn, and better understand the impact that language can have. That growth does not erase my mistake, and I am not asking anyone to excuse it.

I believe people should be held accountable for their actions, but I also believe in growth, learning, and becoming better. To anyone I hurt or disappointed, I am truly sorry.”

Social Media Reacts

Folks quickly reacted to Vasana’s statement in the comments. Some felt her removal was too extreme. They argued that she had been singing a song during her teen years. Others argued the word shouldn’t have been used at all. Furthermore, they said young actions still have consequences.

Instagram user @ therissashoww wrote, “I’ve seen this exact statement 1,000 times before 😂😂😂”

Instagram user @madithag added, “they only sorry when they get caught 😂”

While Instagram user @prettygirlll__c wrote, “They caught her before she even got on the villa, that was quick lol”

Instagram user @kash.ari26 wrote, “At least she is taking accountability for what she did cause honey if it was anybody else they wouldn’t have did it”

Instagram user @breenoelle_  added, “Yall we gotta start giving some people grace especially when they say it while singing a song .. as a black women I really don’t take offense … we’ve said plently of things in our younger self that wasn’t right. Understand people change”

While Instagram user @rains.song wrote, “Do teenagers not know right from wrong like….”

Instagram user @lavishladies_202 wrote, “I understand she was a kid right but it is well known as a racial slur. You know it wasn’t right when you used it but now you want to educate yourself about a word you already knew you shouldn’t say. Everybody should get a second chance but stop the BS. You knew it will hurt people but you said it anyways”

Instagram user @luvv.444jas added, “sorry cuz you said it or sorry cuz it resurfaced ?”

While Instagram user @lovee_niqua wrote, “She gone keep saying it. We dgaf ! NEXT. They don’t be sorry, they be sorry they get caught.”

RELATED: Cierra Ortega Breaks Her Silence Following ‘Love Island USA’ Exit Over Resurfaced Racial Slur Posts (VIDEOS)

Most horror films open a door to terror. Backrooms open thousands of identical doors and dares you to find your way out. Inspired by one of the internet’s most unsettling urban legends, this cinematic labyrinth delivers an experience that is equal parts fascinating, frightening, and wonderfully disorientating. 

Plot

The owner of a furniture store finds a secret doorway that leads him to an endless stretch of rooms. When he disappears, his therapist ventures into the unknown to rescue him.

Movie Review

Few internet horror concepts have captured the imagination quite like The Backrooms. What started as a simple image and an unsettling online creepypasta has evolved into a cultural phenomenon, making the leap from YouTube sensation to major theatrical release. Directed by young filmmaker Kane Parsons, Backrooms arrives with enormous expectations, and while it doesn’t escape every pitfall, it succeeds in delivering one of the most unique horror experiences of the year.

At its core, Backrooms is not interested in cheap jump scares or traditional monster-movie thrills. Instead, it thrives on atmosphere, dread, and a deeply uncomfortable feeling that something is fundamentally wrong with reality. The film follows Clark, played brilliantly by Chiwetel Ejiofor, whose discovery of a mysterious passageway leads him into an endless maze of fluorescent-lit corridors, empty rooms, and impossible architecture. As the mystery deepens, the film transforms into a psychological descent that explores isolation, obsession, and the fear of losing one’s grip on reality.

What makes Backrooms so effective is its visual design. The endless yellow hallways, humming lights, and sterile environments create a nightmare that feels strangely familiar. The production team has crafted spaces that are simultaneously mundane and terrifying, proving that horror doesn’t always need darkness to be effective. In many ways, the architecture itself becomes the monster.

Parsons demonstrates remarkable confidence for a first-time feature director. His camera work and sense of spatial disorientation are exceptional, creating sequences that genuinely leave audiences feeling trapped alongside the characters. The sound design deserves equal praise, using subtle ambient noise and unsettling silence to maintain tension throughout.

The performances are equally strong. Ejiofor anchors the film with a believable emotional core, while Renate Reinsve provides a grounded counterbalance as Dr. Mary Kline. Their performances prevent the film from becoming merely an exercise in visual experimentation.

That said, Backrooms is not flawless. The film’s pacing occasionally drifts, particularly in the middle act, and some viewers may find the deliberately ambiguous storytelling frustrating. The final act, while ambitious, doesn’t fully capitalize on the fascinating mysteries established earlier in the film. Several narrative threads remain vague, which will delight some audiences while alienating others. Community reactions have similarly praised the atmosphere and visuals while expressing mixed feelings about the story’s resolution.

Ultimately, Backrooms succeeds because it understands what made the original concept so compelling. Rather than overexplaining its mythology, it embraces uncertainty and existential dread. It feels less like watching a conventional horror movie and more like experiencing a recurring nightmare that lingers long after the credits roll.

For horror fans seeking something different, Backrooms is absolutely worth getting lost in. It may not be perfect, but it is bold, visually stunning, and refreshingly original. More importantly, it signals the arrival of an exciting new filmmaking voice in Kane Parsons.

Backrooms transforms an internet legend into a haunting cinematic experience that proves horror can still find new ways to unsettle us. While its pacing and ambiguity occasionally hold it back from greatness, its atmosphere, visuals, and sense of creeping dread make it one of the most memorable horror films of 2026.

When the credits finally rolled, I felt like I had escaped the Backrooms myself—slightly confused, deeply unsettled, and oddly eager to go back in. While it occasionally loses its way down a few narrative hallways, the film never loses sight of what makes the concept so compelling. Backrooms may not be a perfect maze, but it’s a journey well worth getting lost in – just don’t expect me to draw you a map. I rate this movie 4 out of 5 stars. Make sure to catch it at a movie theatre near you.