After what seemed like a major return to form in the last five years, Jason Statham‘s hot streak has been hit with its second setback. His new movie, Shelter, has been struggling at the box office despite having earned mostly positive reviews. This is difficult to explain, but it reflects the unpredictable nature of the movie business these days. While similar original genre movies starring Statham have done well in the recent past, Shelter was outright rejected by audiences. The movie still hasn’t recovered its reported $50 million budget theatrically, and seems poised to fall short of even Operation Fortune: Ruse de Guerre, the star’s lowest-grossing film of the decade. During this decade, Statham has headlined both franchise films and original action vehicles — reviews have hardly come between him and box office success. It turns out that reviews don’t mean much when one of his movies underperforms, either.

Shelter isn’t just a setback for Statham, but is also the second underperformer in the span of a month for director Ric Roman Waugh. The filmmaker only recently saw the commercial failure of Greenland 2: The Migration, the Gerard Butler-led sci-fi sequel that grossed only around $20 million worldwide against a reported $90 million budget. Greenland 2‘s underperformance may partially be explained, since it will be released on digital in most markets outside North America. Shelter, however, was given a proper theatrical release. It’s now sitting at a 62% critics’ score and an 87% audience score on the review aggregator website Rotten Tomatoes, where the consensus reads, “Classing up an overdone premise with professional execution, Shelter is highly derivative of previous Jason Statham action vehicles but lean and mean enough to forgive the recycled tropes.”

Here’s How Much ‘Shelter’ Has Grossed So Far

The movie’s positive audience score sets it up for a solid performance on digital, but its box office run so far has to sting. The movie has grossed less than $10 million domestically — one-fifth of its reported budget — and only around $25 million worldwide. By comparison, Statham’s last two films — The Beekeeper and A Working Man — made around $160 million and $100 million worldwide, respectively. In the last half-decade, he has also delivered the hit film Wrath of Man, which made more than $100 million worldwide, and the action sequel Meg 2: The Trench, which grossed nearly $400 million globally.

You can watch Shelter in theaters. Stay tuned to Collider for more updates.

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Release Date

January 30, 2026

Runtime

107 minutes

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Director

Ric Roman Waugh

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Writers

Ward Parry

Producers

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Greg Silverman, Jason Statham, Jon Berg, John Friedberg, Brendon Boyea

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Stassie Karanikolaou vs. Kylie Jenner
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Workout Besties Edition!

Published
February 9, 2026
2:00 PM PST

Imagine this: After months of finally coming to the conclusion that you want a divorce, you lay it out for your spouse, and then the next morning, Russia invades Ukraine. Okay, sure, perhaps if you don’t live in Eastern Europe, the invasion might not really affect you as much as the reality that you now need to retain a divorce attorney. But for Vytas (Marius Repšys) and Marija (Žygimantė Elena Jakštaitė), in Lithuania, the war presents a new complication during this unpredictable time for them and their daughter, Dovilė (Amelija Adomaitytė). Director and screenwriter Andrius Blaževičius puts a microscope on the complex family dynamic that inevitably appears after a divorce and sets it during the timely invasion of Ukraine to put the realities of war and social justice into sharp focus.

What Is ‘How To Divorce During the War’ About?

In 2022, Marija and Vytas wake up in separate beds to the news that Russia is launching a full-scale invasion of Ukraine. This is just a day after Marija told Vytas that she wants a divorce, not telling him that she’s been quietly having an affair with her co-worker, Jūratė (Indrė Patkauskaitė), for months. While Vytas feels completely blindsided by this, his more immediate problem is now that he must find a place to live. Marija is the sole breadwinner of the family, working for a video production company that makes social media video slop. Vytas, a once-successful filmmaker currently out of work, both looks down on Marija’s day job and actively benefits from her salary. In exchange, he is the primary homemaker, taking care of their daughter Dovilė, making dinner, and cleaning the house meticulously.

The separation completely throws both Marija and Vytas’ lives into disarray. The couple is pro-Ukraine and makes every effort to show it. Vytas is forced to move home to his Russian-sympathetic parents, but every other day, he’s throwing rocks into the windows of Russian cars. He begins volunteering at a food bank and participates in artistic protests in the city, using his modicum of fame to amplify their message. Meanwhile, Marija brings in a Ukrainian family of refugees to live with her and Dovilė shortly after the war begins. She actively opposes her company’s continued partnership with Russia at the risk of her own career, and ties up the Ukrainian flag on her balcony with her daughter in a firm show of support.

However, as the war wages on, Vytas’ actions feel more and more performative, and Marija becomes annoyed with the extended stay of the refugees in her home, with whom she can barely communicate. In the background, Dovilė experiences troubles at school as children echo the varying sentiments of their parents. How To Divorce During the War carefully and deliberately illustrates the very real and complicated feelings that come with the Russian invasion, and rather than wag a finger at anyone, the film forces you to look at the nuances of the war, warts and all.

‘How To Divorce During the War’ Depicts Performative Activism’s Upsides and Downsides

Living in the Lithuanian capital of Vilnius, both Marija and Vytas are no stranger to working with their European neighbors, and many Lithuanians have some kind of tie to the two warring countries. Although Marija and Vytas outwardly express their support for Ukraine, this support wanes in ferocity as time stretches on. It’s not that they are just posting black squares on social media or tweeting into a void — they aren’t slacktivists — but their performative actions and the desire to be on the right side of history feel, in many ways, self-serving.

The upper-middle-class privilege comes on full display after the split. Marija is happy for a Ukrainian mother and her two sons to come and live with her, in a very bold show of how eager she is to help. But she jams all three of them into Vytas’ former office, and it’s not long before she’s complaining about how dirty they are and struggling to communicate with them. When she defiantly quits her job due to the fact that her company won’t break ties with Russia, she doesn’t consider that she still has to provide for her daughter and also the new family living with her. It’s a perfect example of that privilege that Marija is so confident in quitting based on her morals, when the reality is that most people work for morally-dubious companies and remain there for the simple reason that they need a paycheck.

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Mstyslav Cherno takes us into the darkest depths of the war in Ukraine.

With Vytas, his return home means that he’s plagued with his parents essentially watching the Russian version of Fox News, a channel spouting propaganda that he desperately tries to push his parents not to believe. Whenever he sees a Russian license plate, he doesn’t even hesitate to throw a rock through the car window as a violent form of protest. Of course, the Russian government is to blame for the invasion, but should these citizens pay the price of something they have little to no control over? Vytas thinks so. Rather than seeking employment, he volunteers (occasionally helping himself to the food that is meant to go to refugees thanks to his dwindling funds) and participates in artistic protests to a crowd of dozens where he lies on the ground covered in fake blood.

Protesting, volunteering, and housing refugees all benefit the Ukrainian effort, which, for Marija and Vytas, might excuse the fact that their motives behind their actions are largely an effort to self-soothe. Being fully aware that Russia is in the wrong means that they are also conscious that they might not be doing enough. Add to the fact that Russia is less than a five-hour drive away, and the growing fear of what Putin might do next, and both characters are pushed to their extremes.

Andrius Blaževičius Gets the Details Right in ‘How To Divorce During the War’

Image via M-Films

Blaževičius carefully toes the line between the politics and the domestic drama of How To Divorce. While it might be easy for us to shame Marija for how she treats her new house guests and chastize Vytas for his vandalism, it’s also hard to paint them as pure villains. Galvanized by good intentions, Blaževičius makes a very pointed commentary on the burden of living in this world where we are constantly exposed to the horrors of war and disaster. Feeling helpless and hopeless, it’s not hard to see why the protagonists of the story want to do everything they can, even if it’s not sustainable for them.

Both Repšys and Jakštaitė deserve praise for their performances. After the separation, Repšys plays the awkwardness of Vytas perfectly. From awkwardly asking a Ukrainian sex worker about her family after doing the deed to being covered in red corn syrup while waxing on about the purpose of their protest, Repšys can make us both sympathize with Vytas while also cringing at him. Jakštaitė has the difficult task of making us empathize with Marija. As the cheating spouse and the homeowner stressing out her refugees, it’s not easy to like her. But Jakštaitė is able to show Marija’s frustration and depression without saying a word, humanizing her in just a few quiet moments that remind us that Marija is not the one we should shift all our blame onto.

Blaževičius follows the timeline of events, carefully documenting with an inobtrusive eye as feelings change, politics shift, and a desire for equilibrium trumps the passion for social justice. Lithuanian cinematographer Narvydas Naujalis is able to speak volumes in his shots of the quiet daily life of a country that is on edge. Simple things like the setting of the film depict the evolution of the characters; what starts as a clean and bright apartment where Marija and Vytas live with their daughter slowly dims and becomes cluttered as the film progresses. Layered with symbolism and unafraid to show the spectrum of reactions to a tumultuous time, How To Divorce During the War is a thoughtful drama that highlights the global impact of a war on the smallest scale.

How to Divorce During the War debuted at the 2026 Sundance Film Festival.

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Release Date

January 26, 2026

Runtime

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108 minutes

Director

Andrius Blaževičius

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Writers

Andrius Blaževičius

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Producers

Marija Razgutė

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Cast

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  Žygimantė Elena Jakštaitė

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  Marija

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Pros & Cons

• Strong performances from the leads, especially during the characters’ most unlikeable moments.
• Bla?evi?ius presents a complex issue without losing the intimate look at the divorcing couple.

• The film loses focus with the family dynamic and Dovil?’s character is kind of neglected.

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By Chris Sawin
| Updated 9 seconds ago

In a nutshell, Whistle is about a group of high school kids terrorized by an Aztec death whistle. Originally thought to “summon the dead,” once someone is inclined to blow on this obviously very deadly, skull-shaped, probably doesn’t feel great to rub all over your lips, contraption, this whistle actually summons your death.

Directed by Corin Hardy (The Hallow) and written by Owen Egerton, Whistle dictates that your specific death is chasing you the moment you are born and is trying to catch up with you your entire life. Sometimes we die of old age, and sometimes we die young and far too soon, but blowing the whistle makes your future death find you in a matter of days. Death looks exactly like you and suffers from whatever you would have on your deathbed.

The Whistle Is Much Better Than It Should Be

Chrys (Dafne Keen) moves in with her cousin, Rel (Sky Wang), and starts at Pellington High, where she meets Grace (Ali Skovbye), her jock boyfriend, Dean (Jhaliel Swaby), and Grace’s friend, Ellie (Sophie Nelisse), whom Chrys likes. Hoping to blend in and forget her past, Chrys finds a whistle in her locker. After a shared detention, someone blows the whistle, and those who hear its piercing screech soon face death. Now, the survivors must uncover if they can escape the whistle’s deadly power.

There’s a strange art to Whistle; it shouldn’t be as good as it is. The film is a cliché high school drama, infused with the year’s bloodiest deaths so far. Chrys, being a lesbian, feels like a natural, non-stereotypical progression in the story. She’s gay and facing a world of trouble. That’s the main draw, aside from the Native American kazoo of death, massacring people for fun. The youth pastor-drug dealer-switchblade wielder isn’t essential, but horror films always find a use for such characters.

Chrys’s situation was already difficult before her introduction: she recently recovered from an overdose and her father’s death. Keen’s performance is withdrawn and hesitant, yet eager for normalcy. Chrys and Ellie are the film’s most grounded characters, likely explaining their attraction.

Yes, The Whistle Is Basically Final Destination

Whistle is not unlike any other horror film revolving around a cursed artifact; in fact, it’s incredibly similar. This is The Monkey with a different toy or Final Destination with a skull-faced instrument calling the shots. Whistle is Jumanji with fatalities and a little bit of The Frighteners just for good measure.

The film opens at a Pellington High basketball game. A player named Mason (Stephen Kalyn) is haunted by a burnt figure (I nicknamed him Crispy Carl) lurking in the bleachers. Mason noticeably freaks out during the game, but makes the game-winning shot. Not before the burnt figure, still smoking with embers glowing all over his body, lunges at him. Back in the locker room, Mason screams about it not being his time yet and takes the whistle out of his locker before smashing it on the ground. Later, thinking he’s cheated death, the burnt figure finds him in the shower and puts his burning arm down his throat. Mason’s teammates find him flailing about as his engulfed body burns to a crisp.

The Most Creative, Entertaining Horror Deaths In Years

The deaths in Whistle are super creative and among the most entertaining in a horror film in a long time. Some of them range from lung cancer to old age, but there are two deaths that are unbelievable. One involves drunk driving, and the other involves working at a sawmill, but what makes them special is that the causes are invisible.

You see the effect and know the cause, but since the death is instantaneous, it’s just this gruesome display that makes little sense to anyone not familiar with the whistle. The drunk driving death sees the victim get bent up and contorted while floating in the air, and it’s as nasty and memorable as it sounds. The saw mill death is more of a presentation as it sprays blood everywhere and leaves the victim in this crumpled, limbless ball.

Whistle‘s writing is standard and mediocre, typical of films about summoning death with percussion. However, horror fans will appreciate the creative deaths, solid acting, and an ending that leaves you wanting a sequel.

Whistle was released nationwide in theaters on February 6.

Ian Fleming may have originated the genre, but John le Carré (real name David Cornwell) brought spy novels to new levels of realism, complexity, and relevance. He ditched the gadgets and derring-do, instead embracing blurred loyalties, inner turmoil, and disillusionment. In le Carré’s world, intelligence work is not a chess match between geniuses but a slow grind of paperwork, betrayal, ideological decay, and emotional damage.

In other words, le Carré’s novels dismantle the spy myth piece by piece, launching a new wave of titles that would come to define the genre for a world living through the Cold War and increasingly disenchanted with institutions. With this in mind, this list ranks the very best of them. The novels below represent his most powerful work, defined by rich commentary, careful plotting, and psychological depth.

10

‘A Murder of Quality’ (1962)

Image via Penguin Classics

“Love is whatever you can still betray.” A Murder of Quality is le Carré’s second novel and one of his most deceptively quiet works. On the surface, it seems like a traditional English murder mystery, following George Smiley as he investigates a killing at an elite boys’ school. However, rather than serving up the espionage spectacle one might expect, the book places its focus on themes like class, cruelty, and institutional rot.

Le Carré uses the school as a microcosm of British society, exposing how privilege protects abuse and silences dissent. The murder itself becomes less important than the environment that enabled it. Here, Smiley isn’t a flashy spy or death-defying secret agent, but a moral observer, someone attuned to human weakness and social hypocrisy. A Murder of Quality fits all this into a breezy 189 pages, making it a fairly accessible starting point for those curious about le Carré’s work.

9

‘The Russia House’ (1989)

Image via Penguin Classics

“The world is a fine place, and worth fighting for.” The Russia House is one of le Carré’s most humane novels, set during the thawing tensions of the late Cold War. The main character is “Barley” Blair, a British publisher drawn into intelligence work after receiving a manuscript from a Soviet scientist claiming to reveal the truth about Russia’s failing nuclear capabilities. The plot mechanics are fairly straightforward, but the book is elevated by a touching romantic storyline between Barley and a Russian woman.

Le Carré fans often cite this as the author’s funniest and most grounded book. The movie adaptation starring Sean Connery and Michelle Pfeiffer was well-received, too, for similar reasons. The Russia House is also interesting as a time capsule. It was published in 1989, capturing a moment of major historical transition, where old certainties were collapsing without being replaced by anything better.

8

‘The Night Manager’ (1993)

Image via Penguin Classics

“There is no such thing as a private life.” The Night Manager was le Carré’s first true post-Cold War novel, exploring a much murkier world where loyalties and objectives were trickier to define. The novel follows a former soldier turned hotel night manager who is recruited to infiltrate the inner circle of an international arms dealer. On paper, this resembles a more conventional thriller, but le Carré subverts expectations at every turn. The arms dealer is not merely evil, but protected by governments, corporations, and intelligence agencies that benefit from his crimes.

In other words, corruption is the central theme in this one, with characters driven by self-interest rather than high-minded ideals or national power. As a result, the vibe is bleaker and more ambiguous than that of the novels that directly preceded it. There is suspense, but little satisfaction. Success feels temporary and compromised, failure systemic. A snapshot of unipolar malaise.

7

‘Smiley’s People’ (1979)

Image via Penguin Classics

“Smiley never forgot.” Smiley’s People serves as the elegiac conclusion to George Smiley’s long conflict with his Soviet counterpart, Karla. It’s a tragedy about two men shaped (and ruined) by ideology. We follow Smiley as he reassembles old networks and forgotten contacts for one final reckoning. Unlike more action-driven spy novels, this book moves slowly, deliberately, mirroring Smiley’s age and weariness. The Cold War is no longer a battlefield or a stage for heroism, but a graveyard of broken lives.

The book is fittingly claustrophobic and intense, a fitting payoff to the “Karla Trilogy”. As a capstone for that story arc, Smiley’s People defines le Carré’s worldview: intelligence work destroys both sides, and understanding your enemy does not make their defeat feel like justice. The title refers to those who choose reality over ideology and humans over institutions. The novel’s quiet final scenes are especially devastating.

6

‘The Honourable Schoolboy’ (1977)

Image via Penguin Classics

“We are not nice people.” Coming just before Smiley’s People in the Karla Trilogy, The Honourable Schoolboy is le Carré at his most sprawling and structurally ambitious. Picking up threads from Tinker Tailor Soldier Spy, this one chronicles British intelligence’s attempt to exploit Karla’s networks in Southeast Asia. The plot moves across continents, mixing espionage with journalism, politics, and, of course, personal obsession. The cast of characters is massive, with multiple narrative plates spinning at once.

The Honourable Schoolboy clocks in at a sturdy 533 pages, all of them crammed with events and details. Le Carré deliberately overwhelms the reader, reflecting the chaos and moral confusion of post-imperial intelligence work. It’s a picture of spycraft under pressure, where improvisation and sheer survival are the name of the game. The characters are fittingly layered and three-dimensional. The central figure, for example, a journalist-turned-agent, embodies divided loyalty and self-delusion.

5

‘The Little Drummer Girl’ (1983)

Image via Penguin Classics

“She was acting even when she slept.” The Little Drummer Girl is le Carré’s most theatrical novel, both literally and metaphorically. It revolves around a young actress recruited by Israeli intelligence to infiltrate a Palestinian terrorist network. She is manipulated by a spymaster on a mission to find and kill a terrorist, but, while undercover, finds herself developing unexpected sympathies for the causes of those she is meant to be taking down. The protagonist’s empathy becomes both a liability and a weapon.

Le Carré refuses easy moral binaries, portraying both sides as capable of cruelty and conviction. The intelligence apparatus itself is shown as ruthlessly pragmatic, willing to sacrifice individuals for strategic gain. At the same time, Le Carré uses performance as a central metaphor, examining how identity is constructed, manipulated, and eventually erased. The lies are destabilizing, to the point that one either comes to believe them or collapses totally under their crushing weight.

4

‘The Constant Gardener’ (2001)

Image via Penguin Classics

“Love is the only reason to lie.” Some readers will know The Constant Gardener from the 2005 movie version starring Ralph Fiennes and an Oscar-winning Rachel Weisz. Drawing on a real-life incident, it tells the story of a British diplomat investigating his activist wife’s murder in Kenya, uncovering a web of pharmaceutical exploitation and government complicity. Unlike the author’s Cold War novels, this book is driven by grief and love rather than professional duty.

The protagonist’s awakening is painful and belated, driven by guilt as much as justice. The tale is smart as well as suspenseful, shot through with passion, conspiracies, double crosses, deadly diseases, and conniving bureaucrats. However, Le Carré himself says that his fictionalized account is less shocking than the actual case that inspired it. In the afterword, he writes: “By comparison with the reality, my story [is] as tame as a holiday postcard.”

3

‘The Spy Who Came in from the Cold’ (1963)

Image via Penguin

“What do you think spies are? Priests?” The Spy Who Came in from the Cold is the novel that changed espionage fiction forever. In it, a British agent is sent on one last mission designed to appear as a defection, drawing him into a morally grotesque operation. What makes the novel revolutionary is its bleakness. Le Carré strips away any notion of honorable service, portraying intelligence work as indistinguishable from the brutality it claims to oppose.

The protagonist is exhausted, cynical, and ultimately disposable. While his superiors cloak his mission in ideals and altruism, all justified by the greater good, the reality is that his morally dubious work is corrosive to his soul. Here, the spy agencies of both East and West live in a moral void, each using the Cold War as an excuse to justify lies, violence, and betrayal. This approach was bold stuff for the early ’60s, carrying over well into the stellar film adaptation, too.

2

‘A Perfect Spy’ (1986)

Image via Penguin Classics

“He was born a liar, and he never stopped.” A Perfect Spy is le Carré’s most personal and psychologically complex novel. Loosely inspired by his life, it centers on a lifelong intelligence operative whose career is shaped by his relationship with his charismatic, deceitful father. The plot moves between espionage missions and childhood memories. Long before deception became the protagonist’s profession, it was a survival skill in a turbulent household.

In other words, Le Carré dismantles the spy myth entirely here, presenting espionage as an extension of emotional damage rather than patriotic duty. The protagonist’s identity fractures under the weight of lies told for love and career alike. His story is dense, introspective, and deeply sad, offering no redemption, only understanding. Not for nothing, author Philip Roth declared A Perfect Spy “the best English novel since the war”, and le Carré himself said it was “the novel of mine that is closest to my heart.”

1

‘Tinker Tailor Soldier Spy’ (1974)

Image via Penguin

“A fanatic is always concealing a secret doubt.” Far and away the author’s most famous book, not least due to the fantastic 2011 movie adaptation. Tinker Tailor Soldier Spy is le Carré’s most intricate and intellectually demanding novel. It revolves around George Smiley’s investigation into a Soviet mole embedded at the highest levels of British intelligence, leading to a tense hunt through memory, interrogation, and Smiley’s quiet deduction. At the time, these ideas weren’t fantasy at all but a reflection of real events, specifically the defection to the Soviet Union by British spy Kim Philby.

The structure mirrors the process of intelligence analysis itself: fragmented, slow, and deeply uncertain. Every character is compromised, emotionally or morally. For this reason, the novel rewards patience, gradually revealing how betrayal corrodes institutions from within. Themes aside, Tinker Tailor Soldier Spy is simply well written, laden with sharp dialogue and juicy plot twists, and the character of Smiley is compelling throughout.

Lindsey Vonn left a message of gratitude after dramatically crashing and breaking her leg at the 2026 Winter Olympics on Sunday, February 8.

Vonn, 41, responded to British journalist Dan Walker on social media on Monday, February 9, after he wrote a lengthy post praising her courage for competing with a torn ACL. 

“Thank you Dan 🙏,” Vonn commented. 

In his post Walker wrote, “I think her attitude is the very essence of sport. It wasn’t just about chasing glory…it was about defiance.”

“This is what sport looks like when you strip away the polish. It’s not comfortable…it’s painful,” he continued. “Risk instead of safety. Vonn knew she might not win. She knew it might hurt. She understood the risk. She embraced it because not going down that mountain would mean surrendering to the things that stop you getting out of bed in the morning.”

Walker concluded his post, “I hope her body heals quickly and she knows she will always be a winner 🏆.” 

Vonn crashed just 13 seconds into her women’s downhill run on Sunday, eventually being airlifted off the course by a helicopter to an Italian hospital. 

She “underwent an orthopedic operation to stabilize a fracture reported in her left leg” and is being “treated by a multidisciplinary team,” according to a statement released by the Ca’ Foncello hospital on Sunday. 

The U.S. Ski and Snowboard Team said Vonn was “in stable condition and in good hands with a team of American and Italian physicians.”

“She’ll be OK, but it’s going to be a bit of a process,” said Anouk Patty, chief of sport for U.S. Ski and Snowboard. “This sport’s brutal, and people need to remember when they’re watching [that] these athletes are throwing themselves down a mountain and going really, really fast.”

Vonn’s sister, Karin Kidlow, told NBC that the crash was “the last thing we wanted to see.”

“It happened quick and when that happens, you’re just immediately hoping she’s OK,” Kildow said. “She does have all of her surgeons and her PT staff here and her doctors, so I’m sure they’ll give us a report and we’ll meet her at whatever hospital she’s at.”

Unsurprisingly, Vonn’s name was left off Team USA’s roster for the first-ever women’s team combined event at the 2026 Winter Olympics, which takes place on Tuesday, February 10.

Before hitting the slopes for the women’s downhill on Sunday, Vonn acknowledged she had a staggering task in front of her after completely tearing her ACL during a World Cup race last month. 

“Just getting to these Olympics has been a journey, and one that some did not believe in from the start,” Vonn shared via Instagram on Saturday, February 5. “I retired for 6 years, and because of a partial knee replacement, I had the chance to compete one more time. But why? Everyone seems to be asking me that question. But I think the answer is simple…I just love ski racing.”

She added, “I will stand in the starting gate tomorrow and know I am strong. Know that I believe in myself. Know that the odds are stacked against me with my age, no ACL, and a titanium knee- but know that I still believe.  And usually, when the odds are stacked against me the most, I pull the best of what’s inside me out.”

Breezy Bowl, but make it official, official? That seemed to be the energy Chris Brown was giving off on social media following the Super Bowl Halftime show. Bad Bunny was tapped to perform this year, and he brought Puerto Rico to the stadium, from the sugar cane fields to the domino matches. The internet is STILL sounding off about the performance and what it meant to the Latin community.

RELATED: Girl Dad Duties! Chris Brown Has Fans Losing It After Linking Up With Royalty & Her Friends For Viral TikTok Trend (WATCH)

Chris Brown Says “They” Need Him

One thing about Breezy, he’s got the confidence to say what he wants to say! Chris slid on IG Story, seemingly after Bad Bunny’s performance on Sunday. He dropped a written text that read like he wasn’t impressed by how Benito made the Bowl his own.

“I THINK IT’S SAFE TO SAY…THEY NEED ME,” he wrote.

That’s it, and that’s all he wrote aside from adding a slick-smile emoticon. So far, he hasn’t shared any additional thoughts on the Super Bowl or who should take the stage next.

However, this isn’t the first time Breezy has been vocal about the Super Bowl. Though, two years ago, he was singing a much different tune! In February 2023, Chris Brown riled up his fans after commenting “Go girl,” amid Rihanna’s halftime performance, in which she announced her second pregnancy. Soon after that, he shared a photo from Dublin, and in the comment section he cleared the air on expectations of seeing him on the Super Bowl stage.

“….never shawty,” Chris Brown wrote in response to “When are you performing at the Super Bowl. We need you at the next one!!!! He added, “American media AINT FA me. Rather be where I’m welcomed.”

RELATED: Been HIM! Bad Bunny Turns His Super Bowl Halftime Show Into Cultural Fiesta With Unforgettable Messages (VIDEOS)