A resurfaced clip of Gwyneth Paltrow discussing her bedroom escapades with former lovers Brad Pitt and Ben Affleck is making the rounds online. In the interview, the “Iron Man” actress compared the two, saying Pitt was more of a “love of your life” type, while describing Affleck as “technically excellent.”

Earlier this year, Paltrow also revealed that her past relationship with Coldplay frontman Chris Martin cost her a movie role due to the negative headlines surrounding their split.

Gwyneth Paltrow On Brad Pitt And Ben Affleck In Bed

The clip of Paltrow comparing Pitt and Affleck stems from a May 2023 appearance on the “Call Her Daddy” podcast, where she made the candid remarks that have since resurfaced.

When host Alex Cooper asked which of her famous exes was better in bed, the GOOP founder didn’t shy away from answering.

Paltrow described Pitt as the “major chemistry ‘love-of-your-life’” kind of relationship. As for Affleck, she said the “Argo” actor was “technically excellent,” a remark that drew laughter between them. The actress then joked that she couldn’t believe her daughter was tuning in to hear the conversation.

Paltrow Stuns Fans With Bedroom Take On Pitt, Affleck

Several fans appeared surprised that Paltrow didn’t sidestep the raunchy question, with many taking to social media to weigh in on her candid comparison.

“Imagine Brad Pitt hopping on a podcast ranking Jennifer Aniston vs Angelina Jolie in bed… the timeline would’ve burned the app down,” one X user wrote. “But Gwyneth says it, and it’s just ‘iconic?’”

“Shame on her. This is just so inappropriate. All she does is kiss and tell,” another user added.

Others framed the moment as a breach of privacy, suggesting the comments crossed a line regardless of how they were intended.

“Very classy, Gwyneth. Nobody needs to know that personal stuff,” someone else chimed in. “Maybe the guys should talk about how she was in bed. I’m sure she wouldn’t be amused.”

Inside Gwyneth Paltrow’s Dating History

Like many other Hollywood stars, Paltrow has had a long list of high-profile relationships dating back to the early stages of her career.

Her first known romance was with Donovan Leitch Jr. in 1993, before the pair split two years later, per PEOPLE Magazine. Not long after, she began dating Pitt in the mid-1990s after they met while filming “Se7en.” Their relationship quickly turned serious, with the couple getting engaged, but they ultimately called it off in 1997.

Paltrow then moved on with Affleck, whom she met at a party hosted by Harvey Weinstein in the late ’90s. The two dated on and off from 1997 until they split in 2000.

In the early 2000s, Paltrow met British rock star Chris Martin. The pair married in December 2003 and went on to welcome two children, Apple and Moses. After more than a decade together, they announced their separation in 2014.

She later found love again with Brad Falchuk, whom she married in 2018.

The Actress Remains On Good Terms With Her Exes

Meanwhile, Paltrow has made it clear that she maintains positive relationships with the men in her past, emphasizing that she prefers peace over lingering tension.

During an Instagram Story Q&A, the actress revealed she remains on good terms with her exes and embraces a more intentional approach to breakups.

“I really believe in conscious uncoupling,” she wrote. “When you spend meaningful time with someone, it’s nice to have it morph into friendship. I don’t want to have bad blood with anyone, ever (if I can help it).”

She continues to co-parent her children with Martin and has spoken highly of Pitt and Affleck in the past.

Gwyneth Paltrow On How Her Former Marriage Cost Her A Movie Role

Earlier this year, Paltrow reflected on how the fallout from her divorce from Martin impacted her career.

Speaking on Amy Poehler’s “Good Hang” podcast in January, the “Shakespeare In Love” actress revealed that she lost out on a film role following their widely publicized split.

According to Paltrow, the timing of the situation made studios hesitant to move forward with her.

“There was a lot of harsh stuff in the press,” she said, per The Guardian. “I think the distributor was like, ‘This might be too hot to touch.’”

Paltrow agreed with Poehler’s suggestion that producers were likely trying to distance themselves from the controversy at the time.

By Robert Scucci
| Published 1 hour ago

Back in February, Jeff Daniels (best known for Dumb and Dumber and The Newsroom) revealed what he believes to be the best sandwich during an appearance on The Late Show with Stephen Colbert. During the infamous “Colbert Questionert,” Daniels laid it all out to a shocked audience after letting out a long sigh and starting with, “I’m going to go with a personal favorite.”

He then went into great detail describing the sandwich, which consists of pita bread, creamy peanut butter, cheddar sour cream Ruffles, and “your favorite barbecue sauce.” Daniels said his favorite is “Sweet Baby James,” but no such brand exists, so it’s safe to assume he meant Sweet Baby Ray’s and misspoke in the heat of the moment.

He was exacting in his instructions, explaining how only half of the pita bread gets covered with a quarter inch of creamy peanut butter, which is then topped with crushed chips. The next step is to slather the whole thing with sauce, fold it over, and go to work. Every food blogger I follow has tried the “viral sandwich,” and I usually avoid these trends because I have better things to do with my time.

Something about this mix of sweet and savory got my attention, though, so I had to make one myself and see what all the fuss was about. I also took a page from the Sandwiches of History playbook, hosted by the legendary Barry Enderwick, who reviews recipes as written but also likes to “plus them up” with extra ingredients to see if they can be improved.

So without further ado, here’s my review of the Jeff Daniels Sandwich, along with some late-night, cabinet-raiding culinary insanity.

The Jeff Daniels Sandwich

My first thought about the Jeff Daniels Sandwich is that he picked very distinct flavor profiles that could go one of two ways. Either it works perfectly, or it falls apart completely. Following his instructions, I grabbed pita bread, Ruffles, Sweet Baby Ray’s, and used the 64-ounce jar of creamy peanut butter already in my house because my kids are goblins and go through alarming amounts of it. I prefer chunky, but that’s beside the point.

While I’m not exactly a fitness guru, I do track my activity with a FitBit and try to hit around 20,000 steps and 5,000 calories burned a day. I also eat once a day because it makes tracking macros easier. Intermittent fasting keeps things simple, especially when I get reckless with late-night snacking, something I do often. 

This works out nicely, because a six-inch pita, roughly three tablespoons of peanut butter, 11 cheddar and sour cream Ruffles (what they consider to be a single serving size), and two tablespoons of Sweet Baby Ray’s comes out to about 650 calories. I didn’t use a food scale, so your results may vary. For context, the Jeff Daniels Sandwich I made has roughly the same caloric content as 2.7 glazed doughnuts from Dunkin’.

It also clocks in at about 18.5 grams of protein, 73.5 grams of carbs, and five grams of dietary fiber.

As for the taste, I don’t know any other way to say it. Jeff Daniels knows what he’s doing. I have no insight into his personal life, but I imagine this sandwich came together under very specific circumstances. He name-drops Ruffles and specifies cheddar and sour cream. He calls out creamy peanut butter and Sweet Baby Ray’s as favorites. Given how messy this thing is, pita bread feels less like a preference and more like the only logical thing holding it together.

That said, this doesn’t feel like a desperation snack. Jeff Daniels is a successful actor. His pantry is probably well-stocked. The enthusiasm he shows when describing it tells me the first time he made this, he was either half asleep or operating under the influence of some late-night cravings that can only be achieved under a specific set of extra-curricular activities. I’m not saying anything definitive, but it takes one to know one.

Jeff Daniels Sandwich SCORE

The flavors are sharp, distinct, and constantly competing. My tastebuds were in shock at first. The crunch of the chips against the creamy peanut butter makes your jaw work. Then the cheddar and sour cream hits. Then the barbecue sauce takes over. Then you’re back to peanut butter. As you keep going, everything starts to come together, and suddenly it clicks. It’s an elite combination of sweet, savory, and texture. It checks every box.

I Had To “Plus It Up”

As a fan of Sandwiches of History (I trust Barry Enderwick with my life), I had to plus up the Jeff Daniels Sandwich, and I put some real thought into it. The original is built on bold, accessible flavors, so I stuck to ingredients you’d realistically have on hand. I added mini pepperonis, chopped green onions, dill pickle, and hot honey, because that’s what I had lying around.

I also buttered and grilled the pita before assembling everything to give it a crispy, warm exterior.

I’ve been a musician most of my life, but this might be the first time I’ve legitimately felt like an artist. The original Jeff Daniels Sandwich is solid. I had it after my daily run as a recovery meal, but 650 calories wasn’t going to cut it. My version came in closer to 900, so between the two, I was covered, and slightly ashamed of myself. 

I’m not saying the Jeff Daniels Sandwich should be part of your daily routine. But the original version that blew up online is undeniably good. It’s filling, and it feels like you’ll need a nap when you finish it.

My variation of the Jeff Daniels Sandwich SCORE

My version, though, is one of the best sandwiches I’ve had in at least a year. Mixing hot honey with the Sweet Baby Ray’s adds a kick. The pepperoni and green onion sharpen the sweetness of the peanut butter. The pickle cuts through the blandness of the pita bread, and grilling the bread before assembly is a power move I’m still proud of.

I’ve got to hand it to you, Mr. Daniels. You created a monster, but I’ve seen the light. Thanks for sharing this and completely wrecking my diet for the next several days while I figure out what to do with the rest of this pita bread.

Fans are showing Chrisean Rock love and cheering on her as she gears up for her boxing match against Zenith Zion on April 25. The rapper recently dropped an emotional video on social media, keeping it 100 about her journey and the challenges of staying disciplined.

RELATED: She’s Ready! Chrisean Rock Shares Clip Of Her Boxing Skills & Internet Users Are Hyping Her UP (WATCH)

Chrisean Rock Keeps It Real About Staying Discipline Ahead Of Boxing Match

Recently, Chrisean Rock posted a video on Snapchat, giving fans an update on her boxing journey. Rock asked for prayers and says she’s been “going through it” while still pushing to get everything done before her April 25 fight. While trying to fight back tears, Rock said she wanted to record this moment, because she wanted to remember every challenge she faced and every step she took to get here. From there, she told fans she was focusing on cutting weight, while staying positive and disciplined. “I want to remember how hard it took […] How hard I had to work for this.”

Additionally, Chrisean vented about being super hungry and wanting french fries and spaghetti — craving basically anything, but she said she was locking in and refusing to give in. “I’m a little hungry, I’m a lot of hungry.” She continued. “Stay humble! You’re doing this for your son. You’re doing this for your family.”

Fans Hype Up Chrisean After She Shares Emotional Update

After TSR posted Chrisean Rock’s tearful video, fans hyped her up in the comment section. Plenty of folks said they were supporting her through this new chapter, while others say they love watching her growth.

Instagram user @brandii_amor wrote, “Baby you got this!!!! The hardest part was starting your new journey! You’re here, keep it up!!” 

Instagram user @mspank_unapologetic wrote, “Even her voice tone is different now…discipline is hard keep pushing 👏👏” 

While Instagram user @queen_tara84 wrote, “Keep going Chrisean you got this ❤️❤️❤️ you’ve come so far!”

Then Instagram user @bigbootybambino wrote, “This me when I’m hungry too ! You got this girl!” 

Another Instagram user @imqueenshasha wrote, “She’s been showing us she’s changed a little let’s give her some grace as long as she’s not running after blue’s clues.” 

instagram user @bellacosta24 wrote, “you got this Chrisean ✝️💟” 

Then another Instagram user @sidenotesonly wrote, “We’re so proud of you!!!! 💛💛💛” 

Finally, Instagram user @imdawitchkuku wrote, “Keep going baby 🔥🔥” 

Chrisean Teases Boxing Skills Ahead OF Big Super Middleweight Fight

Rock has been staying busy and putting in serious work ahead of her big fight against Zenith Zion on Saturday, April 25. The boxing match is set to go down at Harrah’s Philadelphia Casino in Chester, Philadelphia. XRumble Righting is presenting the event. Rock signed a deal with the platform and will be stepping into its first-ever female Super Middleweight Championship fight.

RELATED: Chrisean Rock Responds To Blueface’s Paternity Claims & Calls Him Out For Publicly Disrespecting Her Son (PHOTOS)

By Chris Snellgrove
| Published 1 hour ago

Back in 1999, Kevin Smith ended the millennium with Dogma, arguably the most ambitious film he ever made. His previous movies focused on more down-to-earth affairs, including the miseries of retail work and the joys of hanging out at the local mall. By comparison, Dogma followed the misadventures of two angels trying to get back into Heaven and the heroes who have to stop them from destroying the world. Along the way, Smith also brutally skewered the Christian faith through the character of Cardinal Glick, who tried to sell the public on Buddy Christ, a grinning caricature of Jesus who is perpetually giving a thumbs up.

As part of Glick’s speech, he described why he wanted the Buddy Christ to replace the crucifix: that it offered everyone who saw it “a positive reinforcement that whatever we do, God thinks is ‘A-okay.’” At the time, teenage me shook my head at Smith’s satire about a society that wanted the Almighty to rubber-stamp everything they say and do. Now, though, it seems Smith was a prophet: tech company Just Like Me is selling access to an AI-powered Jesus for the not-so-low, low price of $1.99 a minute.

He Is Ri$en

The concept of people talking to AI chatbots isn’t very new: in fact, people are chatting with, arguing with, and even falling in love with a plethora of bots each and every day. But what Just Like Me is doing is targeting Christians who long for a more personal relationship with Jesus Christ. For $1.99 a minute (or $49.99 a month for 45 minutes), users can speak to an AI bot that has been trained on the King James Bible and an array of unspecified sermons. Visually, the bot is modeled after actor Jonathan Roumie, who (thanks to long hair and a patina of heavenly light) really does look like Jesus.

Personally, I have a number of misgivings with this app. As someone who grew up going to church, this seems like a pretty clear violation of the Second Commandment, which tells humans not to create idols of God or Jesus. On a less religious note, this seems like a really gross way of taking people’s money. Like, who needs evangelistic grifters once you have Jesus himself asking you to upgrade to a premium subscription? Also, let’s be real: in the best case, this thing is going to lie to vulnerable people looking for someone to trust. In the worst case, this is going to create case after case of outright religious psychosis.

Subscribe To Jesus+

As a big Kevin Smith fan, though, I have been grimly amused at how much this AI-powered Jesus mirrors the portrayal of the Buddy Christ in Dogma. In the film, Cardinal Glick describes how he wanted Jesus to give everyone a  thumbs-up to offer “positive reinforcement” for “whatever we do.” This is, of course, what AI is notorious for: simply telling users what they want to hear. 

Glick also described Buddy Christ as a “happy Jesus” that he wanted to replace the “wholly depressing” image of the crucifix. Rhetorically, he asked the crowd, “Can’t you just see it on chains around people’s necks, and as the new background in avant-garde MTV videos?” The Jesus chatbot from Just Like Me really parallels this idea because the app developers aren’t trying to develop a Jesus avatar that will challenge beliefs and make someone’s faith stronger. Like the fictional Cardinal Glick, they just want to commodify Christ, turning this spiritual leader into an empty vessel filled with equally empty AI platitudes. 

Your Karma Ran Over My Dogma

Make no mistake: apps like this are designed to prey on people, and those of faith are uniquely vulnerable because, by definition, they are looking for someone else to guide their lives. The Jesus app from Just Like Me is one of many that will soon be offering spiritual advice to your friends and family members, especially older ones. Before they completely empty their wallets for this graven image, be sure to watch Dogma with them. That way, they’ll learn the danger of Buddy Christ and, through Glick’s grisly fate, the danger of supporting it.

Alternatively, they might just learn how hot Salma Hayek looks as a stripper. Either way, I’m calling that a win!

Nearly a year after dropping the mic for the last time on “The Really Good Podcast,” Bobbi Althoff is bringing it back to life.

The internet sensation, who gets a mix of love and hate online, recently shared the news in a simple Instagram post. And while she hasn’t exactly been out of the public eye since ending the podcast last July, later joining another, “That’s BS Podcast with Bobbi and Suki,” fans were quick to share their opinions in the comments under her social media announcement.

Bobbi Althoff Bringing Popular Podcast Back To Life

Last July, Althoff shocked fans when she announced the end of “The Really Good Podcast.” She shared that while she was proud of all her many accomplishments with the podcast, she was shocked that she “fell off” as quickly as she did. And with mounting criticism hitting everything she posts, it may not have come as much of a shock to her day-one fans that she was dropping the mic for a final time.

On Friday, Althoff shared a carousel of photos on Instagram simply captioned, “the really good podcast is coming back from the dead. New episodes returning every Wednesday starting next week.”

The post received more than 100,000 likes in just a day, and tons of comments – some positive and some not so much.

So far, Althoff has only announced the podcast’s return on her IG page (where she has 3.7 million followers), with no sign of the news on her TikTok page, (where she has 8.3 million followers).

Many viewers hopped into the comment section to leave their thoughts on both her photo carousel and the podcast beginning again.

“You’ll never see this but lowkey this is one of the hottest photoshoots,” one viewer shared. Another said, “They hate to see a powerful women.” One other wrote, “I aspire to be thissss.”

A few people jumped in to defend Althoff from the hate in the comments.

“Y’all are more concerned about her kids than the dad is! Women are allowed to have jobs and lives outside the house now btw,” one person said. Another added, “You can do a photo shoot and be a mother, what’s everyone’s problem?” One other shared, “Man these comments are ridiculous. Bobbi keep doing you.”

‘The Really Good Podcast’ Launched In April 2023 And Ended In July 2025

New England Patriots head coach Mike Vrabel will not be subject to the NFL’s personal conduct policy after photos of him and journalist Dianna Russini spending time together at an Arizona resort came to light.

According to a Friday, April 18, report from ESPN’s Ben Strauss, NFL spokesman Brian McCarthy said the league will not be reviewing Vrabel’s conduct under the policy, which states that players, coaches and executives are required to avoid “conduct detrimental to the integrity of and public confidence in the National Football League.”

Russini, 43, resigned from her post at The Athletic on Tuesday, April 14, one week after she and Vrabel, 50, were photographed together holding hands and hugging while seemingly on vacation.

“I have covered the NFL with professionalism and dedication throughout my career, and I stand behind every story I have ever published,” Russini said in a written statement shared via social media on Tuesday. “When the Page Six item first appeared, The Athletic supported me unequivocally, expressed confidence in my work and pride in my journalism. For that I am grateful. In the days that followed, unfortunately, commentators in various media have engaged in self-feeding speculation that is simply unmoored from the facts.”

She continued, “Moreover, this media frenzy is hurtling forward without regard for the review process The Athletic is trying to complete. It continues to escalate, fueled by repeated leaks, and I have no interest in submitting to a public inquiry that has already caused far more damage than I am willing to accept.”

When the photos were originally published on April 7, both Russini and Vrabel released statements claiming that the situation was simply platonic and professional.

“These photos show a completely innocent interaction and any suggestion otherwise is laughable,” Vrabel said at the time. “This doesn’t deserve any further response.”

“The photos don’t represent the group of six people who were hanging out during the day,” Russini said in a statement to Page Six. “Like most journalists in the NFL, reporters interact with sources away from stadiums and other venues.”

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The Athletic initially supported Russini, with executive editor Steven Ginsberg saying that the photos were “misleading” and lacking “essential context.”

However, just days later on Saturday April 11, The Athletic opened its own investigation into the photos.

“Rather than allowing this to continue, I have decided to step aside now — before my current contract expires on June 30,” Russini said in her resignation letter. “I do so not because I accept the narrative that has been constructed around this episode, but because I refuse to lend it further oxygen or to let it define me or my career.”

There’s a special kind of cinematic pleasure reserved for movies that fail so spectacularly they become strangely mesmerizing. These are the films that collapse so completely, so undeniably yet entertainingly, that they circle back around to being endlessly watchable, albeit in a morbid sort of way.

The titles on this list are all oddly compelling, whether it’s the incompetence of The Room, the unhinged ambition of Battlefield Earth, or the accidental surrealism of Troll 2. Not because they’re clever, or self-aware, or secretly brilliant, but because they believe in themselves with total, unwavering sincerity.

10

‘Samurai Cop’ (1991)

Image via Hollywood Royal Pictures

“I’m a cop, and you will cooperate.” In Samurai Cop, a detective (Matthew Karedas) trained in martial arts is assigned to take down a dangerous gang terrorizing Los Angeles, leading to a series of confrontations… filled with improbable action, awkward dialogue, and narrative detours that defy logic. Here, incompetence, sincerity, and sheer confusion collide to create something endlessly watchable.

Technically, the movie is a disaster. Continuity errors are everywhere, the most famous being a scene where the lead suddenly wears a blatantly fake wig because filming resumed months later, and his hair had changed. However, the whole thing is dead serious. The cast and crew clearly think they’re delivering hard-boiled action dialogue in the vein of classic cop movies. It just misses the mark so completely that it becomes surreal. For this reason, Samurai Cop eventually developed an ardent cult following.

9

‘Mortal Kombat: Annihilation’ (1997)

Image via New Line Cinema

“Too bad YOU… will die!” Some of the Mortal Kombat movies are just outright bad with no redeeming features, ironic or otherwise, but Mortal Kombat: Annihilation‘s ineptitude makes it oddly entertaining. The setup is classic video game stuff: Earth’s warriors must face invading forces from another realm in a battle to save humanity, confronting a succession of villains in elaborate fights. Yet the movie executes that run-of-the-mill premise with relentless energy and pure visual chaos.

Plot-wise, the movie tries to cram what feels like three or four films’ worth of story into 90 minutes. The characters speak in all caps (especially Brian Thompson as Shoa Kahn, who seems to declare a war on subtlety), and many of the actors perform in wildly divergent registers, giving the movie a strange, off-kilter feeling, as if everyone was given a different script and tone note. Throw in PlayStation 2-quality CGI, and you’ve got a so-bad-it’s-good classic.

8

‘Mac and Me’ (1988)

Image via MGM

“Pretty nice planet.” This one is among the worst sci-fi ever and blatantly rips off E.T., but with a ton of ham-fisted product placement shoehorned in. Mac and Me tells the story of a young boy (Jade Calegory) who befriends an alien stranded on Earth after escaping from government agents, embarking on adventures that blend family drama with science fiction whimsy. It’s an almost beat-for-beat imitation of Spielberg‘s masterpiece, but stripped of its emotional intelligence.

From editing to visual effects, the film is full of strange, almost dreamlike decisions. The alien design itself is both goofy and slightly unsettling, scenes cut abruptly, and touching moments are undercut by awkward pacing. A case in point is the now-legendary cliff scene, where the protagonist in a wheelchair falls off a cliff, which comes off unintentionally hilarious. Finally, there’s the aggressive advertising, most strikingly in the McDonald’s dance scene. It’s a full musical number, completely detached from the plot, existing purely as branded spectacle.

7

‘Birdemic: Shock and Terror’ (2010)

Image via Moviehead Pictures

“Why are they attacking us?” The Birds, this is not. In Birdemic: Shock and Terror, a couple’s (Alan Bagh and Whitney Moore) budding romance is interrupted when flocks of birds begin launching inexplicable attacks on humanity, forcing survivors to band together against the strange threat. From here, unconventional pacing and low-budget effects are the order of the day. Indeed, the birds are rendered with some of the most infamous CGI ever put to screen.

They flap like clip-art, glide in ways that violate the laws of physics, and sometimes just… hover. This mismatch is pure comedy. The movie treats these attacks as terrifying, while the visuals look like they were dragged into the frame from a PowerPoint presentation. In terms of the performances, the stars seem less like they’re acting and more like they’re gently being instructed to “say the line now.” Bagh, in particular, spends much of the film reacting in ways that don’t match what’s happening.

6

‘Manos: The Hands of Fate’ (1966)

Image via Emerson Film Enterprises

“There is no way out of here.” In Manos: The Hands of Fate, a family becomes stranded near a mysterious lodge overseen by a strange caretaker (John Reynolds), leading them into a surreal world of ritual and eerie encounters. As they attempt to escape, they uncover unsettling secrets that defy explanation. While that premise may sound intriguing, large stretches of the film are just… people driving. Or walking. Or waiting. Shots linger far too long, often repeating similar actions with minimal variation.

The performances likewise exist in a strange emotional vacuum. Characters deliver lines slowly, with odd emphasis, often without reacting to each other in believable ways. The standout is Reynolds as the satyr-like Torgo, whose halting speech and exaggerated physicality make him feel like a character from another reality entirely. Not for nothing, Manos is frequently ranked among the very worst films ever made, yet its dreamlike monotony makes it oddly hypnotic in its own way.

5

‘Reefer Madness’ (1936)

Image via Motion Picture Ventures

“Tell your children.” Reefer Madness was designed as a cautionary tale about the dangers of cannabis, portraying it as a substance that leads almost immediately to insanity, violence, and death. Characters go from normal teenagers to deranged criminals within minutes of taking a puff, beset by hallucinations and destructive impulses. At the time, this approach aligned (loosely) with broader cultural fears, but today, it feels so exaggerated that it plays like satire.

The film operates on a kind of moral domino effect: once marijuana enters the story, everything else collapses. But the escalation is so abrupt and illogical that it becomes absurd. The production values are decidedly campy, too, explaining why this became a favorite on the midnight movie circuit. Ironic entertainment value aside, Reefer Madness remains a weirdly fascinating artifact of its era.

4

‘Battlefield Earth’ (2000)

“While you were still learning how to spell your name, I was being trained… to conquer galaxies!” This movie was a passion project for John Travolta, who clearly envisioned it as Scientology’s answer to 2001: A Space Odyssey. The result was a thermonuclear dumpster fire. Adapting an L. Ron Hubbard novel, Battlefield Earth sees humanity struggling under the domination of an alien race, with a small group of rebels rising to challenge their oppressors.

Here, grand ambitions run headfirst into a brick wall of eccentric creative choices. Let’s start with the imagery. Everything in this movie is tilted, packed with extreme Dutch angles that give nearly every scene a slanted, off-balance look. Combined with heavy color filters (greens, blues, yellows), it creates a visual experience that feels disorienting rather than immersive. Wooden performances and faux-profundity kill off whatever other serious appeal this movie might have had.

3

‘Troll 2’ (1990)

Image via Epic Productions

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“They’re eating her! And then they’re going to eat me!” Troll 2 revolves around a family that visits a small town inhabited by goblins who seek to transform humans into plants so they can devour them. The protagonist must uncover the town’s secret to save the day. While that sounds pulpy but fine, the resulting movie is truly bizarre in so many ways. First of all, it was originally titled Goblins, later changed to Troll 2 to capitalize on the success of the 1986 Troll. However, the films are totally unrelated; there aren’t even any trolls in Troll 2!

Then there’s the acting. Characters deliver lines with strange emphasis and pause at the wrong moments. The most famous example is one character exclaiming, “Oh my Goooood!” before being transformed into a tree. That scene has become a meme because it captures the film’s entire madcap energy in one moment.

2

‘Plan 9 from Outer Space’ (1959)

Image via Distributors Corporation of America

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“Future events such as these will affect you in the future.” One of the progenitors of the whole ‘so bad it’s good’ genre, Plan 9 from Outer Space is the marvelously terrible magnum opus from filmmaker Ed Wood. In it, aliens attempt to prevent humanity from developing a destructive superweapon by resurrecting the dead, leading to a series of encounters that blend science fiction with horror. Through all this mayhem, the director’s boundless enthusiasm shines through (despite several technical limitations).

Wood clearly had a big, bold vision for the movie, but neither the budget nor the skill to pull it off. Instead, we get flying saucers clearly hanging on strings, cardboard gravestones, and sets that look like they might collapse if someone leans too hard. On top of that, there’s the strange presence of Bela Lugosi, whose footage was shot before his death and awkwardly stitched in.

1

‘The Room’ (2003)

Image via TPW Films

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“You’re tearing me apart, Lisa!” When it comes to the top spot on this list, nothing can compete with The Room. It’s the anti-Citizen Kane, the most entertainingly bad movie of all time. Writer-director-producer Tommy Wiseau stars as Johnny, a successful banker whose life unravels as his fiancée (Juliette Danielle) begins an affair with his best friend (Greg Sestero), leading to escalating confrontations and emotional turmoil. The narrative is built like a normal romantic drama… and then quietly collapses.

Subplots appear (a cancer diagnosis, a drug dealer conflict) and then vanish. Wiseau is the eye of the story; his performance swings wildly between accents, emotions, and intensity levels, sometimes within the same scene. Lines like “I did not hit her, it’s not true!” have become iconic because they feel almost human, but not quite. Despite (or because of) all these qualities, The Room is a before-and-after in bad cinema, a deeply quotable trainwreck and great fun to watch in a group.