By Robert Scucci
| Published 1 hour ago

There’s nothing more anxiety-inducing than watching somebody you care about try to navigate dozens of browser windows, each containing dozens of tabs with no perceivable organizational structure. You ask why they can’t just bookmark the important pages, or at least keep the windows from overlapping so they can actually see what they’re doing, but they don’t have a clear answer. If you’re a neat freak like me, who can’t survive without clean page breaks and closes unwanted tabs with reckless abandon, 2014’s Open Windows is going to send you to a dark place you’ll wish you could control + shift + escape from.

Framed as a found footage techno thriller, Open Windows is either a hacker’s dream come true or a cyberspace nightmare if you just want to surf the web and scroll your favorite fandom sites. It’s a picture within a picture within a picture, overlapping with another picture that contains a clickable link that opens more windows, and that’s how you watch events unfold from our hero’s perspective.

The crazy part is that what transpires in Open Windows is far more horrifying than having too many tabs open. I only brought that up because I was already in a heightened state 20 seconds after hitting play, and I hadn’t even been exposed to the actual mystery yet.

I Always Feel Like, Somebody’s Watching Me!

Open Windows centers on Nick Chambers (Elijah Wood), a webmaster who runs a fansite for his favorite B movie actress, Jill Goddard (Sasha Grey). He flies to Austin, Texas after winning a blog contest that promises him access to a publicity event where he can meet her. He’s devastated when he learns through her assistant, Chord (Neil Maskell), that she cancelled at the last minute, meaning he traveled and booked a nearby hotel for nothing.

While uploading new images to his site that he clipped from Jill’s latest livestream, Nick is contacted again by Chord, who sends him a link granting access to all of Jill’s devices, though he doesn’t know this until he clicks it and it’s already too late. Though he’s not the voyeuristic type by any stretch, Nick plays along because Chord comes off as threatening and he feels like he has to do what he’s told. 

As if the entire evening had been orchestrated months in advance, Nick is given access to increasingly sophisticated audio and video feeds and pushed further when Jill’s agent, Tony (Ivan Gonzalez), the man she’s secretly having an affair with, nearly catches him spying. Nick is urged to use a taser to neutralize the situation and erase suspicion, and that’s the fatal mistake. Chord has been recording everything from the beginning. Now the only person who looks guilty is Nick, the fan site operator who appears to be stalking the actress and has assaulted someone connected to her.

Whispers suggest the entire operation is being run by a master hacker known only as Nevada. Nick finds himself trapped in a web of incriminating screenshots, manipulated video feeds, and shifting identities. The hackers use him to obtain compromising material of Jill for their own purposes, and they’re so adept at covering their tracks that Nick isn’t even sure who he’s speaking to, who’s actually in charge, or what happens if he tries to contact the authorities.

A Disorienting Mess Elevated By Elijah Wood

Like I said at the top, the sheer volume of open browser windows in Open Windows was enough to send me into a spiral before I understood what was at stake. Elijah Wood, who performs much of the film reacting to screens before the third act forces him into the real world, is trapped in the net trying to figure out just how screwed he is. Every click feels documented. Every hesitation feels watched.

The bewilderment on Nick’s face in Open Windows is the real selling point. He’s forced to violate his favorite actress’s privacy in increasingly invasive ways, and there’s no clean exit. He’s simply the wrong fan in the wrong place at the wrong time. Watching him piece it together in real time as he’s followed through cyberspace and eventually the streets of Austin makes for a tense thriller delivered through wildly unconventional means.

While all I wanted to do was reach into the screen and start closing tabs, the story Open Windows tells is layered with deception, voyeurism, blackmail, and extortion. The twists constantly make you question what’s real, what’s manufactured, and whether this is all some elaborate publicity stunt waiting for a final reveal.

An anxious watch from start to finish, Open Windows is an obsessive spiral of media manipulation, and you can stream it for free on Tubi as of this writing.

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Horror has a special place in cinema history. The most prolific and recognizable filmmaking style ever created has had a helping hand in shaping the entertainment world into the smashing juggernaut that it is today, and its popularity grows each year. Since the medium’s conception, with the first horror technically being 1896’s Le Manoir du Diable (The House of the Devil), the genre has been at the forefront, creating some of the most iconic, terrifying, and wildly successful films ever made.

The timeline of the horror genre from its inception to the current era is nothing short of spectacular. Each era, from the silent age to the start of the 2020s, has seen horror change considerably and introduced something inventive that helped elevate the genre into the exciting powerhouse we know and love now. From the most revered classics to modern achievements, let’s track the frightening history of the horror genre using ten landmark films that best represent each significant point since its invention.

10

‘Nosferatu: A Symphony of Horror’ (1922)

Image via Film Arts Guild

Starting with the silent age, horror in the time before talking pictures was when the genre was still in its infancy. This period was filled with pioneering classics, many of them still highly revered today for creativity and compelling visual storytelling. From The Cabinet of Dr. Caligari and The Golem to The Phantom of the Opera, these were some of the first films to truly show the terrifying potential of horror. But, in this age of excellence, it is F. W. Murnau‘s Nosferatu: A Symphony of Horror that’s widely hailed as the most definitive thanks to its historical influence.

Released in 1922 as an unofficial adaptation of Bram Stoker‘s Dracula, Nosferatu provided endless terror, becoming the pinnacle of early horror cinema. Featuring eerie visuals, a dark, haunting atmosphere, and one of the most unsettling depictions of a vampire in Count Orlok (Max Schreck), Nosferatu has become a timeless masterpiece that continues to have a lasting impact on modern horror. Arguably, it best represents the silent age of filmmaking with how iconic and revered it’s remained all these decades later.

9

‘Frankenstein’ (1931)

Image via Universal Pictures

Moving away from the silent era to the dawn of talking motion pictures, next, let’s talk about Hollywood’s Golden Age of horror, when iconic tales of monsters, ghouls, and ghostly nightmares ruled cinema for most of the 1930s and ’40s. It was when Universal Studios entered its most legendary stage: the classic Monsters Universe, a time that saw Dracula, The Wolf Man, and The Mummy triumph on the big screen. But, taking the next spot on this list is a pioneering classic and arguably the most representative of this time, Frankenstein.

Released in 1931 by the remarkable James Whale, this legendary retelling of Mary Shelley‘s iconic novel has had a helping hand in shaping pop culture. Its story, characters, and classic sets have all been ingrained in the minds of cinemagoers for generations. Everything, from the lines to Boris Karloff‘s riveting portrayal of the creature, is still remembered, showing the power and excitement of watching a classic Universal Monster film. Though other adaptations of Shelley’s work are arguably more compelling, Frankenstein certainly represents the peak of this memorable age of horror history.

8

‘Gojira’ (1954)

Image via Toho Pictures

In a post-WWII entertainment world, the late 1940s and ’50s saw the rise of the sci-fi horror craze. It was a time when the biggest thing to fear in theaters wasn’t some vampire in a dark castle or a supernatural beast, but something much more scientific. From alien invader flicks like War of the Worlds and The Thing from Another World, science-gone-wrong movies like The Fly and The Tingler, to cheesy B-movie classics like Tarantula and The Blob, it truly was a unique change for the genre. The atomic age defined this period, and what better film to define this time than the 1954 classic Gojira?

The world was still recovering after the war, and a new era of atomic energy brought the fear of nuclear devastation to an all-time high. It was greatly expressed through the films that came out during this time. Gojira is the pinnacle of this age, a powerful and creative film that uses its titular monster, the towering and iconic Godzilla, as a metaphor for the A-bomb’s devastating result. It’s also become a massive pop-cultural phenomenon that’s still widely watched, and Godzilla himself has remained a recognizable icon who is still featured in films today. Still, this first film will always be the best representative of this iconic point in history.

7

‘Psycho’ (1960)

Image via Paramount Pictures

The 1960s were some of the most transformative years of the 20th century, a time marked by significant cultural change and advancing ideas. Nowhere was this shift better expressed than through cinema, as films were evolving and shaping into the modern moviegoing experience that we know today. When it comes to horror, no film better exemplifies this change more than Sir Alfred Hitchcock‘s groundbreaking proto-slasher masterpiece Psycho.

Hailed as one of the most influential horror movies ever made, Psycho embodies the genre’s remarkable shift towards edgier, bolder horror during the ’60s. This bold approach was outright revolutionary, as many films during this time were lighter and followed much of the still-enforced Hays Code. Psycho dared to break all that, telling a darker, terrifying tale that was more risqué and violent than anything up to that point. It was way ahead of its time and ushered in a new age of terror that’s still prevalent even now.

6

‘The Exorcist’ (1973)

Where the ’60s got the ball rolling and helped shape modern horror, the ’70s were really where things kicked it up a notch. This is arguably the most revered decade for horror, an age marked by wild acclaim and featuring intense classics. Steven Spielberg‘s monster hit Jaws birthed the summer blockbuster, and The Texas Chain Saw Massacre and Halloween kick-started the slasher craze. However, there’s no mentioning this decade without talking about the scariest movie of all time: William Friedkin‘s The Exorcist.

The Exorcist is the ultimate ’70s horror movie, and it’s the most praised and recognizable film to come out of this time. It’s timelessly terrifying, featuring some of the scariest moments in horror history. From Linda Blair‘s bone-chilling performance as the possessed Regan to Krzysztof Penderecki‘s eerily brilliant film score, there’s so much that’s made this seminal picture endlessly horrifying over the years, and its terror can still trump any of the films that come out today.

5

‘A Nightmare on Elm Street’ (1984)

Image via New Line Cinema

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The 1980s were a truly exhilarating time to be a movie fan, an age of mega blockbusters and iconic Best Picture winners. The movies let the audience get swept up in the fun, abandoning most pretenses beyond entertainment. It was also where the horror genre reached the height of the slasher craze after it took off in the late ’70s. From Friday the 13th to Child’s Play, most of the thrilling slasher flicks we know and love started here. But, here to represent the peak of slashers and the peak of ’80s horror, is Wes Craven‘s A Nightmare on Elm Street.

A Nightmare on Elm Street rolled into theaters in 1984 and instantly became a pop-cultural phenomenon, a major hit with critics and audiences that turned its sinister killer, Freddy Krueger (Robert Englund), into one of the greatest characters in cinema. Craven’s masterpiece marked a time when slashers absolutely dominated the box office, and today it’s still hailed for its intense scares, legendary characters, and for just overall capturing the spirit of this exciting decade.

4

‘Scream’ (1996)

Image via Dimension Films

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Horror went through quite a remarkable change in the 1990s. Like any decade, it also saw extreme highs and major lows. It was when The Silence of the Lambs came out and became the first horror movie to win Best Picture, but it also experienced the most significant dark age, a time when slashers were becoming tired, outdated, and too clichéd. Then everything changed when Wes Craven returned with another game-changer, 1996’s Scream.

Scream came at the perfect time to save the subgenre from irrelevancy, delivering a fresh, bold new story that powerfully poked fun at the horror genre while giving new inspiration. Scream ushered in a new age of meta-horror, where the stories reference other movies and the characters are self-aware and know the tropes that made up the genre. It’s still a huge influence on the slasher and horror comedies that come out in modern cinema, and its impact on cinematic history will likely never be forgotten.

3

‘Saw’ (2004)

Images via Lions Gate Films

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A new century brought all kinds of shifts to horror. The 2000s were the peak of experimental horror, where every year they tested the waters to see what would float and become the next biggest thing. Through this ever-advancing time for the genre, up-and-coming filmmaker James Wan dared to push something far edgier and unique, and so his 2004 splatter masterpiece Saw became seen as one of the ultimate horror films of the early century.

Packing some intense scares, a chilling mystery, and a now-legendary and iconic villain, Jigsaw (Tobin Bell), Saw is a recognizable staple of 2000s horror cinema. It was darker, more shocking, and more gruesome than anything really up to that point, and it really elevated the splatter and torture subgenres to the next level of recognition. It’s still a pop-cultural phenomenon more than twenty years later, and its influence really helped shape the genre going further into this century.

2

‘Hereditary’ (2018)

Image via A24

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The early 2000s kick-started a new age of horror, and then the next decade brought a new meaning to the genre. Next, we enter the 2010s, and truly, the movement that represented this time was the elevated horror subgenre. Trading jump-scares, loud noises, over-the-top gore, and expensive Hollywood-style productions for quieter, more thematic storytelling, this decade was marked by a return to subtler, more thought-provoking horror. And, truly, what better masterpiece to describe this point than Ari Aster‘s 2018 film Hereditary?

A wickedly intense, highly suspenseful, and unimaginably terrifying thrill ride, Hereditary is now considered to be one of the all-time most twisted horror films in the industry. Its story is perfectly written, the direction is on point, and it features talented stars at the top of their game, giving award-worthy performances. Hereditary greatly represents this terrifying new wave of elevated horror with its tense story that easily creeps under the viewer’s skin. It’s a modern masterpiece whose influence has carried over to the next decade.

1

‘Sinners’ (2025)

Image via Warner Bros. Pictures

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Finally, we’ve entered the current era of the 2020s, and boy, have things been interesting. Though we’re only slightly past the mid-point of this decade, it’s safe to say that we’ve certainly entered a new horror renaissance. It’s a time marked by high-quality new stories and a resurgence at the box office, where reboot franchises like Scream and Final Destination have returned to reclaim their dominance, and where freshly creative tales are here to make a name for themselves in the genre. No original horror film demonstrated this approach more than Ryan Coogler‘s Oscar-caliber vampire film Sinners.

This modern masterpiece is the current face of the horror genre, an absolute cinematic achievement that was a mega hit both critically and financially. With a record sixteen nominations, it’s now the most nominated movie in Academy Award history, a testament to how wildly acclaimed and truly brilliant it’s become. Sinners is a symbol of the horror genre’s dominance and influence in this current decade, and if it’s anything to go by, it’s that horror is only going up from here.

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Before gushing about her experience inside the Olympic Village, Team USA figure skater Isabeau Levito admitted she had eyes for another one of her sport’s stars.

“Oh my God, someone said my celebrity crush is Cha Jun-hwan, that is so real,” Levito, 18, said in a resurfaced clip from a recent Instagram Live with fellow Team USA figure skater Alysa Liu. 

Liu, 20, responded, “Is this a bit?”

Levito and Cha, 24, were both members of the 2024 Stars on Ice tour, which is where Levito’s affinity for the skater first blossomed. 

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“Everyone’s bit with him was just that he was perfect,” Levito explained. “In the group rehearsals, when everybody was looking bad, everyone would just look at Cha Jun-hwan and say, ‘But he is perfect.’”

Cha, who represents the Republic of Korea, finished in 4th place in the men’s figure skating event at the 2026 Olympics, falling just 0.98 points behind Japan’s Shun Sato, who took home the bronze medal.

The clip of Levito began circulating online after her comments about loving life in the Olympic Village went viral earlier this week. 

“I’ve spent every night in the [Olympic] Village. It’s been everything and more,” Levito told NBC in a video posted on Monday, February 16. “You can’t evict me.”

She added, “I don’t think there’s anything not to enjoy. I haven’t even gotten to compete yet and I feel like my experience is already complete. Not complete, but I’m having a blast. The best time.”

The American star had plenty of time to explore the Village grounds, arriving in Italy weeks before she finally hit the ice to compete in the women’s figure skating short program event on Tuesday, February 17. 

“I feel like I’m exactly where I want to be and I’m so glad that things have aligned and worked out for me to be here,” Levito said. “I’m excited for the opportunity to compete.”

Levito finished in 5th place in the short program, with American Liu in 3rd. Amber Glenn, the third member of Team USA’s Blade Angels, had a disappointing skate and finished in 13th place.

“I feel very good,” Levito told NBC after her performance. “I feel like I skated with the elegance that I wanted to skate with. And I’m very glad that my Olympic debut looked like that … I just felt special.”

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She continued, “I really love this program. I love the costume, and I love the character that I get to play in this program. So I just feel very confident and very satisfied and happy with myself right now.”

Liu was in a similarly positive mood after her short program on Tuesday. 

“It felt great,” Liu told reporters. “I don’t know if I felt this good because it was Olympic ice, or because my best friend, my siblings, my [dad] and my friends were watching. I don’t know which it is — I’m just really happy, and this moment is really exciting.”

Levito, Liu and Glenn, 26, all return to the ice for the women’s free skate on Thursday, February 19. 

By Chris Snellgrove
| Published 23 seconds ago

Star Trek is a franchise that has always been known for its colorful villains: from the Klingons to the Borg, episodes have always given us over-the-top bad guys like nothing the audience had ever seen before. However, the most iconic villains of a beloved spinoff were actually modeled after a type of real-life criminal that the audience is all too familiar with. In Star Trek: Voyager, the alien Kazons were originally modeled after the street gangs of Los Angeles, but it took over an entire season before one writer helped shape them into this very specific mold.

During the development of Voyager, producers Rick Berman, Michael Piller, and Jeri Taylor wanted to create a new kind of villain that nonetheless represented very contemporary concerns. As quoted in Captains’ Logs Supplemental – The Unauthorized Guide to the New Trek Voyages, Taylor said that “We felt with the Kazon we needed to address the tenor of our times and what…was happening in our cities and recognizing a source of danger and social unrest. We wanted to do that metaphorically.”

The Bloods, The Crips, And The Kazon

Piller (who almost singlehandedly transformed Star Trek: The Next Generation into must-see TV) liked the idea of villains who embraced anarchy and might fight among themselves as much as they fight with Captain Janeway. He and the other producers retained the LA gang metaphor, internally comparing the differing Kazon factions to the Bloods and the Crips. They were all in on these new bad guys, which is why the Voyager premiere episode and its first season presented various Kazon factions as an ongoing concern in our crew’s quest to navigate the Delta Quadrant and eventually make their way home.

Unfortunately, audiences kind of hated the Kazon in Season 1, and Michael Piller came to believe that the writers had failed to turn these aliens into something truly unique. After Ken Biller wrote an initial draft of the Season 2 episode “Initiations,” Piller called him and (as reported originally by Cinefantastique) expressed his concern that the audience saw the Kazon as “warmed over Klingons.” In order to get these villains back to their roots, Piller gave Biller a pretty wild homework assignment: to go talk to actual gang members and report on “what you find out from the street.”

Biller did not take this frankly dangerous advice, but he did go buy a copy of Monster: The Autobiography of an L.A. Gang Member, written (inside a jail cell, no less) by Sanyika “Monster” Shakur. Insights from the book helped the writer create a better Star Trek: Voyager episode, and Piller was quite pleased with the final draft of “Initiations.” But what pleased him even more was that Biller went on to go above and beyond the call of duty in order to breathe new life into the Kazons.

The Secret To Building A Better Villain

You see, Biller wrote a kind of mini-Kazon Bible that outlined their customs, history, and other major sociological factoids. This proved to be invaluable because Star Trek: Voyager had already planned to devote its second season to the Kazon, essentially giving itself a second chance to make a good impression on the audience. Whenever the writers had to craft a Kazon-heavy episode (like “Alliances”), they relied on Biller’s bible, one which finally made the Kazon feel like something other than Temu Klingons.

To this day, the Kazon aren’t necessarily fans’ favorite villains, but they are arguably the most iconic Star Trek: Voyager bad guys. In a show that would come to be dominated (or should that be assimilated?) by Borg episodes, the Kazon remain an original creation who helped shape Voyager into one of Trek’s most beloved spinoffs. But that never would have happened if Michael Piller and Ken Biller hadn’t teamed up to do the impossible: get these angsty aliens back to their inexplicable gangbanger roots.  

Bold and the Beautiful finds there is a lot of fan outrage right now over many of the storylines on the CBS soap. From Sheila Carter‘s (Kimberlin Brown) marriage being blown up to Eric Forrester‘s (John McCook) design disaster—not the designs themselves, but the way it’s playing out—and several other storylines that are just unsatisfactory to a lot of viewers.

We’re going to talk about five things that B&B is royally messing up right now. Let’s get into what has fans so riled up right now.

Fan Backlash Over Deacon Sharpe and Sheila Carter’s Crumbling Marriage on Bold and the Beautiful

The first thing I want to discuss that has fans steamed is the attack on Deacon Sharpe (Sean Kanan) and Sheila’s marriage. What’s crazy to me is that Brad Bell has twisted this around and managed to make Sheila sympathetic when we all know she’s a killer. But they’ve done it.

Bold and the Beautiful viewers do not like that Deacon is trying to cheat on Sheila after they turned their lives around and built this happy marriage. Deacon’s put his life back together after his terribly criminal past. He’s made a smashing success of things, and I do think that Sheila deserves credit for some part of that.

Fans enjoyed the chemistry between Deacon and Sheila. We’ve watched their love story and their journey, and somewhere along the way, you started rooting for them. Now, Bold is ripping that all apart and doing it in a really skeevy way.

Bold and the Beautiful Has Taylor Not Acting Like Herself

We’ve got Sheila about to lose her husband to Taylor Hayes (Rebecca Budig), a noted psychiatrist who’s violating her professional ethics to kiss and get hot and heavy with a married patient. The whole thing where Deacon said, “Oh, I’m not her patient anymore,” is not how that works.

For a psychiatrist like her who’s an MD, they are never allowed to date or have any sexual involvement with a patient. It just can’t happen professionally. It’s one thing for her to catfight Brooke Logan (Katherine Kelly Lang) to try and get Ridge Forrester (Thorsten Kaye), but for Taylor to risk her medical license is bad writing and very out of character.

I saw a fan comment recently that I felt was thought-provoking. The question they asked was: Does Deacon really want Taylor, or does Deacon just want out of his marriage to Sheila? He may see Taylor as a springboard or a catalyst to end things with his wife.

At long last, Deacon might have realized being with Sheila isn’t sustainable for his long-term happiness. Deacon’s kids hate Sheila, as do his employees and his customers. Taylor is somebody his family would welcome and wouldn’t hurt this redeemed reputation he has built.

Deacon’s kids and Taylor are all pressing him on the Sheila issue, so Deacon might have latched onto Taylor for the wrong reasons. Plus, to me, they said “I love you” way too fast. It feels sloppy, forced, and off.

Ridge Forrester’s High-Handed Attitude and Disrespect Toward Eric on B&B

The second thing fans are really sick of cuts across a lot of messy storylines, and that’s Ridge’s ongoing crappy attitude. He has been so unlikable for so long and it’s not getting better. He kicked Eric out of Forrester then half-heartedly apologized, but he can’t un-ring the bell.

On the day Ridge sprung the surprise party and told Eric to retire from the company he founded, Eric was planning to show Ridge his designs. Ridge wouldn’t even look at his dad’s work. Fast forward to this week, Eric’s designs are sitting out, and Ridge finally looks at them and says, “Wow, Dad, your designs are great. Let’s put them into the couture line.”

Eric would have given those designs to Forrester already if Ridge had given him the chance. Instead, Ridge acts like he’s in charge of everybody from his dad to his ex-wife Taylor and her dating life. Ridge acts like he runs Forrester all by himself, even though he’s got a co-CEO. He’s very self-important and high-handed.

B&B Fans Appalled at Ridges Behavior

Fan comments have been on fire about this. One said, “All of a sudden he misses Eric, but it’s Ridge who booted him out.” Another fan called out Ridge, saying his fondest memories are working with Eric, yet Ridge was the one who put Eric out the door.

There’s a lot of hypocrisy and shiftiness. The way Ridge has been trash-talking Katie Logan (Heather Tom) non-stop, saying she’ll fail, is just ugly. If she wants to start a business, why does Ridge care?

When she and Bill Spencer (Don Diamont) showed up to check on Eric, Ridge was at it again. Brooke said they were looking at Eric’s fabulous new designs, and Ridge said he would show them to Katie, but “she tends to take things that don’t belong to her.”

That was Ridge hitting at her over the Logan trademark. Forrester Creations never once used that trademark, and you cannot have a trademark you don’t use. Carter Walton (Lawrence Saint-Victor) and Ridge screwed up and didn’t renew it anyway. She didn’t steal it; they dropped the ball. Bottom line: Ridge is irritating fans in every storyline.

Is Katie Logan’s New Fashion House Already Doomed to Fail on Bold?

The third big fail we’re seeing with fans is that it looks like Bold and the Beautiful is about to kill Katie’s new fashion house. Brad Bell promised this big rivalry, but it hasn’t manifested. It’s basically just been Ridge insulting Katie behind her back and Bill planning a PR blitz.

Eric promised to teach Ridge and Brooke a lesson about disrespecting their elders, but now Eric seems to want to back out of Logan. Unless something changes, Katie’s fashion house seems doomed.

If we’re lucky, Katie will hire Deke Sharpe (Harrison Cone) and he and Eric will finish the line. Then once Katie launches Logan, Eric can retire on his own terms. But if Brad Bell does his usual nonsense, Logan is going to fizzle or wind up under the Forrester umbrella. Fans see this as a waste of time and attention if nothing comes of it.

B&B’s Generational Gap: Where is the Middle Generation?

The next gripe fans have is the characters that Bold is choosing to focus on daily. We get lots of episodes for the youngest generation. We’ve got “dumpster diving” Dylan (Sydney Bullock), “waffling” Will Spencer (Crew Morrow), and “inconsistent” Electra Forrester (Laneya Grace).

We’re also getting time with the oldest generation—Eric, Bill, Ridge, Donna Logan (Jennifer Gareis), Katie, and Brooke. But where’s the middle generation? Where are the characters in their 30s? They are supposed to be the next generation after Eric and Ridge.

Liam Spencer (Scott Clifton) and Hope Logan (Annika Noelle) are rarely seen. When they are, there’s no action, no sizzle, and no romance. We have Steffy Forrester (Jacqueline MacInnes Wood) and Finn (Tanner Novlan) having occasional sofa sex, but Finn is not around much.

The characters who should have inherited the front-burner storylines—Hope, Steffy, Liam, Thomas Forrester (Matthew Atkinson), Zende Forrester Dominguez (Delon de Metz), and Ivy Forrester (Ashleigh Brewer)—are rarely on screen.

Lack of Chemistry and Boring Pairings Killing the Drama

The last complaint I’m seeing a lot on soap social media is about the weird pairings and lack of chemistry. Fans are saying that Daphne Rose (Murielle Hilaire) and Carter don’t have the sizzle. They’re newlyweds; they should be on fire. Plus, people are annoyed that Daphne’s lie got buried and Carter never found out her true agenda.

Hope and Liam, as I said, have about zero chemistry right now. They don’t even hug or kiss. It’s like they’re friends, not newlyweds. A lot of fans think Deacon and Taylor have no real chemistry and that Deacon had more sizzle with Sheila, even if the “daddy” thing was pretty cringe.

Electra and Will are lackluster for a lot of fans. Many people think Dylan has better chemistry with Will, and RJ Forrester (Brayan Nicoletti) was giving off “creeper” vibes with Electra. Thomas seems to be gone for good, but love him or hate him, Hope and Thomas had sizzle.

Katie and Bill have barely kissed since they reunited. Ridge and Brooke’s chemistry is sweet, but it’s not sizzling. Plots are falling flat because we’ve been promised big drama and big chemistry, and then everything just fizzles. Drop your comments on what plots are bothering you.

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Published
February 19, 2026
11:43 AM PST