In 2023, it was condemned to the vaults, never to be seen. Now, three years later, it’s headed to theaters. The first trailer for Coyote vs. Acme is out now, and it promises to give the long-suffering Coyote his day in court. Court is in session, courtesy of Ketchup Entertainment, starting on August 28.

As the trailer opens, Wile E. Coyote is once more stymied in his endless pursuit of the Road Runner by a faulty piece of equipment from the Acme Corporation. When he sees an ad for Kevin Avery (Will Forte), a lawyer who’s successfully pursued class-action lawsuits against Acme before, the Coyote decides to take his battle outside the endless canyons of the American Southwest and into the courtroom. There, Avery represents him against slick Acme flack Buddy Crane (John Cena); and while Avery typically settles with Acme for chump change, his niece Paige (Lana Condor) convinces him that this time, he can make a difference. The Coyote won’t be the only animated icon called to the stand; the trailer teases appearances from Porky Pig, Daffy Duck, Foghorn Leghorn, and many more. Bugs Bunny turns up at the end as a Deep Throat-like informant. Will his help turn the trial in Coyote’s favor? What are the dark secrets of the Acme Corporation? And will the Coyote finally catch the Road Runner? You’ll have to hit the multiplex this summer to find out.

How Did ‘Coyote vs. Acme’ Escape Warner Bros?

As part of a wave of cost-cutting at Warner Bros, the nearly complete Coyote vs. Acme was shelved. There was an outpouring of outrage from those involved in the film and those who had seen it, and unlike fellow tax write-off Batgirl, WB put Coyote vs. Acme up for sale. When no studio was willing to meet WB’s price, it looked like Coyote vs. Acme might never see the light of day. However, it and fellow Looney Tunes film The Day the Earth Blew Up were acquired by Ketchup Entertainment; the latter was released in 2024, and Coyote vs. Acme will finally hit theaters this summer.

Coyote vs. Acme is directed by Dave Green (Teenage Mutant Ninja Turtles: Out of the Shadows), from a script by Samy Burch (May December), and a story by Burch, Jeremy Slater (Moon Knight), and James Gunn (Superman). It is based on the comedy article of the same name by Ian Frazier, which ran in the New Yorker in 1990.

Coyote vs. Acme will be released in theaters on August 28, 2026. Stay tuned to Collider for future updates.

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Release Date

August 26, 2026

Director

Dave Green

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Writers

Samy Burch, Jeremy Slater, James Gunn

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Producers

Christopher DeFaria, James Gunn

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That’s all, folks!

Tina Fey is taking a more reflective look at her time on “Saturday Night Live,” admitting that not every joke she helped put on air aged the way she’d hoped. Speaking at the 2026 edition of “History Talks,” the comedian acknowledged she was “on the wrong side” of certain moments during her tenure.

Despite that admission, Fey pushed back on the idea that “SNL” ever tried to steer a specific political narrative, insisting the show’s impact has always come from reflecting culture rather than controlling it.

Tina Fey Admits Some ‘SNL’ Jokes Crossed The Line

Fey is taking a candid look back at her early comedy career, admitting that not every joke she made on “Saturday Night Live” aged the way she intended. Before stepping in to host the first episode of “SNL UK” last month, she had already spent years as both a writer and performer on the show’s flagship U.S. version.

Speaking at a recent  HistoryTalks event, Fey revisited defining moments from that era, including returning to the show in the aftermath of the September 11 attacks.

While the comedian said she has no regrets about the time she dedicated to the long-running NBC series, she acknowledged that some of her material missed the mark.

“I was pretty d-mb and not much better now, but there’s jokes that I’m like, ‘Oh yeah, I was on the wrong side of that,’” Fey said.

Fey Says ‘SNL’ Never Tried To Control Politics

Fey has also pushed back on the idea that “Saturday Night Live” ever set out to shape political narratives, insisting the show’s approach was far more measured behind the scenes.

Speaking at the event, Fey said she often found it fascinating to realize just how seriously audiences could take what was meant to be comedy. That awareness, she explained, became especially clear during a particularly intense six-week stretch when she worked alongside Seth Meyers and Amy Poehler on a run of sketches centered on Sarah Palin.

“We always worked really hard to make sure that we felt like they were what we would call ‘a fair hit,’” Fey said, describing the team’s effort to strike a balance between satire and accuracy.

Tina Fey Joked She’s ‘Youngest’ ‘SNL UK’ Host

Fey brought her signature wit to the UK stage last month, delivering a monologue on the British version of “Saturday Night Live” that leaned into the same self-aware humor that defined her rise in the U.S.

In her opening, Fey expressed genuine gratitude for the opportunity before joking that she was the “youngest person” ever to host the series.

She then playfully reintroduced herself to the audience, saying, “You may know me as the teacher from ‘Mean Girls,’ or you might remember a long time ago when I played Sarah Palin on ‘SNL U.S.,’ Or maybe you feel like you recognize me as the lady from the show ‘Veep.’ And that’s fine too! Let’s go with that!”

The Actress Dropped F-Bomb During ‘SNL UK’ Debut

From that moment on, the show delivered a more classic Fey, including a sarcastic remark about how “no one really knows why” an American was chosen to host the debut episode.

When “Bridgerton” star Nicola Coughlan asked her why she thinks she was chosen, the “Veep” alum responded, “How do I put this politely?… None of you f-ckers would do it!”

The uncensored moment didn’t go unnoticed. Actor Michael Cera pointed out that she had just dropped the f-word, but Fey brushed it off without hesitation.

“Yeah, we are allowed to swear in this version of the show,” she fired back, pointing to the main difference between the U.S. and UK versions of “SNL.”

Tina Fey’s Upcoming Projects

Fey isn’t slowing down anytime soon, with several projects already lined up for the months ahead.

Later this year, the comedian will return to the small screen for Season 2 of “The Four Seasons,” reprising her role as Kate alongside a returning ensemble that includes Will Forte, Colman Domingo, Marco Calvani, Kerri Kenney-Silver, and Erika Henningsen.

Beyond that, Fey is also stepping back into development mode. In March, PEOPLE reported that she would be adapting Elle Cosimano’s bestselling mystery novel “Finlay Donovan Is Killing It,” marking another collaboration with Lang Fisher, her creative partner on “The Four Seasons.”

Angel Reese carved her own path, and she doesn’t plan on stopping any time soon. During her appearance on Michelle Obama‘s “IMO” podcast, the WNBA superstar got candid about relationships. Speaking with the former First Lady of the United States, Reese explained why she believes some men may struggle being with a woman who “has her own.”

Angel Reese And Michelle Obama Discuss Being Powerhouse Women In A Male Dominated World

While discussing dating, Reese told Michelle and her co-host, Craig Robinson, that she doesn’t believe some can handle being in relationships with women who are as successful, if not more successful than they are.

“I think a lot of men are not able to,” she said, adding, “I think it’s hard. I think it takes a strong man to be able to be open to a woman who has her own, works on her own, does her own things, and doesn’t necessarily need you.”

Michelle, who authored the best-selling memoir “Becoming,” emphasized Reese’s point before adding that successful women can’t cater to their partners as past generations did.

“You’ve got your own pathway, and it is a difficult thing,” Michelle said, adding that her husband, Barack, had to be OK with who she was before they tied the knot.

Angel Reese Gets Real About Struggles Of Becoming A Millionaire At 20

Indeed, Reese has her own. According to a previous report by The Blast, the former Chicago Sky star earned over $9 million in 2025, making her the highest-paid Black woman in professional basketball.

Reese’s growing bank account is thanks to her brand deals with Beats by Dre, Reebok, and Reese’s. In the past, the 23-year-old opened up about being blessed with “financial freedom.”

However, managing millions hasn’t always been easy for the LSU alum. “I got money so fast I didn’t know what to do with it,” she said. “I was like, ‘Oh sh-t, I’m a millionaire at 20?’ They do not teach you how to file taxes at school.”

Reese is fortunate to be surrounded by a supportive crew, including her mom, Angel, her grandmother, and her brother, Washington Wizards player Julian Reese.

Reese added, “My grandmother would tell me to save money for a rainy day, but really, I’m the first in my family to have this kind of financial freedom.”

Michelle Obama Praises Angel Reese During Vulnerable Conversation On Podcast

At the beginning of the podcast episode, Michelle spoke highly of Reese, who not only began her third season with the Atlanta Dream but also became the first WNBA player to star in a Victoria’s Secret campaign, praising her for what she’s accomplished both on and off the court.

“You are handling yourself beautifully,” Michelle said. “It’s not just what you do, it’s the way you carry yourself.” Michelle added, “It is really a joy to watch you manage it all, and you do it with a smile on your face, with an excellent attitude.”

Reese Is Making Over $300,000 This WNBA Season

This WNBA season is all about new beginnings for Reese. According to The Blast, Reese was traded from the Chicago Sky to the Atlanta Dream on April 6, 2026, just days after a new CBA was signed.

In addition to securing new teammates, Reese (and every other WNBA player) is seeing a significant pay raise. Last year, Reese earned just shy of $75,000. This year, she’ll bring in over $350,000, according to SportRac.

The new WNBA season will begin in early May 2026, and Reese is already looking forward to getting her roots planted in the Peach State.

“It’s literally a dream come true,” Reese said. “I’m really grateful to be part of an organization that, one, really cares about their players as you can tell.”

“I’m just really grateful for everything,” she continued. “I’m soaking it all up. I know the people will come out and support us. The culture here is phenomenal.”

Why Did Reese Want Out Of Chicago?

For those who may be unfamiliar, Reese signed with Chicago in 2024; however, she recently revealed that she wanted out of the Windy City to play for a team with which she was more aligned.

“I enjoyed being able to grow within my first two years, but I wanted more. I love to win, I love to compete and I wanted to be surrounded by people that can make me better,” Reese said.

If looking like you just went on a Hamptons shopping spree is high on your list, you’re in the right place. Because few things hit better than breezy, coastal dresses that offer an instantly polished look — no weekend getaway required. But what’s better than a one-and-done silhouette that works for a Montauk escape and an antique-shopping stroll alike? A slew of affordable picks.

I found 17 chic, billowy dresses at Walmart, ranging from tiered maxi dresses to ruffle-sleeve minis. Everything from square-neck designs to tie-front finds is included, with prices starting at just $7. So, whether you’re heading out east or are just dressing like you are, these spring picks won’t disappoint.

17 Billowy Spring Dresses That Belong in a Hamptons Boutique

1. Editor Favorite: It’s hard to find a little black dress that works for spring without feeling heavy or dull, but this tiered ruffle dress does it just right. Enjoy a front button closure, front tie and comfortable fabric.

2. Sweet and Flirty: An elegant scoop neck, flowy skirt and fitted bodice make this pick a closet must-have. Pair it with strappy sandals and a woven bag for a foolproof outfit.

3. Everyday Staple: Whether you’re headed to a farmers market or brunch with friends, this pleated mini dress does the job. For peak versatility, secure the neutral tan color.

4. Waist-Defining: This square-neck, smocked dress is flattering on everyone, offering a drop waist, stripe design and maxi length.

5. $7 Find: Can you ever go wrong with a classic, lightweight V-neck mini dress? The answer is no. So, choose from 20 colors to secure your favorite version.

Related: These 17 Breezy Spring Dresses Are Taking Over the Hamptons — From $18

There’s a reason every stylish woman on the East End looks effortlessly pulled together from May through September. The secret isn’t a personal stylist or a designer budget. It’s the dress. Specifically, it’s a breezy, coastal-looking dress that moves with the wind, and works just as well at a farm stand as it does at […]

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6. Flower Child: If whimsical prints are your thing, you’re going to want to add this tassel-adorned, V-neck maxi dress to your cart. The elongating floral print takes it to another level.

7. Coastal Blues: Lean into the seaside theme and secure this breathable spaghetti-strap maxi dress. You’re sure to turn heads thanks to the polished print.

8. Minimal and Unfussy: Sometimes, less is more — and that’s certainly the case with this ruched, tie-front dress. Not only is it ultra-flattering, but the piece rings in at just $10.

9. Classic Stripes: There’s a reason stripes never go out of style. Finished with ruffle sleeves, front pockets and a dipped neckline, this one is an instant win.

10. Charmingly Playful: Have some fun in this knitted skirt dress. A halter neck tie keeps things sultry, while intricate texture adds a beach-ready feel.

11. Everyday Staple: From dropping the kids off at school to a well-deserved mani-pedi, this is the dress for you. With a relaxed fit, simple crew neckline, and solid hue, it’s an easy throw-on-and-go staple.

12. Flower Power: Looking for something more elevated? Then, don’t skip this flowy, floral-adorned maxi dress, which boasts cap sleeves and a tiered skirt.

13. Button-Down Ease: Picture this navy, button-down dress paired with easy sandals and a wide-brim raffia hat — could it get any better?

14. Extended Sizes: You can’t go wrong with a belted dress, especially when it includes a refined collar and pleated back. So, secure this chic number before it’s too late.

15. Immediate Yes: Let this smocked mini dress do the talking for you, including puff sleeves, a scoop neck and vibrant blossom print.

16. Off-Duty Ensemble: There’s nothing easier than a dress you don’t have to think twice about. Wear this ruffled-hem T-shirt dress with sneakers, flats or heels.

17. Pop of Pink: Add some color to your wardrobe with this halterneck sundress. The removable waistband cinches the waist, while the flowy silhouette keeps things breathable.

Related: Florals, Frills, Pastels! These 17 Billowy Dresses Channel Boutique Vibes

We love spring blouses, but nothing steals the show quite like the perfect seasonal dress. Some of our favorites look like options hanging at a Hamptons boutique, featuring billowy silhouettes, delicate fabrics and details that scream ‘high-end luxe.’ These 17 chic dresses on Amazon check every box . . . and they do so without […]

With The Boys entering its final stretch, the possibility of the show saying goodbye to its core team has begun to look like a legitimate endgame. And while Prime Video’s adaptation has spent years diverging from Garth Ennis and Darick Robertson’s source material, it has also preserved many of the comics’ ugliest instincts, particularly when it comes to the idea that victory in this world never comes without collateral damage. If the series follows the comics where it matters most, even without reproducing them scene for scene, then the odds of the team making it out intact look increasingly shaky.

Part of what makes the theory stick is that the groundwork has been laid both inside and outside the story. Eric Kripke has repeatedly warned that the final season opens the door to major casualties, while Karl Urban has leaned into the same sense of instability, suggesting that nobody is protected anymore. A-Train’s death has already signaled that the show is willing to start thinning the board early, and the ominous clues surrounding later episodes have only fueled suspicions that the final season is not building toward a conventional triumph. For a series that has always treated heroism as something compromised, messy, and often fatal, a darker ending would hardly come out of nowhere.

Why Billy Butcher May Be the Real Threat to The Boys

Image via Prime Video

If the show draws from the comics in any major way, the most important element to watch may not be Homelander’s (Antony Starr) downfall, but Butcher’s (Karl Urban). One of the source material’s cruelest twists is that the central conflict does not end with the team united against its greatest enemy; rather, it implodes from within. After Homelander falls, Butcher’s genocidal plan to eliminate all Supes turns him into the story’s final antagonist, forcing the very people who followed him to stand against him. Mother’s Milk (Laz Alonso) dies, Frenchie (Tomer Capone) and Kimiko (Karen Fukuhara) die, and Hughie (Jack Quaid) ultimately kills Butcher himself.

The series has not copied that arc directly, but it has been inching closer to a version of its logic for some time. Butcher has become increasingly unstable, both morally and physically, Ryan’s (Cameron Crovetti) existence has complicated every choice he makes, and the introduction of the supe virus created a weapon capable of pushing his extremism into something catastrophic. Even without adapting the comics literally, the show has built enough of an infrastructure to steer Butcher into a final act in which he becomes as dangerous as the enemies he set out to destroy. If that happens, the threat to the team no longer comes from Homelander alone but from the man who built The Boys in the first place.

Even if the show does not kill Frenchie, Kimiko, and Mother’s Milk in a direct adaptation of the comics, the symbolism is hard to ignore. The final season appears aware of the parallels, and it seems willing to play with them. That alone gives the theory weight. And if The Boys wants to preserve the tragic force of the source material while still surprising viewers, reshaping those losses rather than replicating them would be exactly how the show has always operated.

Black Noir, Ryan, and the Show’s Biggest Comic Detour

Image via Amazon Prime Video

Of course, the strongest argument against a fully comic-accurate ending is also the strongest argument for why the show may still reach a version of it. The adaptation has changed too much to simply photocopy what happens in the books. Black Noir (Nathan Mitchell) is not the same character; Soldier Boy (Jensen Ackles) absorbed major pieces of comic mythology, and Ryan now occupies a role with enormous narrative importance that never existed in the source material.

The growing focus on Black Noir’s suspicious silence, theories about whether he has been replaced, and the repeated emphasis on Oval Office imagery have revived speculation that the show may still be circling some variation of Homelander’s comic-book death. But even if Black Noir does not fulfill that role, Ryan might. In many ways, Ryan already feels like the adaptation’s answer to several comic concepts folded into one character. If the show redistributes who performs certain functions in the endgame, it would be doing what it has done for years.

Why Losing the Core Team Would Fit ‘The Boys’

Image via Prime Video

Final seasons are where stories cash in their risks, and Kripke has said as much. Once there is no future season to preserve characters for, consequences can land harder, sacrifices can become permanent, and the idea of major characters dying can suddenly feel like narrative inevitability.

And this doesn’t mean every member of The Boys is doomed. Hughie and Annie (Erin Moriarty) may yet emerge as the survivors the comics position them as. The show may choose a less nihilistic route, but even a softer version of the source material may still involve the destruction of the team as viewers know it. Some goodbyes come through death and others come through a fracture.

If the series follows the comics where it matters most, not in literal plot mechanics but in tragic structure, then yes, The Boys may be preparing to say goodbye to its core team. At this point, the evidence suggests viewers should at least be ready for the possibility.

Allison Kuch and Isaac Rochell have taken the internet by storm with hilarious hijinks and their sweet love story showcased on TikTok.

The twosome met while attending the University of Notre Dame and started dating in late 2014. After Rochelle completed his college football days, he was drafted by the Los Angeles Chargers. Kuch and Rochell remained together as he set off for California and she finished up her studies.

In May 2018, the social media personality graduated and announced she was headed back to her home state of California for a “big girl job” in Los Angeles. Once reunited, the Orange County native attended her then-boyfriend’s games and cheered him on throughout the season. The following year, the influencer created her TikTok page where she posted vlog-style videos about being an NFL girlfriend. In July 2020, Rochell popped the question to his longtime love.

The two tied the knot in Cabo San Lucas in April 2021 but revealed at the end of the year they had actually eloped prior to their destination wedding. They welcomed their first baby in December 2023.

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Throughout their relationship, Kuch documented the pair’s lives as Rochelle bounced around between several NFL teams, including the Los Angeles Chargers, Indianapolis Colts, Cleveland Browns and Las Vegas Raiders. Rochelle announced he was retiring from the NFL after seven seasons in February 2025. Nearly two years later, Kuch and Rochell shared that they are expecting their second baby.

They welcomed their second child, another daughter, in April 2026.

Keep scrolling to see Kuch and Rochell’s relationship timeline:

Psychological thrillers operate on a different frequency from most movies, trading spectacle for tension, and action for unease. Rather than dazzling you with explosions or action, they disorient you with uncertainty: what is real, what is hidden, and what is about to be revealed.

The best entries in the genre understand that the human mind is far more unpredictable than any external threat. They build suspense through ambiguity and suggestion. You’re hooked by the feeling that something is off, even if you can’t yet explain why.

10

‘Stranger by the Lake’ (2014)

Image via Le films du losagne

“I saw you.” This one’s deceptively simple. Set almost entirely around a secluded lakeside cruising spot, Stranger by the Lake follows Franck (Pierre Deladonchamps), a man drawn into a dangerous attraction with Michel (Christophe Paou), whose charm is matched only by the violence he is capable of. Early in the film, Franck witnesses Michel commit a murder. What makes the story so unsettling is what follows: he chooses to stay. The narrative becomes less about uncovering the truth and more about understanding why Franck continues to pursue someone he knows is dangerous.

Director Alain Guiraudie builds tension through repetition. Days pass, routines repeat, conversations circle around the same ideas. By the time the movie reaches its final stretch, the mood has shifted from quiet curiosity to near-total dread, and the consequences feel inevitable.

9

‘Red Rooms’ (2024)

Image Via Entract Films

“I want to understand him.” Red Rooms is a sharp statement on obsession in the digital age. The main character is Kelly-Anne (Juliette Gariépy), a woman who becomes fixated on a high-profile trial involving a man (Maxwell McCabe-Lokos) accused of producing and distributing violent “red room” videos on the dark web. She attends the trial daily, studies the evidence, and begins to blur the line between observer and participant.

The tension builds gradually, driven by what is withheld as much as by what is revealed. Kelly-Anne’s motivations remain ambiguous, her behavior increasingly difficult to interpret. The audience is left to question not just the accused, but those watching him. This was a challenging role to play, but Gariépy is great in the part, believable as someone on a path of self-destruction. Not for nothing, Red Rooms swept the awards at that year’s Fantasia Film Festival.

8

‘Decision to Leave’ (2022)

Image via CJ Entertainment

“My heart is beating… like I’m insane.” This neo-noir gem from master Park Chan-wook transforms a murder investigation into something far more intimate. In Decision to Leave, detective Hae-jun (Park Hae-il) is assigned to a case involving a man who has fallen to his death, and his attention quickly turns to the victim’s wife, Seo-rae (Tang Wei). Is she innocent? Is she manipulating him? And perhaps more intriguingly, does he even want the truth?

While not as ambitious as the director’s masterpieces, Decision to Leave is still satisfyingly labyrinthine, serving up twists and narrative trickery at every turn, along with the sumptuous cinematography Park is known for. His direction here is elegant and assured, constantly shifting in tone and perspective but keeping the intricate storylines totally controlled, ultimately winning the Best Director award at Cannes for his efforts.

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7

‘Knife in the Water’ (1962)

“You’re not afraid, are you?” This movie is lean both in terms of runtime (it’s just 94 minutes) and setting, taking place almost entirely on a boat. However, it feels expansive in its psychological scope. A married couple (Leon Niemczyk and Jolanta Umecka) invites a young hitchhiker (Zygmunt Malanowicz) to join them on a sailing trip, setting the stage for a tense and increasingly volatile dynamic. The husband asserts dominance, while the younger man challenges it.

Meanwhile, the wife observes it all with a quiet, ambiguous presence. Power shifts constantly between them, and the film never lets you settle into a clear sense of control or safety. Indeed, what makes Knife in the Water so compelling is its ability to generate tension from minimal elements. Rather than melodrama, it operates on subtle shifts: glances, gestures, small acts of provocation.

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6

‘The Vanishing’ (1988)

Image via Argos Films

“I want to know what happened.” The Vanishing is dark and bleak but undeniably brilliant. During a road trip, a young woman (Johanna ter Steege) disappears without a trace at a rest stop. Years later, her boyfriend, Rex (Gene Bervoets), is still searching for answers, unable to move on without understanding what happened. The film takes an unusual approach by revealing the identity of the abductor early on. Instead of focusing on who committed the crime, it shifts the emphasis to why, and to what lengths Rex is willing to go to find out.

Equally unsettling is the portrayal of the man responsible (Bernard-Pierre Donnadieu). He isn’t presented as a larger-than-life villain. Instead, he appears ordinary, even methodical. That normality is disturbing in its own way. It strips away the comfort of thinking that evil is always obvious or exaggerated.

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5

‘Blow-Up’ (1966)

Image via Metro-Goldwyn-Mayer

“I thought I saw a murder.” Blow-Up turns perception itself into the central mystery. Thomas (David Hemmings), a fashion photographer drifting through 1960s London, accidentally captures what he believes may be evidence of a murder while photographing a couple in a park. As he enlarges the images, again and again, the truth seems to emerge… and then slip away. The more Thomas examines the photographs, the less certain he becomes.

Here, reality itself feels unstable, shaped as much by interpretation as by fact. In this sense, the movie resists traditional thriller mechanics, instead going for something a little deeper and more thematic. This comes through clearly in the phenomenal final scene, a pitch-perfect moment that sums up everything that came before. Themes aside, Blow-Up is simply compelling as a snapshot of Swinging London.

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4

‘Caché’ (2005)

Image via Les Films du Losange

“Someone is watching us.” Caché (meaning “hidden”) begins with a simple, unsettling premise: a Parisian couple (Daniel Auteuil and Juliette Binoche) starts receiving anonymous videotapes of their home, filmed from a distance. There are no demands or explanations, just the quiet implication that someone is watching. As the tapes continue, Georges, the husband, becomes increasingly paranoid, suspecting connections to his past.

The film gradually expands beyond the immediate mystery, uncovering buried guilt and unresolved history that complicate any straightforward interpretation. Its conclusions go way beyond the individual characters at the heart of the drama. Michael Haneke directs it all with cold precision, often holding the camera in static shots that force the viewer to question what they’re seeing. In the years since, Caché‘s critical stature has continued to grow, and it’s now frequently ranked among the best movies of the 21st century.

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3

‘The Conversation’ (1974)

Image via Paramount Pictures

“I’m not afraid of death… I’m afraid of murder.” Francis Ford Coppola delivered this paranoid masterpiece between Godfathers. The Conversation is built on a single recording and the uncertainty surrounding it. Harry Caul (Gene Hackman), a surveillance expert, is hired to record a conversation between a young couple. He analyzes the audio, becoming convinced that their lives may be in danger. Along the way, the film becomes as much a character study as a thriller, anchored by Hackman’s strong performance.

The movie really traps you inside the protagonist’s mind. He’s intensely private, almost emotionally sealed off, yet his work forces him into the most intimate corners of other people’s lives. That contradiction creates a slow psychological fracture. As he becomes more consumed by the recording, his sense of reality begins to shift, and you feel that instability with him.

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2

‘M’ (1931)

Image via Vereinigte Star-Film GmbH

“I can’t help what I am!” This classic is one of the defining films from Fritz Lang, director of Metropolis and The Testament of Dr. Mabuse. It’s a proto-noir about a series of child murders terrorizing a German city, prompting both the police and the criminal underworld to hunt for the killer. The investigation unfolds across multiple fronts, each with its own methods and motivations. When the killer is finally captured, the narrative shifts in unexpected directions.

M. is almost a hundred years old at this point, so some aspects of it will feel a little inaccessible to modern audiences but, overall, the film holds up. Here, Lang uses sound in an especially effective way. For instance, the killer is associated with a simple whistled tune. In an era when sound film was still new, this was incredibly innovative, and it still works. You hear it, and tension spikes instantly.

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1

‘Les Diaboliques’ (1955)

Cinédis

“I saw him.” Les Diaboliques begins with a perfect crime, or what appears to be one. A headmaster’s wife (Véra Clouzot) and his mistress (Simone Signoret) conspire to murder him (Paul Meurisse), carefully planning every detail and disposing of the body in a school pool. But when the body disappears, the certainty of their plan begins to unravel. The women, once united, begin to fracture under the pressure, their fear feeding into the growing sense that something is terribly wrong.

The atmosphere plays a huge role. Shot in stark black and white, the film leans into shadows, reflections, and empty spaces. Silence is used just as effectively as sound, making even the smallest noise feel significant. And then there’s the legendary third act. Without relying on spectacle, it delivers a payoff that recontextualizes everything that came before.

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Collider Exclusive · Horror Survival Quiz
Which Horror Villain Do You Have the Best Chance of Surviving?
Jason Voorhees · Michael Myers · Freddy Krueger · Pennywise · Chucky

Five killers. Five completely different ways to die — if you’re not smart enough, fast enough, or self-aware enough to avoid it. Only one of them is the villain your particular set of instincts gives you a fighting chance against. Eight questions will figure out which one.

🏕️Jason

🔪Michael

💤Freddy

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🎈Pennywise

🪆Chucky

TEST YOUR SURVIVAL →

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01

Something feels wrong. You can’t explain it — you just know. What do you do?
First instincts are the difference between the survivor and the first act casualty.

ALeave immediately. I don’t need to understand a threat to respect it.
BStay quiet and observe. If I can see it, I can understand it. If I can understand it, I can avoid it.
CStay awake. Whatever this is, I am not going to sleep until I feel safe again.
DConfront it directly. Fear grows in the dark — I’d rather know what I’m dealing with.
ECheck everything, trust nothing. The threat might be closer than I think — and smaller.

NEXT QUESTION →

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02

Where are you most likely to find yourself when things go wrong?
Setting is everything in horror. Where you are determines which rules apply.

ASomewhere remote — a cabin, a campsite, off the grid and away from people.
BA quiet suburban neighbourhood where nothing ever happens. Except tonight.
CIn my own head — the most dangerous place of all, depending on what’s already in there.
DWherever children are — because something about this place attracts the worst things.
ESomewhere ordinary — a house, a toy store, a place where the last thing you’d expect is a threat.

NEXT QUESTION →

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03

What is your most reliable survival asset?
Every survivor has a quality the villain didn’t account for. What’s yours?

APhysical fitness — I can run, I can swim, I can outlast something that relies on brute persistence.
BSpatial awareness — I always know the exits, the hiding spots, the fastest route out.
CPsychological resilience — I’ve faced my worst fears before. They don’t have the same power over me.
DEmotional steadiness — I don’t panic. Panic is what gets you caught.
EScepticism — I don’t underestimate threats because of how they look. Size is irrelevant.

NEXT QUESTION →

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04

What kind of fear is hardest for you to fight through?
Knowing your weakness is the first step to not dying because of it.

AThe unstoppable — something that will not stop, cannot be reasoned with, and is always getting closer.
BThe invisible — a threat I can feel but can’t locate, watching from somewhere I can’t see.
CThe psychological — something that uses my own mind and memories against me.
DThe unknowable — something ancient, shapeless, that feeds on the fear itself.
EThe mundane — a threat so ordinary-looking that no one will believe me until it’s too late.

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05

You’re with a group when things start going wrong. What’s your role?
Horror movies are brutally clear about who survives group situations and who doesn’t.

AThe one who says “we need to leave” first — and means it, even when no one listens.
BThe one who stays quiet, watches the others, and figures out the pattern before anyone else does.
CThe one who holds the group together when panic sets in — because someone has to.
DThe one who asks the questions nobody wants to ask — because ignoring them gets people killed.
EThe one who takes the threat seriously when everyone else is laughing it off.

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06

What’s the horror movie mistake you’re most likely to make?
Honest self-assessment is a survival skill. Denial is not.

AGoing back for someone — I know I shouldn’t, but I can’t leave them behind.
BAssuming I’m safe once I’ve found a hiding spot. That’s when it finds me.
CFalling asleep when I absolutely cannot afford to. Exhaustion is its own enemy.
DLetting my curiosity override my instincts — I always need to understand what I’m dealing with.
EDismissing the threat because of how it looks. That’s exactly what it wants.

NEXT QUESTION →

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07

What’s your best weapon against something that can’t be stopped by conventional means?
Every horror villain has a weakness. The survivors are always the ones who find it.

AThe environment itself — I use the terrain, the water, the geography against it.
BPatience — I wait, I watch, and I strike at the one moment it doesn’t expect.
CLucidity — if I can stay in control of my own mind, it loses its primary weapon.
DCourage — facing it directly, refusing to run, taking away the fear it feeds on.
EImprovisation — I use whatever’s at hand, however unconventional. Creativity over brute force.

NEXT QUESTION →

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08

It’s the final scene. You’re the last one standing. How did you make it?
The final survivor always has a reason. What’s yours?

AI kept moving. I never stopped, never hid for too long, never let it corner me.
BI figured out the pattern before anyone else did — and I used it against the thing following it.
CI stayed awake, stayed lucid, and refused to give it the one thing it needed most.
DI stopped being afraid of it. And the moment I did, everything changed.
EI took it seriously from the start — and I never once made the mistake of underestimating it.

REVEAL MY VILLAIN →

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Your Survival Odds Have Been Calculated
Your Best Chance Is Against…

Your instincts, your strengths, and your particular way of thinking under pressure point to one villain you actually have a fighting chance against. Everyone else — good luck.

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Camp Crystal Lake · Friday the 13th

Jason Voorhees

Jason is relentless, but he is also predictable — and that is the gap you would exploit.

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• He moves in straight lines toward his target. He doesn’t strategise, doesn’t adapt, doesn’t outsmart. He simply pursues.
• Your ability to keep moving, use the environment, and resist the panic that freezes most victims gives you a genuine edge.
• The Crystal Lake survivors were always the ones who stopped running in circles and started thinking about terrain, water, and distance.
• You think like that. Which means Jason, for all his indestructibility, would face someone who simply refused to be where he expected.

Haddonfield, Illinois · Halloween

Michael Myers

Michael watches before he moves. He is patient, methodical, and almost impossible to detect — until it’s too late for anyone who isn’t paying close enough attention.

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• But you are paying attention. You notice the shape in the window, the car parked slightly wrong, the silence where there should be sound.
• Michael’s power lies in the invisibility of ordinary suburbia — the fact that nothing ever looks wrong until it already is.
• Your spatial awareness and instinct to map every room, every exit, and every shadow before you need them is precisely the quality Laurie Strode had.
• You are not a victim waiting to happen. You are someone who already suspects something is wrong — and acts on it.

Elm Street · A Nightmare on Elm Street

Freddy Krueger

Freddy wins by getting inside your head — using your own fears, your own memories, your own subconscious as weapons against you. That strategy requires a target who can be destabilised.

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• You are harder to destabilise than most. You’ve faced uncomfortable truths about yourself and you haven’t looked away.
• The survivors on Elm Street were always the ones who understood what was happening and chose to face it rather than flee from it.
• Freddy’s greatest weakness is that his power evaporates in the presence of someone who refuses to give him the fear he feeds on.
• Your psychological resilience — the ability to stay grounded when reality itself becomes unreliable — is exactly the quality that keeps you alive here.

Derry, Maine · It

Pennywise

Pennywise is ancient, shapeshifting, and feeds on terror — but it has one critical vulnerability: it cannot function against someone who genuinely stops being afraid of it.

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• The Losers Club didn’t survive because they were braver than everyone else. They survived because they faced their fears together, and faced them honestly.
• You ask the questions others avoid. You look directly at what frightens you rather than turning away.
• That directness — the refusal to let fear fester in the dark — is Pennywise’s worst nightmare.
• It chose the wrong target when it chose you. You are exactly the kind of person whose fear tastes like nothing at all.

Chicago · Child’s Play

Chucky

Chucky’s greatest advantage is that nobody takes him seriously until it’s already too late. He exploits the gap between how something looks and what it actually is.

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• You don’t have that gap. You take threats seriously regardless of how they present — and you never make the mistake of underestimating something because of its size or appearance.
• Chucky relies on surprise, on the delay between recognition and response. You close that delay faster than almost anyone.
• Your instinct to treat every unfamiliar thing with appropriate scepticism — rather than dismissing it because it seems absurd — is the exact quality that keeps you breathing.
• Against Chucky, not laughing is already winning. You are very good at not laughing.

↻ RETAKE THE QUIZ

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Diabolique

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Release Date

January 29, 1955

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Runtime

117 Minutes

Director

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Henri-Georges Clouzot

Writers

Henri-Georges Clouzot, Jérôme Géronimi

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Cast

• 
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