One Instagram user @ mzangelbaby said, “😂😂 Too cute 🥰! For both of us!! She’s definitely included 😂”

This Instagram user @kallion26_ added, “Man she look just like her daddy. 😂😍 crazy how genetics work.“

And, Instagram user @lakaysharedd commented, “Emmy said we both his Valentine’s 😂😂😂”

Meanwhile, Instagram user @leeee__saint_laurant wrote, “Too sweet 😍😍😍”

While Instagram user @keba.cas said, “god bless her beautiful personality“

Finally, Instagram user @crownedblvckqueen added, “She’s too cute😍”

Jealous… But Still Team Mommy & Daddy

Real-life love can’t ever be like the movies, but that’s what makes it so much fun to live vicariously through movie characters.

In the spirit of Valentine’s Day, we’re thinking about our favorite movie couples. But not just any movie couples: sexy movie couples. The ones whose chemistry makes you positively soon.

Watch With Us combed through all of movie history, and we picked out what we believe are five of the sexiest movie couples of all time.

From the black-and-white world of Casablanca to the sci-fi dystopia of The Matrix, these couples make us go crazy.

Neo and Trinity — ‘The Matrix’ Movies

Neo (Keanu Reeves) and Trinity (Carrie-Anne Moss) don’t actually have sex until the second Matrix movie, during which their lovemaking is juxtaposed against an infamous orgy sequence. But the two manage to make things feel hot and bothered while barely touching each other in the first of the Matrix trilogy — and when they finally do kiss, sparks literally fly.

It’s a combination of how objectively hot Reeves and Moss are, sure, but it’s also how passionate and pure their love is for each other, and how over the course of the franchise that undying devotion somehow endures in that crazy world. By The Matrix Resurrections, we understand they are fated to each other, they would die for each other, and it’s a beautiful thing.

Chiron and Kevin — ‘Moonlight’ (2016)

Though Chiron (Trevante Rhodes) and Kevin (André Holland) never actually become a couple, their lasting, aching connection makes their dynamic both powerful and heartrending. Moonlight follows Chiron from childhood to adulthood through three pivotal moments in his life, in which he comes to understand his identity as a gay man.

As a teenager, he had a sexual encounter with Kevin that they never explored further or spoke of until years later. As adults, they reconnect, now living two very different lives but forever touched by what the other one meant to them. The truth and tragedy of unrealized passion is sometimes more beautiful and more intimate than visualized intimacy.

Jack and Rose — ‘Titanic’ (1997)

Jack Dawson (Leonardo DiCaprio) and Rose Dewitt Bukater (Kate Winslet) may seem like the epitome of cringeworthy blockbuster melodrama, but if you just take three hours out of your day to actually watch Titanic, you’ll realize that “Paint me like one of your French girls” isn’t even really the sexiest moment between them.

The culmination of their patiently constructed romance is a deliriously erotic (if brief) scene in which Jack takes Rose in the back of a car in the ship’s cargo hold, whose windows fog up from how passionate and intense their lovemaking is. But that scene wouldn’t be what it is without the scintillating, slow-burn lead-up to their consummation — a culminating release felt by both the characters and the audience.

Elizabeth and Will — The ‘Pirates of the Caribbean’ Franchise

It’s crazy to think that one of the sexiest movie couples ever came from a Disney movie, but the Mouse House doesn’t really make movies like Pirates of the Caribbean anymore, either. At the time, Keira Knightley and Orlando Bloom were considered two of the hottest young actors in Hollywood, and putting them together for a romance anchored by emotional longing and a mutual transformation made for scintillating movie magic.

Will Turner is a blacksmith haunted by his father’s pirate ways, while Elizabeth is a governor’s daughter yearning to break free and harboring a lifelong fascination with pirates. In the end, Will basically becomes a pirate for her, and the two head off to have sexy little adventures together.

Rick and Ilsa — ‘Casablanca’ (1942)

“We’ll always have Paris” is one of the most emotionally ruinous lines of all time, from one of the classic movie couples that would never be. Humphrey Bogart once lit up screens with his weirdly sexy charm, and Ingrid Bergman was the woman everyone wanted (and wanted to be). Rick (Bogart) and Ilsa (Bergman) had a love affair that predated the events of Casablanca, but Ilsa reemerges in Rick’s life when she desperately needs his help.

Reconnecting, Rick and Ilsa find themselves not quite finished with one another, their love having never quite flamed out. But the fact that they can never really be together only makes their doomed affair more ardent, especially because Rick sacrifices their love for a greater cause. “Here’s looking at you, kid.” Cue swooning.

By Chris Snellgrove
| Published 40 seconds ago

Starfleet Academy has proven divisive to fans in large part because it is a strange brew: great actors and top-notch special effects mixed with weird characterization and writing straight out of an early aughts boner comedy. Defenders of the show have maintained that everyone just needs to give the series more time to find its space legs, and the latest episode may have effectively proved them right. “Come, Let’s Away” drops the awkward, forced humor of earlier episodes to deliver a tale full of action, romance, and higher stakes than Starfleet Academy has ever had before.

Part of what makes this particular Starfleet Academy episode so effective is the misdirection baked directly into its plot. “Come, Let’s Away” starts out with scenes of our characters hooking up, and it wisely leverages the solid chemistry between Caleb and Tarima before jumping into the main plot: a joint training exercise where Academy and War College cadets must restart a derelict starship. But when those cadets are kidnapped by killer cannibals, Chancellor Ake must turn to her old nemesis, Nus Braka, for help in saving her students’ lives. 

Somehow, Star Trek Returned

For Star Trek fans wanting Starfleet Academy to be more like the Golden Age of Star Trek, this is the episode you’ve been waiting for. First of all, it employs tropes and story beats very familiar to The Next Generation: for example, the cadets having to restart an old starship feels a lot like Riker having to get the USS Hathaway working for war games in “Peak Performance.” Speaking of Number One, “Come, Let’s Away” leans into Caleb and Tarima being the new Riker/Troi by giving them an Imzadi-esque mind link and having their shared romantic connection be a major key to resolving this plot.

While some Star Trek fans have enjoyed the show’s often lowbrow humor, I felt that this Starfleet Academy episode was much stronger for ditching the jokes and giving us an episode that plays out like a tense action thriller. From the moment they are captured, it is clear that our heroes are in mortal danger from bad guys (the Furies) who simply don’t play around. This is made abundantly clear when they partially eat a charismatic War College instructor (!) and then shoot his body out of the airlock to send a message to Starfleet. 

The New Big Bad Is Finally Scary

The Furies are so dangerous that Chancellor Ake, at the urging of Admiral Vance, requests the help of Nus Braka, a notorious space pirate who has dealt with these foes before. This is definitely a stronger performance from Paul Giamatti than we saw in the first Starfleet Academy episode, and it helps that he is written much better. While his dialogue still has a few rough edges (like when he describes himself as “wanked” and “spanked”), he mostly comes off as genuinely dangerous, and his weirdly intimate interactions with Ake make him seem less like a Scooby-Doo villain and more like a flamboyant Hannibal Lecter.

Nus Braka is actually the personification of this episode’s greatest strengths: that it’s not afraid to raise the stakes by putting likable characters in mortal danger. In addition to offing the fun new War College instructor (and beware some major spoilers from here on out), they also kill B’avi, arguably the most likable of the War College cadets. Thanks to Nus Braka completely outwitting the Federation, his buddies were able to destroy a Starfleet vessel and ransack a starbase, giving this episode a shockingly high body count.

By Their Powers Combined

“Come, Let’s Away” is a far cry from the more carefree adventures of Starfleet Academy, but the grim subject matter also lends the show something it has desperately needed: some narrative weight. Previously, the show’s constant need to undercut tension robbed various episodes of their power, like filling the big, emotional Sisko episode with jokes about flatulence and genitalia. Also, it was tough to take SAM (a fairly solid character in her own right) very seriously in that Sisko episode because she spent most of her time onscreen talking and acting like a deranged TikTok skit come to life.

But SAM really shines in “Come, Let’s Away,” utilizing her powers in a logical way to restore power to a derelict vessel. Tarima uses her powers in a similarly logical way, and once she fully unleashes her abilities to pop some dude’s heads (Scanners-style!), we see how dangerous a Betazed warrior can be. Caleb also shines, both as Tarima’s partner in telepathic crime and as someone more resourceful than the average member of either the Academy or the War College.

The Ensemble Cast Finally Shines

While the plot involved sidelining some of the main characters (Darem and the Doctor mostly do little more than twiddle their thumbs), this episode of Starfleet Academy did a great job of highlighting most of the ensemble cast. The youngsters got to finally stop being quippy cadets and put their training to use in a life-and-death situation, and they all brought unique strengths to the table while working as a team. In this way, this is probably the most traditional Star Trek episode we have seen so far, and to my surprise, it really left me wanting more.

From the beginning, I have been one of Starfleet Academy’s harshest critics, but it’s not because I want the show to fail; the cast is talented, the SFX are beautiful, and the writers (especially Tawny Newsome) are passionate about the franchise. However, episodes are frequently hampered by bad comedy and low-stakes, teenage drama. To make matters worse, the show occasionally makes huge changes to the lore (like making most Klingons extinct in an offscreen event) that inevitably upset old-school Star Trek fans.

However, “Come, Let’s Away” ditches both the forced comedy and the teen drama, and we get to see these young characters deal with the most Star Trek situation of them all: an Away Team mission that goes catastrophically wrong. The characters are competent, the stakes are high, and the new villains are generally loathsome, adding to the show’s own lure rather than (ahem) cannibalizing older lore. Speaking of loathsome, Giamatti’s Nus Braka establishes himself as the guy you love to hate, and the combination of his master manipulation and his casual cruelty has made this former joke of a character as chilling as Gul Dukat ever was.  

Is The New Star Trek Series Finally Worth Watching?

Only time will tell if Starfleet Academy can keep up the breathtaking momentum of this episode: Vance promises that capturing Braka is now Starfleet’s highest priority, and I can only imagine Chancellor Ake (who was uncharacteristically subdued for most of this episode) is itching for payback. This (plus Tarima being in critical condition) certainly implies that the rest of the season will be relatively serious, which is a relief to fans like me who have hated the hokey humor. Of course, the show has been wildly uneven from the beginning, so we may very well be back to goofy shenanigans in the very next episode.

Optimistically, though, I want to believe that Starfleet Academy writers have successfully pulled the rug on our expectations, pivoting the show from a goofy YA comedy fest to something more in line with the golden age of Star Trek. This would be a great way to thread the needle of appealing to older and younger fans, and it would even match the general arc of most YA stories (which inevitably pit their young protagonists against serious, seemingly unstoppable foes). If (and it’s admittedly a big if) that happens, Starfleet Academy could do what NuTrek has been failing to do for nearly a decade: bring generations of fans together in their love of the greatest sci-fi franchise ever made.

Like salt and pepper or peanut butter and jelly, Kevin Costner and the West go together. Since the early days of his on-screen career, the actor has had an affinity for traveling back through time to the days when folks were attempting to claim property up to the Mississippi and beyond. His obsession with all things cowboys and pioneers was even the primary drive behind his jump from working in front of the camera to behind it when, in 1990, Costner gave filmmaking a shot for the very first time with his critically acclaimed epic Western, Dances With Wolves, in which he also starred. Since then, his love for cowboy hats and cattle wranglers has continued to grow tenfold and nowadays, it seems that every project he’s involved with has some sort of Western flair.

At the height of his Western fascination, Costner starred in the hit series Yellowstone, which saw him appear in the role of John Dutton — a family man, ranch owner, and cold-hearted killer — who will do anything to hold onto his power and ensure his family’s ranch reins supreme. During his tenure on the Taylor Sheridan-created production, the performer landed numerous nominations and wins on the awards season circuit, including a Golden Globe. But, eventually, he grew bored with the series and suffered a falling out with Sheridan, which sent him packing and onto the next thing.

As one could have seen coming a mile away, the next thing was a Western, but this time Costner wanted to play by his own rules. Returning to a position that he feels increasingly comfortable in, Costner set out to not only star in but also direct his passion project, a movie called Horizon: An American Saga, which is meant to span four movies in total. Unfortunately, the only one that managed to see the light of day (so far) is the first installment, which came out back in 2024. As elusive as the rest of the films in Costner’s costly film series, time is running out for audiences to stream the first part of Horizon, as it will soon ride off into the sunset and leave HBO Max in the dust on February 28.

Will ‘Horizon’ Ever Continue?

Set against the backdrop of the great American West, Horizon focuses its lens on a handful of different characters all fighting for survival during some of the country’s deadliest years. Despite having plenty of hope and sinking a massive amount of his funds into it, Costner’s first chapter in his hopeful franchise faltered at the box office. And, while the second movie is said to be completely done, it hasn’t yet been released. In the two years since the first installment galloped into cinemas, the director and his team have faced plenty of scrutiny and scandal. From financial troubles to allegations of sexual harassment, it seems like the wheels have completely fallen off this covered wagon.

Head over to HBO Max before February 28 to see Costner’s passion project come to life.

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Release Date

June 28, 2024

Runtime

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182 minutes

Producers

Howard Kaplan, Mark Gillard

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TeaMates, Rakai is deep in his feelings this Valentine’s Day! The popular streamer recently asked Piper Rockelle to be his Valentine during a live session, and even sealed the moment with a kiss.

Related: Deshae Frost & Rakai Respond After Kai Cenat’s Ex Gabrielle “Gigi” Alayah Airs Them Out Over Post-Breakup Shade (VIDEOS)

Rakai Pops The Question To Piper Rockelle On Livestream

On Friday Feb. 13, Rakai dedicated his livestream to asking a special someone to be his Valentine. Holding balloons and flowers, Rakai appeared nervous but excited as he popped the question to Pipe Rockelle, the 18-year-old social media star and former YouTube sensation. In clips now circulating online, Piper initially responded with a hesitant, “I mean, sure… yeah,” before confidently adding, “Yes, I want to be your Valentine.” Rakai then promised to take her out on Valentine’s Day and asked to seal the deal with a kiss, which she hesitantly agreed to, sending fans into a frenzy.

Social Media Reacts

As expected, social media wasted no time sharing opinions about the Valentine’s surprise over in The Shade Room teens comment section.

Instagram user @therealjenncarter wrote, “Rakai couldn’t wait for this 😂😂😂😂😂😂😂😂”

Another Instagram user @slvttbby wrote, “this so middle school but they cute tg 😂”

Instagram user @n.aiiyaa wrote, “Awww I miss being this young 😂😂🥺

Another Instagram user @mariieejaee wrote, “I like him with her 😭😍”

While Instagram user @marabear3 wrote, “A girl who’s really into you doesn’t act like this 😭”

Instagram user @untoldtalents wrote, “They both trolling 😂”

Another Instagram user @riahoney wrote, “normal teenage behavior this is literally so cute lol!!!”

While Instagram user @_shuntrell23 wrote, “She don’t like him, she like the attention & money that comes with being with him 😂💯”

Rakai & Piper Rockelle Popped Out At The Super Bowl

Rakai and Piper have appeared together on several livestreams, often flirting and joking with one another. However, fans began suspecting something more was going on when they popped out together at the Super Bowl Sunday. On Feb. 8, Piper shared a photo of herself and Rakai at the game, showing him with his arm around her as she rested her head on his shoulder. She captioned the post, “My first Super Bowl 🥹.”

Rakai later posted a similar photo on his own Instagram, fueling even more speculation. Things didn’t stop though, the pair also shared clips from a hotel room where they filmed TikTok videos together. Fans quickly noticed what appeared to be a tattoo of Rakai’s name on Piper’s ankle, sparking debate if the two are officially locked in.

Related: Social Media Debates Whether Rakai Was Supporting Or Trolling Kai Cenat With Dr. Seuss Reading On Live (VIDEO)

The Duggar family is known for entering into marriage at younger ages, but Jinger Duggar is hoping her children will buck family tradition.

“My parents, they were married at 17 and 19, which is pretty young,” Jinger, 32, said on the Wednesday, February 11, episode of her eponymous podcast, referring to parents Jim Bob and Michelle Duggar. “That would scare me a little bit with my own kids.”

Jinger and her husband, Jeremy Vuolo, are parents of Felicity, 7, Evangeline, 5, and Finn, 11 months.

“I think all of us [siblings] would probably be like, ‘17, maybe not for a girl,’” Jinger said, acknowledging that Michelle, 59, was “ready to get married” before she turned 18. “It’s one of those things where you look at it [afterward].”

Jim Bob, 60, and Michelle have been married since 1984, going on to welcome 19 children together. They raised their children to follow a courtship-style of dating when entering into their own romantic relationships. Jinger, however, doesn’t necessarily plan to follow suit with her own kids.

“I think that the Bible’s clear about what purity is before marriage, but as far as the specifics, it’s not nailed down,” Jinger exclusively told Us Weekly in 2023. “[We were taught] you can’t go on a date with someone without a chaperone. You know, you can’t kiss before you’re married, you can’t hold hands, like, all the rules. I don’t see that in the word of God.”

According to Jinger, she wants her and Vuolo’s kids to be more open-minded as they grow up.

“I mean, sometimes things are trial and error,” the People Pleaser author told Us. “I want to equip them for life and give them the best possible lives that I can and point them to the word of God.”

She continued, “And then, at the end of the day, I think that they will grow and mature. I don’t think that courtship is a word that we’re gonna use with them at all because I don’t think that that’s the only way to find a spouse — or the best way — at all.”

Jinger, who was 22 years old when she married Vuolo, also saw some of her siblings follow in Jim Bob and Michelle’s footsteps when it came to getting married young. Jinger’s brother-in-law Ben Seewald, for his part, was 19 years old at his 2014 wedding to Jessa Duggar.

“One reason that comes to mind is [what] my parents have shared is them getting married young and then having kids young and raising them, and then now we’re getting married,” Seewald, 30, said on Wednesday’s podcast episode. “The grandkids are coming, and they’re still pretty young and they still have enough energy to get out and do fun stuff with the grandkids. I think you get more of a potential with that next generation … to just be more involved in their lives.”

Related: Jinger Reveals What Was ‘Not Necessarily Healthy’ About Growing Up Duggar

Jinger Duggar has been honest about the challenges of growing up in the TLC spotlight — and of breaking free from the conservative teachings of her childhood. Jinger is one of Jim Bob and Michelle Duggar’s 19 children who were raised as followers of the Institute in Basic Life Principles, a fundamentalist organization founded by […]

As for Seewald, he was also interested in the idea to “start life” with Jessa, 33, as soon as possible. (Jessa was 21 when they said “I do.”)

“I really wanted to start a family and just begin that aspect of my life,” he stated.

Jessa and Seewald are now parents of six, welcoming their youngest baby in 2025.

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Not every franchise can orchestrate a textbook reboot, only to be left in the lurch. In the last five years, while several major franchises have struggled to stay afloat and contemplated major pivots, one of the longest-running sci-fi series of all time pulled off quite a surprising comeback. The franchise had gone through several iterations over the years, without quite having found a sweet spot. But things turned around in 2022, when a movie destined for theaters landed on Hulu and swept audiences off their feet by sheer quality alone. Two follow-ups were released, with the most recent one delivering excellent reviews and solid box office results only last year. The movie has now hit a major milestone on transactional streaming platforms, although this achievement comes at a time when the franchise is at a crossroads.

It was recently announced that director Dan Trachtenberg has signed a first-look deal with the newly restructured Paramount, which presents an entirely new set of opportunities for him. However, he has also said that this doesn’t mean the end of his relationship with the Predator franchise, which he helped reboot with Prey, Predator: Killer of Killers, and Predator: Badlands. Released last year, Predator: Badlands grossed around $185 million worldwide against a reported budget of more than $100 million. Like Trachtenberg’s two previous Predator movies, it earned positive reviews. Predator: Badlands holds an 86% critics’ score on the aggregator website Rotten Tomatoes, where the consensus reads, “Director Dan Trachtenberg continues to take the Predator franchise in exciting new directions with Badlands, a rollicking adventure that transforms one of cinema’s most iconic brutes into a hero worth rooting for.”

How Long Has ‘Predator: Badlands’ Been Ruling the Home Video Charts?

However, it’s the film’s “Verified Hot” 96% audience score on Rotten Tomatoes that seems to have pushed it past a major milestone on the PVOD market. According to FlixPatrol, Predator: Badlands has spent over a month on the domestic Amazon, iTunes, and Vudu charts, which recently found a new champion in The Housemaid. Starring Dimitrius Schuster-Koloamatangi and Elle Fanning, who has since been nominated at the Oscars for her supporting performance in Sentimental Value, the movie subverted expectations by presenting the story through the alien character’s perspective. Trachtenberg previously worked with Paramount on 10 Cloverfield Lane, and has said that he wants to make original movies at the studio.

You can watch Predator: Badlands at home. Stay tuned to Collider for more updates.

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Release Date

November 5, 2025

Runtime

107 minutes

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Director

Dan Trachtenberg

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Writers

Dan Trachtenberg, Patrick Aison, John Thomas, Jim Thomas

Producers

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Brent O’Connor, John Davis, Marc Toberoff, Dan Trachtenberg, Ben Rosenblatt

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• 
• 

  Dimitrius Schuster-Koloamatangi

  Dek / Father

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By Robert Scucci
| Published 17 seconds ago

Whenever I think about movies associated with Martin Scorsese, I immediately think about mobsters and crimelords and nothing else, because that’s what he’s best known for. The first films that come to mind are Goodfellas, The Departed, and Bringing Out the Dead, all excellent movies worth their weight in critical acclaim. At 37 years old, though, I’m just now learning about a subgenre popularized in the 80s known as the Yuppie Nightmare Cycle, which mixes film noir motifs with elements of screwball comedy, as can be seen in 1985’s After Hours.

Written by Joseph Minion and directed by Scorsese, After Hours is my official introduction to the subgenre in my own headcanon, though I’m sure I’ve seen movies that fall into this wheelhouse before becoming familiar with the term. What can I say? I’m only human, I go on too many cinematic side quests, and as a result I have blind spots. You don’t know what you don’t know, but now that I do know, I need more of what films like After Hours have to offer because it contains just about everything I’m looking for in a movie.

A Fugue State Of Terrible Decisions

After Hours earns its keep by continually escalating its premise to increasingly absurd extremes. We’re introduced to Paul Hackett (Griffin Dunne), a white-collar word processor working in New York City. He’s conventionally handsome, professionally respected, has a nice apartment, and dresses well. Despite all of this, he lives alone and leads a seemingly hollow life.

While grabbing a bite at a café one night, Paul bonds over the book he’s reading, Tropic of Cancer by Henry Miller, with Marcy Franklin (Rosanna Arquette). She briefly talks about herself and her roommate, Kiki (Linda Fiorentino), a sculptor whose claim to fame is making papier-mâché paperweights shaped like bagels. Feigning interest in these sculptures so he can go back to her place, presumably to hook up, Paul gets Marcy’s phone number and the address she shares with Kiki.

From this point forward in After Hours, Paul’s life takes a turn for the worse in increasingly ridiculous fashion. He loses the only $20 he has on him when his speed-demon taxi driver causes it to blow out the window. Kiki comes onto him after asking for help with a giant sculpture of a screaming man. Marcy grows more unstable the longer he’s around her. Paul leaves the apartment fully intending to go home, but his standard 9 to 5 existence hasn’t prepared him for the fact that subway fare jumps at midnight, and the pocket change he has on hand isn’t enough to cover it.

Far from home, broke, and stuck in the rain, Paul relies on the kindness of strangers to get back to his apartment. This proves to be a misguided approach because every step forward shoves him two steps back, and the people he runs into only make matters worse. Marcy commits suicide in his absence, and the owner of the bar where he seeks shelter, Tom (John Heard), who is her boyfriend, receives the phone call informing him of her death.

Paul, who previously exchanged his own apartment keys for Tom’s as a sign of good faith so he could grab money from the register to afford subway fare, is mistakenly identified as the burglar who’s been terrorizing the neighborhood. A mob forms with every intention of either turning him over to the authorities or killing him. It goes on like this for 90 relentless minutes, so I’ll spare you the granular details.

Can’t Live With ‘Em … 

Throughout Paul’s journey in After Hours, he runs into woman after woman who make aggressive advances toward him, often emasculating him in the process, then spiraling when they realize he’s not interested and just wants to get home. From perfect stranger Marcy, to sculptor Kiki, to bartender Julie (Teri Garr), to Mr. Softee driver Gail (Catherine O’Hara), to June (Verna Bloom), who is also a sculptor, Paul keeps sprinting toward bad luck in the form of unwanted female companionship as if it were his true calling. The humor comes from the irony of it all, as Paul’s only reason for venturing out in the first place was to meet a woman with the hopes of taking her out on a date.

After Hours is equal parts neo-noir and slapstick comedy, and it’s impossible to watch without feeling absolutely exhausted on Paul’s behalf. Griffin Dunne’s facial expressions, spanning deadpan dread, astonishment, and pure bewilderment, make this an entertaining outing from start to finish because of how fully he commits to the premise. If you’re in the mood for the worst night out imaginable and want to experience it by laughing at someone else’s expense, you can stream After Hours on Netflix as of this writing.