On Oct. 6, a $111 billion deal closed between Paramount and Warner Bros to create the largest media corporation in all of history, Skydance, which would drastically change the media landscape.
With viral internet vigilantes finding inspiration in the spectacle of To Catch a Predator, A24’s psychological thriller, Primetime, feels more timely than ever
This September, The Screening Room announced their “Bad Brits” classic film series, which consists of British films from the ’50s to the ’80s and centers around the idea of “badness.”
Teenage Sex and Death at Camp Miasma: a transgressive queer slasher whose meta commentary on the genre itself is a horror theorist’s wet dream, as it oozes allegories and subversions.
The success of Curry Barker and Kane Parsons’ debut studio films Obsession (2025) and Backrooms (2026), and their past careers on YouTube have led to many predicting a new era of self-made directors who make a name for themselves beginning on social media.
As Hollywood wraps up another awards season celebrating cinematic excellence, a different kind of ceremony has also crowned its winners, not as films recognized for artistic achievement, but for spectacular failure.
