Tom Cruise Playfully Roasts a Moviegoer for Eating All Their Popcorn Before the Movie Starts: 'Go Get Some More'
The internet's fascination with Tom Cruise and his favorite movie theater snack is increasing as Mission: Impossible - The Final Reckoning releases in theaters
Cruise was seen pointing out that a fan at one of the movie's recent screenings had finished their bucket of popcorn before the movie began in a video shared to X on Tuesday, May 20
The actor also went viral for eating the popular movie snack in a unique way during a screening of the movie in London on May 11Tom Cruise is establishing himself as something of a popcorn aficionado as Mission: Impossible - The Final Reckoning hits theaters.
Cruise, who went viral recently for frantically throwing popcorn into his mouth during a screening of Mission: Impossible at the BFI IMAX in London on May 11, was seen playfully calling out a fan at another screening for the franchise's eighth movie when he noticed the fan had finished his popcorn before the movie even started.
The video, which was posted to X on Tuesday, May 20, shows Cruise entering a movie theater full of fans excited to see the new Mission: Impossible from a side stage. As Cruise entered the room and stepped on stage, he turned to a fan in the front row and said, "You ate all your popcorn already!"
Tom Cruise calling out fan for finishing their popcorn before the movie starts lol pic.twitter.com/D4a52IEc5v
— Todd Spence (@Todd_Spence) May 20, 2025
The fan in question, as well as the people sitting nearby, all seemed to get a kick out of Cruise's comment and were left smiling after the surprise interaction; Cruise even appeared to tell the fan to "go get some more" as he arrived on stage.
Cruise's apparent love for popcorn has received significant attention online in recent days. Journalist Mike Ryan shared photos on X of Cruise eating popcorn as he chatted with employees at AMC Lincoln Square in New York City on Sunday, May 18, as he attended the N.Y.C. premiere of the new Mission: Impossible film. On top of that, another journalist who attended that premiere, Rachel Leishman, wrote on X that Cruise told moviegoers that night, "I normally eat two big buckets myself during a movie."
Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories.
Cruise himself reacted to the viral video of him chowing down on popcorn in London during an appearance on ESPN's The Pat McAfee Show with Darius Butler on Wednesday, May 21. "Man, I'm eating popcorn! They know when I'm going to these movies that I'm watching, I'm eating popcorn," he said with a laugh, when host Butler asked him: "Are you actually eating popcorn or are you full of s--- right here, TC? I've got to know."
Cruise has shared his love for popcorn before: at the end of a 2023 promotional video that he shared on X leading up to the premiere of that year's Dead Reckoning, the actor was seen eating popcorn from a large bucket. "I love my popcorn. Movies. Popcorn," he said.
Mission: Impossible - The Final Reckoning releases in theaters May 23.
Read the original article on People

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Geek Tyrant
3 hours ago
- Geek Tyrant
James Cameron Confirms His Next Movie Will Be a Fantasy Epic THE DEVILS — GeekTyrant
James Cameron has been burined deep in the world of Pandora for years, but he's announced what his next film project will be. The filmmaker behind Aliens , Titanic , and Avatar announced on Facebook that his next movie after Avatar: Fire and Ash will be an adaptation of The Devils . The Devil's is a brand-new fantasy novel by British author Joe Abercrombie, and Cameron is producing and co-writing the script with Abercrombie himself. The director said: 'I've loved Joe's writing for years, cherishing each new read, throughout the epic cycle of the First Law books, especially Best Served Cold (LOVE IT!), and the Age of Madness trilogy. 'But the freshness of the world and the characters in The Devils finally got me off my butt to buy one of his books and partner with him to bring it to the screen. 'I can't wait to dig into this as I wind down on Avatar: Fire and Ash. It will be a joyful new challenge for me to bring these indelible characters to life.' Abercrombie has built a loyal following in the grimdark fantasy space. His First Law series redefined the genre with its morally compromised antiheroes and sharp, self-aware writing. But, The Devils , which just hit shelves last month via Tor, kicks off a new trilogy, one with a very different premise. Set in a warped version of our own world, The Devils imagines a Europe crawling with unspeakable monsters and under siege by flesh-eating elves. The story centers on Brother Diaz, a weary soldier-priest tasked with assembling a team of both men and monsters to fight back the rising tide of horror. Abercrombie seems just as excited about the team-up, saying: 'I can't think of anyone better to bring this weird and wonderful monster of a book to the screen,' he said in a statement. This isn't the only Abercrombie film adaptation in the works. Best Served Cold , one of his most beloved standalone novels, is currently being developed as a feature film with Rebecca Ferguson set to play the deadly Monza Murcatto. That project is being directed by Deadpool's Tim Miller and is currently in pre-production. Cameron, meanwhile, still has a few stops left on the Avatar train. Fire and Ash , the third installment in his sprawling sci-fi epic, is scheduled to open on December 19th. Two more sequels are planned after that, with tentative release dates in 2029 and 2031. But clearly, the filmmaker is already mapping out his next creative obsession. If The Devils lands with the scope and visual intensity we associate with Cameron, and given the source material, this could be a great new chapter for both the director and modern fantasy cinema. The Devils is available now in print, ebook, and audiobook formats.


New York Times
3 hours ago
- New York Times
Why Women Are Leaving This Broadway Show in Tears
I cried the first time I saw the play 'John Proctor Is the Villain,' set in a high school in small-town Georgia during the height of the MeToo movement, and I couldn't stop thinking about it for weeks. On social media, I saw other women reacting similarly, leaving performances in tears. This past weekend, I went a second time with a friend. As the houselights went up, she was crying, as was the woman in the row in front of us. They spontaneously hugged, which is something I've never seen before at a Broadway show. Outside the theater, two women were sobbing. At least since the time of Aristotle, catharsis has been understood as one of the chief purposes of theater, but it's been a while since I've experienced it so viscerally, and I kept wondering why this play is having such an intense effect on so many. (No other play has received more Tony nominations this year.) One reason for its power, I suspect, is that it transports the viewer back to a time when MeToo still felt alive with possibility, the moment before the backlash when it seemed we might be on the cusp of a more just and equal world. It's not an uplifting play — an innocent girl is punished, and a guilty man is not — but it is still shot through with a kind of hope that's now in short supply. 'John Proctor Is the Villain' takes place in 2018 and revolves around an honors English class studying Arthur Miller's 'The Crucible.' The girls in the class are smart and ambitious; they're also, like many teenagers everywhere, swoony and bursting with contradictory emotions. They're so excited about the MeToo movement that they want to start a feminism club at their school, which school officials do not, at first, want to allow. Tensions in the community, their guidance counselor tells them, are too high. Those tensions soon creep in to the high school and start to shake the girls' solidarity. The father of one of the girls is accused of sexual harassment by two women, which leads her to question MeToo. 'We can punish the men if they're proven guilty, but if we find out the girls are making it up they should get punished just as bad,' she says. Another girl, Shelby — played by the 'Stranger Things' star Sadie Sink — returns from a mysterious absence with her own destabilizing accusation. Their drama is refracted through their engagement with 'The Crucible.' In 'John Proctor Is the Villain' the increasingly common idea that MeToo was a witch hunt is turned inside out. The playwright, Kimberly Belflower, had been captivated by the MeToo movement when it revved up in 2017. 'It just felt like, 'Oh, my God, we're doing this. We're naming these things,'' she told me recently. It gave her a new lens on her own adolescence in rural Georgia. 'I didn't have the vocabulary for this then, but I do now,' she said. Want all of The Times? Subscribe.


Washington Post
4 hours ago
- Washington Post
An astonishing new approach to ‘Frankenstein'
The 'Frankenstein' that roared to life in D.C. this past weekend marks a triumphant U.S. directorial debut for London-based theater savant Emily Burns, who'd already earned a measure of local attention for adapting the script for the 'Macbeth' that brought Ralph Fiennes to Shakespeare Theatre Company last spring. As in that intriguing but uneven exercise, Burns has chucked a night-dark classic and a brisk contemporary vibe into her authorial Cuisinart. But this time, with the writer-director not just remixing the story but shepherding the whole shebang, the resulting world premiere is a blistering success — unabashedly intelligent, sumptuously visualized, taut as an assassin's garrote. It's jump-scary psychodrama with a literary pedigree, served up in sleek prestige-TV style. If there's any theatrical justice it'll end up making piles of money on Broadway and the West End. We're still in Geneva circa 1790, still in Mary Shelley's shadow-shrouded tale of an Enlightenment-inspired wannabe scientist. The moral and ethical probings still circle around what exactly Victor Frankenstein (Nick Westrate) has been up to of late. But there's also the intimately personal question, more urgent now than ever, of what the fallout will be for Elizabeth (Rebecca S'manga Frank), Victor's adopted sister and eventual wife. You might reasonably guess that in a rewrite grounded in what the script says is 'psychologically now,' she'll end up being far more than a tragic second-banana figure. What you might not expect is how far and how firmly Burns will manage to shift focus to Elizabeth without entirely dismissing Victor as 'the real monster,' that tired old oversimplification. Or how much genuinely suffocating suspense she'll wring from the hows and the whys and the what-could-you-possibly-be-thinkings. We'll have none of the novel's epistolary, travelogue-y throat-clearings to kick off this brutally efficient retelling; no Arctic vistas, no random ice floe encounters. Burns launches things in smothering gloom instead, with moody surtitles and a moodier voice-over. (Tired devices, you might sneer, right up until they pay off in a hair-raising collision of remembered horror, real-time revelation and rapacious need.) Those opening atmospherics give way, suddenly and startlingly, to a titanic thunderclap and a strobed glimpse of what looks for an instant like your standard mad-scientist lab setup. (The design elements, courtesy of scenarist Andrew Boyce, costumer Kaye Voyce, lighting guru Neil Austin, sound artist André Pluess and projectionist Elizabeth Barrett, prove uniformly superb and enviably unified.) A quick tonal shift, more light, and we're in the soaring moonlit kitchen of the Frankenstein family's stately home, well past midnight on the stormy eve of the young couple's long-planned wedding. Then Burns's lean story edit derails not just the planned nuptials but everyone's entire lives: Victor's 10-year-old brother, William, reported missing in the opening exchanges, is confirmed dead. Which is when things get all 21st-century head-shrinky: Justine (Anna Takayo), the devoted family retainer framed for the murder in Shelley's version, implicates her own self in this telling, confessing to the crime out of a morbid conviction that her impatience with William's preadolescent rowdiness had driven him out of the house and into the real killer's path. And Justine's piercing need to atone for what she sees as unforgivably bad (surrogate) parenting is merely the first suggestion of the soul-searchings to come over at the Frankenstein place. Victor and Elizabeth and eventually their righteous wet nurse (Takayo again, chameleoning nicely) will dig into memories of childhood alienation, tales of shifting parental affections and confrontations around what being a decent mother even means. Or, crucially, a halfway-decent father. It's all grounded impeccably, both in key themes from the original text and in stark traumas Shelley navigated in real life: Her mother's death was a direct result of her birth, while her own son, not coincidentally named William, was ailing around the time of the novel's conception and dead by the age of 3. The author lost three other children in their infancy, too. No shortage of resonance in all that for this adaptation's explorations of what courage it takes to contemplate the making of a child, how hugely the process of creating life can go awry, how quickly the simplicities of youth can curdle into the monstrosities of adult humanity. Frank's hypnotically sure performance as Elizabeth is the staging's bright lodestar. Her voice is caramel and cloves, expressive even in Burns's lighter modern phrasings, downright beguiling in more lyrical passages taken whole from Shelley's period text. Her body language speaks more resonantly yet: Stillness can equal immense authority onstage, and this actor's economy of movement generates black hole gravity, making larger gestures all the more seismic when they erupt. Takayo's is a nervier and more restless presence, as is Westrate's — aptly enough given the essential fecklessness of this adaptation's still-charming Victor. He's twitchy and shifty and impossible to repose any real faith in, this thoroughly modern man-child, which is one potent way Burns sustains the evening's exquisite narrative tension. Grounding a character's evasions and fictions in a physical vocabulary that screams 'I cannot be trusted' is a sly tactic for making an audience second-guess what it already knows to be a horrifying truth. That truth, of course, involves what constitutes monstrosity, and in whose eyes. Burns's last great coup is the climactic reveal that finally settles the question of whether this tale of a grotesque and murderous villain bears any resemblance to fact. It's not quite a spoiler to acknowledge that a Creature does make an appearance — actor Lucas Iverson gets a playbill credit, after all — but the specifics of that answer and the delicacy in how Burns and company navigate the moment elicited audible gasps at Sunday's matinee. Like nearly every rich and gorgeous element of this 'Frankenstein,' it's flat-out astonishing. Frankenstein, through June 29 at the Klein Theatre. About 2 hours 20 minutes, including an intermission.