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Time Magazine
2 days ago
- Entertainment
- Time Magazine
The 10 Scariest Movies of All Time According to AI
This article is published by a partner of TIME. There's something irresistible about a good scary movie. The thrill of fear, the pulse-pounding suspense, and the sheer adrenaline rush make horror films a favorite for audiences worldwide. Whether it's the unsettling quiet before the scare, the psychological torment, or the grotesque imagery, scary movies have the power to keep us on the edge of our seats and haunt our dreams long after the credits roll. The best horror films are not just about jump scares—they tap into our deepest fears, from the fear of the unknown to the terror of losing control. They weave compelling stories, feature unforgettable characters, and create an atmosphere so tense that viewers feel like they're part of the nightmare. These movies stand out because they not only scare us but also stay with us, making us think about what fear truly means. This article showcases the 10 scariest movies of all time, using research assistance from ChatGPT. These films have defined the horror genre, terrified audiences, and left an indelible mark on pop culture. From supernatural hauntings to visceral psychological horror, these movies represent the pinnacle of fear-inducing cinema. 1. The Exorcist (1973) 'The Exorcist' is a story about a young girl possessed by a demonic entity and the lengths her family goes to for her salvation. The film's chilling depiction of possession, combined with groundbreaking special effects and an unforgettable soundtrack, solidified its place as one of the scariest movies ever made. Its psychological and spiritual terror resonates with audiences to this day. 2. Hereditary (2018) Ari Aster's 'Hereditary' is a modern masterpiece of psychological horror, exploring grief, family secrets, and supernatural terror. The film builds an overwhelming sense of dread, culminating in a shocking and unforgettable finale. Toni Collette's haunting performance elevates this tale of familial disintegration. 3. The Shining (1980) Stanley Kubrick's adaptation of Stephen King's novel is a chilling exploration of madness and isolation. Set in the eerie Overlook Hotel, 'The Shining' follows Jack Torrance's descent into insanity as supernatural forces take hold. Its iconic imagery and unforgettable performances make it a horror classic. Director: Stanley Kubrick Key Stars: Jack Nicholson, Shelley Duvall, Danny Lloyd Notable Scenes: 'Here's Johnny!' and the blood-filled elevator Box Office: $47 million worldwide (original release) Awards: Now considered a masterpiece, though snubbed during its release Legacy: Influenced countless horror films and pop culture references 4. Halloween (1978) John Carpenter's 'Halloween' introduced the world to Michael Myers, the masked killer who stalks babysitters on Halloween night. With its simple yet terrifying premise, the film popularized the slasher genre and became a cultural phenomenon. Its eerie score remains one of the most recognizable in cinema. Director: John Carpenter Key Stars: Jamie Lee Curtis, Donald Pleasence, Nick Castle Notable Scenes: Michael's slow stalking and the final confrontation Box Office: $70 million worldwide (on a $300,000 budget) Awards: Received critical acclaim for its direction and tension Legacy: Inspired countless sequels and the slasher subgenre 5. The Texas Chain Saw Massacre (1974) Tobe Hooper's low-budget horror film shocked audiences with its raw, visceral depiction of terror. Following a group of friends who fall victim to a family of cannibals, 'The Texas Chain Saw Massacre' is an unrelenting and disturbing experience. Its documentary-style realism adds to the horror. Director: Tobe Hooper Key Stars: Marilyn Burns, Gunnar Hansen, Edwin Neal Notable Scenes: Leatherface's first appearance and the dinner scene Box Office: Over $30 million worldwide Awards: Cult status despite initial controversy Legacy: Established Leatherface as a horror icon 6. Psycho (1960) Alfred Hitchcock's 'Psycho' is a psychological thriller that redefined horror with its shocking twists and groundbreaking approach to suspense. The story follows Marion Crane, who meets her untimely fate at the infamous Bates Motel. The film's shower scene is one of the most famous moments in cinematic history. Director: Alfred Hitchcock Key Stars: Anthony Perkins, Janet Leigh, Vera Miles Notable Scenes: The shower scene and the final revelation about Norman Bates Box Office: $50 million worldwide Awards: 4 Academy Award nominations Legacy: Considered the blueprint for modern horror films 7. A Nightmare on Elm Street (1984) Wes Craven's 'A Nightmare on Elm Street' introduced Freddy Krueger, a supernatural killer who stalks his victims in their dreams. Combining slasher horror with surreal imagery, the film is both terrifying and inventive. Freddy's burned visage and razor glove are iconic. Director: Wes Craven Key Stars: Robert Englund, Heather Langenkamp, Johnny Depp Notable Scenes: Freddy's first kill and the ending twist Box Office: $57 million worldwide Awards: Launched a highly successful franchise Legacy: Cemented Freddy Krueger as a horror legend 8. The Ring (2002) Gore Verbinski's remake of the Japanese horror film 'Ringu' brought the haunting tale of a cursed videotape to Western audiences. The film's eerie atmosphere and shocking imagery, particularly Samara crawling out of the television, terrified viewers worldwide. Director: Gore Verbinski Key Stars: Naomi Watts, Martin Henderson, David Dorfman Notable Scenes: The videotape sequences and Samara's well Box Office: $249 million worldwide Awards: Critical acclaim for its atmosphere and cinematography Legacy: Sparked a wave of Japanese horror remakes 9. The Blair Witch Project (1999) 'The Blair Witch Project' popularized the found-footage genre with its terrifying story of three filmmakers lost in the woods. The movie's minimalist approach and suggestion of unseen horrors created an unparalleled sense of dread. Directors: Daniel Myrick and Eduardo Sánchez Key Stars: Heather Donahue, Michael C. Williams, Joshua Leonard Notable Scenes: The final scene in the house and the tent attack Box Office: $248 million worldwide on a $60,000 budget Awards: Praised for its innovation and marketing Legacy: Reinvented the horror genre with its realism 10. It (2017) The modern adaptation of Stephen King's 'It' brought Pennywise the Clown back to terrify a new generation. With a mix of psychological horror, jump scares, and emotional depth, 'It' became a critical and commercial success. Bill Skarsgård's portrayal of Pennywise is as terrifying as it is unforgettable. Director: Andy Muschietti Key Stars: Bill Skarsgård, Finn Wolfhard, Sophia Lillis Notable Scenes: The sewer introduction and the projector scene Box Office: $701 million worldwide Awards: Nominated for multiple critics' awards Legacy: One of the highest-grossing horror films of all time Conclusion on Scary Movies Scary movies are more than just entertainment—they're an art form that taps into our primal fears and emotions. The films on this list showcase the creativity and brilliance of filmmakers who have mastered the craft of horror. Whether it's through psychological tension, supernatural terror, or outright gore, these movies have left an indelible mark on the genre and our collective psyche. From the timeless suspense of Psycho to the modern psychological dread of Hereditary, these films prove that fear is universal and endlessly captivating. As horror continues to evolve, these classics will remain benchmarks, reminding us of the enduring power of a good scare. Whether you're a lifelong fan or new to the genre, these movies are essential viewing for anyone brave enough to experience them. Related Articles: About the Authors: Richard D. Harroch is a Senior Advisor to CEOs, management teams, and Boards of Directors. He is an expert on M&A, venture capital, startups, and business contracts. He was the Managing Director and Global Head of M&A at VantagePoint Capital Partners, a venture capital fund in the San Francisco area. His focus is on internet, digital media, AI and technology companies. He was the founder of several Internet companies. His articles have appeared online in Forbes, Fortune, MSN, Yahoo, Fox Business and Richard is the author of several books on startups and entrepreneurship as well as the co-author of Poker for Dummies and a Wall Street Journal-bestselling book on small business. He is the co-author of a 1,500-page book published by Bloomberg on mergers and acquisitions of privately held companies. He was also a corporate and M&A partner at the international law firm of Orrick, Herrington & Sutcliffe. He has been involved in over 200 M&A transactions and 250 startup financings. He can be reached through LinkedIn. Dominique Harroch is the Chief of Staff at She has acted as a Chief of Staff or Operations Leader for multiple companies where she leveraged her extensive experience in operations management, strategic planning, and team leadership to drive organizational success. With a background that spans over two decades in operations leadership, event planning at her own start-up and marketing at various financial and retail companies, Dominique is known for her ability to optimize processes, manage complex projects and lead high-performing teams. She holds a BA in English and Psychology from U.C. Berkeley and an MBA from the University of San Francisco. She can be reached via LinkedIn.
CBC
3 days ago
- Entertainment
- CBC
Bring Her Back proves even great horrors aren't horrifying anymore
Do movies have the ability to scare us anymore? This is not a question of whether they can disturb us. The early 2000s evolution to violence-based endurance cinema via Saw, Hostel and The Human Centipede proved we still cringe at the worst depictions of gore. The more recent turn to cultural commentary via horror metaphor — as seen in The Substance, Sinners and The Invisible Man — proves we are still at least passingly interested in horror as a vehicle for something deeper. After all, what's more cutting than to suggest that racism, colonialism and misogyny are the actual boogeymen of today — and that these, unlike vampires, are shockingly real? But for those films that still try to achieve the genre's original goal of making us shudder at what goes bump in the night, perhaps their work is cut out for them. That includes Michael and Danny Philippou's new A24 production, Bring Her Back. The follow-up to their 2022 viral smash Talk To Me, it's a visually beautiful and cinematically stylish outing, though it may be better viewed as a blood-drenched drama rather than pure horror. Another supernatural thriller à la The Exorcist, its slick excesses are sure to garner critical and audience approval, even if one can effectively guess at the general beats of its possession plot about 15 minutes after its unfortunate stars amble in together. WATCH | Bring Her Back trailer: That's because, like its recent predecessors, Bring Her Back isn't among the meta-fictional outcropping of horrors. Those offerings — like Ready or Not, Cabin in the Woods or Happy Death Day — eschew fear entirely, to instead cleverly point out, and joyfully subvert, just how formulaic the genre has become. Instead, as its marketing would suggest, Bring Her Back goes for something closer to horror's increasingly elusive original promise. Following blind teen Piper (Sora Wong) and step-brother Andy (Billy Barratt) shortly after the death of their father, the "her" of Bring Her Back 's title takes a bit of doing to get to. First, we're greeted by manically kind foster mother Laura (Sally Hawkins), her creepily mute foster son Oliver (Jonah Wren Phillips) and her deeply unsettling stuffed dog. But as Laura bristles at Andy's plan to apply for guardianship of his sister when he turns 18, the foreboding atmosphere quickly ramps up. There's something wrong with Oliver; his dead-eyed stare and attempts to wrestle with their cat can't be right. There's something off with Andy; his bed-wetting, dead-to-the-world drooling sleep and hallucinations of his dead father suggest as much. And most of all, there's something worrying with Laura; her thinly disguised obsession with Piper — and even less disguised disapproval of Andy — is clearly covering something more sinister. There is a creeping, malevolent wrongness in that house, bubbling up from just barely beneath the surface. Though, again, all but the most horror-averse will likely piece together what's hiding under that surface no longer than about 10 minutes after the character archetypes establish themselves. There is the innocent lamb here, the penitent but sin-stained martyr there, and the ill-advised deals with the devil that can only ever go one way for those foolish enough to enter into them. That's compounded by an ending that feels like a step back from the edge, an at-once predictable yet vaguely disappointing finale that undercuts its own message. This kind of failsafe turn, while something of a relief from the unrelentingly dour atmosphere up until then, also feels like the Philippous are unable to trust that their audience knows what kind of movie they've agreed to. But this type of ending is not rare for mainstream horror, a genre that isn't quite willing to alienate all but its most die-hard fans. And it also isn't enough to ruin what has come already, predictable as it may be. It at least occasionally shocks through the gore, namely through its blood-drenched, toothy crunches — almost more horrifying when you hold your hands in front of your face to be assaulted solely by the sound. Unsettling cinema However, overall — through both its atmosphere and the dare-you-to-watch marketing — Bring Her Back means to unsettle. It is overwhelmingly the strategy of the modern, "straight-scary" movie. Films that, at least on their face, exist solely to push us to imagine things that make real life pale in comparison — that are so awfully, bitterly, shockingly unsettling we check under the bed before going to sleep — are vanishingly few now. Or more accurately, vanishingly effective. That's likely due to the same reason that flashing ankles or showing married couples sleeping in the same bed is unlikely to titillate or provoke nowadays. We are so inundated with real-life stories of horrors — and so used to the once-new medium of cinema that our cognition is evolving with it — that actually scaring adults who are looking for fear has become a virtually impossible dragon to slay. That doesn't mean conjuring fear is forever out of filmmakers' reach: There are always the infrequent watchers, still spooked easily enough to increase the hype around new releases. And the trite jump scare — of which Bring Her Back thankfully is mostly absent — is an easy gimmick to make most watchers flinch. But for the vast swaths of other mainstream straight horrors, there's really only one strategy going forward. Oz Perkins used it in his bait-and-switch crime drama Long Legs, as did Kyle Edward Ball for the ingeniously confusing Skinamarink: It's to openly lie in your ads. To use viral marketing and social media to promise the most unsettling theatrical experience of your life; to assure audiences that they'll scarcely be able to sit through the stunningly suspenseful agony without screaming, passing out or running for the exit. Audiences aren't the delicate, ankle-sensitive viewers they once were. So filmmakers have to instead aim to trigger similar — though still distinct — emotions in them to at least pretend to deliver on their marketed promise. Whether shame, disgust, pity or just general discomfort, more and more, true horror movies opt to act as violation simulators to elicit the visceral reactions that draw people in. That is overwhelmingly true of Bring Her Back, a horror touted as eminently scary, but which is more eminently unsettling for how forcefully it makes its audiences sit through the various violations of social contracts and basic trust. Piper, our blind character, is repeatedly lied to about her surroundings by those she relies on to tell the truth. Andy's hulking masculinity is routinely used against him, as characters purposely misrepresent his behaviour as violent and threatening. And the most basic social contract — that adults should protect children — is so consistently and totally violated it becomes the uncomfortable thesis upon which the entire narrative rests. It's a dominant and unrelenting theme that, while not triggering fear, makes you squirm nonetheless. It is a strange but common thing, then, to say that though it is not really frightening, Bring Her Back is one of the best modern horror movies in ages.
Yahoo
3 days ago
- Entertainment
- Yahoo
Steven Spielberg's Shark Hits 50: Steven Soderbergh On Why ‘Jaws' Is The Most Disruptive Film Of Our Lives & Why Spielberg Is The GOAT
On its 50th anniversary, Steven Spielberg's Jaws can claim to be the most disruptive film of the last half-century, maybe even ever. While predecessors like The Godfather and The Exorcist drew theater lines around the block through word-of-mouth, Jaws was the one for which the term summer blockbuster was coined. Opening on a then-unheard-of 409 screens, the film caught the zeitgeist in an unprecedented manner, helped by marketing techniques that would center escapism as a staple of the summer movie season. Spielberg's film followed hard on the heels of Peter Benchley's bestselling 1974 novel, with screenwriter Carl Gottlieb throwing out the book's myriad subplots to focus on New England police chief Martin Brody (Roy Scheider) and the team he assembles to stop a great white shark that is terrorizing Amity Island: intellectual oceanographer Matt Hooper (Richard Dreyfuss) and salty, no-nonsense shark hunter Quint (Robert Shaw). More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' How Independent Animation Underdogs Like 'Flow' And 'Memoir Of A Snail' Are Disrupting The Awards Race: There's "Never Been A Better Time" In Spielberg's hands, Jaws was a lot more than a terrifying great white shark; the characters of Quint, Hooper and Brody are indelible, their grudging camaraderie bolstered by the film's centerpiece: the chilling tale of the USS Indianapolis. Devised by script doctor Howard Sackler and punched up in a later draft by John Milius (with some finessing from Shaw himself), Quint's gruesome monologue explained the fisherman's hatred for sharks, having been on board the ill-fated ship when it went down in shark-infested waters in July 1945 ('The ocean turns red, and despite all your poundin' and your hollerin' those sharks come in and they rip you to pieces'). An early admirer of the film was 12-year-old Steven Soderbergh, who came out of the screening with two questions: 'What does 'directed by' mean? And who is Steven Spielberg?' Spielberg's giant shark hooked Soderbergh not only enough to fuel his own disruptive filmmaking career, but also to start work on a long-gestating book that reconstructs each day of shooting what must have seemed like an impossible task: making a movie on open water with a mechanical shark that just would not work. (Amblin is producing Jaws @ 50: The Definitive Inside Story, to premiere on National Geographic this summer.) RELATED: 'Bono: Stories Of Surrender': On Irish Fathers & Sons, Processing Family Tragedy & How A Need To Be Heard Propelled A Dublin Kid To Become One Of The World's Biggest Rock Stars Here, Soderbergh reflects on his enduring admiration for the film. DEADLINE:Jaws Jaws STEVEN SODERBERGH: Overwhelmed, on a lot of levels. It was probably the moviest movie I'd ever seen at that point, this incredibly combustible combination of super-high concept and bravura filmmaking. But the thing that I think separates it from most movies before or since is the character work. And the clear understanding on the part of Spielberg of what Stanley Kubrick used to call the non-submersible units of narrative. When you look at how the narrative of the movie is built, what each scene or sequence is accomplishing, it's just a model of movie storytelling, combined with what was, at the time, unprecedented hype and expectation. And then, that expectation is not only met, it's exceeded, and he makes an instant classic, which nobody was anticipating. RELATED: Brazilian Comeback: How The Cannes 2025 Country Of Honor Is Following The Success Of 'I'm Still Here' It was already, at that point, a sort of legendarily difficult production. And until the first preview in Dallas, nobody knew what was going to happen. But you've got these forces that are smashing into each other — cultural and artistic forces — that result in this kind of nuclear detonation of popularity. But also, you've got a singular, multi-generational talent emerging with this film that everybody in the world is going to see. There was just so much fissionable material there to generate an explosion, and that's what happened. But what makes it unique even in retrospect is this: Let's say you look at the five movies nominated for [the Oscar] Best Picture that year: Barry Lyndon, Dog Day Afternoon, Jaws, Nashville and One Flew Over the Cuckoo's Nest. All of them are great. I would argue, though, that of the other four films that aren't Jaws, there are other filmmakers that could have made versions of those movies. They may not have been as good or distinctive, but they are possible to be made by other filmmakers. But there was no other director on the planet who could have survived and made Jaws. None of those other four directors could have made Jaws. Whereas I think Spielberg could have made a variation of any of those other films. It was just a totally unique property and a totally unique talent blowing up, and that's why I think it still resonates, and it just keeps getting better because it's all in camera. RELATED: DEADLINE: SODERBERGH: There's no C.G. They were out there in the middle of a f*cking ocean. There's a reason people don't do that. There is no technological advance that has happened since that would make it any easier to do what they were doing. That shark was just a pneumatic mechanical device, in the actual ocean. There's no shortcut to that, and nobody's been able to come up with an easier, better way to do it, which is why people have stopped doing it. DEADLINE: What was the most calamitous thing that those choices brought? SODERBERGH: Going through the production reports, there's a period of a few weeks where the shark's not working. And it's not working to an extent that they're beginning to confront the real possibility that what they're attempting to do just physically cannot be done. It's a testament to the studio, the producers and Spielberg, that they continued to shoot, and continued to believe that essentially, they would figure it out. But when they first got the thing in the water and tried to make it work, they were looking at the real possibility that they'd made a mistake. DEADLINE: SODERBERGH: From what I've read, it was obvious very early on, they would have to take the basic premise of the book, and those three characters, and just start over. It makes sense that in the course of talking about this story, somebody would say, 'Hey, why does Quint hate sharks so much?' And that they should try to answer that. My understanding, which could be wrong, is that Howard Sackler was the one who came up with the idea of him telling that story. RELATED: DEADLINE: SODERBERGH: As is well-documented, it went through many, many iterations. But the audacity of stopping the movie — for nine minutes — to have that scene! It starts out as a very funny scene and then morphs into something much darker. It is just still amazing to contemplate today. Can you imagine, in the middle of a Star Wars movie, a nine-minute dialogue scene? It's unthinkable. And so, again, the fact that Spielberg understood this. He's like, 'We've got to do it, and this is the time to do it. The night of day one when you need a breather — we're going to give you that breather, but then we're going to slip this other thing in there too, something that's going to make Quint an unforgettable character, through a story that is also unforgettable and true.' So, just the fact that, under enormous pressure, everybody continued to do their best work and to make the best version of that movie is, to me, a real clinic for a young filmmaker about the kinds of obstacles that you encounter. If you're going to make a movie, this is the most extreme example, but as a portrayal of the idea, 'never panic and never give up,' it's pretty hard to beat. DEADLINE: The ExorcistThe GodfatherJaws SODERBERGH: You have to attribute that to Universal, recognizing they had a rocket in their pocket and tripling down, quadrupling down, on this wide-release strategy. If it's not this movie by this filmmaker, it doesn't work. It just doesn't work. You can't just do it with any film. It was the beneficiary of a lot of different elements coming together in this one circumstance, and the studio saying, 'We should really weaponize this movie, because there's 100% awareness and 100% want to see. And the guy made a masterpiece. So, we throw everything at it.' That was the right call. Of course, when it works, everybody goes, 'OK, let's do that too.' The problem is, you've got to have a movie like Jaws to pull it off. RELATED: DEADLINE: Psycho SODERBERGH: Well, to your point, it's a huge idea. It's a really big hook, and everybody who came into contact with the novel knew it. It's a testament to how big the idea is that the novel was as big as it was, because it's not a great novel. It's just got this massive hook in it that keeps you reading. Those are rare, those high-concept horror movies that are applicable to experiences that you have in everyday life. Psycho was one of them. This is another, and whether they all have to involve water, I don't know. But it's the equivalent of finding a horror movie that makes people afraid to step off the curb, or something that they do multiple times a day and now they will never do without some amount of anxiety. Those are really hard to come by — and, believe me, there are lots of writers sitting around trying to come up with them. DEADLINE: JawsOrca Star WarsJaws SODERBERGH: The component that needs to be present for these two to become something other than single-use plastic is great storytelling. And so, two years later, Star Wars meets both those metrics and that's why it blew up in the same way Jaws did. But we're talking about a period of time when it was still conceivable that the most popular films of the year were also the best films of the year. And I don't know that that's been true for some time. DEADLINE: Close Encounters of the Third Kind, E.T. SODERBERGH: He's a singular talent who was going to emerge one way or another. He was unstoppable. A born filmmaker, and everybody that interacted with him knew it. The weird thing is, despite being the most successful director in history, I still think he's taken for granted. He has generated so much astonishing material, and some doesn't get its due because he's prolific and unpretentious in the way that he works and the things that he makes and the way that he talks about his work. There are things that he's done that if any other filmmaker had made them, these would be their career best. But he's done it so often that he gets taken for granted. I mean, there's no filmmaker that I'm aware of that can wrap their head around what he did on Ready Player One [2018]. You get any group of directors together, and they're like, 'I don't even understand how that's possible, what he did in that film.' And that's just one of two films he made back-to-back [after 2017's The Post]. Anybody else after any one of these things he'd done would be on bed rest for three years. DEADLINE: Jurassic ParkSchindler's List SODERBERGH: That's ridiculous. Either one of those would put another filmmaker in the hospital. So, for his facility and, like I said, his lack of pretension, I just still think he's taken for granted, strangely. Best of Deadline Every 'The Voice' Winner Since Season 1, Including 9 Team Blake Champions Everything We Know About 'Jurassic World: Rebirth' So Far 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out?
Thrill Geek
3 days ago
- Entertainment
- Thrill Geek
Universal Horror Unleashed Reveals More Details about 'Blumhouse's The Exorcist: Believer' Haunted House
Based on one of the most terrifying installments of the iconic film franchise, 'Blumhouse's The Exorcist: Believer' haunted house will immerse guests in a harrowing retelling of the film's descent into demonic possession. Everything begins at the market where a violent earthquake takes place. Later, guests will find themselves deep in the shadowy woods where best friends Katherine and Angela mysteriously vanish – only to be discovered days later with no memory of what happened. From there, the terror builds room by room as the girls' disturbing transformation unfolds, going from the hospital to the girls' homes to witnessing the actual exorcism as everyone is surrounded by supernatural chaos. The ghostly journey continues as guests explore the abandoned production warehouse throughout Universal Horror Unleashed, where they encounter the Prop Graveyard, one of the four themed immersive areas. Here, the line between inanimate and alive blurs, as guests face a supernatural collection of unsettling dolls, dismembered mannequins and other haunted objects from abandoned film sets that seem to move as guests walk through. Next door, guests can unwind in Premiere House, a tapas bar featuring the horrors of Blumhouse. Premiere House will serve a variety of signature cocktails and a surprising selection of signature shareable bites set amid an eerie atmosphere filled with movie props and twisted décor representing some of Universal's most recent Blumhouse horror films. Universal Horror Unleashed is Universal Destinations & Experiences' first-ever, year-round horror experience, set to open in Las Vegas at the AREA15 District on August 14. As guests enter the abandoned production warehouse, they'll encounter unimaginable monstrous creatures lurking around every corner as they brave their way through four themed immersive areas. The terrifying journey continues in four haunted houses that will bring to life their worst nightmares: Universal Monsters, Blumhouse's The Exorcist: Believer; Texas Chainsaw Massacre; and Scarecrow: The Reaping. The horror extends to the food and beverage offerings, with themed bars and food locations serving craft cocktails and themed bites in select areas, and a retail location with unique collectible merchandise and more. Tickets are on sale now and can be purchased here . Universal Destinations & Experiences will continue to share more details for Universal Horror Unleashed in the months ahead. For the latest information, visit UniversalHorrorUnleashed .com Clint Gamache is the owner of ThrillGeek. He started ThrillGeek to share his love of theme/amusement parks and pop culture with the world. You can find him at Halloween Horror Nights. Also, be sure to follow him on Twitter/X, Instagram @iamcg83
Yahoo
4 days ago
- Business
- Yahoo
Trump 2.0 falls apart before our eyes
On Wednesday, Donald Trump went nuts when a reporter asked him about a Wall Street acronym mentioning him and his tariff policy; 'TACO' or 'Trump always chickens out." The president had threatened to raise tariffs on European goods last Friday, but later backed off. 'It's called negotiations,' Trump hissed at a reporter who asked him about it Wednesday. 'Don't ever say what you said. That's a nasty question.' Those who witnessed Trump's meltdown were not overly impressed. His past behavior is filled with worse tantrums in front of reporters. 'I really think he lost it a long time ago,' a pool reporter said. Apparently, it only took Elon Musk, who officially left the Trump administration on Wednesday, 128 days with the president to come to that same conclusion. A true genius. Late Wednesday night, Trump was handed his biggest loss when the U.S. Court of International Trade ruled his unilateral tariffs on nearly all U.S. trading partners illegal. Call it Liberation Day. The day before, Trump stayed home, didn't see the press and the sum total of his contribution to society was 10 rage tweets on Truth Social, threatening California, Canada, and Vladimir Putin, while praising himself and blaming Joe Biden for everything wrong on the planet. Critics say it was the highlight of Trump's second administration. The second verse may be the same as the first, but in Donald Trump's case, it's a lot louder and far more dangerous the second time around. Few stand against the man for whom an overwhelming majority of people in this country cannot stand. Not only would he be the last person invited to a neighborhood barbecue, but inevitably, the police would have to remove him from the property, along with his traveling crew of sycophantsmorons who hang on his every word in order to feed their empty souls. This soulless group of feckless individuals consists of racists, misogynists, bed wetters, train spotters, and a guy who once painted his bald head to make it look like he had hair. The backstories of those on staff and in Trump's Cabinet would make 'The Exorcist' seem like 'The Sound of Music.' They've never climbed any mountain, but have been damaged on every turn, and have turned the raw feelings of inadequacy, loathing and self-doubt into something powerful – yet dark. If they hadn't gone all 'Sith Lord' on us, many would find their message inspiring. Many still do. Many also do not, and that doesn't bother Don. The anger of his enemies is the fuel that feeds him and he's been fairly effective at taking advantage of his dissenters in every possible way. The reality is there's no morality involved. Just victory. Divide and conquer. Enter the fractured and tattered remains of the Democratic Party. This is a political party that has posted a 1-2 won-loss record against Trump. Through its own efforts, millions of Americans were driven into Trump's arms because they thought him to be a more reasonable alternative. That says a hell of a lot about the state of the Democratic Party, but even more about the 'average' American voter. In what reality is Trump the 'reasonable' alternative? Oh right. No morality involved. I already said that. Both political parties are wretched in the extreme. The Republicans still have no heart. The Democrats still have no head and they continue to beat their heads against the nearest fencepost, thinking that somehow things will change. God bless them. They mean well, even if they will cancel you for your inability to recognize the righteousness of their cause. That's still better than being subjugated to poverty and slavery for an eternity by a party whose members openly cheer the dismantling of education, social services and health care. But barely. Trump's ability to warp reality works to some extent because of this corrosive political environment. His status is nearly mythical with those who purchased his gold athletic shoes, golf balls and four different colors of their favorite 'MAGA' hat – in red, white, gold and black. Sorry. No blue. This is more troubling as Trump's mental decline becomes more obvious. While he may enjoy being on the lips of millions if not billions of people on the planet, it is not because he is an inspiration. I hope Jake Tapper is not destined to write another book and do another mea culpa tour to explain how we all missed Trump's dementia this time around while we focused on his first book about Joe Biden. If Joe Biden slipped into senility, Donald Trump has fallen precipitously into it. He is the equivalent of the Alzheimer's patient screaming, 'You kids get off my lawn,' when he's actually standing in line to get his flu shot at the retirement center against the advice of his own worm-ridden doctor. Trump has said, 'just say it and they'll believe it' so much that he now believes it – as does millions of voters who've ingested way too many microplastics. Those voters are the equivalent of Robin Williams imitating a six-year-old sticking their tongue out and hissing, 'I know you are but what am I?' You can substitute Pee Wee Herman for Williams and still hear the same thing. Donald Trump is an angry old man at war with everything in his life, including the reality he can't accept and his greatest fans will never admit: Donald Trump is the ultimate loser. He is a shriveled husk devoid of empathy. He's Johnny Ringo – a man that 'has got a great big hole, right in the middle of him. He can never kill enough, or steal enough, or inflict enough pain to ever fill it.' Ringo wanted revenge for being born and would kill for it. Trump wants the same revenge, but he wants to twist reality enough to make us all suffer for him. That speaks to one of the greatest needs we have in this country: To counteract Donald Trump, we need a viable, independent media that cannot be leveraged by government contracts and other entanglements. It should be well-staffed with experienced, seasoned reporters from every facet of life. Yeah, I know, it's mostly a pipe dream, but there are those who are trying to keep that dream alive. I'd naively like to consider that I have, in some minor way, contributed to the cause of free speech and constitutional rights, but I love what CBS reporter Scott Pelley spoke about before a group of Wake Forest graduates recently. 'Power can rewrite history with grotesque false narratives. It can make criminals heroes and heroes criminals,' and more importantly, 'Power can change the definition of the words we use to describe reality.' Former Tea Party Congressman Joe Walsh, a frequent critic of the president, said the embarrassing incident just last week when Trump made the President of South Africa sit through a presentation condemning his government by using manipulated photographs of murdered 'white farmers' was yet a new low point. 'Trump's greatest legacy is the destruction of truth,' Walsh said. The eunuchs in Congress haven't stopped him from this destruction. The House is too busy passing the 'One Big Beautiful Bill,' knowing it will explode the national debt and take away services for millions of their voters, but hoping and praying the Senate will save them from themselves by defeating or diluting it. If Trump doesn't get what he wants, the House Republicans will blame the Democrats and the RINOS in the Senate, while Trump will find a way to pin it all on Joe Biden. If he, or his crew (including his interchangeable moronic sons) get to mention Hunter Biden's laptop while denigrating Dr. Jill Biden's inability to diagnose cancer though she holds a doctorate in English instead of medicine, the president will consider it a trifecta win and will retire to the residence to consume a bag of McDonalds hamburgers, fries, chased it down with a cCoca- cCola - and finish it off with pink Starbursts and Tootsie Rolls - at least if Press Secretary Karoline Leavitt was accurate when she told a group of children who recently gathered in the Brady Briefing Room that those were Trump's favorite sweets. The federal judiciary, NPR, some attorneys and Harvard University are at this moment the lynchpins of resistance to this madness. Pelley has the megaphone. We should listen. Harvard has at least two lawsuits pending against the Trump administration after it effectively tried to gut American post-secondary education by holding back billions of dollars in funding and banning foreign exchange students, thus making an example out of one of the most prestigious Universities in the World. That's the easiest way to get the rest to bow – take out the leader. We all may have our differences with Harvard that goes beyond 'I didn't make the rowing team,' but Harvard and other major universities are international havens that help to provide education, and the experience of living in America to millions who might otherwise never see this country in a sympathetic light. Education and living in the United States are hand-in-hand experiences that bring the best and the brightest to our country. In return, our country reaps benefits that escape Trump because those experiences cannot be expressed in dollars. NPR is fighting hard to keep its funding to report on these and other issues as Trump tries to destroy any voice he cannot control. Ted Boutrous, who represented both former CNN anchor Jim Acosta and myself when we had our press passes suspended by the first Trump regime, filed suit against the current administration this week on behalf of NPR after Trump signed an executive order effectively ending its funding. 'The Executive Order is blatantly unconstitutional. It contravenes the will of Congress and violates the constitutional rights of NPR and its member stations,' Boutrous said. 'The Public Broadcasting Act and the First Amendment both protect the editorial independence of NPR and local public radio stations that receive federal funding from precisely this kind of governmental interference. And, by seeking to halt federal funding to NPR, the Executive Order harms not only NPR and its member stations, but also the tens of millions of Americans across the country who rely on them for news and cultural programming, and vital emergency information.' Trump doesn't care and Boutrous described the president's activity bluntly: 'It is not always obvious when the government has acted with a retaliatory purpose in violation of the First Amendment. 'But this wolf comes as a wolf.'' While some attorneys and large, seemingly prestigious law firms (well until they caved) have bowed to Trump, some like National Security and FOIA attorney Mark Zaid have decided to fight Trump's increasingly delusional take on the powers of the Executive Branch. Zaid has represented Republicans and Democrats over the years. He's fiercely independent, but because he represented a whistleblower key to President Trump's first impeachment, Trump stripped Zaid's security clearance. That prompted a suit. 'No American should lose their livelihood, or be blocked as a lawyer from representing clients, because a president carries a grudge toward them or who they represent,' Zaid said in a statement. 'This isn't just about me. It's about using security clearances as political weapons.' The point is that Trump makes it personal to try and keep you from the reality that what he's doing has repercussions far beyond the current case. Donald Trump's ultimate goal: A reality in which he controls every corner of our lives; dictating what we read, who we spend time with, how we worship, what entertainment we can watch, our ability to speak our mind, dissent and challenge his government. God knows we cannot let his reality become ours. I, for one, am not a chicken taco fan.
