Recent reports strongly suggest that Christine Quinn is not just considering a comeback, she is expected to return for the upcoming tenth season. Multiple sources indicate that production has even been delayed while final negotiations with her are completed, signaling how central her return could be to the show’s future. 

This marks a significant shift for the Netflix series, as Christine has been absent since season five in 2022. Known as the show’s most controversial and polarizing figure, her return appears to be part of a broader effort to revive the original formula that made Selling Sunset a global hit.

At the same time, the show is undergoing one of its biggest cast overhauls to date. Chrishell Stause, one of the series’ core stars since season one, has officially stepped away after nine seasons. She cited personal reasons, including the impact of the show on her mental health, as a key factor in her decision. 

Her departure alone would mark a major turning point, but she is not the only one leaving. Nicole Young has also exited, reportedly due to concerns about how she was portrayed on screen, while other cast members’ futures remain uncertain. 

Interestingly, this reshuffle may be directly tied to Christine’s return. Some reports suggest that outgoing cast members are effectively being replaced as the show pivots back toward earlier personalities and dynamics that drove its popularity. 

There are also hints that familiar faces like Heather Rae El Moussa could reappear, although casting decisions are still being finalized. 

So, is Christine Quinn returning? While Netflix has not made a formal announcement, all signs point to yes, with her comeback likely to headline season 10. Combined with Chrishell’s exit and other departures, the show appears to be entering a new era, one that may feel both nostalgic and unpredictable for longtime fans.

If these reports hold true, Selling Sunset could be heading into its most dramatic chapter yet.

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The fact that Lana Del Rey has finally delivered a Bond theme feels like a long delayed cinematic inevitability. With First Light for 007: First Light, she leans fully into that myth. Co-written with legendary Bond composer David Arnold, the track is not just orchestral. It is drenched in classic 007 DNA, with swelling strings, ghostly piano, and that slow burning, fatalistic grandeur the franchise thrives on.

First Light plays like a smoky prequel to Bond himself, focusing less on the spy we know and more on the fragile mythology forming underneath. Del Rey’s voice is the centerpiece. It is hushed, tragic, and almost detached, as if narrating from beyond the story rather than within it. This is where she excels, and where the song quietly outclasses many modern Bond themes.

The orchestration is unmistakably traditional. Arnold’s influence is clear in the brass swells and suspenseful string crescendos, evoking the tonal palette of earlier Bond scores. Del Rey softens that grandeur with her signature melancholia. The result feels cinematic yet intimate, less explosive than the biggest Bond anthems but more emotionally textured and lingering.

Lyrically, the song leans into duality, identity versus performance, love versus duty, reality versus illusion. While full official lyrics are still emerging, early snippets and listener discussion point to lines about “playing the game,” shadows, and first light breaking through darkness. One short excerpt circulating, “Play it like a game,” captures the core idea. Unlike classic Bond themes that center on romance or danger, First Light feels self aware. It frames Bond’s life as something constructed, almost artificial, which fits perfectly with the idea of an origin story.

At its core, the song explores becoming Bond rather than being Bond. The “first light” metaphor suggests awakening, identity forming at dawn before the myth fully takes shape. Del Rey’s recurring themes such as fatal love, faded glamour, and the performance of identity map seamlessly onto a young agent learning to wear a persona.

There is also a subtle commentary on control. If life is a game, who is really in charge? Bond, the system, or fate itself? That ambiguity gives the song its emotional weight.

First Light does not try to outdo past Bond themes. Instead, it seeps into you, moody, elegant, and quietly devastating. It feels less like a spectacle and more like a memory forming in real time, proving that Lana Del Rey was always destined for the world of 007.

To place this moment in context, the Bond theme lineage includes icons like Garbage, Shirley Bassey, Paul McCartney, Adele, and Billie Eilish, with Sam Smith taking the slot for Spectre. What makes this feel full circle is that Lana Del Rey had already written 24 as a deliberate Bond theme submission, something she later confirmed in a video interview, only to lose out to Smith at the time.

That history lingers in First Light, giving it the energy of a second chance that lands harder and with more intention. And honestly, doing it for a video game like 007: First Light feels more cunt than doing it for a film. Games live longer, they are replayed, inhabited, and obsessed over in a way movies rarely are, which means her voice is not just attached to a single cinematic moment but woven into an experience people will return to again and again.

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The upcoming film Stop! That! Train! starring RuPaul Charles is already shaping up to be one of the most unique and highly anticipated comedies of summer 2026. Blending action, camp, and classic disaster-movie energy, the film marks the first major theatrical project set within the RuPaul’s Drag Race universe.

Directed by Adam Shankman, the movie is officially scheduled for release in summer 2026, with a North American theatrical debut set for June 12, 2026, following earlier reports of a late-May opening. This timing places it squarely in the blockbuster season, signaling strong confidence from distributors in its mainstream appeal.

The cast is a major draw, featuring a mix of drag superstars and established Hollywood names. Alongside RuPaul, who plays the larger-than-life President Judy Gagwell, the film stars fan-favorite queens like Ginger Minj as Tess and Jujubee as DeeDee, the story’s central duo. Additional cast members include Symone, Brooke Lynn Hytes, Latrice Royale, and Monét X Change, along with celebrity appearances from Sarah Michelle Gellar, Nicole Richie, and Joel McHale. 

The plot centers on Tess and DeeDee, two train attendants who leave behind mundane jobs for a glamorous new gig aboard a luxury high-speed train known as the “Glamazonian Express.” However, things quickly spiral into chaos when a massive storm – described as a “Stormaganza” – threatens to derail the train and send it hurtling toward disaster. Forced to work with an unlikely group of passengers and elite crew members, the duo must step up to save the day in a high-stakes, comedic race against time.

What fans can expect is a mix of over-the-top humour, heartfelt character moments, and high-energy spectacle. Early previews suggest the film leans heavily into camp while still delivering a surprisingly sincere story about teamwork and resilience. It also represents a major step forward for drag performers crossing into mainstream cinema, showcasing them as fully developed characters rather than just personalities from reality TV.

Ultimately, Stop! That! Train! promises to be a bold, chaotic, and celebratory ride – one that brings drag culture to the big screen in a way audiences have never seen before.

The post RuPaul, Ginger Minj, Jujubee & Sarah Michelle Gellar Are Taking Over Summer 2026 in Stop! That! Train!  appeared first on KIMU.

At the center of Gladys is a character believed to play a pivotal role in the eerie chain of events that define the Weaponsuniverse. Though not much has been confirmed about her identity, early reports suggest that Gladys could be either a witness to or orchestrator of the disturbing phenomena tied to the central narrative. This ambiguity is very much in line with Cregger’s storytelling style, which leans heavily into psychological horror and slow-burning dread rather than straightforward explanations.

One of the most compelling aspects of the prequel is its potential to explore the origins of the mysterious disappearances that form the backbone of Weapons. The original film is said to revolve around multiple children vanishing under bizarre and unexplained circumstances, all seemingly connected by an invisible thread. Gladys may rewind the clock to reveal how these events began, offering insight into whether they stem from supernatural forces, human manipulation, or something even more disturbing.

Tone-wise, fans can expect Gladys to match or even surpass the intensity of Weapons. If Cregger’s previous work is any indication, the film will likely blend grounded realism with moments of shocking surrealism. This combination creates a sense of unease that lingers long after the credits roll. The prequel format also opens the door for a more character-driven narrative, potentially focusing on Gladys herself and her psychological descent or transformation.

There is also speculation that Gladys could introduce new locations and timelines, expanding the scope of the story beyond what is shown in Weapons. This would allow the filmmakers to build a richer, more interconnected world, one that rewards attentive viewers with hidden details and recurring motifs.

As of now, there is no confirmed release date or casting announcement for Gladys, but the growing interest suggests it is more than just a passing idea. Whether it becomes a full-fledged film or remains a concept in development, one thing is clear: the world of Weapons is far from finished, and Gladys could be the key to unlocking its darkest secrets.

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The official trailer for Obsession, the upcoming supernatural horror film written and directed by Curry Barker, teases a chilling story about love gone terribly wrong. Blending romance, psychological tension, and supernatural terror, the film explores the dangerous consequences of getting exactly what you wish for. 

At the heart of the story is Bear, played by Michael Johnston, a shy and hopeless romantic who has long harbored feelings for his childhood friend and coworker Nikki, portrayed by Inde Navarrette. Too afraid to confess his feelings, Bear turns to something far more dangerous than honesty. He discovers a mysterious object called the “One Wish Willow,” a strange novelty item that promises to grant a single wish when one of its branches is snapped. 

The trailer quickly establishes the film’s unsettling premise. Driven by desperation, Bear uses the Willow to wish that Nikki will fall in love with him. At first, his dream appears to come true. Nikki suddenly becomes deeply devoted to him, giving Bear everything he thought he wanted. However, the trailer reveals that this supernatural wish comes with terrifying consequences. As Nikki’s affection intensifies beyond anything natural, her behavior begins to shift in disturbing ways. 

What starts as a romantic fantasy spirals into a nightmare. The footage hints that the wish doesn’t simply create love but something far more obsessive and dangerous. Nikki’s overwhelming attachment begins to distort her personality and threaten everyone around her. The trailer suggests that Bear must confront the horrifying truth that manipulating someone’s feelings comes at a sinister cost.

The film also features Cooper Tomlinson, Megan Lawless, and Andy Richter in supporting roles, helping round out the ensemble cast. Producers James Harris, Haley Nicole Johnson, Christian Mercuri, and Roman Viaris bring the project to life, while Blumhouse’s involvement signals the kind of inventive horror audiences have come to expect from the genre powerhouse. 

Obsession has already generated buzz on the festival circuit, premiering at the Toronto International Film Festival’s Midnight Madness section before heading toward a wider theatrical release. Early reactions have praised its unique blend of dark humor, psychological horror, and unsettling supernatural elements. 

With its eerie premise and disturbing twists, the trailer positions Obsession as a cautionary tale about desire, control, and the frightening consequences of forcing love. As Bear learns, sometimes the most dangerous thing in the world is getting exactly what you wished for.

Obsession arrives in theaters on May 15, 2026.

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Controversial streamer Clavicular has unveiled a provocative new trailer promoting his upcoming 24/7 month-long Streamathon, leaning heavily into the aesthetic and psychology of American Psycho and its infamous protagonist Patrick Bateman.

The teaser positions Clavicular as something closer to a performance artist than a conventional influencer. Some might see him as “the Marina Abramović of Gen Z streaming,” referencing Marina Abramović and her endurance-based artistic spectacles.

Clavicular, whose real name is Braden Eric Peters, rose to prominence through controversial “looksmaxxing” content that often pushes physical transformation to extremes. The 20-year-old streamer built a large audience on Kick and TikTok with videos about aesthetics, steroids, peptides, and radical self-optimization, attracting both fans and critics for stunts such as facial “bone smashing,” a practice involving striking bones in hopes they regrow stronger. 

The Streamathon trailer borrows directly from the visual language of the 2000 cult classic. In one segment, Clavicular recreates the famous monologue scene made iconic by Christian Bale. Standing in front of a mirror, he delivers a stylized routine reminiscent of Bateman’s obsessive self-care rituals, narrating his regimen with a mix of satire and bravado.

The tone echoes Bateman’s original monologue about grooming routines and physical perfection are re-worked. Clavicular replaces skin creams with the modern internet’s biohacking vocabulary, referencing compounds like peptides, retatrutide, testosterone, and other performance-enhancing substances as part of his relentless pursuit of what he calls “ascension”. He even puts on eyeliner!

The imagery becomes increasingly theatrical as the trailer progresses. In a sequence clearly designed to provoke viewers, he demonstrates injections on camera and theatrically discusses extreme methods of improving his physique. Another moment nods to the darker themes of the film, referencing hammer imagery that recalls the infamous confrontation scene from American Psycho.

The performance blurs the boundary between satire, shock content, and endurance art. Like Abramović’s work, the premise of the Streamathon itself is based on duration and spectacle. Clavicular plans to broadcast continuously for an entire month, documenting every aspect of his routine, training, and daily life.

For supporters, the project represents the logical next step in the increasingly performative world of livestreaming. For critics, it is another example of Clavicular’s strategy of pushing internet culture to uncomfortable extremes.

Either way, the trailer makes one thing clear. The Streamathon is not meant to be subtle. It is designed to be watched, debated, and dissected in real time.

The post Clavicular, aka the Marina Abramović of Gen Z, Drops American Psycho Inspired Trailer for Month-Long Streamathon appeared first on KIMU.

Anne Hathaway’s latest musical turn comes with the release of Burial, the first single from the soundtrack of the upcoming A24 film Mother Mary. The song dropped on streaming platforms today, giving audiences an early taste of the sonic world behind one of the most anticipated films of the spring. 

“Burial” marks a distinctive moment in Hathaway’s career. Best known as an Oscar‑winning actor, she has sung on occasion in film before, most famously in Les Misérables. This time she steps more fully into pop territory with an original track that leans into moody synth‑pop textures and dramatic vocal performance. It was co‑written with a high‑profile creative team that includes Charli xcx, Jack Antonoff, and George Daniel of The 1975. 

From the first listen Burial sets a dark, theatrical tone that seems designed not just to introduce the film’s musical identity but also to establish Hathaway’s character as a compelling and conflicted pop figure. Electronic beats are layered with ethereal synth swells and a hooky refrain that repeats the titular line, which feels both ominous and oddly cathartic in its delivery. Hathaway’s vocal presence is clear and assured, showing range and emotional nuance that suit the dramatic weight of the track and the character who delivers it. 

Fans on social platforms have already begun comparing the single to the work of avant‑pop artists like Lady Gaga and Charli xcx herself, noting how production choices give it an almost cinematic breadth even outside the context of the film. Many listeners point to its bold chorus and haunting background elements as standouts that elevate it beyond a typical soundtrack offering. 

Burial also serves as a powerful piece of marketing for Mother Mary, which opens in limited release on April 17 before expanding wide. The film follows Hathaway’s pop star character as she navigates complicated personal and professional relationships on the brink of a comeback. The song’s release, paired with a teaser video, gives a compelling preview of this unique blend of film and music. 

In a year packed with major cinematic projects from Hathaway, Burial stands out as a bold, intriguing shift into an unexpected artistic arena. Whether it becomes a radio mainstay or remains a cult favourite tied to the film, it signals that Hathaway’s musical chapter deserves close attention.

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Location and Setting

Season 4 will take place in France, marking the first time the series is set in the country. The main setting will be the glamorous Riviera town of Saint‑Tropez on the French Mediterranean coast. Much of the action will unfold at the luxurious Château de la Messardière, a five-star hotel housed in a 19th-century palace overlooking the Bay of Pampelonne. 

As with previous seasons, the show will not be limited to a single property. Additional scenes are expected to be filmed elsewhere along the French Riviera and possibly in Paris, expanding the backdrop beyond the main resort setting. 

Filming Dates

Production is scheduled to run from late April through October 2026. This extended filming window allows the production to capture multiple locations and seasonal events in southern France. 

Expected Premiere Date

HBO has not announced an official premiere date yet. However, based on the production schedule and previous seasons’ timelines, the new season is expected to debut sometime in early 2027, though a late-2026 release has also been suggested as a possibility. 

Cast

As with earlier seasons, Season 4 will introduce an almost entirely new ensemble of characters. Confirmed cast members so far include:

• Helena Bonham Carter
• Steve Coogan
• Chris Messina
• Alexander Ludwig
• AJ Michalka
• Caleb Jonte Edwards
• Marissa Long

Additional performers may still be announced, and it is not yet clear if any previous characters will return. 

Plot and Storyline

While plot details are being kept tightly under wraps, the new season will follow the show’s familiar structure: a week in the lives of wealthy hotel guests and the staff serving them, culminating in a mysterious death. 

Early reports suggest the storyline could intersect with the glamorous Cannes Film Festival, potentially exploring themes such as celebrity culture, fame, wealth, and the art world within the luxurious setting of the French Riviera. 

What to Expect

Since its debut, the series has travelled from Hawaii in Season 1 to Sicily in Season 2 and Thailand in Season 3. Season 4’s move to France continues the show’s tradition of pairing breathtaking locations with biting satire about wealth, privilege, and human behavior. 

If the show follows its previous formula, audiences can expect glamorous settings, complex characters, and another suspenseful mystery unfolding beneath the surface of paradise.

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Why It Happened

Tourette’s syndrome is a neurological condition that can, in some people, include coprolalia, which is the involuntary utterance of socially inappropriate or offensive words, including profanity and rare slurs. This is not a choice. It can be triggered in high-stimulus environments and is a documented part of the disorder in a minority of cases. In Davidson’s life, this symptom has been part of his story for decades, and it is specifically what the BAFTA-nominated film I Swearexplores. 

That context does not erase the real impact of hearing a racial slur. Even when involuntary, hearing such a word directed into a crowded room while high-profile Black actors stood at the podium was hurtful and uncomfortable to many present. Reports emphasised how uncomfortable the moment was for everyone involved. 

What BAFTA Did

When the disruption occurred, host Alan Cumming took on the role of interpreter for the crowd. Rather than ignoring the interruption, he paused and explained that some people may hear strong language and that it could be part of how Tourette’s can present itself in certain individuals. He then thanked everyone for their understanding and helped maintain the flow of the ceremony. BBC, which broadcasts the event with a delay, was aware of the possibility of interruptions and planned to edit the show for the televised audience. 

What Should Have Happened

Even with medical context, this moment exposed a larger tension between inclusivity and the emotional safety of attendees and viewers. A few points are worth considering:

Clearer pre-event communication
BAFTA could have ensured that all attendees and presenters were briefed about Davidson’s condition and what might happen, rather than relying on a floor manager’s brief announcement before the show began. That might have prevented shock among viewers and people on stage.

Stronger procedural preparation
Award ceremonies should have protocols for supporting guests who might experience episodes during live events. This could include trained staff positioned discreetly to assist without shame.

Immediate on-site follow-up
After the event, BAFTA could offer a formal apology directly to anyone adversely affected, especially those who were on stage during the outburst, to acknowledge their experience and the pain caused, even unintentionally.

Transparent public communication
Beyond the host’s in-moment comments, a clear statement from BAFTA explaining what happened, why, and what steps will be taken to honour dignity for all could help rebuild trust.

Broader Lessons

This was not a simple interruption. It was an uncomfortable collision of disability, race, and a highly public platform. The medical explanation does not cancel the harm felt by those present, nor should such moments be brushed aside as just part of “creative diversity.” At the same time it is crucial to recognise that people with neurological conditions should not be shamed for involuntary symptoms.

Institutions like BAFTA have a dual role: they are storytellers celebrating art and they are curators of the spaces where millions watch and see role models in action. When something goes wrong, acknowledging the harm and detailing how it will be handled matters just as much as explaining the medical context. They must hold both compassion and accountability in equal measure.

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Here is a deep look at everything known so far about SLANTED, the provocative body-horror satire that has horror fans and culture critics talking. It blends genre thrills with a bold critique of race, acceptance, and assimilation, and it is shaping up to be one of the most talked-about films of early 2026. 

The Premise and Genre Blend

At its core SLANTED is a body-horror film with sharp satirical edges. It follows Joan Huang, a Chinese-American high school senior who is desperate to fit in and win prom queen. In a speculative twist of sci-fi and horror, she turns to Ethnos, an experimental cosmetic surgery clinic that promises to transform her appearance from a person of color into a white girl, supposedly increasing her chances of popularity. 

What begins as a literal “upgrade” quickly devolves into a disturbing nightmare of physical transformation and psychological terror. The film uses the radical bodily change as its horror hook and as a way to interrogate deeper questions about identity, self-worth, and cultural assimilation. 

This setup places SLANTED in conversation with films that use body transformation as metaphor. Where other movies might explore age or gender through bodily change, SLANTED focuses explicitly on race and the societal pressures that privilege whiteness. Critics have noted the film’s thematic collision of horror, comedy, and social commentary. 

Creative Voices Behind It

The film is written and directed by Amy Wang, marking a deeply personal feature debut. Wang grew up as a Chinese Australian and has said that the story grew out of her own experiences of feeling different and wanting to belong. Her perspective guides the narrative’s emotional center: it is not just a horror story but a commentary on the psychological violence exerted by societal norms of beauty and acceptance. 

Shirley Chen leads the cast as Joan before the transformation, delivering a nuanced performance of a teenager caught between self-hatred and aspiration. After the surgery, Mckenna Grace portrays Joan as her transformed white self, capturing the duality of outward acceptance and inward conflict. The ensemble also includes Maitreyi Ramakrishnan, Vivian Wu, Amelie Zilber, and Fang Du in roles that flesh out Joan’s world and reactions to her radical choice. 

Tone, Style, and Horror Elements

Early trailers and descriptions make clear that SLANTED walks a line between satirical comedy and visceral horror. The cosmetic procedure itself is depicted with grotesque visual flair, blending unsettling body horror elements with sharp social critique. Joan’s new appearance initially earns her the validation she craves, but soon the physical and emotional horror of what she has done begins to surface. 

The horror is not just in the gore but in the implications: the idea that acceptance might literally cost one’s identity is unsettling on more than one level. Critics and festival reviews highlight how the film satirizes the notion that assimilation, especially racial assimilation, could ever be painless or liberating. 

Cultural Commentary and Influences

SLANTED engages with weighty themes. It’s been compared to speculative works that envision eugenic or identity-altering technologies as tools of assimilation. Some commentators note echoes of historical satire like Black No More, a 1931 novel imagining surgical transformation to whiteness, while others cite parallels with contemporary films that use genre to probe social justice issues. 

The film’s message is not subtle. It confronts ideas of internalized bias and the allure of conformity directly. Joan’s desire to be “accepted” resonates with anyone who has felt out of place or pressured to change to fit into a dominant culture. In SLANTED, that pressure literally consumes her, leaving audiences to grapple with what it means to hurt oneself in pursuit of belonging. 

Reception and Impact

SLANTED premiered in March 2025 at South by Southwest’s Narrative Feature competition, where it won the Grand Jury Award. It has earned strong early reviews, with critics praising its audacity and the way it balances genre thrills with commentary. On review aggregators the film holds a positive score, indicating that many critics are finding its blend of horror and satire both thought-provoking and entertaining. 

The film is scheduled for a general theatrical release in the United States on March 13, 2026, and has already sparked discussion about how horror can be used as a lens to examine social anxieties. 

Why It Matters

SLANTED is more than a body horror flick about a magical clinic offering impossible changes. It stands at the intersection of genre storytelling and cultural critique. It asks difficult questions about identity, belonging, and the harm of equating worth with appearances. In doing so it pushes horror beyond simple scares, making it a film that is likely to provoke as much thought after the credits roll as it does during the most shocking sequences. 

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