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Buzz Feed
2 days ago
- Entertainment
- Buzz Feed
Movie Buffs Reveal The Worst Films They've Ever Seen
Being raised by a film fanatic and being married to a screenwriter, I like to think I have good taste in movies. Even though the line between an utterly bad movie and a cult classic can be a thin one, I bet we have ALL seen a few movies that have made us think, "How did enough people think that this was a good enough idea to spend the money, time, energy, and risk associating their career with this project?" So when Reddit user SamanthaBarson93 asked, "What's the worst movie you've ever watched in your life?" I found myself CACKLING at the commentary on some of the worst films ever made and wanted to rush to tell you all... "Battlefield Earth" "I tried watching Avatar (with the blue people) five times and fell asleep seven times. I remember getting enraged by the word 'unobtainium.' Because it felt like Cameron personally bitch slapped me, and called me stupid." I love that MuttleyDastardly had to specify "the blue people" lol. "Hurry Up Tomorrow. It's a masturbatory tale of The Weeknd playing The Weeknd. He makes Jenna Ortega his obsessed, dark, groupie girlfriend while he indulges in his mysterious, tragic, somewhat chaotic, pop stardom. Terrible performances all around." "Eragon. It was $3 at Best Buy, and I figured my curiosity was worth $3. It was not." "Fuckin Bird Box. Bunch of idiots running around blindfolded." "Cats. Went to see it for shits and giggles and it ended up being two hours of torture." "Skinamarink. 100 minutes of staring at walls." "The Emoji Movie is soulless. It's the type of film an AI would put out with main objective to be able sell Emoji crap." "The Boondock Saints 2. In my family, we do not even talk about it." "The Room." "Gigli is, somehow, worse than its reputation." 'Manos: Hands of Fate. You can almost see the outline of an actual movie there." "I somehow paid money to see Howard the Duck in an actual theatre." "It was Eyes Wide Shut. I saw it in a packed theatre, and everyone groaned through the entire mess of a movie. At the very end, just when the credits started, suddenly there was the sound of a man loudly snoring from a back row. The whole theatre erupted in laughter!" "Sausage Party. I made it a whole 7 minutes past the intro and left." "Showgirls. When they managed to make nudity boring for, at the time, an 18-year-old me." "Going Overboard — Adam Sandler's first movie. Oh, you thought the other ones were bad? This is the KING of unfunny. I don't get headaches, but this movie gave me a migraine. Until another movie comes along that gives me a worse migraine, this will be on top of my list." "Requiem for a Dream and it's not even close. The thing is, the movie is technically very good, it just hates its audience and wants you to feel bad. It wants you to feel very, very bad, and I don't think we should want people to feel very, very bad." "Gotti. I saw it on a date because she said, 'Mob movies are my favourite thing in the world.' I saw her soul die that day." "Methgator — basically an alligator takes meth and starts killing everyone." "Tiptoes — a drama about a man who comes from a family of people with dwarfism, and his fiancée who discovers this late in their relationship." "Kangaroo Jack. Won tickets to see it in a radio contest. It was a regular showing, but we were literally the only people in the audience. We would have left, but didn't want the staff to have to clock out early and not get paid." "God's Not Dead. If those cultists want me to join their cult, they should at least put more effort into making that film." "The Happening. Plants releasing hormones that make humans suicidal. The whole movie is people running from the wind." "Mac and Me. An awful E.T. ripoff." "Teeth. About a girl who lives near a nuclear power plant and (I believe) therefore grows teeth inside her vagina, which gives her a killer pussy." "They Saved Hitler's Brain! Yes, it's a real movie I watched." "The Passion of the Christ. Just a dude getting beaten up for about 9 hours." "Rubber — about a sentient tire. That's right." "The creepy ass live action Cat in the Hat." And lastly, for a laugh: "My wedding video... tragic ending." I have a few of my own, but the one that burns in my memory the most is Mother! It was a fever dream of anxiety, confusion, and repulsion, leaving my husband and me with a three-day "What the FUUH" expression plastered on our faces. I needed to do Gua Sha ten times that week, just to drain all that stress cortisol outta my face. In the comments, tell me the movie that was so bad that it made you think long and hard about how you spend your time — so much so that it made you briefly consider going back to school. And make sure you follow BuzzFeed Canada on TikTok and Instagram for more!
Boston Globe
11-06-2025
- Entertainment
- Boston Globe
At Gillette, the Weeknd made his case for being the reigning male artist in pop music
Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up On Tuesday night at Gillette, Tesfaye continued the heavy lifting, piling platinum songs atop diamond singles during the first of two nights in town for his 'After Hours 'Til Dawn Stadium Tour.' The current slew of shows toasts the artist's last three records: 'After Hours,' 'Dawn FM,' and this year's release, 'Hurry Up Tomorrow,' all chapters of a trilogy that Tesfaye has been fleshing out since 2020. Advertisement The Weeknd performs at Gillette Stadium. Danielle Parhizkaran/Globe Staff 'I said, 'next time I come back, we're doing this [expletive] twice,'' Tesfaye said, referencing a thought from his one-show visit to Foxborough in 2022. Advertisement If manifesting Such supersized production elements could only be dwarfed by the magnitude of Tesfaye's catalog. While the evening focused largely on material from the aforementioned trilogy of albums, all seven of the artist's No. 1 songs surfaced throughout the night. Most notably, 'The Hills' set the catwalk ablaze with timed pyrotechnics as Tesfaye prowled through the hedonistic hit, and he later transformed the fluttering synths of 'Die For You' into a touching devotional for the crowd. And while era-defining chart-toppers like 'Can't Feel My Face' or 'Blinding Lights' would have been natural choices for an ecstatic finale, Tesfaye offered the two dance songs earlier in the set, and instead chose to stick the landing with a smaller hit, the Swedish House Mafia collab 'Moth To A Flame' ('smaller' here meaning it boasts 'only' one billion Spotify streams). 'Like a moth to a flame, I'll pull you in, I pulled you back to what you need initially,' he sang, harnessing the devotion that earned him two consecutive shows at Gillette – and could very well earn him a third on his next tour. Your move, Sheeran. THE WEEKND Advertisement With Playboi Carti and Mike Dean At Gillette Stadium, Tuesday
The National
10-06-2025
- Entertainment
- The National
From The Weeknd to David Bowie, why pop stars kill off their personas to survive
In Hurry Up Tomorrow, The Weeknd literally sets himself on fire. More than a dramatic moment in a bleak film, now available for streaming, the act is a symbolic reset. The Canadian pop star, real name Abel Tesfaye, kills off the hedonistic alter ego that dominated the charts and helped sell nearly 100 million records over the past decade. It's not just the climax of a psychological drama and its companion album about an artist hitting a professional and emotional dead end. It's also the beginning of something new, the first step for Tesfaye towards escaping the creative limits of his own success. The shift was a long time coming. In 2023, Tesfaye told The Fader he had reached a creative crossroads: 'The Weeknd, whatever that is, has been mastered. I've overcome every challenge as this persona.' The turning point reportedly came during a sold-out 2022 show in Los Angeles, when his voice gave out during Can't Feel My Face. Tesfaye walked off stage and later described the moment as a 'mental breakdown'. That rupture would shape the arc of Hurry Up Tomorrow, both the film and the album. Tesfaye's farewell echoes a long tradition in pop music, a genre filled with artists jettisoning the very identities that made them successful. Sometimes the farewell is loud and theatrical, other times it's quiet and gradual. But the impulse is the same: the character outlives its use and the artist moves on. An early precedent of the high-profile persona kill-off remains David Bowie 's retirement of Ziggy Stardust. Introduced with 1972's The Rise and Fall of Ziggy Stardust and the Spiders from Mars, the flame-haired, androgynous alien gave Bowie space to embrace glam theatrics and otherworldly sounds like Moonage Daydream and Starman. More than a typically mercurial gesture, the move now looks prescient. Ziggy had reached a creative cul-de-sac. The arc, of an alien rock star destroyed by fame, had run its course. Bowie would later say the character began to overtake his own personality and continuing would have come at too great a personal cost. By letting go, Bowie returned to earth with a more grounded, soul-inflected sound, heard on 1975 album Young Americans and his first US number one hit, Fame. It marked another phase in a path built on reinvention, soon giving rise to characters such as the emotionally detached Thin White Duke in 1976. Tesfaye arrived at a similar moment. He introduced his character as mysterious, brooding and emotionally numb on 2011's House of Balloons. The underground acclaim only deepened his self-destructive leanings, eventually earning him the title 'king of toxic romance'. In Hurry Up Tomorrow, that figure reaches a breaking point. The persona, also explored in the risque TV series The Idol, is swallowed by the very excess he once glorified, a perhaps fitting end for a character built on desire and destruction. Other artists reached that turning point in different ways. For Eminem, the unhinged alter ego Slim Shady was introduced on the 1999 album The Slim Shady LP. As the shock factor wore off, the character became a creative crutch, reappearing for occasional late-career hits such as Berzerk. It also became a stick some critics used to beat him with, often overlooking the more soulful and socially conscious terrain he explored over the past decade under his real name Marshall Mathers. It's no surprise, then, that Eminem bid farewell to the character in last year's aptly titled The Death of Slim Shady (Coup de Grace). The album conceptually served as one last ride with the figure that made him famous, while also reckoning with the controversies that have dogged his career, particularly on sombre and reflective tracks such as Somebody Save Me and Fuel. Fellow rapper Tyler, The Creator pulled off a similar low-key retreat. He emerged as the latest face of horrorcore, the abrasive hip-hop subgenre, with the blood-curdling rhymes of 2011's Goblin, before moving towards introspection, vulnerability and self-empowerment on Flower Boy in 2017 and his latest stellar effort Chromakopia last year. Sometimes these shifts serve a practical purpose. Flush from the near-instant success of her 2003 debut solo single Crazy in Love, Beyonce had to quickly learn how to command the stage on her own, away from Destiny's Child. To do so, she created the assertive Sasha Fierce, as introduced on the 2008 album I Am... Sasha Fierce, to reportedly overcome stage fright. By 2011, with a few tours behind her, Beyonce retired the character, telling Allure magazine: 'I've grown, and now I'm able to merge the two.' That decision was reflected in a run of deeply vulnerable and powerful albums, including Lemonade. Meanwhile, Lady Gaga adopted a relative subdued figure to tone down her image with her 2016 album Joanne, named after her late aunt. She stripped back the spectacle, glamour and high-octane maximalist pop of her 'Mother Monster' era – as heard in blockbuster hits Poker Face and Bad Romance – to adopt a less flamboyant sound and image, ditching theatrical costumes and the meat dress for simple denim and leather, while featuring acoustic guitars and country influences. The ready-made pop blueprint, of course, lies with Madonna, who viewed each persona as a strategic shift to the next cultural zeitgeist. Whether as the 'Material Girl' during former US president Reagan's free market era or embracing a club sound as electronic music rose in the charts at the turn of the century, she was never emotionally attached to her personas, treating them more like career chapters than characters. And maybe that's the best path for Tesfaye's next move. Rather than fully embracing and committing to whatever he becomes next, even if he believes it is his authentic self, he shouldn't be too wedded to it. Pop music, after all, is about continuous reinvention and clearing the stage for what or who comes next.
Yahoo
10-06-2025
- Entertainment
- Yahoo
Mariah Carey, Jamie Foxx among honorees at 2025 BET Awards: Full winners list (updating live)
The 2025 BET Awards, hosted by Kevin Hart, took center stage Monday night to honor Black excellence across music, film, television, and sports. Dubbed "Culture's Biggest Night," the star-studded event showcased the best of the best in creative achievement. Heading into the ceremony, Kendrick Lamar led the nominations with an impressive 10 nods, including Album of the Year for GNX, Video of the Year, Viewer's Choice Award, Best Collaboration, Video Director of the Year, and Best Male Hip Hop Artist. Close behind were Doechii, Drake, Future, and GloRilla, each receiving six nominations. Metro Boomin came in with five bids, while SZA and The Weeknd tied with four nominations apiece. More from GoldDerby Billy Bob Thornton on 'Landman's' overnight 'international hit' status and how he's 'afraid' to read reviews 'Sly Stone was way ahead of the game': Questlove explains the 'genius' legacy of the late funk-rock master Pickleball, punchlines, and personal growth: 'Hacks' stars Megan Stalter and Paul W. Downs on their bond and what's next Lamar's fellow Album of the Year nominees are Chris Brown for 11:11 (Deluxe), Doechii for Alligator Bites Never Heal, Beyoncé for Cowboy Carter, GloRilla for Glorious, the Weeknd for Hurry Up Tomorrow, Drake and PartyNextDoor for Some Sexy Songs 4 U, and Future and Metro Boomin for We Don't Trust You. The eight films nominated for Best Movie are Bad Boys: Ride or Die, Beverly Hills Cop: Axel F, Luther: Never Too Much, Mufasa: The Lion King, One of Them Days, Rebel Ridge, The Piano Lesson, and The Six Triple Eight. Adding to the night's celebration, BET previously announced that Mariah Carey, Jamie Foxx, Snoop Dogg, and Kirk Franklin will receive the prestigious BET Ultimate Icon Award. The honor recognizes their decades of groundbreaking contributions to music, entertainment, advocacy, and community impact. The 25th annual BET Awards will air live on BET from the Peacock Theater in Los Angeles at 8 p.m. ET/PT. See the full list of 2025 BET Awards winners below. ALBUM OF THE YEAR 11:11 (Deluxe) — Chris Brown Alligator Bites Never Heal — Doechii Cowboy Carter — Beyoncé Glorious — GloRilla GNX — Kendrick Lamar Hurry Up Tomorrow — The Weeknd Some Sexy Songs 4 U — Drake and PartyNextDoor We Don't Trust You — Future and Metro Boomin VIDEO OF THE YEAR '3AM in Tokeyo' — Key Glock 'A Bar Song (Tipsy)' — Shaboozey 'After Hours' — Kehlani 'Denial Is a River' — Doechii 'Family Matters' — Drake 'Not Like Us' — Kendrick Lamar 'Timeless' — The Weeknd featuring Playboi Carti 'Type Shit' — Future and Metro Boomin featuring Travis Scott and Playboi Carti VIEWER'S CHOICE AWARD 'Residuals — Chris Brown 'Denial Is a River — Doechii Nokia — Drake 'Like That — Future and Metro Boomin featuring Kendrick Lamar 'TGIF — GloRilla 'Not Like Us — Kendrick Lamar 'Luther — Kendrick Lamar featuring SZA 'Brokey — Latto BEST COLLABORATION '30 for 30' — SZA featuring Kendrick Lamar 'Alter Ego' — Doechii featuring JT 'Are You Even Real' — Teddy Swims featuring Giveon 'Beckham' — Dee Billz featuring Kyle Richh, Kai Swervo and KJ Swervo 'Bless' — Lil Wayne, Wheezy and Young Thug 'Like That' — Future and Metro Boomin featuring Kendrick Lamar 'Luther' — Kendrick Lamar featuring SZA 'Sticky' — Tyler, the Creator featuring GloRilla, Sexyy Red and Lil Wayne 'Timeless' — The Weeknd featuring Playboi Carti BEST MALE R&B/POP ARTIST Bruno Mars Chris Brown Drake Fridayy Leon Thomas III Teddy Swims The Weeknd Usher BEST FEMALE R&B/POP ARTIST Ari Lennox Ayra Starr Coco Jones Kehlani Muni Long Summer Walker SZA Victoria Monét BEST FEMALE HIP HOP ARTIST Cardi B Doechii Doja Cat GloRilla Latto Megan Thee Stallion Nicki Minaj Rapsody Sexyy Red BEST MALE HIP HOP ARTIST BigXthaPlug Bossman Dlow Burna Boy Drake Future Kendrick Lamar Key Glock Lil Wayne Tyler, the Creator BEST NEW ARTIST 41 Ayra Starr BigXthaPlug Bossman Dlow Dee Billz Leon Thomas III October London Shaboozey Teddy Swims BEST GROUP 41 Common and Pete Rock Drake and PartyNextDoor Flo Future and Metro Boomin Jacquees and Dej Loaf Larry June, 2 Chainz and the Alchemist Maverick City Music BET HER AWARD Beautiful People — Mary J. Blige Blackbiird — Beyoncé Bloom — Doechii Defying Gravity — Cynthia Erivo and Ariana Grande Heart of a Woman — Summer Walker Hold On — Tems In My Bag — Flo and GloRilla VIDEO DIRECTOR OF THE YEAR Anderson .Paak B Pace Productions and Jacquees Benny Boom Cactus Jack Cole Bennett Dave Free and Kendrick Lamar Dave Meyers Foggieraw Tyler, the Creator BEST GOSPEL/INSPIRATIONAL AWARD 'A God (There Is)' — Common and Pete Rock Feat. Jennifer Hudson 'Amen' — Pastor Mike Jr. 'Better Days' — Fridayy 'Church Doors' — Yolanda Adams Feat. Sir The Baptist and Donald Lawrence (Terry Hunter Remix) 'Constant' — Maverick City Music, Jordin Sparks, Chandler Moore and Anthony Gargiula 'Deserve to Win' — Tamela Mann 'Faith' — Rapsody 'Rain Down on Me' — Glorilla Feat. Kirk Franklin, Maverick City Music BEST INTERNATIONAL ACT Any Gabrielly (Brazil) Ayra Starr (Nigeria) Bashy (United Kingdom) Black Sherif (Ghana) Ezra Collective (United Kingdom) Joé Dwèt Filé (France) Mc Luanna (Brazil) Rema (Nigeria) Sdm (France) Tyla (South Africa) Uncle Waffles (Swaziland) BEST NEW INTERNATIONAL ACT Abigail Chams (Tanzania) Ajuliacosta (Brazil) Amabbi (Brazil) Dlala Thukzin (South Africa) Dr Yaro (France) Kwn (United Kingdom) Maglera Doe Boy (South Africa) Merveille (France) Odeal (United Kingdom) Shallipopi (Nigeria) Txc (South Africa) BEST MOVIE Bad Boys: Ride or Die Beverly Hills Cop: Axel F Luther: Never Too Much Mufasa: The Lion King One of Them Days Rebel Ridge The Piano Lesson The Six Triple Eight BEST ACTOR Aaron Pierre Aldis Hodge Anthony Mackie Colman Domingo Denzel Washington Jamie Foxx Joey Bada$$ Kevin Hart Sterling K. Brown Will Smith BEST ACTRESS Andra Day Angela Bassett Coco Jones Cynthia Erivo Keke Palmer Kerry Washington Quinta Brunson Viola Davis Zendaya YOUNG STARS AWARD Akira Akbar Blue Ivy Carter Graceyn 'Gracie' Hollingsworth Heiress Harris Melody Hurd Thaddeus J. Mixson Tyrik Johnson Vanvan SPORTSWOMAN OF THE YEAR A'ja Wilson Angel Reese Claressa Shields Coco Gauff Dawn Staley Flau'jae Johnson JuJu Watkins Sha'Carri Richardson Simone Biles SPORTSMAN OF THE YEAR Aaron Judge Anthony Edwards Deion Sanders Jalen Hurts Jayson Tatum LeBron James Saquon Barkley Stephen Curry SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby Brandon Scott Jones on CBS' 'Ghosts': 'I enjoy playing characters that are desperate' 'She's got tunnel vision': Wendi McLendon-Covey reveals what she loves most about her character Joyce on 'St. Denis Medical' Marlon Wayans on laughing through tragedy in 'Good Grief' and why social media has made comedy 'toxic' Click here to read the full article.
Yahoo
06-06-2025
- Entertainment
- Yahoo
The Weeknd on the ‘Deeply Psychological, Emotional Ride' Behind the Music in His ‘Hurry Up Tomorrow' Film
The following story contains spoilers from Hurry Up Tomorrow. Four months after The Weeknd released his Billboard 200-topping album Hurry Up Tomorrow, XO fans are finally able to watch the film that inspired its inception in theaters, starting Friday (May 16). More from Billboard The Weeknd Reveals 'Hurry Up Tomorrow' Album 'Didn't Exist' Before the Film 'American Idol': How to Watch Season 23 Finale Online REI Anniversary Sale: Shop the 20 Best Tech, Clothing & Outdoor Deals for Up to 30% Off Directed by Trey Edward Shults, Hurry Up Tomorrow follows a fictional version of the superstar (also named Abel) who's 'plagued by insomnia' and 'is pulled into an odyssey with a stranger who begins to unravel the very core of his existence,' according to the official synopsis. But what's soundtracking his nightmarish journey digs even deeper into The Weeknd's lore. 'Wake Me Up,' the Justice-featuring synth-pop album opener, also serves as the film's opening 'concert song.' The show The Weeknd performs at a that looks identical to the ones he held in Brazil and Australia last fall, where he wore a black and gold kaba — a hand-embroidered Ethiopian robe historically worn by royals and traditionally worn at weddings — and sang atop a rock-hewn church, resembling Lalibela, in the northern region of his motherland. He debuted 'Wake Me Up' at his São Paulo show in September. 'We always wanted a performance song that we can open the film with, and in the vein of a pop record, and 'Wake Me Up' was the inspiration,' The Weeknd tells Billboard. He performs the song again at a different concert later in the film, where he ends up losing his voice – mimicking The Weeknd's real-life experience at Inglewood's SoFi Stadium in September 2022, when he had to cut his concert short for the same reason. That incident, as well as The Weeknd's sleep paralysis diagnosis, are key influences in Hurry Up Tomorrow. The film's Oscar-winning sound designer Johnnie Burn says they remixed the first 'Wake Me Up' performance in the film '35 times, trying to get the balance of how much crowd sound you would hear, how the music would come across. Are you hearing it from Abel's perspective? We tried that. Are you hearing it from the audience's perspective? No. Are you hearing it from a deeply psychological, emotional ride? Yeah, you are.' Burn, who says he went from 'dancing around my kitchen to Abel's music' as a fan to 'dancing around the mixing room' with the man himself, says the process involved everything from asking Mike Dean for 'a new synth line that sounds a bit more live' to miking The Weeknd while he recorded new lyrics that better suited the storyline. When The Weeknd was changing up a few lyrics during the cutaways, 'I said, 'Well, you're probably in quite an adrenaline state when you go out in front of 80,000 people.' So I made him do push-ups to get kind of worked up,' Burn recalls with a chuckle. 'He was like, 'What, now?' And I was like, 'Yeah, get down and give me 20.'' Burn says the song that required the most fine-tuning was the cathartic centerpiece 'Hurry Up Tomorrow,' which The Weeknd explains was inspired by the titular track from Robert Altman's 1973 satirical noir film The Long Goodbye, because of how frequently it appears. 'You hear it throughout the entire film, different iterations of it. You hear it on the radio, you hear a pop version of it, subjectively in the score, diegetically, a mariachi band will sing it every time he goes to Mexico. And I wanted to do that with 'Hurry Up Tomorrow,'' he explains. Abel first plays Anima (played by Jenna Ortega) a stripped-down draft of it off his phone in a hotel room. Moved to tears, Anima admits she relates to its autobiographical lyrics — because her father left when she was a kid, her mother struggled to raise her alone and she abandoned home to forge her own path that's fraught with inescapable loneliness. The next morning, Abel turns around while sitting on the hotel bed and faintly hears Anima singing some of the first verse in the shower behind closed doors. He later encounters his younger self, who's swaddled in a gabi, a white handwoven Ethiopian cotton blanket, and singing a few lines in Amharic, the primary language of Ethiopia. But after Anima douses him and the hotel bed he's tied to with gasoline — and right as she holds a lighter above him — Abel belts an a cappella version that feels like he is literally singing for his life: 'So burn me with your light/ I have no more fights left to win/ Tie me up to face it, I can't run away, and/ I'll accept that it's the end.' 'You're seeing the making of it, not literally me making it, but the themes and the concept and the melody and the soul of it is being made throughout the film. By the end of it, it's fully blossomed into this song, which essentially is what the film is saying,' says The Weeknd, who adds that he had 'to finish the lyrics the night before I had to perform it at the end.' But outside of the Hurry Up Tomorrow tracks, fans will be surprised to hear two earlier songs from The Weeknd's discography in the film: his 2021 blockbuster hit 'Blinding Lights' – which is the top Billboard Hot 100 song of all time – and 'Gasoline,' the first track from his 2022 album Dawn FM. Anima analyzes the emptiness and heartache in the songs as she hysterically lip-syncs and dances to them, and she later questions Abel if he's the true toxic subject behind his music. 'What I am doing by the end of the film is, I'm lighting my persona up on fire. But to tap into that, you need to go into the back catalog a little bit, and take in what I'm saying in some of these lyrics and how they're masked by pop elements,' he says. 'It's always been a joke that joke with The Weeknd music, where it makes you sing and dance and it feels jolly. And then when you actually get into the themes of it, it's something much deeper — and maybe a call for help, who knows. That's how [Anima's] reading it, and essentially forcing myself to face myself.' There are other callbacks to his catalog in the sound design. The guttural shrieks heard right after Anima swings a champagne bottle over Abel's head and knocks him out when he first tries leaving the hotel room sound reminiscent of the title track of his 2013 debut studio album Kiss Land. The 'Easter eggs,' as Burn calls them, extend beyond the film — as fans pointed out online that the ending of 'Hurry Up Tomorrow,' which serves as the final track of The Weeknd's album, seamlessly transitions into the beginning of 'High For This,' the first track off his 2011 debut mixtape House of Balloons. While Hurry Up Tomorrow bids farewell to the character Abel Tesfaye has played for over a decade, it also underscores the long-standing symbiotic relationship between music and film in The Weeknd's world. 'When you hear the screams in the record and you hear all these horror references and you feel scared, listen to the music — because I want you to feel what I'm feeling. Kiss Land is like a horror movie,' The Weeknd told Complex in his first-ever interview back in 2013. 'We wanted to do something we've never seen or heard on screen before,' he says now. 'We were able to do these big swings, and I think they landed well in the film. I'm really proud of the music, and I'm proud of the sonics of it. It's much different from the album. It's like its own experience.' Best of Billboard Kelly Clarkson, Michael Buble, Pentatonix & Train Will Bring Their Holiday Hits to iHeart Christmas Concert Fox Plans NFT Debut With $20 'Masked Singer' Collectibles 14 Things That Changed (or Didn't) at Farm Aid 2021
