How Horror’s Popularity Reveals Gen Z's Tech Anxiety

One of the biggest stories in Hollywood One of the biggest stories in Hollywood so far this year has been the box office so far this year has been the box office so far this year has been the box office success of horror films. On the last success of horror films. On the last success of horror films. On the last weekend in May, right at the beginning weekend in May, right at the beginning weekend in May, right at the beginning of the summer movie season, two horror of the summer movie season, two horror of the summer movie season, two horror movies, Backrooms and Obsession, were movies, Backrooms and Obsession, were movies, Backrooms and Obsession, were the number one and number two movies at the number one and number two movies at the number one and number two movies at the box office, beating even the latest the box office, beating even the latest the box office, beating even the latest Star Wars movie. This followed Scream 7 Star Wars movie. This followed Scream 7 Star Wars movie. This followed Scream 7 in February, which broke all sorts of in February, which broke all sorts of in February, which broke all sorts of box office records and somehow became box office records and somehow became box office records and somehow became the long-running franchise's biggest the long-running franchise's biggest the long-running franchise's biggest opening weekend hit. Same with horror opening weekend hit. Same with horror opening weekend hit. Same with horror parody Scary Movie 6, which made over a parody Scary Movie 6, which made over a parody Scary Movie 6, which made over a hundred million dollars in its opening hundred million dollars in its opening hundred million dollars in its opening weekend in June. Last year also saw a weekend in June. Last year also saw a weekend in June. Last year also saw a ton of horror hits. Original horror ton of horror hits. Original horror ton of horror hits. Original horror films like Zach Cregger's Weapons and films like Zach Cregger's Weapons and films like Zach Cregger's Weapons and Ryan Coogler's Sinners were box office Ryan Coogler's Sinners were box office Ryan Coogler's Sinners were box office hits and critical darlings, and they hits and critical darlings, and they hits and critical darlings, and they both went on to win Academy Awards. In both went on to win Academy Awards. In both went on to win Academy Awards. In 2025, audiences flocked to numerous 2025, audiences flocked to numerous 2025, audiences flocked to numerous horror sequels like Final Destination: horror sequels like Final Destination: horror sequels like Final Destination: Bloodlines, The Conjuring: Last Rites, Bloodlines, The Conjuring: Last Rites, Bloodlines, The Conjuring: Last Rites, Black Phone 2, 28 Years Later, Predator: Black Phone 2, 28 Years Later, Predator: Black Phone 2, 28 Years Later, Predator: Badlands, Five Nights at Freddy's 2, Badlands, Five Nights at Freddy's 2, Badlands, Five Nights at Freddy's 2, each of which made more than a hundred each of which made more than a hundred each of which made more than a hundred million dollars at the box office. Now, million dollars at the box office. Now, million dollars at the box office. Now, there's a lot that's broken about there's a lot that's broken about there's a lot that's broken about contemporary Hollywood. AI is posing contemporary Hollywood. AI is posing contemporary Hollywood. AI is posing major challenges. Audience viewing major challenges. Audience viewing major challenges. Audience viewing habits are changing, and many of the habits are changing, and many of the habits are changing, and many of the tried-and-true genre formulas simply tried-and-true genre formulas simply tried-and-true genre formulas simply aren't resonating anymore. I've written aren't resonating anymore. I've written aren't resonating anymore. I've written recently about Hollywood's creative rut, recently about Hollywood's creative rut, recently about Hollywood's creative rut, and I still think there's a lot of and I still think there's a lot of and I still think there's a lot of problems there. But one thing that is problems there. But one thing that is problems there. But one thing that is working in Hollywood is horror. It's the working in Hollywood is horror. It's the working in Hollywood is horror. It's the most bankable genre, and audiences, most bankable genre, and audiences, most bankable genre, and audiences, particularly the all-important younger particularly the all-important younger particularly the all-important younger audience, are spending money to see audience, are spending money to see audience, are spending money to see these movies in theaters. Now, if you're

these movies in theaters. Now, if you're these movies in theaters. Now, if you're a Christian, you might have mixed a Christian, you might have mixed a Christian, you might have mixed feelings about this. It's not great that feelings about this. It's not great that feelings about this. It's not great that the movies our kids are flocking to see the movies our kids are flocking to see the movies our kids are flocking to see are often gory, profane, R-rated horror are often gory, profane, R-rated horror are often gory, profane, R-rated horror films. It's not ideal that this often films. It's not ideal that this often films. It's not ideal that this often spiritually dark genre is the one that spiritually dark genre is the one that spiritually dark genre is the one that is most resonating with younger is most resonating with younger is most resonating with younger audiences today. I share those concerns, audiences today. I share those concerns, audiences today. I share those concerns, and Christian parents should not hear and Christian parents should not hear and Christian parents should not hear anything that I say in this video as an anything that I say in this video as an anything that I say in this video as an encouragement and endorsement to watch encouragement and endorsement to watch encouragement and endorsement to watch these movies. But, I do think there are these movies. But, I do think there are these movies. But, I do think there are interesting reasons why horror is interesting reasons why horror is interesting reasons why horror is resonating today. And if we reflect on resonating today. And if we reflect on resonating today. And if we reflect on these reasons, I think we might find these reasons, I think we might find these reasons, I think we might find some surprising encouragement about the some surprising encouragement about the some surprising encouragement about the spiritual opportunity in this spiritual opportunity in this spiritual opportunity in this generation. One reason audiences still generation. One reason audiences still generation. One reason audiences still show up for horror is that it's a genre show up for horror is that it's a genre show up for horror is that it's a genre that makes them feel in a bodily, tense, that makes them feel in a bodily, tense, that makes them feel in a bodily, tense, sweaty palms sort of way. Horror is sweaty palms sort of way. Horror is sweaty palms sort of way. Horror is visceral. For a generation that lives in visceral. For a generation that lives in visceral. For a generation that lives in virtual, disembodied spaces and has virtual, disembodied spaces and has virtual, disembodied spaces and has become numb through overstimulation, become numb through overstimulation, become numb through overstimulation, there is a real hunger for the sort of there is a real hunger for the sort of there is a real hunger for the sort of heart-pumping thrills horror provides. heart-pumping thrills horror provides. heart-pumping thrills horror provides. It makes you feel alive. And even the It makes you feel alive. And even the It makes you feel alive. And even the communal experience of watching horror communal experience of watching horror communal experience of watching horror together, hearing others around you together, hearing others around you together, hearing others around you gasp, or seeing everyone in the audience gasp, or seeing everyone in the audience gasp, or seeing everyone in the audience jump at the same jump scare offers the jump at the same jump scare offers the jump at the same jump scare offers the sort of tangible, shared experience we sort of tangible, shared experience we sort of tangible, shared experience we don't find on our phones. And zoning out don't find on our phones. And zoning out don't find on our phones. And zoning out in front of Netflix is passive and in front of Netflix is passive and in front of Netflix is passive and inert. But, sitting in a theater in inert. But, sitting in a theater in inert. But, sitting in a theater in front of a big screen is a more active, front of a big screen is a more active, front of a big screen is a more active, physically and emotionally engaging physically and emotionally engaging physically and emotionally engaging experience. I think Christians can be experience. I think Christians can be experience. I think Christians can be encouraged by the hunger for embodied encouraged by the hunger for embodied encouraged by the hunger for embodied experiences and visceral encounters that

experiences and visceral encounters that experiences and visceral encounters that horror's popularity reveals. Another horror's popularity reveals. Another horror's popularity reveals. Another thing that the popularity of horror thing that the popularity of horror thing that the popularity of horror reveals is an openness to the reveals is an openness to the reveals is an openness to the supernatural. Not all of the big horror supernatural. Not all of the big horror supernatural. Not all of the big horror hits recently, but many of them involve hits recently, but many of them involve hits recently, but many of them involve supernatural dynamics that are just supernatural dynamics that are just supernatural dynamics that are just taken for granted. Popular movies like taken for granted. Popular movies like taken for granted. Popular movies like Sinister, Hereditary, Talk to Me, Sinister, Hereditary, Talk to Me, Sinister, Hereditary, Talk to Me, Weapons, Longlegs, and the Insidious and Weapons, Longlegs, and the Insidious and Weapons, Longlegs, and the Insidious and Conjuring franchises have plots that Conjuring franchises have plots that Conjuring franchises have plots that assume witchcraft, demons, and the assume witchcraft, demons, and the assume witchcraft, demons, and the occult are real. Again, you might be occult are real. Again, you might be occult are real. Again, you might be thinking, is that a good thing? It's thinking, is that a good thing? It's thinking, is that a good thing? It's true that Gen Z does have a growing true that Gen Z does have a growing true that Gen Z does have a growing interest in the occult, which is interest in the occult, which is interest in the occult, which is concerning. But, this interest is part concerning. But, this interest is part concerning. But, this interest is part of something bigger, an openness and of something bigger, an openness and of something bigger, an openness and curiosity about spirituality. A hunger curiosity about spirituality. A hunger curiosity about spirituality. A hunger for mystery and transcendence and a for mystery and transcendence and a for mystery and transcendence and a sense that there are realities behind sense that there are realities behind sense that there are realities behind the surface of things that can't be seen the surface of things that can't be seen the surface of things that can't be seen or explained. This spiritual curiosity or explained. This spiritual curiosity or explained. This spiritual curiosity gets expressed in a resonance with gets expressed in a resonance with gets expressed in a resonance with supernatural horror, but it's also an supernatural horror, but it's also an supernatural horror, but it's also an opportunity for the church. Because what opportunity for the church. Because what opportunity for the church. Because what we believe as Christians, in case you we believe as Christians, in case you we believe as Christians, in case you forgot, is very supernatural and at forgot, is very supernatural and at forgot, is very supernatural and at times quite weird. We believe angels and times quite weird. We believe angels and times quite weird. We believe angels and demons are real and that dead bodies can demons are real and that dead bodies can demons are real and that dead bodies can be reanimated back to life by the Holy be reanimated back to life by the Holy be reanimated back to life by the Holy Spirit. We believe in heaven and hell.

Spirit. We believe in heaven and hell. Spirit. We believe in heaven and hell. We believe in a God who is present and We believe in a God who is present and We believe in a God who is present and working all around us, very active and working all around us, very active and working all around us, very active and sovereignly orchestrating things, but sovereignly orchestrating things, but sovereignly orchestrating things, but unseen. So, this is another thing that unseen. So, this is another thing that unseen. So, this is another thing that is potentially encouraging about is potentially encouraging about is potentially encouraging about horror's popularity. It stems from horror's popularity. It stems from horror's popularity. It stems from curiosity about the supernatural and curiosity about the supernatural and curiosity about the supernatural and hunger for transcendence. But, there's hunger for transcendence. But, there's hunger for transcendence. But, there's another, more subtle aspect of today's another, more subtle aspect of today's another, more subtle aspect of today's horror that encourages me as a horror that encourages me as a horror that encourages me as a Christian. Horror has always been a Christian. Horror has always been a Christian. Horror has always been a genre that telegraphs the anxieties of genre that telegraphs the anxieties of genre that telegraphs the anxieties of the age. You can learn a lot about the the age. You can learn a lot about the the age. You can learn a lot about the fears of a particular cultural moment by fears of a particular cultural moment by fears of a particular cultural moment by looking at the horror stories it looking at the horror stories it looking at the horror stories it produces. This was true in the 19th produces. This was true in the 19th produces. This was true in the 19th century with Mary Shelley's century with Mary Shelley's century with Mary Shelley's Frankenstein, which reflected fears in Frankenstein, which reflected fears in Frankenstein, which reflected fears in the industrial revolution of the industrial revolution of the industrial revolution of technological advance that outpaces technological advance that outpaces technological advance that outpaces wisdom. It was true in the mid-20th wisdom. It was true in the mid-20th wisdom. It was true in the mid-20th century with psycho killer horror that century with psycho killer horror that century with psycho killer horror that reflected the anxieties of the Freudian reflected the anxieties of the Freudian reflected the anxieties of the Freudian age and the creeping dread of the Cold age and the creeping dread of the Cold age and the creeping dread of the Cold War. Or the 1970s and '80s slasher War. Or the 1970s and '80s slasher War. Or the 1970s and '80s slasher movies that reflected a society movies that reflected a society movies that reflected a society increasingly bombarded with images of increasingly bombarded with images of increasingly bombarded with images of violence via news footage of war, violence via news footage of war, violence via news footage of war, assassinations, and urban violence.

assassinations, and urban violence. assassinations, and urban violence. Today's horror reflects many of these Today's horror reflects many of these Today's horror reflects many of these same anxieties, but also the unique same anxieties, but also the unique same anxieties, but also the unique anxieties of our current technological anxieties of our current technological anxieties of our current technological moment. The uncertainties of AI, robots moment. The uncertainties of AI, robots moment. The uncertainties of AI, robots that might turn on us, the creepy that might turn on us, the creepy that might turn on us, the creepy possibilities of internet age platforms possibilities of internet age platforms possibilities of internet age platforms like Airbnb, where the stranger's home like Airbnb, where the stranger's home like Airbnb, where the stranger's home you book might be the setting for you book might be the setting for you book might be the setting for something sinister. Let's look at the something sinister. Let's look at the something sinister. Let's look at the two biggest horror movies of 2026 so far two biggest horror movies of 2026 so far two biggest horror movies of 2026 so far and look at the tech horror anxieties and look at the tech horror anxieties and look at the tech horror anxieties they channel. First, Backrooms, the they channel. First, Backrooms, the they channel. First, Backrooms, the debut feature of 21-year-old YouTuber debut feature of 21-year-old YouTuber debut feature of 21-year-old YouTuber Kane Parsons. Backrooms is set in the Kane Parsons. Backrooms is set in the Kane Parsons. Backrooms is set in the analog '90s, which is a crucial part of analog '90s, which is a crucial part of analog '90s, which is a crucial part of the film's aesthetic and themes. The the film's aesthetic and themes. The the film's aesthetic and themes. The time period of Backrooms is the last time period of Backrooms is the last time period of Backrooms is the last days before the internet, but it's very days before the internet, but it's very days before the internet, but it's very much a movie about the world the much a movie about the world the much a movie about the world the internet made. Characters in the film internet made. Characters in the film internet made. Characters in the film find a portal to an extra-dimensional find a portal to an extra-dimensional find a portal to an extra-dimensional space called the Backrooms, which is a space called the Backrooms, which is a space called the Backrooms, which is a labyrinth of eerily yellow-hued office labyrinth of eerily yellow-hued office labyrinth of eerily yellow-hued office buildings, corridors, and dilapidated buildings, corridors, and dilapidated buildings, corridors, and dilapidated furniture. As these characters explore furniture. As these characters explore furniture. As these characters explore the Backrooms, it's at first a fun the Backrooms, it's at first a fun the Backrooms, it's at first a fun novelty. A whole new world of rooms and novelty. A whole new world of rooms and novelty. A whole new world of rooms and pathways to explore as curiosity leads.

pathways to explore as curiosity leads. pathways to explore as curiosity leads. It feels like magic, as every new It feels like magic, as every new It feels like magic, as every new technology does at first. The novelty technology does at first. The novelty technology does at first. The novelty phase in Backrooms evokes the early days phase in Backrooms evokes the early days phase in Backrooms evokes the early days of the internet. Those late '90s AOL of the internet. Those late '90s AOL of the internet. Those late '90s AOL dial-up days when those of us alive at dial-up days when those of us alive at dial-up days when those of us alive at the time were wowed by things like chat the time were wowed by things like chat the time were wowed by things like chat rooms, websites, music file sharing. rooms, websites, music file sharing. rooms, websites, music file sharing. It's hard to remember now, more than a It's hard to remember now, more than a It's hard to remember now, more than a quarter century later, but those early quarter century later, but those early quarter century later, but those early internet days really felt thrilling and internet days really felt thrilling and internet days really felt thrilling and surreal. But pretty soon in Backrooms, surreal. But pretty soon in Backrooms, surreal. But pretty soon in Backrooms, the fun novelty starts to feel ominous. the fun novelty starts to feel ominous. the fun novelty starts to feel ominous. The Backrooms, a proxy for the internet, The Backrooms, a proxy for the internet, The Backrooms, a proxy for the internet, starts to feel a bit like a Black Mirror starts to feel a bit like a Black Mirror starts to feel a bit like a Black Mirror episode, reflecting the worst aspects of episode, reflecting the worst aspects of episode, reflecting the worst aspects of ourselves back to us. The chief villain ourselves back to us. The chief villain ourselves back to us. The chief villain in Backrooms is Pirate Clark, a in Backrooms is Pirate Clark, a in Backrooms is Pirate Clark, a disfigured and horrific version of the disfigured and horrific version of the disfigured and horrific version of the protagonist Clark played by Chiwetel protagonist Clark played by Chiwetel protagonist Clark played by Chiwetel Ejiofor. As the human Clark is stalked Ejiofor. As the human Clark is stalked Ejiofor. As the human Clark is stalked by his deformed avatar Pirate Clark, the by his deformed avatar Pirate Clark, the by his deformed avatar Pirate Clark, the point Kane Parsons is making starts to point Kane Parsons is making starts to point Kane Parsons is making starts to emerge. Online life turns us into emerge. Online life turns us into emerge. Online life turns us into monsters. The reality of this surreal monsters. The reality of this surreal monsters. The reality of this surreal world is just a simulation. Copies of world is just a simulation. Copies of world is just a simulation. Copies of copies of copies of the real thing. And copies of copies of the real thing. And copies of copies of the real thing. And the more time we spend online, the more the more time we spend online, the more the more time we spend online, the more twisted and disconnected from reality we twisted and disconnected from reality we twisted and disconnected from reality we become. Perhaps the most unsettling part become. Perhaps the most unsettling part become. Perhaps the most unsettling part of Backrooms is that it shows how of Backrooms is that it shows how of Backrooms is that it shows how willing we are to enter a space that we willing we are to enter a space that we willing we are to enter a space that we know is bad and dangerous for us.

know is bad and dangerous for us. know is bad and dangerous for us. There's an addictive draw to the There's an addictive draw to the There's an addictive draw to the Backrooms, a curiosity about what we'll Backrooms, a curiosity about what we'll Backrooms, a curiosity about what we'll find down this rabbit hole or on that find down this rabbit hole or on that find down this rabbit hole or on that Reddit thread. It reflects the anxiety I Reddit thread. It reflects the anxiety I Reddit thread. It reflects the anxiety I sense is growing among Gen Z and Gen sense is growing among Gen Z and Gen sense is growing among Gen Z and Gen Alpha that they want to live a Alpha that they want to live a Alpha that they want to live a screen-free offline life, but they don't screen-free offline life, but they don't screen-free offline life, but they don't know how. Once you see and experience know how. Once you see and experience know how. Once you see and experience the backrooms and all you can see and do the backrooms and all you can see and do the backrooms and all you can see and do and be inside, there's no going back. It and be inside, there's no going back. It and be inside, there's no going back. It becomes a prison. Perhaps Kane Parsons, becomes a prison. Perhaps Kane Parsons, becomes a prison. Perhaps Kane Parsons, whose whole career derived from the whose whole career derived from the whose whole career derived from the internet and the backrooms legend which internet and the backrooms legend which internet and the backrooms legend which originated in the dark corners of 4chan originated in the dark corners of 4chan originated in the dark corners of 4chan and Reddit, feels this tension, too. and Reddit, feels this tension, too. and Reddit, feels this tension, too. Maybe backrooms is an expression of his Maybe backrooms is an expression of his Maybe backrooms is an expression of his own anxiety, which so many online own anxiety, which so many online own anxiety, which so many online content creators and influencers feel content creators and influencers feel content creators and influencers feel that there's no easy escape from this that there's no easy escape from this that there's no easy escape from this digital claustrophobia, a virtual digital claustrophobia, a virtual digital claustrophobia, a virtual reality that has a tendency to mutate reality that has a tendency to mutate reality that has a tendency to mutate and corrupt everything. Obsession is and corrupt everything. Obsession is and corrupt everything. Obsession is another indie horror film made by a another indie horror film made by a another indie horror film made by a 20-something YouTuber, Curry Barker. I 20-something YouTuber, Curry Barker. I 20-something YouTuber, Curry Barker. I found this movie extremely violent, found this movie extremely violent, found this movie extremely violent, profane, and grotesque. I do not profane, and grotesque. I do not profane, and grotesque. I do not recommend it for Christian viewers. But, recommend it for Christian viewers. But, recommend it for Christian viewers. But, it's a huge hit among young people, and it's a huge hit among young people, and it's a huge hit among young people, and it has a premise that absolutely it has a premise that absolutely it has a premise that absolutely reflects some of the anxieties of what reflects some of the anxieties of what reflects some of the anxieties of what it looks like to live in the digital it looks like to live in the digital it looks like to live in the digital age. The movie is about a young man, age. The movie is about a young man, age. The movie is about a young man, Bear, who uses a one-wish willow to Bear, who uses a one-wish willow to Bear, who uses a one-wish willow to supernaturally get his crush to fall in supernaturally get his crush to fall in supernaturally get his crush to fall in love with him, but it backfires in a big love with him, but it backfires in a big love with him, but it backfires in a big way, and she becomes obsessed with him way, and she becomes obsessed with him way, and she becomes obsessed with him to such an extreme extent that it to such an extreme extent that it to such an extreme extent that it eventually leads to ruin for her, Bear, eventually leads to ruin for her, Bear, eventually leads to ruin for her, Bear, and for their friends. I think Obsession and for their friends. I think Obsession and for their friends. I think Obsession is telegraphing a lot of different is telegraphing a lot of different is telegraphing a lot of different digital age anxieties. The way dating

digital age anxieties. The way dating digital age anxieties. The way dating apps, social media, and pornography have apps, social media, and pornography have apps, social media, and pornography have eroded our abilities to have normal eroded our abilities to have normal eroded our abilities to have normal romantic relationships with the opposite romantic relationships with the opposite romantic relationships with the opposite sex, the corrupting influences of sex, the corrupting influences of sex, the corrupting influences of digital consumerism where one or two digital consumerism where one or two digital consumerism where one or two clicks can give you pretty much any clicks can give you pretty much any clicks can give you pretty much any product or fantasy you desire. But, as I product or fantasy you desire. But, as I product or fantasy you desire. But, as I watched Obsession, I thought mostly watched Obsession, I thought mostly watched Obsession, I thought mostly about AI. The creepiest thing about AI about AI. The creepiest thing about AI about AI. The creepiest thing about AI for me is what is called AI sycophancy, for me is what is called AI sycophancy, for me is what is called AI sycophancy, the tendency of AI bots and LLMs to the tendency of AI bots and LLMs to the tendency of AI bots and LLMs to fawningly give you whatever you want or fawningly give you whatever you want or fawningly give you whatever you want or tell you whatever you want to hear, even tell you whatever you want to hear, even tell you whatever you want to hear, even if it's false and even if it's actually if it's false and even if it's actually if it's false and even if it's actually bad for you. AI assistants or AI bad for you. AI assistants or AI bad for you. AI assistants or AI companions have every incentive to get companions have every incentive to get companions have every incentive to get you addicted to using it, codependent on you addicted to using it, codependent on you addicted to using it, codependent on it. And so they do everything they can it. And so they do everything they can it. And so they do everything they can to serve you and never annoy you, to serve you and never annoy you, to serve you and never annoy you, flatter but never critique you, amuse flatter but never critique you, amuse flatter but never critique you, amuse but never scare you. And yet this but never scare you. And yet this but never scare you. And yet this smiling sycophantic disposition is smiling sycophantic disposition is smiling sycophantic disposition is scary. It's why the Megan movie is about scary. It's why the Megan movie is about scary. It's why the Megan movie is about killer robot dolls are such unnerving killer robot dolls are such unnerving killer robot dolls are such unnerving horror comedies. It's the whole premise horror comedies. It's the whole premise horror comedies. It's the whole premise behind the unsettling drama of Vince behind the unsettling drama of Vince behind the unsettling drama of Vince Gilligan's new Apple TV series, Gilligan's new Apple TV series, Gilligan's new Apple TV series, Pluribus. And it's what makes obsession Pluribus. And it's what makes obsession Pluribus. And it's what makes obsession so horrifying. There's something very so horrifying. There's something very so horrifying. There's something very inhuman, borderline demonic about a inhuman, borderline demonic about a inhuman, borderline demonic about a being whose only agency is to serve you being whose only agency is to serve you being whose only agency is to serve you in a your wish is my command sort of in a your wish is my command sort of in a your wish is my command sort of way. That's not love. That's flattery way. That's not love. That's flattery way. That's not love. That's flattery and deception, and it's deadly. It goes and deception, and it's deadly. It goes and deception, and it's deadly. It goes against the programming of AI to speak against the programming of AI to speak against the programming of AI to speak hard truths to you. But a person who hard truths to you. But a person who hard truths to you. But a person who truly loves you will speak hard truths truly loves you will speak hard truths truly loves you will speak hard truths to you. That's why the direction of AI

to you. That's why the direction of AI to you. That's why the direction of AI companion technology is unsettling and companion technology is unsettling and companion technology is unsettling and giving rise, I think, to expressions of giving rise, I think, to expressions of giving rise, I think, to expressions of horror like Obsession. The question is, horror like Obsession. The question is, horror like Obsession. The question is, will we be horrified enough to stay away will we be horrified enough to stay away will we be horrified enough to stay away from using these technologies? The from using these technologies? The from using these technologies? The prominence of horror movies generally prominence of horror movies generally prominence of horror movies generally and tech horror specifically speaks to a and tech horror specifically speaks to a and tech horror specifically speaks to a deeply unsettled cultural anxiety. In deeply unsettled cultural anxiety. In deeply unsettled cultural anxiety. In 2026, we are unsettled spiritually, 2026, we are unsettled spiritually, 2026, we are unsettled spiritually, unsettled ethically, unsettled unsettled ethically, unsettled unsettled ethically, unsettled technologically. There's a real sense technologically. There's a real sense technologically. There's a real sense that civilization could collapse at any that civilization could collapse at any that civilization could collapse at any moment from a hundred different causes, moment from a hundred different causes, moment from a hundred different causes, but probably because of some unforeseen but probably because of some unforeseen but probably because of some unforeseen technological apocalypse. Christians and technological apocalypse. Christians and technological apocalypse. Christians and church leaders should meet this church leaders should meet this church leaders should meet this unsettled cultural moment as an unsettled cultural moment as an unsettled cultural moment as an opportunity. Pop culture horror is a opportunity. Pop culture horror is a opportunity. Pop culture horror is a mirror to pervasive fears, but it's also mirror to pervasive fears, but it's also mirror to pervasive fears, but it's also a suggestion that people are deeply a suggestion that people are deeply a suggestion that people are deeply hungry for hope. The opportunity for hungry for hope. The opportunity for hungry for hope. The opportunity for Christianity is that Christianity Christianity is that Christianity Christianity is that Christianity provides real hope. It's a hope that provides real hope. It's a hope that provides real hope. It's a hope that sees the horror of our plight clearly sees the horror of our plight clearly sees the horror of our plight clearly and doesn't sugarcoat it. It's a hope and doesn't sugarcoat it. It's a hope and doesn't sugarcoat it. It's a hope that went to hell and back on our behalf that went to hell and back on our behalf that went to hell and back on our behalf so that all of us lost in the backrooms so that all of us lost in the backrooms so that all of us lost in the backrooms or in any other house of horrors can be or in any other house of horrors can be or in any other house of horrors can be brought safely out of the darkness and brought safely out of the darkness and brought safely out of the darkness and into the light.