**Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder

**Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder

      After years of deeming it unnecessary, Tesla may be subtly yielding to Apple.

      Tesla may soon include Apple CarPlay integration in its vehicles.

      Reports indicate it will feature a basic CarPlay setup, not the advanced CarPlay Ultra.

      Approximately one-third of buyers say the absence of CarPlay is a deal-breaker.

      Shortly after Tesla began renting its cars from two locations in California, the electric vehicle manufacturer is reportedly considering another strategic change aimed at generating new demand: incorporating Apple CarPlay into its vehicles.

      If this proves to be accurate, it would represent a surprisingly pragmatic shift for Elon Musk, who has long dismissed the idea of integrating Apple CarPlay or Android Auto into Tesla’s tightly controlled software environment. It may be a sign that the walls are beginning to crumble.

      While Tesla has not officially responded to Bloomberg's report, unnamed sources indicate the automaker has initiated internal testing of the system and may be ready to launch it in the coming months.

      Bloomberg's report suggests Tesla intends to provide the standard version of Apple CarPlay instead of the newer CarPlay Ultra, which can dominate the entire infotainment system and span multiple displays, including the digital gauge cluster.

      Rather, Tesla seems to be preparing to integrate CarPlay as an optional feature within its own software, similar to how most mainstream automakers implement it.

      This addition would grant Tesla drivers access to popular Apple services such as iMessage, Apple Music, and Apple Maps. According to the report, Tesla plans to deploy the wireless version of CarPlay, letting users connect without needing to plug in their devices.

      The Significance of CarPlay

      Elon Musk has long criticized Apple and dismissed the idea of CarPlay integration. Rivian shares a similar viewpoint, and GM has recently announced plans to phase out both CarPlay and Android Auto from its upcoming vehicles. Nonetheless, surveys consistently indicate that many buyers consider these features to be essential rather than optional extras.

      A study conducted by McKinsey & Co. last year found that 30% of prospective EV buyers and 35% of potential buyers of new gasoline vehicles view the absence of Apple CarPlay or Android Auto as a deal-breaker. This suggests that Tesla could be missing out on thousands of sales each month.

**Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder **Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder **Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder

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**Keeper, 2025** Directed by Osgood Perkins. Featuring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss, Logan Pierce, Claire Friesen, Christin Park, Tess Degenstein, Glen Gordon, Erin Boyes, Erin Tipple, Gina Vultaggio, Evelyn Burke, and Ella Wejr. **SYNOPSIS:** A romantic anniversary getaway to a remote cabin takes a dark turn as a sinister force emerges, compelling a couple to confront the haunting history of the location. Keeper marks a return for horror director Osgood Perkins, though not necessarily regarding quality. While I usually avoid comparing films to one another, it feels apt here, especially considering the apparent pressure from Neon for the filmmaker to explore different horror styles every six months. Each film has varied greatly from the last, which is quite impressive, since Longlegs, for instance, weaves together numerous scare techniques and genre aspects. At this stage, it seems that Anthony Perkins' son is simply testing his technical skills as a director, employing a range of stylistic choices—such as dissolves, reflections, mirages, and fractures—alongside DP Jeremy Cox to delve into themes of identity and individuality. Aside from The Monkey—where there’s a clear personal connection tied to his parents’ tragic deaths—Osgood Perkins often appears emotionally detached from the narratives he presents (the screenplay for this film was crafted by Nick Lepard). Perhaps this is simply his nature as a storyteller who tends to be cold. Regardless, many of these films are beginning to feel rushed, as if Perkins is hastily producing them to refine and elevate his formal and technical abilities. Though the visuals are striking and the atmosphere is consistently unsettling, the underlying narrative (which touches on relationships and the loss of self within them) feels underdeveloped. In the story, Malcolm (Rossif Sutherland) takes his girlfriend, Liz (Tatiana Maslany, excellent at conveying fear), to his secluded family cabin in the woods. This surprises her old friend, as Liz is a city girl who doesn’t seem suited for rural life, which may hint at the first signs of her losing herself in this relationship. Compounding the issue is Malcolm’s seeming disregard for Liz's needs; she aspires to start a family and is making advances toward him sexually—though it's unclear how long this desire has been a topic of conversation or why they are together given their differing wants. Malcolm reassures Liz that the area is largely deserted with no one around, yet they encounter a mysterious caretaker who has baked a cake for them. Additionally, Malcolm’s self-absorbed cousin Darren (Birkett Turton) lives nearby with his latest non-English-speaking girlfriend (Eden Weiss), who appears to be using him to her advantage. After an awkward evening together, Liz starts to wonder if some of Darren’s superficiality is mirrored in Malcolm, questioning whether his kindness is simply a façade. The next day, the situation takes a stranger turn when Malcolm, a doctor, nervously informs Liz that he must briefly return to the city to check on a terminal patient whose family is distraught. Not only is Malcolm unsettling, but the cabin also carries an unsettling energy: strange, anguished sounds echo from the walls when silence falls, a locket is discovered in a nearby creek (the prologue suggests a darker history tied to the land), and Liz begins to have visions of eerie figures (including a woman with a bag over her head)—leading her to want to go home. It's notable that these odd events begin after they indulge in a slice of the aforementioned chocolate cake, which holds a dark secret. While some filmmakers have likened Keeper to a surreal David Lynch film, the narrative provides explicit explanations about what is unfolding. This revelation, however, feels somewhat lackluster and predictable, diminishing the impact of Tatiana Maslany's otherwise strong performance. Osgood Perkins does regain some momentum with a darkly humorous conclusion, but it still fails to transform the overall story into a fulfilling journey. In other words, Keeper isn’t a film to hold on to, despite Osgood Perkins being a skilled craftsman who excels at creating a haunting atmosphere. **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★** Robert Kojder

After years of deeming it unnecessary, Tesla might be subtly conceding to Apple.