Noah Delgado

Journalist | Actor | Writer | Producer | “Horror Movie Trash Man” Retweet/Follow =\= endorsement, Opinions my own Bluesky:

[Noah Delgado @DelGoada]

Here’s a friendly reminder that, even though the news rn is scary and depressing, the answer should almost never be to “not watch because it makes [me] sad.” If the news upsets you, go out and try to change the world it reports. Ignorance is not bliss. #ignoranceisirresponsible

[zero @yves8nts]

with all this talk about internet horror and creepypastas and the like i think everyone should watch we are all going to the worlds fair

[Noah Delgado @DelGoada]

“Manual friction of the old tools”

Got it, so you’re lazy. That’s it.

A lazy plagiarist.

[Sean Ward @seanward]

If your purpose in filmmaking is tied to the manual friction of the old tools, then yes, AI defeats it. To him, prompting skips the part of the process that he's interested in.

But if your purpose is to get the stories out of your head and build a universe, this tech is the ultimate engine.

[Noah Delgado @DelGoada]

Says the plagiarist to the real filmmaker

[Kai Laigo a.k.a Aquamaster @KaiLaigo]

@Variety Good thing "the point" of filmmaking is different for everyone.

What a naive kid, lol.

[Swell (Let’s Go Knicks!) @cinemaxwell]

Who cares? This constant need to critique films as if they are sports, pitting them against one another, is exhausting. Plus, you know, subjectivity. Film discourse on this app is far too fucking binary.

[Noah Delgado @DelGoada]

@sargent_jo90037 Buddy, I’m not refusing. You’re not listening.

The OWW being a quick, purchasable fix for problems the results in a dude wishing for a woman to love him rather than risk being vulnerable is so rooted in Gen Z socioeconomic anxiety that you have to be trying not to see it.

[Noah Delgado @DelGoada]

Coralie Fargeat is 49-years-old. She isn’t Gen Z.

I’ll grant you "Backrooms" and "Obsession", but "The Substance" has less to say about Gen Z than it has to say older generations of women.

The aesthetics of it are more focused on the becoming-monstrous of beauty standards.

[Noah Delgado @DelGoada]

Man…

I don’t even know what to say.

What a loss.

[Deadline @DEADLINE]

Marjane Satrapi Dies: Iranian-French 'Persepolis' & 'Radioactive' Director Was 56 https://t.co/QWm8cfcjFM

[Noah Delgado @DelGoada]

@sargent_jo90037 You’re choosing to ignore the specific way the themes are being explored simply because you’ve seen those themes explored in other ways in previous movies.

[Noah Delgado @DelGoada]

@sargent_jo90037 And I’m telling you that it’s predicated on the themes of the movie. The way those themes are explored is key.

The One Wish Willow isn’t a Monkey‘s Paw, because it doesn’t grant wishes at a cost. Bear’s situation is wholly his own making as a result of his fear of vulnerability.

[Noah Delgado @DelGoada]

@sargent_jo90037 These are all prominent themes and motifs depicted in these films, almost certainly because the artists have felt these in their day-to-day lives.

[Noah Delgado @DelGoada]

@sargent_jo90037 Both artists who crafted these stories are of the gen these fears weigh particularly heavily on.

The post-9/11 generation raised by the internet, taught that vulnerability is cringe-y and that the future is within their grasp, only to inherit an abysmal job market and pandemic.

[Noah Delgado @DelGoada]

@sargent_jo90037 I said the exact opposite. Did you read what I said?

I said these fears aren’t new, but the specific approach taken in these films is uniquely filtered through a Gen Z lens.

[Noah Delgado @DelGoada]

@sargent_jo90037 "Obsession" - Gen Z's fear of being vulnerable/cringe as a machine that produces quick fixes to complex emotions.

"Backrooms" - Gen Z's striving for a future that is lost.

These are common fears, but how they manifest in these films from Gen Z artists is very particular.

[Noah Delgado @DelGoada]

In a world that traps people in constant cycles of striving for a future that has been lost, is there not something desirable about escaping into a world that at least promises more honest chaos?

This is, for me, the kind of horror "Backrooms" (2026) conjures.

[Noah Delgado @DelGoada]

Having now seen "Backrooms", yeah this guy is just yapping nonsense.

He’s psychoanalyzed the movie and reduced it down to something more simplistic than what it actually is.

[Felix ❤️‍🔥 @pilgoth]

The Backrooms was good but Kane betrays the premise by making it all about "processing trauma".

Its a mark against feature length cinema as an artform when a creator's youtube content can better explore a high concept.

[Noah Delgado @DelGoada]

Now seeing "Backrooms" (2026) directed by Kane Parsons

[Noah Delgado @DelGoada]

@AlsikkanTV So am I. What did you think I was talking about?

[Noah Delgado @DelGoada]

They’re allowed to make whatever they want, dude. They just wanted to make horror movies

[Chris Oldman @AlsikkanTV]

so will any brilliant young filmmakers be allowed to make non horror movies or no

[Noah Delgado @DelGoada]

What are we even doing here?

[Steven @StevenWallaby]

Obsession is for people weaned on narrative storytelling who grade films on a curve of how many plot holes and loose ends they can spot, but Backrooms is for the real dreamers.

[Noah Delgado @DelGoada]

@sargent_jo90037 That’s besides the point. Some fears are very common/ubiquitous. The specific way the story revolves around intimacy is very Gen Z

[erin proctor @postproctorism]

if you’re gonna come for my drag at least look at my resume. I’ve been recognized by the National Jewish Plays project multiple times. I’m not a big and fancy playwright but at least my work has something to say.