the visit rap scene

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Ed Oxenbould's Raps Steal The Show In 'The Visit'

M. Night Shyamalan's The Visit is the perfect thriller to watch at the end of the summer. It has everything you'd want to make your skin crawl: creepy old people, spine-tingling moments of unabashed fear, a decent amount of gross-out moments, an unexpected Shyamalan-brand plot twist, and rapping. Yes, you heard me right: rapping. Ed Oxenbould plays Tyler, one of the two grandchildren who visit the aforementioned creepy grandparents. He's your basic charming yet annoying little brother, with the exception of two things: he's a germaphobe, and he's a wannabe rapper that likens himself to Tyler the Creator. His rap alias is "T-Diamond Stylus," and he raps about what he knows in his tough upper middle class life. That said, Oxenbould brings levity and comic relief to this terrifying movie and he does it well — especially with his silly rapping "skillz." So where can you the raps in The Visit ?

Because seriously, you're going to want to hear these more than once. Oxenbould steals scenes when he slips into his rapping persona, and even if you don't love his lyrics, you've got to admit that they're catchy. Unfortunately, they aren't available on iTunes (yet, at least), so if you can't wait for T-Diamond's debut album to drop, then you'll have to watch his exclusive performances in the movie.

You would think that Oxenbould's raps were really off the cuff and freestyle with the way he delivered them, but they were actually written for the character. According to an interview M. Night Shyamalan did with MovieWeb , the rap was created by another wannabe rapper: the director himself.

"I am the frustrated rapper that wrote those raps," says Shyamalan. "It was basically me writing jokes in rap form ( laughs ). I remember those days, writing the raps, it was really fun. I'd just be giggling."

Oxenbould's musical talents — and Shyamalan's contributions — in The Visit can be added to a long line of movies that have scenes where the most unlikely character raps. Here are a couple of them.

Simon Rex In Scary Movie 3 (2003)

This riff on 8 Mile is as memorable as it is ridiculous.

David Herman In Office Space (1999)

Probably the funniest and most accurate instance of a white boy rapping in a movie. Plus, the character's name is "Michael Bolton." It doesn't get better than that.

Vanilla Ice In Teenage Mutant Ninja Turtles II: The Secret Of The Ooze (1991)

During the golden age of Vanilla Ice, he made a cameo as himself in this Ninja Turtle sequel. It was probably cool at the time, but now, not so much.

Anna Kendrick In Pitch Perfect (2012)

When Becca sings Blackstreet's "No Diggity," she pretty much slays and owns her first riff-off.

Noah Blake And Mandy Ingber In Teen Witch (1989)

The "Top That" rap from Teen Witch has become legendary and will continue to be the best of all time.

As The Visit and these other movies show, it's pretty amazing what kind of unexpected rap moments can come from the most unlikely movies.

Image: Universal Studios

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The Visit Soundtrack [ 2015 ]

List of songs.

Loretta drives Becca and Tyler to the train station; [0:15] repeats as Becca talks about her film's soundtrack; [1:24] as Loretta and the police arrive.

Becca questions Tyler regarding the video he filmed of himself flexing his muscles; [1:30] repeats during credits.

The Three Wisemen

Sat. Nite Duets

Becca and Tyler video chat with their mom; Tyler tells his mom about Nana and Pop Pop acting strange.

Mocking Bird Yodel

Mary Schneider

Becca finds her Nana in a rocking chair laughing at the wall; Nana talks about the Deep Darkies.

East Coast Connection

Tyler and Becca play Yahtzee with their 'grandparents'.

Non T'amo Più

Enrico Caruso

Tyler yells for his sister as Becca is dragged upstairs by 'Pop Pop'.

L'Elisir D'Amore - Nemorino's Aria, Act II: Una furtiva lagrima

Tyler stands frozen in place as 'Pop Pop' changes; 'Pop Pop' tortures Tyler with his germ phobia.

18 Morceaux, Op. 72: No. 2, Berceuse (Arr. for Theremin & Piano)

Clara Rockmore & Nadia Reisenberg

Second song during credits.

Fiona Apple & Jon Brion

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4 years ago

Non t'amo più is on Spotify. Go to the artist's page and look for an album that goes by the name of "Opera Arias and songs", the remastered version should be in there.

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Can't find the song used while the kids escaped when the cops arrived

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The Visit (2015) Extra Rap Scene and Images During the Credits

Movie details, during the credits.

There is a stinger during the credits of The Visit .

After the Credits

There is no stinger after the credits of The Visit .

Songs During the Credits

“Stand Tall” by WarChild “18 Morceaux, Op. 72: No. 2, Berceuse” by Nadia Reisenberg and Clara Rockmore

Special thanks to ChrisCorp and Kenneth Parker for the stinger submissions!

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In The Visit , a Teenage Rapper Gets Shit Rubbed in His Face

Thanks a lot, m. night shyamalan.

T here is a shocking twist in M. Night Shyamalan's The Visit ! "That it's good?" you ask? Hahahahaha... no. The Visit is terrible. "That it's funny?" you ask, giving at least some credit to the fallen-on-hard-times filmmaker, who once made great movies like 2000's Unbreakable. Bwahahahahaha... no. The Visit is not funny—at least, not on purpose. Spoiler: The shocking twist is that the best scene involves a teenage rapper getting adult-diaper gravy rubbed all over his face. Does this bit of (unintentional) comedic genius make the cringe-inducing The Visit worth seeing? Well, that depends (eh?) on your threshold for watching elders lose their shit.

Kathryn Hahn plays a mom who hasn't talked to her parents in 15 years, but still sends off her two teenagers to spend a wintry week at their farm in Pennsylvania. Nice parenting, Kathryn Hahn. Besides Nana's (Deanna Dunagan) unusual nighttime routine of running around on all fours, Becca (Olivia DeJonge) and Rappin' Tyler (Ed Oxenbould) are enjoying their first visit with the olds. But even considering aging's inevitable downward slide, their grandparents' behavior starts to get too peculiar to explain—what with Nana's naked forays into the hallway and Pop Pop mistaking the business end of his rifle for a Werther's.

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Two siblings become increasingly frightened by their grandparents' disturbing behavior while visiting them on vacation. Two siblings become increasingly frightened by their grandparents' disturbing behavior while visiting them on vacation. Two siblings become increasingly frightened by their grandparents' disturbing behavior while visiting them on vacation.

• M. Night Shyamalan
• Olivia DeJonge
• Ed Oxenbould
• Deanna Dunagan
• 786 User reviews
• 437 Critic reviews
• 55 Metascore
• 1 win & 14 nominations

• Man on the Street

• Young Becca

• Young Tyler

• Train Passenger
• (uncredited)

• Street Walker
• Police Officer
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia According to statements made on Twitter, director M. Night Shyamalan prepared three different cuts of the film: one that was "pure comedy," another that was "pure horror," and a final one that "fell somewhere in between."
• Goofs The amount of snow covering the landscape varies dramatically from day to day and even between scenes taking place on the same day.

Grandma : Would you mind getting inside the oven to clean it?

• Alternate versions In the FX broadcast, to keep the TV-14 rating, the defecation featured in the movie are censored. In addition, two scenes involving nudity is blurred out.
• Connections Featured in Late Night with Seth Meyers: Andy Samberg/Kevin Love/M. Night Shyamalan/Abe Laboriel Jr. (2015)
• Soundtracks Possession Written by Harry Revel Performed by Les Baxter and His Orchestra and Chorus [Theremin - Dr. Samuel Hoffman ] Courtesy of RCA Records By arrangement with Sony Music Licensing

User reviews 786

• vladimirnerandziicbps
• Sep 30, 2015
• September 11, 2015 (United States)
• United States
• Untitled Blumhouse Horror 1
• 3049 Merlin Road, Chester Springs, Pennsylvania, USA (Exterior House)
• Blinding Edge Pictures
• Blumhouse Productions
• Neighborhood Film Co.
• See more company credits at IMDbPro
• $5,000,000 (estimated)
• $65,206,105
• $25,427,560
• Sep 13, 2015
• $98,450,062

Technical specs

• Runtime 1 hour 34 minutes
• Dolby Digital

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Film Review: ‘The Visit’

M. Night Shyamalan returns to thriller filmmaking in the style of low-budget impresario Jason Blum with mixed results.

By Geoff Berkshire

Geoff Berkshire

Associate Editor, Features

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After delivering back-to-back creative and commercial duds in the sci-fi action genre, M. Night Shyamalan retreats to familiar thriller territory with “ The Visit .” As far as happy homecomings go, it beats the one awaiting his characters, though not by much. The story of two teens spending a week with the creepy grandparents they’ve never met unfolds in a mockumentary style that’s new for the filmmaker and old hat for horror auds. Heavier on comic relief (most of it intentional) than genuine scares, this low-budget oddity could score decent opening weekend B.O. and ultimately find a cult following thanks to its freakier twists and turns, but hardly represents a return to form for its one-time Oscar-nominated auteur.

In a way, it’s a relief to see Shyamalan set aside the studio-system excesses of “The Last Airbender” and “After Earth” and get down and dirty with a found-footage-style indie crafted in the spirit of producer Jason Blum’s single location chillers. (Blum actually joined the project after filming wrapped, but it subscribes to his patented “Paranormal Activity” playbook to a T.) Except that the frustrating result winds up on the less haunting end of Shyamalan’s filmography, far south of “The Sixth Sense,” “Signs” and “The Village,” and not even as unsettling as the most effective moments in the hokey “The Happening.”

That’s not to say “The Visit” is necessarily worse than some of those efforts, just a different kind of animal. The simplicity of the premise initially works in the pic’s favor as 15-year-old aspiring documentarian Becca (Olivia DeJonge) and her 13-year-old aspiring-rap-star sibling Tyler (Ed Oxenbould of “Alexander and the Terrible, Horrible, No Good, Very Bad Day”) say goodbye to their hard-working single mom (Kathryn Hahn, better than the fleeting role deserves), who ships off on a weeklong cruise with her latest boyfriend. The kids travel by train to rural Pennsylvania to meet Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie), the purportedly kindly parents Mom left behind when she took off with her high-school English teacher and caused a permanent rift in the family.

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Becca plans to turn the whole experience into an Oscar-caliber documentary (proving she sets her sights higher than Shyamalan these days) and also an opportunity to exorcise the personal demons both she and Tyler carry around in the wake of their parents’ separation. Unfortunately for the kids, their grandparents appear to be possessed by demons of another kind — although it takes an awfully long time for them to grow legitimately concerned about Nana’s nasty habit of roaming the house at night, vomiting on the floor and scratching at the walls in the nude, and Pop Pop’s almost-as-bizarre behavior, including stuffing a woodshed full of soiled adult diapers, attacking a stranger on the street and regularly dressing in formal wear for a “costume party” that never materializes.

Ominous warnings to not go into the basement (because of “mold,” you see) and stay in their room after 9:30 (Nana’s “bedtime”) fly right over the heads of our otherwise pop-culture-savvy protagonists. Becca even stubbornly refuses to use her omnipresent camera for nighttime reconnaissance, citing concerns over exploitation and “cinematic standards” — one of the lamest excuses yet to justify dumb decisions in a horror narrative — until the weeklong stay is almost up.

Shyamalan has long been criticized for serving up borderline (or downright) silly premises with a straight face and overtly pretentious atmosphere, but he basically abandons that approach here in favor of a looser, more playful dynamic between his fresh-faced leads. At the same time, there’s a surreal campiness to the grandparents’ seemingly inexplicable behavior, fully embraced by Tony winner Dunagan and Scottish character actor McRobbie, that encourages laughter between ho-hum jump scares. Their antics only reach full-blown menacing in the perverse-by-PG-13-standards third act. (The obligatory reveal of what’s really going on works OK, as long as you don’t question it any more than anyone onscreen ever does.)

Even if there’s less chance the audience will burst out in fits of inappropriate chuckles, as was often the case in, say, “The Happening” or “Lady in the Water,” Shyamalan still can’t quite pull off the delicate tonal balance he’s after. Once events ultimately do turn violent — and Nana does more than just scamper around the floor or pop up directly in front of the camera — the setpieces are never as scary or suspenseful as they should be. Even worse are the film’s attempts at character-driven drama, including a couple of awkward soul-baring monologues from the otherwise poised young stars, and a ludicrous epilogue that presumes auds will have somehow formed an emotional bond with characters who actually remain skin-deep throughout. One longs to see what a nervier filmmaker could have done with the concept (and a R rating).

The technical package is deliberately less slick than the Shyamalan norm, although scripting Becca as a budding filmmaker interested in mise en scene provides d.p. Maryse Alberti (whose numerous doc credits include multiple Alex Gibney features) an excuse to capture images with a bit more craft than the average found footage thriller. Shyamalan purposefully decided to forego an original score, but the soundtrack is rarely silent between the chattering of the children, a selection of source music and the eerie sound editing that emphasizes every creaking door and loud crash substituting for well-earned frights.

Reviewed at Arclight Cinemas, Hollywood, Sept. 8, 2015. MPAA Rating: PG-13. Running time: 94 MIN.

• Production: A Universal release of a Blinding Edge Pictures and Blumhouse production. Produced by Jason Blum, Marc Bienstock, M. Night Shyamalan. Executive producers, Steven Schneider, Ashwin Rajan.
• Crew: Directed, written by M. Night Shyamalan. Camera (color, HD), Maryse Alberti; editor, Luke Ciarrocchi; music supervisor, Susan Jacobs; production designer, Naaman Marshall; art director, Scott Anderson; set decorator, Christine Wick; costume designer, Amy Westcott; sound (Dolby Digital), David J. Schwartz; supervising sound editor/re-recording mixer, Skip Lievsay; visual effects supervisor, Ruben Rodas; visual effects, Dive VFX; stunt coordinator, Manny Siverio; casting, Douglas Aibel.
• With: Olivia DeJonge, Ed Oxenbould, Deanna Dunagan, Peter McRobbie, Kathryn Hahn, Celia Keenan-Bolger.

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Review: ‘The Visit’ Is ‘Hansel and Gretel’ With Less Candy and More Camcorders

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By Manohla Dargis

• Sept. 10, 2015

In “The Visit,” an amusingly grim fairy tale, floorboards creak, doors squeak and lights lower and sometimes shriek to black. The story, a “Hansel and Gretel” redo for Generation Selfie, has the virtue of simplicity and familiarity: A young brother and sister travel into the deep, dark woods, but where they once innocently held hands, they’re now holding camcorders to record an adventure quickened by anxious laughs, yelps and screams and one shivery long knife. These children don’t need someone else to immortalize their once-upon-a-time; they just point and shoot.

The director M. Night Shyamalan has a fine eye and a nice, natural way with actors, and he has a talent for gently rap-rap-rapping on your nerves. At his best, he skillfully taps the kinds of primitive fears that fuel scary campfire stories and horror flicks; at his worst, he tries too hard to be an auteur instead of just good, letting his overwrought stories and self-consciousness get in the way of his technique. After straining at originality for too long, he has gone back to basics in “The Visit,” with a stripped-down story and scale, a largely unknown (excellent) cast and one of those classically tinged tales of child peril that have reliably spooked audiences for generations.

This Hansel and Gretel come equipped not only with his-and-her cameras but also a Spielbergian family dynamic, featuring a loving if somewhat distracted single mother (Kathryn Hahn) and an absent father. One of those well-meaning women whose desires unwittingly unleash a world of chaos, Mom (as she’s credited) opens the movie with some yammering, squirming like a witness for the prosecution in front of a camera operated by her off-screen daughter, Becca (an appealing Olivia DeJonge). Becca and her younger brother, Tyler (Ed Oxenbould, a charmingly exuberant scene-stealer), are to stay with their maternal grandparents while Mom and her boyfriend go on a cruise, and Becca has decided to make a documentary about the trip, the first of many references to moviemaking.

Movie Review: ‘The Visit’

The times critic manohla dargis reviews “the visit.”.

In narrative terms, Mr. Shyamalan keeps it streamlined and simple. Becca and Tyler travel alone to visit their grandparents Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie), whom the children have never met or seen in photos. As Mom tells Becca, she hasn’t been in touch with her parents since she left home years earlier, for reasons she refuses to explain, introducing a mystery that ignites a smoldering ember of doubt. Ms. Hahn, an appealingly disheveled blur, does a nice job of setting the enigmatic scene. With her beseeching eyes, Mom looks as if she’s asking for forgiveness, even as the laughter convulsing her mouth insists everything is all right. (Ms. Hahn, one of those screen presences who pushes and pulls at you, at times brings to mind a softer-edged Karen Black.)

Most of what follows takes place in Nana and Pop Pop’s house, an isolated storybook spread. Mr. Shyamalan sets a nice farmhouse scene, with an interior that looks copied straight from Heartland Monthly, complete with sagging armchairs, plank flooring and a rag rug as big as a Volkswagen. The grandparents, in turn, are pure Grant Wood types: gray, lean, almost stringy and a little hard. If they were older or the movie were, you could imagine them hardscrabbling their way through the Depression or driving a Model T out of Oklahoma. To that end, Ms. Dunagan and Mr. McRobbie at first play it largely straight and opaque, with the kind of tightly wound smiles and controlled gestures that suggest Puritan stock or perhaps madness.

Something weird slithers in, first in a crawlspace and then when Nana asks Becca for help cleaning the mischievously large oven, which was apparently built for roasting pigs and other juicy creatures. A total tease, Mr. Shyamalan has fun deploying such time-tested horror tricks, and conducts an entire orchestra of squeaks and screeches amid the shock cuts and Becca and Tyler’s cockeyed camera angles. He also plays with the filmmaking theme, mostly through Becca, a pretentious baby auteur who throws around terms like mise-en-scène. As the scares gather, though, and she loses directorial control, Becca becomes what she always was: every filmgoer (and critic) who thinks she knows everything about making movies, which may be why Mr. Shyamalan so enjoys tormenting her.

“The Visit” is rated PG-13 (Parents strongly cautioned). It’s a hard world for little things.

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M. Night Shyamalan had his heyday almost 20 years ago. He leapt out of the gate with such confidence he became a champion instantly. And then...something went awry. He became embarrassingly self-serious, his films drowning in pretension and strained allegories. His famous twists felt like a director attempting to re-create the triumph of " The Sixth Sense ," where the twist of the film was so successfully withheld from audiences that people went back to see the film again and again. But now, here comes " The Visit ," a film so purely entertaining that you almost forget how scary it is. With all its terror, "The Visit" is an extremely funny film. 

There are too many horror cliches to even list ("gotcha" scares, dark basements, frightened children, mysterious sounds at night, no cellphone reception), but the main cliche is that it is a "found footage" film, a style already wrung dry. But Shyamalan injects adrenaline into it, as well as a frank admission that, yes, it is a cliche, and yes, it is absurd that one would keep filming in moments of such terror, but he uses the main strength of found footage: we are trapped by the perspective of the person holding the camera. Withhold visual information, lull the audience into safety, then turn the camera, and OH MY GOD WHAT IS THAT? 

"The Visit" starts quietly, with Mom ( Kathryn Hahn ) talking to the camera about running away from home when she was 19: her parents disapproved of her boyfriend. She had two kids with this man who recently left them all for someone new. Mom has a brave demeanor, and funny, too, referring to her kids as "brats" but with mama-bear affection. Her parents cut ties with her, but now they have reached out  from their snowy isolated farm and want to know their grandchildren. Mom packs the two kids off on a train for a visit.

Shyamalan breaks up the found footage with still shots of snowy ranks of trees, blazing sunsets, sunrise falling on a stack of logs. There are gigantic blood-red chapter markers: "TUESDAY MORNING", etc. These choices launch us into the overblown operatic horror style while commenting on it at the same time. It ratchets up the dread.

Becca ( Olivia DeJonge ) and Tyler ( Ed Oxenbould ) want to make a film about their mother's lost childhood home, a place they know well from all of her stories. Becca has done her homework about film-making, and instructs her younger brother about "frames" and "mise-en-scène." Tyler, an appealing gregarious kid, keeps stealing the camera to film the inside of his mouth and his improvised raps. Becca sternly reminds him to focus. 

The kids are happy to meet their grandparents. They are worried about the effect their grandparents' rejection had on their mother (similar to Cole's worry about his mother's unfinished business with her own parent in "The Sixth Sense"). Becca uses a fairy-tale word to explain what she wants their film to do — it will be an "elixir" to bring home to Mom. 

Nana ( Deanna Dunagan ), at first glance, is a Grandma out of a storybook, with a grey bun, an apron, and muffins coming out of the oven every hour. Pop Pop ( Peter McRobbie ) is a taciturn farmer who reminds the kids constantly that he and Nana are "old." 

But almost immediately, things get crazy. What is Pop Pop doing out in the barn all the time? Why does Nana ask Becca to clean the oven, insisting that she crawl all the way in ? What are those weird sounds at night from outside their bedroom door? They have a couple of Skype calls with Mom, and she reassures them their grandparents are "weird" but they're also old, and old people are sometimes cranky, sometimes paranoid. 

As the weirdness intensifies, Becca and Tyler's film evolves from an origin-story documentary to a mystery-solving investigation. They sneak the camera into the barn, underneath the house, they place it on a cabinet in the living room overnight, hoping to get a glimpse of what happens downstairs after they go to bed. What they see is more than they (and we) bargained for.

Dunagan and McRobbie play their roles with a melodramatic relish, entering into the fairy-tale world of the film. And the kids are great, funny and distinct. Tyler informs his sister that he wants to stop swearing so much, and instead will say the names of female pop singers. The joke is one that never gets old. He falls, and screams, "Sarah McLachlan!" When terrified, he whispers to himself, " Katy Perry ... " Tyler, filming his sister, asks her why she never looks in the mirror. "Your sweater is on backwards." As he grills her, he zooms in on her, keeping her face off-center, blurry grey-trunked trees filling most of the screen. The blur is the mystery around them. Cinematographer Maryse Alberti creates the illusion that the film is being made by kids, but also avoids the nauseating hand-held stuff that dogs the found-footage style.

When the twist comes, and you knew it was coming because Shyamalan is the director, it legitimately shocks. Maybe not as much as "The Sixth Sense" twist, but it is damn close. (The audience I saw it with gasped and some people screamed in terror.) There are references to " Halloween ", "Psycho" (Nana in a rocking chair seen from behind), and, of course, " Paranormal Activity "; the kids have seen a lot of movies, understand the tropes and try to recreate them themselves. 

"The Visit" represents Shyamalan cutting loose, lightening up, reveling in the improvisational behavior of the kids, their jokes, their bickering, their closeness. Horror is very close to comedy. Screams of terror often dissolve into hysterical laughter, and he uses that emotional dovetail, its tension and catharsis, in almost every scene. The film is ridiculous  on so many levels, the story playing out like the most monstrous version of Hansel & Gretel imaginable, and in that context, "ridiculous" is the highest possible praise.

Sheila O'Malley

Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

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The Visit (2015)

Rated PG-13 disturbing thematic material including terror, violence and some nudity, and for brief language

Kathryn Hahn as Mother

Ed Oxenbould as Tyler Jamison

Benjamin Kanes as Dad

Peter McRobbie as Pop-Pop

Olivia DeJonge as Rebecca Jamison

Deanna Dunagan as Nana

• M. Night Shyamalan

Cinematography

• Maryse Alberti
• Luke Franco Ciarrocch

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Film / The Visit

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The Visit is a 2015 horror film from M. Night Shyamalan . Two children staying with their grandparents while their mother is on vacation realize that something is horribly wrong with Nana and Pop Pop when strange things start happening after 9:30 pm.

No relation to the play or video game of the same name.

This movie provides examples of:

• Subverted when she realizes that her children have been staying with strangers and not their real grandparents. She immediately calls the police and sets out to save them, telling them to escape to the neighbors as soon as possible.
• All There in the Script : The credits gives the names of the grandparents as Marja and Fredrick Jamison (the grandparents) and Claire and Mitchel (the imposters).
• Alone with the Psycho : The entire movie is the children stuck in the house with the two deranged "grandparents".
• An Aesop : Don't hold on to anger so much that you can't forgive/reconcile with someone, especially if they're your loved ones. Or they might end up killed and replaced by escaped mental patients before you get the chance.
• Ate His Gun : Becca walks in on the grandfather seemingly about to do this.
• Arbitrary Skepticism : Becca is adamant that there's nothing abnormal about grandma, even when they see her crawling on the floor and scratching the walls like an animal.
• Ax-Crazy : The grandparents, especially the grandma.
• Bittersweet Ending : Tyler and Becca kill "Nana" and "Pop Pop", but are initially traumatized by what they endured and what they had to do , though the final scene shows they largely grew out of the trauma and they seem better than ever. In addition, their real grandparents are dead and Loretta never got a chance to reconcile with them. She urges Tyler and Becca not to hate their father like she hated her parents.
• Brick Joke : Becca scoffs at Tyler's request for him to rap at the end of the documentary, saying no documentary would dare do it. Not only does Tyler himself rap, but another rap song by East Coast Connection is played over the credits.
• Cassandra Truth : Tyler is the only one convinced in the beginning that something is wrong with the grandparents. Both Becca and their mother insist that "they're just old," and Becca doesn't come around until she finds her nana laughing at nothing in a rocking chair.
• Chekhov's Skill : Tyler's interest in football. Midway through the film, he confesses the reason why he thinks his father left: he froze in the middle of an important peewee league football game, allowing the other team to win. In the end, after freezing up when the grandfather assaults him, he takes the old man down after he threatens Becca, first by tackling him into the kitchen drawers, then slamming the fridge door into his head repeatedly.
• Deadpan Snarker : Becca. Becca: ( after Tyler spits a rap for her documentary ) Yes, 'cause that's exactly what an Oscar-winning documentary has over the end credits. A song about misogyny.
• Disappeared Dad : Becca and Tyler's father ran off with another woman prior to the events of the movie. They both have a lot of pent-up anger towards him because of it.
• Evil Old Folks : Something is most definitely wrong with Nana and Pop Pop.
• Excrement Statement : The fake Pop Pop smears Tyler's face with a used adult diaper.
• Fairytale Motifs : From the trailer and the poster, this seems to be something of a Hansel and Gretel tale. And the ultimate explanation for why everything happens is straight out of Little Red Riding Hood .
• Fan Disservice : The grandmother, oh so much. First flashing a pale, wrinkly naked buttcheek at the children as she turns away, then later scratching at a door like an animal while completely in the nude.
• Foreshadowing : The mundane explanations for the figure under the porch and what is in the woodshed predicts the non-supernatural twist at the end of the film.
• Found Footage Films : The kids are recording their trip and this footage seems to make up most of the film. Surprisingly for this genre, the footage is gorgeously shot, with Becca even setting up camera angles that provide full views of rooms — both resulting in longer, steadier takes than this genre is known for.
• Genre Savvy : Both of the kids, Becca for being an aspiring filmmaker and Tyler being... a 13-year-old, are pretty savvy in regards to what to do when dealing with horror-esque situations.
• Harmful to Minors : The protagonists are two kids who end up getting exposed to appalling violence, including finding the bodies of their murdered grandparents, and having to kill the unstable old couple they're staying with themselves.
• Irony : Becca catches all of the crazy on her cameras and still doesn't notice what is going on right in front of her.
• Insane Equals Violent : Nana's sundowning. She claws at walls and tries stabbing children in their sleep. Downplayed with Pop Pop who only gets violent once he's been exposed.
• Kick the Dog : In the climax, as he's getting ready to kill the boy, "Pop Pop" tells him, "You know what? I never liked you."
• Kill and Replace : The real Nana and Pop Pop were replaced by two of their own patients who were jealous of them and their perfect lives.
• Lampshade Hanging : Becca uses cinematography terms often and describes a scene's actual importance to the plot right after it happens.
• Done intentionally at the end of the climax when the mother's favorite song, a sappy classical string piece, blares as the children soaked in blood and crap flee into their mother's arms.
• Never Got to Say Goodbye : Overlaps with Parting-Words Regret . The mom's parents have been killed, and she never got the chance to reconcile with them.
• Offing the Offspring : Claire is revealed to have killed her own children during a schizophrenic episode, and the visit with the "grandchildren" was meant to be a way to make her feel like a mother again.
• Potty Failure : Pop Pop suffers from incontinence and has to excuse himself during the family game night after an embarrassing and very audible bowel movement.
• Precision F-Strike : Tyler lets one out after killing "Pop Pop" (and subsequently working through his greatest fear) .
• Red Herring : The Shed and the well are ominous and creepy, but they're ultimately irrelevant to the actual plot.
• The Reveal : "Nana" and "Pop Pop" are actually escaped mental patients that killed the real grandparents and stole their identities.
• Running Gag : Tyler decides to substitute curse words with the names of female pop stars.

• Deanna Dunagan's performance as Nana really drives this home. The "hide and seek" sequence is a perfect example of how much of a masterful Mood Whiplash the film can be.
• Snow Means Death : It's winter at the house, and the bleak landscape adds to the creepiness.
• Supernatural-Proof Father : Given a Gender Flip . Mom doesn't believe anything's wrong. At first .
• Too Dumb to Live : Stacey, you know these people are the escaped mental patients. You know that the people living at the house you're visiting haven't been seen for days. You're actively confronting said mental patients. Why are you going to follow them behind the house instead of getting help?
• Wham Line : "Those aren't your grandparents."
• "What Do They Fear?" Episode : Becca is afraid of mirrors and Tyler is afraid of germs. Becca irrationally believes her father left because he didn't think she was his pretty girl anymore. Tyler is obsessed with cleanliness as a method of controlling his life. Both of these get used against them, and they manage to conquer both of them .
• Would Hurt a Child : The "grandparents", big time.
• Creator/Blumhouse Productions
• Found Footage Films
• Creator/Universal
• A Walk Among the Tombstones
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'Yeezy Porn' Will Be Unlike Anything In Industry, Says Stormy Daniels' Ex

Jeannie Mai Alleges Recklessness & Abuse Against Jeezy, He Denies Claims

Gucci Mane Disses Diddy On 'TakeDat' Track, Recreates Biggie Bathtub Scene

Beyoncé's Purported Secret Stagecoach Set Debunked by TikToker

OnlyFans Star 'Girthmasterr' Pornhub Searches Surge After $80K/Mo. Reveal

Gucci mane takedat, takedat, diddy drops vicious diss vid.

Gucci Mane decided it best he enter the 2024 rap wars and his chosen target is Diddy !!!

Mr. Zone 6 is kicking Diddy while he's down with the new track, "TakeDat" ... ruthlessly appropriates the Bad Boy mogul's catchphrase, but that's far from the biggest shot on the venomous track.

Gucci opens the song spewing the social media favorite slogan, “I’m just f***ing around, but No Diddy” and proceeds to use that as the hook while also making a sly reference to Diddy's ex ... "I got a young Miami bitch from the city / I’m spending money like a trick (No Diddy).”

The hits keep coming ... Gucci also makes slick references to underage girls, Kid Cudi 's car blowing up and even 50 Cent , Gillie and Wallo catch some stray shots.

Waiting for your permission to load the Instagram Media.

Interestingly enough, 50 still approved of the Diddy dump and promoted the song on his IG. Gucci also skewered Jay-Z 's shuttered Roc Nation Brunch ... "Why you ain't ever seen Wop at The Brunch? / 'Cause they might spike the punch, man, that shit too risky."

Gucci's wife Keyshia Ka'Oir also makes a cameo in the vid ... to recreate Diddy and Misa Hylton 's scene in the bathtub from the 1994 Notorious B.I.G. "Big Poppa" video.

Gucci Mane drops a new song titled “TakeDat.” (No Diddy) pic.twitter.com/py99m31e64 — Rap Alert (@rapalert6) April 24, 2024 @rapalert6

Gucci's seizing the day ... as beef is clearly fueling album sales these days. DaBaby claims he turned down an offer from an unnamed rapper to engage in a fictional feud just to push units.

Judging from Gucci's rollout, his beef with Puff might be real -- or, at least, it's gonna be now.

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Moving Pictures: Transform Images Into 3D Scenes With NVIDIA Instant NeRF

Editor’s note: This post is part of the AI Decoded series , which demystifies AI by making the technology more accessible, and which showcases new hardware, software, tools and accelerations for RTX PC users.

Imagine a gorgeous vista, like a cliff along the water’s edge. Even as a 2D image, the scene would be beautiful and inviting. Now imagine exploring that same view in 3D – without needing to be there.

NVIDIA RTX technology-powered AI helps turn such an imagination into reality. Using Instant NeRF , creatives are transforming collections of still images into digital 3D scene s in just seconds.

Simply Radiant

A NeRF, or neural radiance field, is an AI model that takes 2D images representing a scene as input and interpolates between them to render a complete 3D scene. The model operates as a neural network — a model that replicates how the brain is organized and is often used for tasks that require pattern recognition.

Using spatial location and volumetric rendering, a NeRF uses the camera pose from the images to render a 3D iteration of the scene. Traditionally, these models are computationally intensive, requiring large amounts of rendering power and time.

A recent NVIDIA AI research project changed that.

Instant NeRF takes NeRFs to the next level, using AI-accelerated inverse rendering to approximate how light behaves in the real world. It enables researchers to construct a 3D scene from 2D images taken at different angles. Scenes can now be generated in seconds, and the longer the NeRF model is trained, the more detailed the resulting 3D renders.

NVIDIA researchers released four neural graphics primitives, or pretrained datasets, as part of the Instant-NGP training toolset at the SIGGRAPH computer graphics conference in 2022. The tools let anyone create NeRFs with their own data. The researchers won a best paper award for the work, and TIME Magazine named Instant NeRF a best invention of 2022 .

In addition to speeding rendering for NeRFs, Instant NeRF makes the entire image reconstruction process accessible using NVIDIA RTX and GeForce RTX desktop and laptop GPUs. While the time it takes to render a scene depends on factors like dataset size and the mix of image and video source content, the AI training doesn’t require server-grade or cloud-based hardware.

NVIDIA RTX workstations and GeForce RTX PCs are ideally suited to meet the computational demands of rendering NeRFs. NVIDIA RTX and GeForce RTX GPUs feature Tensor Cores, dedicated AI hardware accelerators that provide the horsepower to run generative AI locally.

Ready, Set, Go

Get started with Instant NeRF to learn about radiance fields and experience imagery in a new way.

Developers and tech enthusiasts can download the source-code base to compile. Nontechnical users can download the Windows installers for Instant-NGP software, available on GitHub .

While the installer is available for a wide range of RTX GPUs, the program performs best on the latest-architecture GeForce RTX 40 Series and NVIDIA RTX Ada Generation GPUs.

The “Getting Started With Instant NeRF” guide walks users through the process, including loading one of the primitives, such as “NeRF Fox,” to get a sense of what’s possible. Detailed instructions and video walkthroughs — like the one above — demonstrate how to create NeRFs with custom data, including tips for capturing good input imagery and compiling codebases (if built from source). The guide also covers using the Instant NeRF graphical user interface, optimizing scene parameters and creating an animation from the scene.

The NeRF community also offers many tips and tricks to help users get started. For example, check out the livestream below and this technical blog post .

Show and Tell

Digital artists are composing beautiful scenes and telling fresh stories with NVIDIA Instant NeRF. The Instant NeRF gallery showcases some of the most innovative and thought-provoking examples, viewable as video clips in any web browser.

Here are a few:

• “Through the Looking Glass” by Karen X. Cheng and James Perlman A pianist practices her song, part of her daily routine, though there’s nothing mundane about what happens next. The viewer peers into the mirror, a virtual world that can be observed but not traversed; it’s unreachable by normal means. Then, crossing the threshold, it’s revealed that this mirror is in fact a window into an inverted reality that can be explored from within. Which one is real?
• “Meditation” by Franc Lucent As soon as they walked into one of many rooms in Nico Santucci’s estate, Lucent knew they needed to turn it into a NeRF. Playing with the dynamic range and reflections in the pond, it presented the artist with an unknown exploration. They were pleased with the softness of the light and the way the NeRF elevates the room into what looks like something out of a dream — the perfect place to meditate. A NeRF can freeze a moment in a way that’s more immersive than a photo or video.
• “Zeus” by Hugues Bruyère These rendered 3D scenes with Instant NeRF use the data Bruyère previously captured for traditional photogrammetry using mirrorless digital cameras, smartphones, 360-degree cameras and drones. Instant NeRF gives him a powerful tool to help preserve and share cultural artifacts through online libraries, museums, virtual-reality experiences and heritage-conservation projects. This NeRF was trained using a dataset of photos taken with an iPhone at the Royal Ontario Museum.

From Image to Video to Reality

Transforming images into a 3D scene with AI is cool. Stepping into that 3D creation is next level.

Thanks to a recent Instant NeRF update, users can render their scenes from static images and virtually step inside the environments, moving freely within the 3D space. In virtual-reality (VR) environments, users can feel complete immersion into new worlds, all within their headsets.

The potential benefits are nearly endless.

For example, a realtor can create and share a 3D model of a property, offering virtual tours at new levels. Retailers can showcase products in an online shop, powered by a collection of images and AI running on RTX GPUs. These AI models power creativity and are helping drive the accessibility of 3D immersive experiences across other industries.

Instant NeRF comes with the capability to clean up scenes easily in VR, making the creation of high-quality NeRFs more intuitive than ever. Learn more about navigating Instant NeRF spaces in VR .

Download Instant-NGP to get started, and share your creations on social media with the hashtag #InstantNeRF.

Generative AI is transforming gaming, videoconferencing and interactive experiences of all kinds. Make sense of what’s new and what’s next by subscribing to the AI Decoded newsletter .

NVIDIA websites use cookies to deliver and improve the website experience. See our cookie policy for further details on how we use cookies and how to change your cookie settings.

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Joe Budden Reveals How Much Money He's Made From Podcasting

The 'Joe Budden Podcast' has been podcasting for almost 10 years.

Joe Budden ’s podcasting career has been quite lucrative.

In the newest episode of The Joe Budden Podcast , the host sat down with Doe Boy , who did a little bit of pocket-watching.

"How much [money] you think you done made off this since you started this podcasting?" Doe asked Budden at the 2:54:35 mark.

"Altogether in the whole 10 years?" Joe responded. "About $4 [million]."

View this photo on Instagram

His estimate led to uproarious laughter from his co-hosts, who all seemed to say his claim was bogus.

"I think about 4 mill. Early on, we was doing it for free,” Budden continued. “Then, we hit a little lick, Spotify. Then, n***as left, the building crumbled a little bit. My friends came, saved the day. Probably about three-and-a-half to four-and-a-half million."

Doe Boy said that was “bap.”

View this video on YouTube

“I’m serious. Why y’all think I’m lying?” Budden asked.

Everyone then asked for his “gross” income, to which he responded $7 million. “Then after taxes, about four, four-and-a-half.”

According to XXL, Budden started podcasting in 2015, launching the I’ll Name This Podcast Later alongside Rory Farrell and Marisa Mendez. When Mendez left a year later, Jamil “Mal” Clay joined. In 2018, Budden inked a deal with Spotify that ended in 2020. In 2021, Budden parted ways with Farrell and Clay, which is when they launched their own podcast, New Rory & Mal , and Budden continued on with his podcast, though alongside new co-hosts.

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