**Dating Thrillers and the Gripping Allure of *Drop***

The realm of dating has consistently served as a fertile ground for horror. The thrill of connecting with someone new can swiftly morph into a nightmare if obsession takes hold, as portrayed in *Fear* or *The Boy Next Door*. Romantic ties can turn lovers into real-life monsters, evident in titles like *Jennifer’s Body*, *Bones and All*, or *Only Lovers Left Alive*. Moreover, the inherent vulnerability involved in trusting someone new can provoke genuine fear, as seen in *Fresh*, *Ready or Not*, and the latest slasher *Heart Eyes*. So, how does *Drop*, penned by *Heart Eyes* screenwriter Christopher Landon, fit into this suspenseful niche? By weaving a tech-infused metaphor for abusive relationships.

Landon, recognized for his inventive horror narratives such as *Happy Death Day*, *Happy Death Day 2U*, and *Freaky*, infuses *Drop* with his unique combination of tension and genre-blending.

### A Romantic Premise That Takes a Sinister Turn

Initially, *Drop* appears to start off as a delightful romantic comedy. *White Lotus* actress Meghann Fahy takes on the role of Violet, a single mother tentatively re-entering the dating scene. Her first date in years is with Henry (Brandon Sklenar), a charming photographer. Their evening at a trendy high-rise eatery begins pleasantly—until Violet starts receiving unsettling airdropped memes.

As the psychological thriller elements intensify, Violet is thrust into a life-threatening scenario. With an overly eager waiter (Jeffery Self) providing moments of frantic comic relief, *Drop* keeps its viewers on their toes while delving into the perils of contemporary dating.

### *Drop* Analyzes Abuse Through a Digital Perspective

Crafted by Jillian Jacobs and Chris Roach, *Drop* kicks off amid a chaotic confrontation between Violet and a gun-toting assailant. The audience is instantly plunged into ambiguity—are we seeing a flashback or a preview of the film’s climax?

As the plot develops, we discover that Violet is a survivor of domestic abuse, making her initial in-person date with Henry a source of deep anxiety. Initially, their chemistry feels effortless, brimming with playful exchanges and shared dishes of truffled mashed potatoes. However, when an anonymous user dubbed “lets_play” begins airdropping ominous memes, the atmosphere shifts dramatically.

Violet and Henry initially approach the messages as a puzzle to decipher. Is the perpetrator the amiable bartender (Gabrielle Ryan), the sleazy piano performer (Ed Weeks), or a group of teens celebrating their prom? But when Violet spots a masked figure on her nanny cam, edging toward her son’s room, the stakes escalate.

Her stalker demands compliance, threatening her child’s safety if she disobeys. This digital coercion parallels the strategies of an abusive partner—isolating the victim, severing their support systems, and instilling dread. As Violet fights to evade this unseen hunter, *Drop* transforms into a gripping game of cat and mouse.

### Meghann Fahy Shines in a Tense Lead Role

Fahy, who captured hearts in *White Lotus* as seemingly carefree, presents a more restrained and vulnerable portrayal in *Drop*. Violet is resolute in safeguarding both her heart and her child from jeopardy. As the messages transition from lighthearted to threatening, Fahy’s emotive delivery makes the fear feel tangible.

In spite of her anxiety, Violet refuses to assume a passive role. Fahy’s performance is complemented by a formidable supporting ensemble. Sklenar exudes charm and authenticity as Henry, while Ryan and Weeks create sharp contrasts—she is warm and insightful, while he exudes a sleazy charm. Reed Diamond injects humor as an awkward older man on a blind date, while Self’s exaggerated waiter had SXSW audiences roaring with laughter.

Notable mention goes to Violett Beane, who portrays Violet’s sister and babysitter. She masterfully oscillates between teasing her sister and being a caring aunt to Violet’s son, Toby (Jacob Robinson). When peril arises, Beane offers a riveting performance, embodying Final Girl energy during the film’s peak.

### A Riveting Date Night Film

Filled with unexpected twists, *Drop* keeps viewers in suspense. While some plot twists may feel foreseeable, others deliver authentic surprises. Landon’s directorial approach guarantees the film’s entertainment value is on par with his earlier successes, *Happy Death Day* and *Freaky*.

Even when the narrative takes a daring, slightly far-fetched turn in its climax, it remains enthralling rather than off-putting. The end result is an enjoyable, suspenseful thriller that is perfect for a date night.

*Drop* debuted at the 2025 SXSW Film & TV Festival and is scheduled to land in theaters on April 11.