By Jim Mcleod 
Should Kit Whitfield Watch ‘Influencers’? You Decide.
We need to settle something. It’s not a question of if the horror sequel “Influencers” exists; it does. The real, prickly, deeply meta question hanging in the air is this: Should Kit Whitfield have to watch it?
After her exhaustive, brilliant, and frankly pissed-off excavation of seven films asking if influencers are the new horny teens, does she owe it to anyone, to us, to the genre, to herself, to subject her eyes and brain to another round? Or has she earned a permanent hall pass?
This isn’t our call to make. It’s yours. We’re just here to frame the debate, to lay out the battlefield. Below are the rallying cries for both sides. Read them. Get fired up. Then get to the poll and vote. Let’s see where the community stands.
Camp A: The “Absolutely, She Must” Brigade
This side is built on duty, curiosity, and a relentless drive for completion.
The Critical Imperative.
She mapped the territory. She identified the tropes: the female influencer as the vain temptress, the erotics of disavowal masking lifestyle porn, the nostalgic flinch from the digital “Terrible Place.” Not seeing the sequel is to abandon her own research. It’s the next data point. What if it doubles down on everything she critiqued? What if, miraculously, it pulls a Cam and gets it right? A critic’s job isn’t done when they get angry; it’s done when they stop looking.
For the Sake of the Argument.
Her essay was a cannon blast. To ignore the sequel is to risk someone else saying, “Well, but what about Influencers (2024)?” and having no retort. She needs the ammo. Whether it’s to confirm her thesis that the genre is stuck in a sexist, shallow rut, or to document a surprising evolution, she needs to be armed. This is academic warfare, and intel is everything.
The “We Want to Know What She Thinks” Factor.
Selfish, maybe. But true. Her analysis was sharp enough to cut through the glib parody. After spending that much time in her head navigating these films, we’re invested. We want the director’s commentary on the next chapter. Denying us, and herself, that follow-up feels like an unfinished symphony.
Camp B: The “Let Kit Rest” Coalition
This side runs on principles of mercy, strategic withdrawal, and intellectual self-preservation.
The Law of Diminishing Returns.
She already did the hard work. She slogged through the muddled endings of Mind Body Spirit, the gendered nastiness of Superhost, the glossy emptiness of Influencer. She found the one diamond (Cam) in the rough. Why voluntarily walk back into the mine? There are only so many times you can deconstruct the same “vanity of the mirror becoming the camera” metaphor before it becomes soul-crushing. Her time is valuable. Let her spend it on something new.
The Authenticity Escape Hatch.
Here’s the beautiful irony: her essay brilliantly pointed out how these films punish women for the performative “inauthenticity” their jobs demand. So wouldn’t it be a powerful, final-girl move to simply… opt out? To refuse the performative duty of the completist critic? To declare the conversation sufficiently had and walk away from the screen? That’s not quitting; it’s a strategic, authentic exit on her own terms.
Protecting the Nerve.
Deep critique requires a capacity for genuine reaction, surprise, anger, joy. After an immersion that left her “quite so pissed off,” forcing another serving might just numb that nerve. It could turn her sharp analysis into a cynical, predictable riff. To keep her critical voice fresh for the next genuine innovator, she might need to guard against burnout. Sometimes the most professional choice is to say “I’ve seen enough.”
The floor is now yours. This isn’t our conclusion to write. It’s your vote to cast.
Is it a critic’s sacred duty to press play, no matter what? Or is there greater power in knowing when to log off?
The poll is live. Make your argument. Rally your side. We’re tallying the votes to see what the community truly believes Kit Whitfield should do.
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