Published Jun 3, 2026, 8:00 PM EDT
An obscure 2018 English-language debut from Swedish director **Lisa Langseth **has quietly climbed to the very top of the streaming charts. It is the kind of rise that raises more questions than it answers because the film itself is a polarizing watch, and its critical reception is, to put it kindly, not good. So, the bigger question is whether this sudden surge reflects genuine cinephile rediscovery or just a lucky accident in the algorithm.
The film in question centers on two estranged sisters, Emilie (played by Casino Royale star Eva Green) and Ines (played by Tomb Raider 2018 star Alicia Vikander). Emilie invites Ines on a trip to a mysterious retreat somewhere in the heart of Europe, and Ines soon discovers that the estate is actually a high-end euthanasia retreat where Emilie intends to end her life because she has terminal cancer. The two leads have genuinely compelling screen chemistry together, but according to critics, Langseth largely sidesteps the ethical and philosophical questions around assisted suicide, and instead leans into a more cliché story about sisters confronting old grudges and resolving generational family trauma.
The film is called Euphoria, and it holds an abysmal 19% critic rating and a 34% audience score on Rotten Tomatoes. But somehow, according to FlixPatrol, the film is currently the **#1 most popular movie **on the HBO Max movie charts in both the United States and the United Kingdom. And even more baffling is the fact that it has held that position for the better part of a week, only dropping to #2 in the UK for two days before reclaiming the top spot.
The show that claimed the most of your answers is the world you were built for. If two tied, both are shown — you’re complicated enough to straddle two Sheridan universes.
You are a Dutton — or you might as well be. You understand that some things are worth protecting at any cost, and that the modern world’s indifference to history, to land, to legacy, is not something you’re willing to accept quietly. You lead from the front, you carry your family’s weight without complaint, and when someone threatens what’s yours, you don’t escalate — you finish it. You’re not cruel. But you are absolute. In Yellowstone’s world, that combination of ferocity and loyalty doesn’t make you a villain. It makes you the only thing standing between everything that matters and everyone who wants to take it.
You thrive in the chaos of high-stakes negotiation, where the money is enormous, the margins are thin, and the wrong word in the wrong room can cost everyone everything. You’re a fixer — the person called when a situation is already on fire and needs someone with the nerve to walk into it. West Texas oil country rewards exactly what you are: sharp, adaptable, unsentimental, and absolutely clear-eyed about what people want and what they’ll do to get it. You’re not naive enough to think this world is fair. You’re smart enough to be the one deciding who it’s fair to.
You are a Dwight Manfredi — someone who has served their time, paid their dues, and arrived somewhere unexpected with nothing but their reputation and their wits. You adapt without losing yourself. You build loyalty through respect rather than fear, though you’re not above reminding people that the two aren’t mutually exclusive. Tulsa King is for people who are still standing when everyone assumed they’d be finished — who find, in an unfamiliar place, that they’re more capable than the world gave them credit for. You don’t need a throne. You build one, wherever you happen to land.
You carry the weight of a system that is broken by design, and you do it anyway — because someone has to, and because you’re the only one positioned to do it without the whole thing collapsing. Mike McLusky’s world is for people who are comfortable operating where there are no good options, only less catastrophic ones. You speak every language: law enforcement, criminal, political, human. That fluency makes you invaluable and it makes you a target. You’ve made your peace with both. Mayor of Kingstown belongs to people who understand that keeping the peace is not the same as being at peace — and who do the job regardless.
There is actually a very plausible explanation for why a critically panned 2018 film is suddenly dominating the HBO Max streaming charts, and it likely has everything to do with a naming coincidence. Euphoria, the Zendaya-led HBO series, is one of the biggest shows on television right now, and its series finale aired just yesterday. Viewers who had been holding off on the show until it was close to completion may have searched for it on HBO Max and landed on Langseth’s film instead.
Both projects have the exact same title. Both are sitting on the same streaming platform. What makes the theory even more convincing is the timeline. The week-long #1 run for the film lines up almost too neatly with the final stretch of the show’s farewell season, which was one of the most anticipated TV events of the year. On top of the identical title and the same platform, a viewer opening HBO Max during that period would have seen this film sitting at the #1 spot on the homepage, so mistaking the movie for the show is not a stretch at all. It is the kind of algorithmic accident that streaming charts are particularly vulnerable to, and it likely accounts for at least a significant chunk of those views. Whether any of those accidental viewers ended up staying for Green and Vikander is a separate question entirely.
*Euphoria *is available to stream on HBO Max.
Alicia Vikander, Patrik Andersson