Film spectatorship has long been theorized as a kind of manufactured hallucination, from the early cinematic laboratory of sensation to the apparatus’ delusion of whole subjectivity to the digital’s rupture of indexicality. In her recent book, Movies under the Influence, Professor Jocelyn Szczepaniak-Gillece argues that a different kind of hallucination, born of the intoxicating substance, has quietly shaped the history of American ideologies in the movie theater and should be understood as one of spectatorship’s material substrates. The term “hallucination” now also carries the weight of its associations with the failures of Large Language Models to perform rigorous research. How can we bring together the long history of spectatorship as hallucination with the amorphous space in which film is most consumed today: the streaming platform? This talk will consider film, particularly cinephilic, spectatorship online, from streaming services like Mubi, Criterion Channel, and Easterneuropeanmovies.com, to ratings sites like Letterboxd, to boutique physical media companies like Deaf Crocodile and Vinegar Syndrome, as well as historical and current American moviegoing patterns to theorize how selfhood is a primary hallucination of contemporary spectatorial experience. Yet the recent success of horror movies in the theater, from Bring Her Back to Obsession and Backrooms, demonstrates that traditional models of spectatorship are not entirely dead but morphing into something of a hallucination of themselves. If Roland Barthes once fetishized leaving the movies, today we founder with neither entrance nor exit in our own mirrored halls of theatrical detritus.