The Chucky dolls make it all the way to the judges’ desk. Until then, the panel has had a safe place to sit and watch. When the costumed performers leap onto it, the judges become part of the scare. Across this hour-long Got Talent compilation, performers keep finding ways to close that distance, whether they bring a horror character, a dangerous physical act or something deeply unpleasant to do with a playing card.
The video, titled Most SPOOKY Auditions from Got Talent 2026!, gathers several kinds of unease. Some acts depend on costumes and timing. Others test how long the audience can watch a body in an alarming position. The judges praise control, recoil from apparent pain and occasionally admit they cannot decide whether they enjoyed themselves.
The Jokers set a high bar
A large dance troupe in purple suits and green hair opens with a Joker theme. They move together, then build a multi-tiered human pyramid without losing the coordinated poses. The costumes identify the character at a glance; the dancers still have to keep every level of that formation in time.
“It felt like you weren’t even human at some point,” one judge says. Another praises the acting and passion but raises a reservation: “It’s not like the first time I’ve seen that.” Four yeses follow. Familiar horror imagery gets them an immediate response, while their execution earns the panel’s approval.
Other groups work with smaller, sharper gestures. Dancers in black dresses, oversized hats and purple gloves freeze with their mouths open in a silent scream. A gothic-costumed group snaps its heads backward in unison. Three young girls in blood-stained nightgowns bend backward together on the floor. Each group makes precise timing look like a shared loss of control.
The Chucky performers take a more direct route to a reaction by reaching the desk. Elsewhere, a dancer dressed as the Bride of Chucky enters with a large knife. These characters need little introduction, so the performers can move quickly from recognition to confrontation.
When watching becomes difficult
Baron and Vesper provoke a different kind of response. Baron spins in the air, suspended by chains attached to body piercings. Later, he holds an aerialist above the stage through chains connected to those piercings. A voice from the panel cuts through: “No way. Not by his nipples.”
The physical connection remains visible. The audience can see the suspension and the load, even if the mechanics are hard to comprehend. The broadcast warns viewers not to try it at home, and the act offers no reason to dismiss that warning.
Afterward, Baron and Vesper explain that they are partners rather than a married couple. Asked who came up with the idea, they describe brainstorming and working through the physics. The judges are still trying to process what they have watched.
“Found it very difficult to watch and weirdly brilliant.”
KSI gives the least settled verdict: “I don’t know if I liked it or not.” He eventually votes no. Simon asks for the audience’s response, then gives the pair a yes. They finish with three yeses, despite leaving one judge unsure whether the experience counted as enjoyment.
A performer from Taiwan gets a warmer consensus with an equally queasy approach. He hammers a large metal nail into his nostril, then involves the judges in a card routine. Later, he pulls a folded playing card out through his nose. The reaction shifts from concern about the nail to disbelief at the card’s appearance.
“You caused chaos on this desk,” one judge tells him. KSI calls the audition “disgusting” and “outrageous,” then adds, “I want more.” This time, all four judges say yes. The performer has given them a puzzle to discuss alongside the disgust.
Bodies that seem to come apart
The magician’s head drops abruptly onto his chest, leaving what looks like an empty neck opening. In another illusion, he opens a box around his neck to reveal empty space where his head should be. The effect depends on a clear view of something that appears physically impossible. The video shows the result without explaining the method.
A clown brings that uncertainty close enough for a judge to touch. The judge tugs strings that appear to pass through the performer’s mouth and nose while the clown grimaces. Elsewhere, clowns push large blades and skewers through a box containing a performer. Both routines keep the audience’s attention on the person apparently at risk.
The contortionists work without that kind of enclosure. One young performer balances on her chin with her legs curled entirely over her head. Another, dressed as Wednesday Addams, holds a similar chin balance. Their faces remain near the floor while their feet occupy a place the eye does not expect.
A broken-porcelain-doll performer uses jerky movements and twisted limb positions to suggest a body with damaged joints. A shirtless masked acrobat hangs upside down from a vertical pole, gripping it with his feet. The doll act makes deliberate movement look involuntary; the acrobat leaves the audience staring at the narrow point of contact keeping him suspended.
The devil has to land his jokes
Lou arrives painted red, with devil horns and an open jacket. He says he has done stand-up for a few hundred years, though this is his first time doing it on a stage. His material follows the costume: a blazer from “Demon Marcus,” a dog named Lucy whose shedding leaves him covered in “Lucy fur,” and an online page that is “demonetized.”
A buzzer becomes part of the routine. “I don’t even drink, and I’m getting buzzed,” he says. But the panel’s objections are harder to turn into laughs. When someone offers, “Comedy is not for everybody,” another replies, “That wasn’t comedy.”
Lou stays in character. “I’m a good guy. I’m just trying to rebrand,” he says. He collects enough yeses to go through and thanks Los Angeles, apologizing for the heat. After the piercing suspension and the nail, his act gives the judges a more ordinary problem: deciding whether a run of devil puns deserves another round.
Catherine takes Amanda’s advice
Catherine O’Malley’s return gives the compilation a story that extends beyond the costume. She tells the judges she appeared with her husband, Joe, in 2018, 2019 and 2020. Now she has come alone because Amanda suggested she should.
The video includes that earlier advice. Amanda praised Catherine’s voice during their Elsa-and-Olaf act but said Olaf had let her down. She asked Catherine to consider going solo. Joe is still present for the new audition, watching his wife perform as the Wicked Witch, high above the stage with a broomstick.
Afterward, a judge praises her handling of a difficult song and notes that Joe was still trying to upstage her in the aisles. He joins Catherine and tells her, “You hit the notes there.” The panel remains divided about separating them. Alesha votes no, saying they belong together. Another judge concedes that Amanda may have improved the act. Catherine advances with three yeses.
Watch the full video to follow those decisions beyond the first gasp. Baron and Vesper wait while KSI weighs his discomfort, Lou keeps talking after the buzzers, and Catherine hears whether going solo has earned her another performance. The auditions continue after the scare, when the performers have to face the vote.
