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The end is near. But for those of us who listen to The Black Tapes, we’ve known that for a while.

Created and written by Paul Bae and Terry Miles and launched in May of 2015, The Black Tapes is a docudrama hosted by Alex Reagan, a public radio journalist for Pacific Northwest Stories, and follows her as she investigates the mysterious Strand Institute and its more mysterious founder, Dr. Richard Strand. Over the course of the first two seasons, things go from creepy to downright apocalyptic.

The podcast quickly went from a spooky serial to igniting a small pod empire, leading to sister podcasts Tanis and Rabbits, both written by Terry Miles. A television version of Tanis has been announced and will be produced by Sam Raimi and Debbie Liebling’s POD 3 along with Dark Horse. Bae has his own solo project launching around Halloween of this year, and the two have other projects together and apart. “We have lots of stories to tell,” Miles says.

Today, the premiere episode was released for the third and final season of The Black Tapes, the podcast that started it all. I talked to the writers and creators about the end of the show -- and the end of the world as we know it.

What is the writing process like?

Paul Bae: It’s a switch-off. We do it half and half. It’s like a feedback loop; we’ll feed it to each other and go off what the other wrote, especially for Alex’s narration.

Because the other shows, Terry, you write those yourself?

Terry Miles: Yeah.

How’s that experience different?

TM: It takes longer. (laughs) I don’t have Paul’s genius to lean upon. I go back and forth with myself.

How much input do the actors have in their characters?

TM: Well, accepting the fact …

Yeah, I kind of wondered if we’d talk about that at all, since you’re both pretty adamant about the show being “real.”

TM: Yeah ... If they were actors -- which they are not -- they would stick to the script.

This is really a reality prison you’ve built yourselves.

TM: Yes. Definitely. But it’s fun.

Well, you guys are so good at the social media aspect, where it does feel like these are all real people. Was that important to you, or did that come organically?

TM: It was important. I didn’t grow up with radio dramas. The affection is there, but not necessarily the enjoyment. If it didn’t have hinged-upon-reality element to it, I probably wouldn’t be that interested.

What were some of the influences -- for the story in general, but also the universe you’ve created around it?

PB: We talked about War of the Worlds quite a bit, about what the impact would have been at the time, and how immersive storytelling is a thing we’re both really into. The world of podcasting is another way in; it’s so intimate. Someone’s in your ear. It feels more direct and intimate than, say, watching something on a screen. That’s what it felt like when we started this, so we thought we should capitalize on that intimacy.

TM: In regards to the shared world of characters [between The Black Tapes and his other shows, Tanis and Rabbits], a big influence on me was Michael Moorcock and Elric and Eternal Champion series of books, because the characters in those books crossed over into the other series and it was just so exciting as a kid. It was like, “Holy shit. No way. This character is in this novel all of the sudden?” It was so thrilling.

Has that been a challenge to figure out how much interaction there would be between the characters and how much crossover there would be? Because there’s no Black Tapes and Rabbits crossover, but Tanis exists in both worlds.

TM: It becomes more complicated when you look at moving the podcast into other media. That’s the short answer. Initially, you think “All things combined!” and it’s going to be one amazing universe, and then it becomes, “Well, Paul and I are doing this podcast, and I’m doing these podcasts, and someone else wants to turn this into this,” and it becomes more challenging.

Getting into the story itself, how much was outlined off the bat? Was Season 1 its own distinct thing, or did you know pretty much how things were going to go over the course of all three seasons?

PB: I think of myself as the psychic there. We saw the end coming. We had to write all of Alex’s intros first, so we had a good idea of where it was headed. That way we could just allow the story to unfold.

TM: And there were definite surprises along the way. We really leave ourselves room to let the characters and events drive our recording of them, so to speak. There are all kinds of large tentpoles that were surprising.

PB: When you kind of allow the characters to do what comes naturally, we were sort of surprised. We surprised ourselves bringing some characters back, like Dabic and Simon.

Did you have Strand’s journey mapped out, like how his childhood would play in?

PB: As producers there’s always things you hoped would happen, but sometimes a character, just the way they are, it takes a direction you didn’t expect, and it’s always a pleasant surprise when that happens.

TM: Strand and his family remain enigmatic to us to some degree. I mean, there’s a limitless podcast there about the Strand family. The Strand Family Radio Hour.

It seems like with podcasts specifically, because since there’s not a canonical look for a character, people feel more empowered to decide what a character looks like or “off-camera” headcanons, the same with books.

PB: I just read that word "headcanon" for the first time about a month ago. I like it. I find it fascinating. I’m kind of honored people would spend their time doing this, spend a chunk of their day expanding our world, this world we’ve immersed ourselves in. I’ve read some of it, and a lot of it’s quite good.

TM: Yeah, it’s quite impressive. It’s hard to go down that path and not spend six hours looking at fan art.

PB: Oh my God, the fan art is amazing.

TM: I feel like I have to set aside a day because you get lost so deeply.

Anything you can tell me about this final season?

PB: It’s gonna satisfy a lot of people in some ways, and it’s gonna piss off a lot of people in some ways.

Is the world going to end? Are we all gonna die?

PB: *laughs* I can’t answer that.

TM: I mean, eventually yes.

Was there any conversation about continuing it, or did you know you were done?

PB: We knew this story would have to close here, right now, at this moment.

Was there a reason for that? Did it feel right narratively, or are you both just so busy?

PB: There are a lot of factors. It’s hard to talk about. When you get to the end, it will become self-explanatory.

TM: It’s not that other projects are taking away from Black Tapes, contrary to what we’ve heard on Twitter.

PB: That’s not the reason.

TM: We could continue, but it feels like this is where the story ends. For now, at least.

Yeah mate, we know you could continue. You could probably squeeze another two seasons just by fucking pausing for hours between each sentence like you do on Tanis. Pfft.
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With only about two months until Halloween, what better way to get prepared than reading a collection of bone chilling stories? Oliver Boiscommun and Denis-Pierre Filippi are bringing three mysterious tales to life in this Halloween Tales collection. Plus if you’re not only into the scary and sneaky, there are even some life lessons to be learned. Take a chance and see what lies inside Halloween Tales, which Humanoids is releasing this September.

Boiscommun has done a great job connecting the storylines and they’re really interesting to read. To be honest, when I started to read this set I wasn’t really looking for much emotion. I was hoping for some great scary stories and maybe a twist or two. One of the great things you find is that he’s really trying to work some serious topics into the underlying suspense.

You’ve got three stories to read here: "Halloween," "The Book of Jack," and "The Story of Joe." Out of the three, "Halloween" is definitely a favorite. It’s not the spookiest or the best story, but it gave me a bad case of the feels. You start reading and you don’t expect the extent of emotions that will take you over. The visuals are spectacular with this one. The main character is a little girl who’s in her Halloween costume, which becomes a part of her story and really showcases her torment. As you probably expect, there’s a lot of dark and light contrast throughout the book but there’s an amazing amount of detail in even the most basic shadows.

The next story — all in black and white — is "The Story of Joe." I honestly got lost with this one and had to read it a few times to get the idea of what was going on. The first read made me think he was just imagining what was happening — it’s more of a mysterious puzzle than the other two sections. The art worked really well with the story idea, though. It’s a nice change into a darker area.

"The Book of Jack" is a pretty intense read. The premise behind the story is pretty disturbing but allows the imagination to go wild. It’s got a nice Hocus Pocus feel to it

What’s really nice is that you have the same characters from Halloween throughout the other stories, they just branch off and make their own path. Just be aware if you’re looking for intense, gory ghosts and ghouls you won’t find it here. There are some creepy creatures and spooky sections but nothing really over the top.

If anything, some of the stories could be a little better organized. I lost a few key points in some places with a bit of an overstimulated page here and there. I would have liked to see some more definition in some of the characters’ appearances. It looks like they kept the blurry edges to help with the feeling of the stories but it could have been done a bit better.

I absolutely love the meaningful undertones of each story. I would definitely suggest this to the avid spooky reader but be wary that it’s not as scary as one may expect. The stories flow wonderfully together and all three stand alone very well too. This is a great addition to the Humanoids collection of works.
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In the black comedy Suburbicon, George Clooney takes us to the small town, white bread America that Donald Trump wants to MAGA us back to and uncovers that it wasn't as great as all that. It joins the race for the Golden Lion at this year's Venice Film Festival.

George Clooney hit the ground running as a director with the wonderful Confessions of a Dangerous Mind and the Oscar-nominated Goodnight and Good Luck. But his luck has been down with the interminable Leatherheads and instantly forgettable if commercially successful Monuments Men. Re-jigging an old Coen Brothers script with close collaborator Grant Haslov, Clooney has produced the marginally better Suburbicon. Your ears might prick up once you hear old Coen Brothers script, but that means a script they decided not to make because they thought Ladykillers was worth doing.

Matt Damon plays Gardner Lodge, an accountant with Mad Men slicked hair, a glossy car and the pair of glasses he wore in The Good Shepherd. He lives with his son Nicky (Noah Jupe), his wheelchair bound wife Rose (Julianne Moore) and her twin sister Margaret (also Julianne Moore) in a small house in the picture perfect new town of Suburbicon. An animated sequence at the beginning of the film depicts it as a Norman Rockwell dream, and lauds its diversity: basically a bunch of WASPs from different parts of the country. That is until a black family move in, to provide a subplot that feels so pasted on that you can see where the glue has gone over the edges.

Something - and not only the escalating racial tension - is not well with this place and we are introduced to Gardner as he gets his son out of bed because there are men in the house; two bad guys (Michael D. Cohen and Glenn Flesher) who want to tie up the family and rob them. Gardner is strangely acquiescent and when his wife dies as a result of the chloroform, Nicky suspects something is up.

As with the woefully underappreciated Bob Balaban film Parents, mostly everything is viewed from Nicky's perspective. He slowly befriends the black kid living across the garden fence; tolerates his burly Uncle Mitch's comedy routines and eyes with growing suspicion his aunt and dad's grieving process, part of which involves some rumpy in the rumpus room with a table tennis paddle. Suburbicon is reminiscent of many other films, but none more than Fargo with which it shares a plot. The danger here is that the TV show Fargo is already remaking this twice over.

Clooney only shows flashes of comic moxy, and everything is drowned in a now tiresome fetishizing of the 1950s aesthetic, with gizmos and supermarkets, office furniture and hairdos glossily remade. Damon puts in one of those good sport performances and there are some nices flashes of unsuspected nastiness in the pudgy middle class complacency. But Moore is sadly underused and the film only really comes alive with the arrival of Oscar Isaac's insurance investigator, who, alas, doesn't hang around.

The darkness at the heart of the town grows as the deplorables opposing integration go from cold looks to throwing rocks and building fences - cue the topicality siren. At the same time, the domestic criminals in Nicky's home begin to unravel and the boy finds himself in all sorts of trouble. Violence increasingly takes the place of punch lines - not so much Grand Guignol as Petit-Bourgeois Guignol - and throughout the whole film Alexandre Desplat's score is as ubiquitous as the music in a Tom and Jerry cartoon. In the end, Suburbicon is a town not only that you're glad to leave but that you wish you hadn't bothered picking up the brochure for.
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SPOKANE, Wash. — Washington state recently passed a 10 year extension for film tax incentives, granting films and TV shows created within state borders financial help under certain circumstances.

TV shows like Z Nation. The zombie apocalypse's cast and crew once again have taken over Spokane.

Z Nation is just one of the many parts of Washington state’s film industry. The industry is said to bring millions of dollars to the state each year, create jobs and give an economic boost to local businesses.

The recent legislation extended the Motion Picture Competitiveness Program until 2027 and has allowed the industry to continue to grow.

Z Nation creators, cast and crew are in town shooting season four of the hit Syfy channel show. Show creators said they are here for a concise list of reasons.

“We came for the incentive and stayed for the location and the crew,” Executive Producer Karl Schaefer said.

Schaefer is the man behind all the TV magic for Z Nation. He said there is no way the show would be able to film in the Evergreen State without help from the state legislature.

The state's ten year extension for film tax incentives grants film and TV producers financial help from the state if they shoot in Washington and employ its residents.

So, Z Nation creators set out to employ Washington residents. One of them is local state representative from District 3, Marcus Riccelli.

“I'm taking this real seriously. I mean this is a fun opportunity but also I don't want to look like the only person who doesn't know what they’re doing,” Riccelli said.

Riccelli was one of the sponsors of the bill pushing for film tax incentives.

“This means jobs and economic development,” the State representative said.

Producers of the zombie show agree, the state of Washington has a lot to offer in creating their TV show.

“You can play anywhere. It can be urban, it can be rural, it can be industrial,” Jody Binstock, Z Nation Co-Producer, said.

Several places around Spokane have served as the backdrop to Z Nation landscapes. However, filmmakers said it is not just the diverse landscapes that are inviting, it is also the people.

"Part of what makes the show so funny and weird are the people making it funny and weird," Schaefer said.

There are around 90 cast and crew regularly working on Z Nation and a majority of them are from the state of Washington.

"It allows people to be employed for a very very long time, and it not only affects them, it affects their kids, their parents, and their grocery, and their mechanic and the spider web goes very very long,” Binstock said.

In the end it's really about giving people the opportunity to work. Two of the shows characters, Sleezy and Sketchy, are played by actors Doug Dawson and Mark Carr. Dawson is from Spokane and Carr is from Seattle.

"It's great. I am actually from Spokane so when our episode rolls around each season I'm working right from home, I'm staying in my own bed getting professional work so it's fantastic,” Dawson said.

"You know the film incentive is a massive boost for the economy around here and for people who like us who have sort devoted our lives to this art form,” Carr said.

The massive economy boost will continue as filming for season four of Z Nation is set to wrap up at the end of September.
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They say Wednesday’s child is full of woe, but for the original Goth girl, Lisa Loring, life these days is far sunnier.

The actress was just six years old when she was cast as the youngest member of The Addams Family, meaning she pretty much grew up as part of the creepiest, kookiest family on TV.

And it was a bond that lasted a lifetime.

“The Addams Family really was like a second family to me,” said Loring, adding she was especially close to John Astin and Carolyn Jones, who played parents Gomez and Morticia on the show. “John has actually been my acting mentor for a very long time.”

Once, back in the early ‘80s, Jones sent for Loring to visit her on the Hollywood set of the short-lived drama Capital.

“She wanted me to come visit, and she had hired a photographer,” Loring recalled. “We were doing soaps at the same time. That was about eight months before she died — she hadn’t told anyone she was sick.”

Loring said she believed her tight bond with Astin and Jones was partly because neither had any daughters of their own.

“John had five boys, and Carolyn never had any children at all,” she explained. “A lot of the real family dynamic we had in the show was because of John. I don’t see him too often these days because he lives in Baltimore . . . but over the years we’ve stayed in touch. He was like having a second father.”

That warmth was just one reason Loring believes The Addams Family really stood out to audiences, even when put in direct competition with The Munsters.

The other was the quality of the comedy.

“One was more witty, with intelligent humour, and one was more slap stick-ish,” she said with a laugh. “Back when I was a teenager, I once said The Addams Family was more like the Marx Brothers, while the Munsters were The Three Stooges.”

It was a sentiment that got a lot of attention back in the day, though no one actually believed Loring had come up with the comparison.

“I absolutely got no credit for that, everyone asked me where I had heard it,” she said. “It got even more strange when John told me our executive producer and head writer Nat Perrin came to Hollywood to write for the Marx Brothers. That’s why it was so witty, and so funny, and so clever.”

These days, Loring continues to meet fans through appearances on the convention circuit — something she’s been a part of since the ‘90s. Her first Canadian appearance, however, will be at London Comic Con, Oct. 13-15.

“It’s all turned into such a big industry, but now there are so many different generations. Sometimes it’s even grandparents bringing their grandchildren,” she said. “I never really know what to expect. I’ve even met little girls named after the character, and all kinds of interesting things have happened that seem very surreal to me because I was so, so young when I did the show. It’s amazing to know it had such a big impact.”

Often, questions range from what was it like to be Wednesday to does she really like spiders that much. But once in a while, Loring maintains fans can still surprise her.

“I’ll never forget the first time a group of teenagers came up to me to ask me if I knew I was the original Goth girl — that was really surreal to me,” she said. “I’m not into the creepy stuff, and I don’t watch horror movies or anything like that. Never had I even thought it of it because, personally, I’m all lace and pearls.”
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In 2013, comic publisher Boom! Studios started an imprint called Boom! Box – a space for experimental, creator-driven work by writers and artists from outside the mainstream industry. Their second title, Lumberjanes (2014), was a supernatural take on the Girl Guides that was meant to run for eight issues. It recently hit issue No. 40. It’s won multiple Eisner and GLAAD Media Awards; a live-action movie is in the works; and the next run of comics will be penned by Roxane Gay. Lumberjanes is a full-blown franchise and, thankfully, not ending any time soon.

To add to the pile of awesomeness, Amulet Books has made Lumberjanes into a series of middle-grade novels, by Toronto-born artist and writer Mariko Tamaki (This One Summer, Saving Montgomery Sole). The first instalment, like its comic predecessors, is smart, adventurous, confident, and deeply feminist. It’s doubtful the series will end after the planned four books.

Unicorn Power! is set at Miss Qiunzella Thiskwin Penniquiqul Thistle Crumpet’s Camp for Hardcore Lady Types. We follow the five scouts of the Roanoke cabin – Jo, April, Molly, Mal, and Ripley – over the course of three days. While all the characters get moments to shine, the story is mainly focused on April. She is an overachiever with her sights set on earning the Extraordinary Explorers badge. But April unwittingly leads the troop into imminent danger that involves farting unicorns and surfer-dude cloud people. It’s The Baby-Sitters Club meets Buffy the Vampire Slayer set in Adventure Time’s Land of Ooo.

Lumberjanes’ fans (a.k.a. Lumber Jumbies) will be excited about the deeper character exploration and backstory the novel provides, but a reader doesn’t have to be familiar with the comics to fully appreciate the novel’s greatness. Unicorn Power!’s charms are self-evident, as the book bounces with relentless cheering, dancing, gasping, running, and falling. Endearingly, names of famous women (Ursula K. Le Guin, Yayoi Kusama, Gerlinde Kaltenbrunner) are used as adjectives and interjections. Although the characters are flawed and have their fair share of problems, the tone is always optimistic. In fact, the only depressing thing about Lumberjanes is how unusual it feels – assertive adventure books starring girls are woefully rare.
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If there’s a downside to living in a golden age of television, it’s that not every show can make it into the Emmy race. Still, there were several shows this past year that easily should’ve been frontrunners in various categories, but for some reason accumulated little to no recognition. Since the Creative Arts Emmy ceremonies were this past weekend and the Primetime Emmys are this upcoming Sunday, now seems as good a time as any to look over five shows that deserved a lot more love from the Television Academy.

4. A Series of Unfortunate Events

This masterful adaptation of Lemony Snicket’s darkly humorous books was perhaps the year’s most inventive comedy series. Yet, Barry Sonnenfeld’s stunning direction and Neil Patrick Harris’ pitch perfect performance as the villainous Count Olaf went overlooked. Given the show’s incredible production values, you’d think that A Series of Unfortunate Events would’ve at least cleaned up in the tech categories. While James Newton Howard’s fanciful musical score got a deserved nomination, the show’s gothic production design, costumes, makeup, and visual effects all went unnoticed. How unfortunate.

3. Gortimer Gibbon’s Life on Normal Street

Whenever I bring up Gortimer Gibbon’s Life on Normal Street, people always ask the same question: “What’s that?” Seeing how the show flew under the radar, it shouldn’t come as a surprise that Emmy voters never recognized this hidden gem. That being said, creator David Anaxagoras truly delivered a tour de force of children’s programing, mixing elements of Eerie, Indiana, The Adventures of Pete & Pete, and the immortal works of Roald Dahl. Behind all the whimsical setups and quirky humor, this was a surprisingly deep coming-of-age story, dealing with divorce, death, and growing up without ever talking down to kids. It might be too late to give Gortimer Gibbon’s Life on Normal Street an Emmy, but you can still check it out on Amazon Video.

Recommended: mother!, what was that all about?
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Halloween lovers around the nation tune in each October to watch FreeForm's "#13 Nights Of Halloween." The 13-night event is beloved by many, as the network plays fan favorite, and family friendly, Halloween #Movies each night during the 13 days. This week, FreeForm has officially announced the 2017 schedule, which includes movies like "Sleepy Hollow," "Men In Black," "Monster's Inc.," and everyone's favorite, "#Hocus Pocus."

FreeForm's "13 Nights Of Halloween" 2017 will begin airing on Thursday, October 19, and last until Halloween. The movies will play mostly in the evenings, with extra showings on the weekends.

This year, the network will even taking a page out of TBS' book, (The network airs 24-hours of "A Christmas Story," on Christmas Day.) and playing an all-day marathon of "Hocus Pocus" on Halloween day. As many fans know, "Hocus Pocus" is the backbone of "13 Nights Of Halloween," and will keep viewers tuning in the entire month of October.

"Hocus Pocus" stars Bette Midler, Kathy Najimi, Sarah Jessica Parker, Omri Katz, Thora Birch, and others. The movie centers around three witches, the Sanderson Sisters, (Middler, NaJimi, and Parker) who are hanged for witchcraft in Salem, Massachusetts. 100 years later, a new kid in town named Max Dennison, (Omri Katz) lights the sisters' spooky Black Flame Candle and brings them back from the dead on accident. It is then up to him, his sister Dani, (Thora Birch), and the girl he's crushing on to save Halloween and stop the sisters from carrying out their plan to steal the soles of children to keep them alive and young.

"13 Nights Of Halloween" will kick off on October 19 with "Addams Family Values" at 6:45 and then the fan favorite "Hocus Pocus" at 8:50 p.m. The next day, October 20, "Hocus Pocus will air at 6:20 p.m. followed by "Sleepy Hollow" at 8:30. On Saturday, October 21, "Sleepy Hollow" will air again at 4:40 p.m. followed by "The Addams Family" at 7:10 and "Addams Family Values" at 9:15 p.m.

Sunday, October 22 will bring more "Addams Family Values" at 7:05 p.m., followed by "Hocus Pocus" again at 9:15, and "Alice in Wonderland" at 11:25. The next day will begin a Tim Burton marathon, which could include any of the directors films such as "Beetlejuice," "The Corpse Bride," or "The Nightmare Before Christmas." On Tuesday, October 24 the Sanderson sisters are back in action at 8:50, after another showing of the "Addams Family Values." On the 25th, The Sanderson sisters will make another appearance at 6:35 followed by "Men In Black" at 8:45.

October 26th will bring another showing of "Men In Black" at 6:05 p.m., followed by Johnny Depp's "Dark Shadows" at 8:20. The next day both "Addams Family" movies will air back-to-back, and on Saturday, October 28, "Hocus Pocus" will air before "Monster's Inc." and "Monster's University."

Sunday, October 29, will be a Disney-Pixar day with another showing of both "Monster's Inc." movies followed by the fan favorite "Toy Story of Terror." The day before Halloween brings the Addams' back as well as the Sanderson sisters, before Halloween day, where "Hocus Pocus" will play on a loop for an all-day marathon event, closing out FreeForm's "13 Nights Of Halloween" for 2017.
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With The Walking Dead and Z Nation on television and a World War Z sequel on the way, it might seem like a bad time to recommend yet another piece of zombie entertainment. However, in the case of Dead Set, it’s worth risking a journey into the world of the living dead one more time.

A five-part mini-series made for British television, the run time of all the parts clocks in at just under two and a half hours. The length is perfect for the story, which revolves around an outbreak of the undead happening right outside the Big Brother house. That’s right, the series uses the actual UK Big Brother locale and show as a backdrop for the narrative, and it feeds into the series’ social satire.

And the creative team! Yann Demange, known recently for his stellar directing work on the series Top Boy and the award-winning ’71, brings a grittily realistic take to the script by Charlie Brooker. If you recognize Brooker’s name, it’s because he is the creator of Black Mirror, the brilliant sci-fi anthology series also currently available on Netflix.

Riz Ahmed appeared in Dead Set before his career took off in Nightcrawler, The Night Of, and Rogue One. Lead actress Jaime Winstone is a force to be reckoned with in the series, and she is no stranger to horror, having appeared in Donkey Punch and Elfie Hopkins: Cannibal Hunter.

With a smart take on the often overused zombie subgenre, a cast and crew who went on to equally impressive later work, and a zombie disemboweling scene so graphic and darkly comical it has to be seen to be believed, Dead Set is two and a half hours of your time well spent.
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We’ve known since late July that Greg Nicotero will be producing a horror series for AMC. Shock Theater will be an anthology show, with a different cast and crew to excite audiences weekly. But today we learned something new: Shock Theater will also have elements of comedy.

Nicotero—best known as the co-executive producer, make-up effects supervisor, and frequent director of The Walking Dead—told EW that Shock Theater’s spiritual successor isn’t Dawn of the Dead but...Shaun of the Dead?

“I think Shaun of the Dead is probably the closest in tone that I can ever think about for Shock Theatre because it was funny and thrilling, and you love the characters, and it was scary, and had great moments in it, and was all-around completely entertaining.”

This is great news for people who find that screams are best tempered with laughs. Z Nation and Ash vs. The Evil Dead are current entries to this field, but as Twilight Zone episode “Twenty-Two” will tell you, there’s always room for one more.

Nicotero also name-checks another favorite for fans of horror comedy, American Werewolf in London. He looks to American Werewolf for inspiration because:

"I want the characters to be real and I want them to be funny and I want them to be relatable. And a lot of horror movies, you know, it’s not quite the same emotion than if you start with something where you have characters that have some humor to them because it’s always a great balance between the humor and the horror, and that’s something that we’re looking forward to doing."

Nicotero didn’t say when AMC will be airing the upcoming show. However, we can expect it some time in 2018. Until then, we have the hijinks of Bruce Campbell in Ash vs. The Evil Dead to keep us laughing and screaming.
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Dee Wallace is an American actress known for her roles in such films as E.T., Cujo, The Howling, and The Hills Have Eyes. Dee will be appearing as a guest at this year’s Scarefest in Lexington, KY. We caught up with Dee and asked her about her current projects, favorite films and more. Read on.

BGG: Dee, thank you for taking the time to talk with us. Can you tell us a little bit about what projects you are working on at the moment?

Dee Wallace: I have just finished shooting my final episode of Just Add Magic, the Amazon Prime show I have been on for three years. I have been doing tons of press for Red Christmas, a film I shot in Australia that will be out this year. I also am gearing up to promote Death House which will premiere in January in theatres. I will be shooting a great character piece in the upcoming film Ouija House in a week.

BGG: You will be at Scarefest this month--what are you looking forward to most at the show?

Dee Wallace: Seeing and spending time with my fans! I ALWAYS hear new stories, see new posters, and get new hugs! I have a lot of great new merchandise, too!

BGG: You have over 229 acting credits on your IMDB. How did you first get into acting and what do you like best about it?

Dee Wallace: OMG! I started when I was very young in Kansas City. My mother was quite an amazing actress and my first teacher. She started me with "elocution" lessons and dance and performing for groups around town at a very early age. I think what I like best about acting is the freedom to find all those hidden places within me that lead to some of the amazing characters I have gotten to play. And I LOVE the variety. There are always new, exciting beginnings in my biz!

BGG: Some of the movies I remember you from most were E.T., Cujo and Critters. How did you get involved with the E.T. film and did you think it would become the classic film it is today?

Dee Wallace: Actually, I auditioned for Spielberg's "Used Cars." I guess he saw what he wanted in the mother for E.T. and held me for that. Thank you Mr. Spielberg! I knew this was one very special script. And when I saw the rough cut, I knew we had something that would touch the world. But as Blake Edwards said when I did 10: "Honey, if we knew what made a hit, we'd have a lot more of 'em!"

BGG: What was your favorite movie to work on and why?

Dee Wallace: Probably The Howling. I was engaged to Chris and it was just a big family affair. I adored Dan Blatt and Joe Dante. It just doesn't get much better than that!

BGG: Thank you for your time. Is there anything else you would like to add?

Dee Wallace: I'd like to invite everyone to visit my web site at Check out the healing work I do! Join me for my live call-in radio show on Sunday mornings!
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[personal profile] froodle
What made Stephen King’s It adaptation so good is that more than a horror movie, it was a real drama. Here are 5 other movies (and 1 show) for you to watch next if you loved hanging with the Losers.

You can really tell how different generations of brilliant artists Steven Spielberg, Stephen King, JJ Abrams, Jeff Nicholds - have inspired another, in a cycle that will probably never end.

Every week, we will curate a collection of titles - movies, TV, general miscellanea - for you to watch (and in some cases, read, or listen to), in a series we call Weekend Binge. The selection will be based on a theme which binds the picks - which could be extremely blunt in certain instances, or confusingly abstract in some. No rules apply, other than the end goal being getting some great entertainment to watch.

While the idea is to base the theme on the week’s major events - it could be the release of a new movie, or show - we could also use this opportunity to comment on our world in general, and turn to art to wrap our heads around some of the more difficult stories of the past seven days.

The new Stephen King adaptation, It, aside from being a fine Stephen King adaptation - among the best, even - has that unique power that can transport audiences to a different time, back when things were... simpler. The time when kids didn’t let homework get in the way of more important things - like fighting aliens, discovering hidden treasure, and finding first love. It’s the ‘80s, when film’s were concerned more with characters and their stories than loud noises and fart jokes.

We must thank It for taking us back to this wonderful age in moviemaking, when directors like Steven Spielberg, Joe Dante and John Carpenter were creating a whole generation of geeks. So let’s not stop now. Let’s watch more. In the spirit of the kids in these movies, let’s explore more. Here are five movies (and one very good TV show) that you can watch after It.

Super 8

It’s no secret that JJ Abrams is a bit of a devotee of Spielberg’s and King’s. Many accused Super 8 (which is produced by Spielberg), his story of a group of kids who must investigate the strange happenings in their small town - yes, it sounds familiar, doesn’t it - of being too reverential. But it’s more than just empty homage. There’s death, there’s fierce friendship, and there’s a monster. And it’s beautiful.

The Monster Squad

In a sort of meta move, The Monster Squad asks the question: What if a group of movie nerds run into the monsters they’ve idolised their entire lives. The answer: Exactly what you’d expect. They handle the heck out of it.

Attack the Block

While this genre - ‘80s kids battling supernatural entities in a romantic, lens flare heavy world scored to REO Speedwagon - is a quintessentially American one, Joe Cornish’s Attack the Block transports the action to London - and to the present day. A council estate populated by shady drug dealers, broken families, and class warfare, to be precise. And in the middle of all this drama, an alien invasion happens.

The Goonies

Like the Losers in It, the Goonies are a bunch of misfit kids who find themselves attracting adventure almost as if they’re Enid Blyton characters. Spielberg’s imprint is deep and lasting - he wrote the story - and there’s that unique sense of romanticism and camaraderie that we associate with these movies, as the Goonies embark on an epic treasure hunt.

Midnight Special

There’s a clear connective tissue between the films and TV on this list. You can really tell how different generations of brilliant artists have inspired another, in a cycle that will probably never end. Finn Wolfhard stars both in It, and Stranger Things, which we’ll talk about next. Jeff Nichols’ Midnight Special, meanwhile, owes a great debt to the films of John Carpenter - especially Starman - and It owes a debt to Midnight Special for having found its lead actor, Jaeden Leiberher.

Stranger Things

The ultimate goal must be to binge It, Super 8, and Stranger Things over one weekend. Not only are these movies (and show) remarkably similar to each other - it’s almost as if they’ve been fused together by some sort of Loser Club-inspired bond made in blood - they preach ideas that every misfit geek can relate to: Be good, stay loyal, fight the bullies, vanquish your demons, and, when you get time, watch great movies.
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[personal profile] froodle
British actor Sam Underwood has proven himself rather adept at playing psychologically disturbed individuals in US TV shows from Dexter through to The Following. While he is (hopefully) not a sociopath, he is no stranger to mental health issues, and in his own show, Losing Days, he courageously tells us about living with manic depression, or bipolar disorder, sometimes bordering on psychosis.

He takes us back to his childhood in Woking in Surrey and the “problem” with Underwood men, including his father, which the family never really talks about. We see how his need to “express himself” as a performer from an early age was destined to blossom into something more complicated and scary in his 20s. We learn about his marriage to Valorie Curry – his co-star in The Following – and how she has supported him and stood by him through his darker times. And we find out how he came to play a cat in a drunken stage production of the film Hocus Pocus.

Sam insists this is no sob story, and, thanks to his endearing enthusiasm and charm, he makes this a positive story about coming to terms with his condition and how it has always been a part of who he is. The show is injected with a fantastic live musical score of the songs of British singer-songwriter Frank Turner, taken from his 2013 album Tape Deck Heart. Sam joins with Maks Kubiś on guitar to create band The Boxroom Larrys, smashing out anguished but uplifting songs that fit Sam’s story perfectly such as the up-tempo Four Simple Words, the poignant Recovery and the jaunty Losing Days.

This is a brave performance, especially as Sam admits that, in his industry, people – especially men – don’t tend to talk about their problems. It becomes clear that his mental issues have made him the man he is at 30 and helped to propel him to success in a career where he gets paid to “express” himself, most recently as a lead in hit TV series Fear the Walking Dead. By the end, he has demonstrated that, as well as acting, he has a fine singing voice, can tap dance and play keyboard and guitar – some of which, in his drive for perfection, he taught himself simply for the sake of this show.


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Eerie Indiana

September 2017

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