Walking Dead spin off shows, what’s to come? – Undead Walking

The Walking Dead flagship series will be ending in 2022. Part one of three of season 11 has already aired with the second coming in February 2022. By the fall of 2022, The Walking Dead series will be completed. But, what is coming next?

The Walking Deads eleventh season has a lot to live up to, as fans expect much from this season. There are many open-ended storylines to wrap up. Carol and Daryl will have to set off on their own, and fans hope to see or hear something about Rick Grimes before the end of the series.

What seems like forever ago, we were promised three Walking Dead movies. Andrew Lincoln will once again grace our screens as Rick Grimes. These movies are in the process of being written and perhaps once the series completes filming in March 2022, they will be able to start filming the movies.

What spin-off series are in the work for TWDU?

The first spin-off series is going strong in its seventh season and will likely be renewed for an eighth. Things have drastically changed in the series since the nuclear bomb explosion. This series is slowly introducing the CRM, which is a heavy focus on The Walking Dead: World Beyond.

There is a search from something/someone called PADRE on this series, and fans have speculated that it may have something to do with the CRM. The midseason finale for this series is titled Padre, so it seems we will learn something by that point.

The second spin-off series was always slated to be a limited series consisting of two seasons. On December 5, this series will air its final episode. Fans had hoped to see Rick in this series, but that doesnt seem like it will happen.

We did see a crossover from TWD to this series in Jadis, who is now Warrant Officer Stokes of the CRM. She mentioned something valuable that she traded with the CR to gain access to the community. That something of value we all know is Rick Grimes. That is all we have heard about Rick, and sadly I think that is all that we will learn.

We have learned much about the CR and CRM from this series, which will lead into the movies.

Fans of Daryl and Carol were delighted to hear the news that these two characters would be heading off in their story. We know that Angela Kang will be the showrunner for this series and that it wont look like the flagship series.

Tales of the Walking Dead is one that creators could do so much with. It will be an anthology series that will feature any number of stories. We could see backstories, future stories; the sky is pretty much the limit with this one. I hope they really dig in and give fans some amazing episodes with this one.

This series is set to release in the summer of 2022.

Another spin-off,Dead in the Water, is set to be a digital project that would take place on a submarine. This series would be linked to the sixth season of Fear the Walking Dead, where we were introduced to the USS Pennsylvania.

The synopsis was released as:tells the story of a submarine crew fighting for survival, cut off from the surface world just as the apocalypse hits, becoming a nuclear-fueled walker-filled death trap with no way out.

There has been no recent info on this series.

About eight months ago, it was reported that a cooking show was in development by AMC. This series would combine The Walking Dead and First We Feast and feature apocalypse-themed food. It sounded like a fun concept, but weve heard nothing else about this one. So, time will tell.

It is exciting to think that the TWDU will carry on even after The Walking Dead ends. The hope is that we see the new spin-offs and possibly more in the future.

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Walking Dead spin off shows, what's to come? - Undead Walking

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Fear The Walking Dead, Reclamation: Things To Note – Undead Walking

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Lennie James as Morgan Jones Fear the Walking Dead _ Season 7, Episode 6 Photo Credit: Lauren Lo Smith/AMC

Altheas (Maggie Grace) last episode of Fear The Walking Dead feels like a recap of her history in the series. Its perfect for a new Things To Note!


Last weeks episode of Fear The Walking Dead was Altheas final episode of this season, and with all the callbacks to her time in the series, feels like it might be her last episode in Fear altogether.

Most of the episode focused on Morgan trying to find Al and bring her back into the fold, while at the same time, Al was trying to find her missing lover, Isabelle, while also, not wanting to be with her (it was complicated). On top of all of this, Morgan finally had his first encounter with the Civic Republic Military, and to say it wasnt terribly friendly would be an understatement.

All of this left the episode with a lot of questions about what the future holds for everyone in it, as well as what response they might receive from the increasingly nefarious CRM.

Before we get to that, though, we also had a lot of little hints, clues, references, callbacks, and trivia peppered throughout the episode. I wouldnt blame you if you missed a few of them, but if you did, dont worry, because Im here to catch all of those for you, and bring them here for you so you dont have to go looking!

Are you ready? I hope so, because its time for this weeks installment of Fear The Walking Dead: Things To Note!

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Fear The Walking Dead, Reclamation: Things To Note - Undead Walking

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LANE: Resurrecting Hydro from the walking dead – Winnipeg Sun

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With the completion of the Limestone Dam in 1990, with its large and low-cost generation capacity, the future outlook for meeting Manitobas electricity needs at low cost looked very positive. But, 30 years later, instead of Manitoba Hydros finances strong and ratepayers comfortably enjoying advantageous electricity costs, Hydro is deeply in the red (on course towards a loss of $200 million in this financial year).

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If Hydro was a private sector company, its board would be calling in a bankruptcy advisor and beginning the hard journey of liquidating assets. Hydros equally-wounded government owner (its new premier, at risk of being dethroned through a current court action), proposes that the Public Utilities Board (PUB) up Hydros rates by 5%. As the situation remains, even if PUB follows through with the governments request, Hydro will have to move up rates by a yearly succession of inflation plus increases, eventually to end Manitobas comparatively cheap power cost advantage which attracts industry, investment and jobs.

It all gets back to Hydros recent utility boondoggle of the century the over-budget expansions of the Bipole III transmission line, the Wuskwatim and Keeyask generating stations, the ongoing write-off of expenses from the cancelled Conawapa Dam project, the incredibly expensive repair of the Pointe du Bois Dam, new transmission capacity to the U.S., and, of course, the questionable agreements related to minority interests on Wuskwatim and Keeyask, etc. This cacophony of poor business decisions should lead to major structural changes, including:

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1. Separate the stranded debt from these fiascoes, shift it to the provincial ledger. Pay it off over 30 years.

2. Cap annual rate hikes at the CPI index of inflation, at least until the dust settles.

3. Sell off Centra Gas and use proceeds to reduce Hydros consolidated debt.

4. Structurally separate Hydros generation and transmission assets into separate companies.

5. Sell off the export business to long-term investors, perhaps in the pension and insurance industry sectors.

6. Convert the transmission line business into a municipally or consumer-owned company or cooperative, which would manage distribution assets as efficiently as possible

7. Rework the Wuskwatim and Keeyask partnerships with involved First Nations.

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Without such major structural changes, Hydro is bankrupt , propped up by a barely solvent provincial government.

NDP governments (Doer and Selinger) launched Hydros folly of investing in new northern dams and export transmission lines: without both adequate cost control over the build budgets and adequately priced long-term export contracts. A hapless PC Pallister government stumbled deeper into the mess: both political parties have their fingerprints on the looming insolvency of a multibillion-dollar enterprise .

There still is a need for a real public inquiry to determine why all the checks and balances of the governance system failed. The quiet insider review by a former Saskatchewan premier didnt do it. Knowledgeable observers saw the slow-motion Hydro disaster coming as early as a decade and more before it was poured into recklessly expensive concrete. Hard questions remain, needing to be answered in full public review.

Ask the hard questions about governance, political oversight, the influence of engineering contractors, the competence of executive managers, the advice provided by consultants, and the role of labour unions in this train wreck.

Special attention also needs to be placed on examining the lack of action by successive governments, both NDP and PC, to grasp the immensity of the developing disaster.

Graham Lane is a retired CPA CA. He was the Chair of the Public Utilities Board between 2004 and 2012.

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The Humans Director Breaks Down the Films Creepy New York Apartment Thats Straight Out of a Horror Movie – IndieWire

Stephen Karams claustrophobic family drama The Humans takes place in what, to a non-New Yorker, might resemble the most terrifying and uninhabitable apartment on the market: The paints peeling, light fixtures dangle precariously from the ceiling, and the only natural light seeps in through dirty windows looking out on the most depressing airshaft of all time. It makes Catherine Deneuves flat in Repulsion look like a luxury condo.

But the two-story, ground-level duplex is actually a pretty cush Lower East Side unit, and for Karam, who wrote and directed the film from his own 2016 play, its not so bad. Thats because he more or less lived in this place during his starving-artist days in New York City.

The reason I was able to afford it as a playwright [with a] day job working as an assistant [was because] I lived in the basement. My roommate lived on the ground floor. The only thing I could see from my floor was the concrete, the drain, the cigarette butts that would get thrown, said Karam in a Zoom interview out of a Central Park hotel room, a far cry from the space seen in the movie.

It was an incredible space, but with a total lack of light, he said. Even the film cheats, theres a little bit more [light], because I wanted the lighting to feel very filtered and natural and get to that delicious Gordon Willis are they there or are they not there darkness. But I agree that its a great apartment. Ill take all the water damage, all the peeling paint, and cockroaches.

The movie centers on a family convening in the lower Manhattan apartment for the Thanksgiving holiday, as struggling avant-garde composer Brigid (Beanie Feldstein) plays hosts to her family (Richard Jenkins as the father, Jayne Houdyshell as her mother, Amy Schumer as her sister, and June Squibb as her dementia-addled grandmother) as a way of introducing them to her new boyfriend, Richard (Steven Yeun). But while each of these figures gets plenty of space to reveal themselves over the course of a fraught evening where buried truths are spilled and the specter of September 11 hangs over all, the main character in the film turns out to be the apartment itself.

In pitching the film to A24, Karam presented an exhaustive lookbook laying out his visual intentions, influences, and the structure of the decaying apartment itself, to then be recreated on a soundstage. (In the original Broadway production, the two floors of the apartment were stacked on top of each other, and visible to the audience.)


The lookbook did involve a literal two-level diagram of the set. Think of it as like a Clue game board, he said. I didnt know how to write the story without geographically orienting myself. So he enlisted the help of Oscar-nominated production designer David Gropman (Life of Pi, The Cider House Rules), who took what was useful about that, and in our talks, he started to think more literally. Because I actually knew the apartment that I lived in so well, he had a friend that had a very similar apartment, and a lot of the specific set that you see, including dimensions of the hallways, the exact type of arches that are in the spaces, ceiling height, my preoccupation with condensation on windows and dirt I want to credit him because he was as obsessive as I was.

Prior to shooting in New York in September 2019, Karam had just one week with his cast to rehearse and block out how they would navigate the space. The block is really informed by, when youre in one space, the limitations of where the actors bodies can be, Karam said. I think I had them for four hours [a day], which goes by quickly, but in film, youre grateful if everybody can say hi to each other before you start making the movie.

He also said that kind of rehearsal time made him yearn for the bygone days when actors could really sink into the vibe of a movie, unfettered from busy schedules and other Hollywood chores. I was reading Mike Nichols biography, when you read about these three weeks on Whos Afraid of Virginia Woolf? they were having dinner every night. You feel it in those performances in that movie. Where have those days gone?

Karam said in the lead-up to the movie that he did wrestle over whether or not to direct the film, which he shaped out of his Tony Award-winning one-act Broadway play, but he said ultimately, I did think I was the only person that could direct the version that I thought was the truth. So much of the story is this deeply naturalistic, ordinary thing that also has these elements of very quietly gleaming something bigger.

Wilson Webb

He confessed that once he decided to direct, that meant the budget shrunk, and that in adapting the play, a third of the dialogue went away from the source material. I have enough friends who are really incredible directors who were like, Youre a director. You need to direct this. You see it, in other words. When youre a first-time director, you dont know when that threshold is. When should you start? Is it too late? I made movies when I was in eighth grade with abandon with my parents handheld camera, but just kind of stopped in this case, I felt I could make a movie I thought was really in-tune with the guts of the thing.

Bringing a stage-bound script to life with a camera also meant that Karam could more deeply channel his fascination for the little things that make the movie tick, and via hyper close-ups: The way the cube of sugar is melting in [a cup of] of coffee, Richard seeing the Christmas lights in his cup of water. As somebody who loves absorbing stories, I was trying to connect the visual language to what I was feeling. It was this combination of just knowing the story well enough to start to think about whats the relationship of a frame or a picture that might get close to this thing that worked so well in this totally different medium that you cant recreate, where everyone has a different vantage point.

As for his cast, Karam said it was really a dream set of actors. That was aided in part by the return of Jayne Houdyshell, who reprised the role of matriarch Deirdre that won her a Tony. She couldnt recreate her performance, even though she had 600, 900 performances in her body of what she knew to be true about Deirdre. She had a new family, a new husband, new daughters, and shes just too good an actress that information just changes so much.

He said, The experience for me in getting a new family, as scary as it was, is also what helped the film feel like his own thing. Theyre the kind of six people who have superpowers: Theyre rangy, but they also have these magical qualities.

The Humans is now in theaters and streaming on Showtime from A24.

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The Humans Director Breaks Down the Films Creepy New York Apartment Thats Straight Out of a Horror Movie - IndieWire

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The Horror Movies Coming to Netflix in December Include ‘Tremors’ and the ‘Final Destination’ Films – Bloody Disgusting

When it comes to classic horror, the Universal and Hammer monster movies come immediately to mind. Next, perhaps the Amicus anthologies or the films Val Lewton produced for RKO in the 1940s. But there is another great classic franchise worth consideration. The series of films directed by Roger Corman in the early 60s that have become known collectively as The Poe Cycle are a truly unique series of films. Though period films, absolutely dripping with gothic atmosphere, most utilize modern, experimental film techniques. Though they never explicitly reference the fall festival, these films are filled with cobwebs, coffins, and dungeons. They are preoccupied with the thin veil separating life and death, making them perfect fall viewing.

Beginning in the mid-50s, Roger Corman became a B-movie making machine, churning out as many as nine films in a single year. His primary partner in these ventures was American International Pictures (AIP) under the leadership of James H. Nicholson and Samuel Z. Arkoff. Nicholson and Arkoffs business model at the time was to make two black and white quickies, shot in ten days, and sell them together for the price of one. Corman, feeling that this method had begun to lose its luster, suggested combining the cost of the two films into one larger budget film, in color and widescreen, shot in 15 days. For the first of these, he pitched making a film based on Edgar Allan Poes short story The Fall of the House of Usher. Corman chose Poe for three main reasons. First, he had been a lifelong fan of the writer. Second, Poes material had long since fallen into the public domain and was therefore free, which greatly pleased his producers. And finally, Poes work was being taught in most American high schools and would be familiar to AIPs target audience.

Anyone who has ever had even a cursory reading of Poe will instantly recognize that these films are extremely loose adaptations of his stories. They do, however, adhere closely to the recurring themes of his work. The pain of the loss of a spouse, the mysterious nature of death, fear of being buried alive, guilt to the point of madness over wrongdoing, and more appear throughout the cycle. That said, they are a surprisingly diverse group of films. Corman was always concerned about becoming repetitive and tried multiple techniques throughout the series to make them unique from film to film while remaining unified in overall look and style.

These are also the films that cemented Vincent Price as one of the monumental figures of horror. Though known as one of the greatest of all horror icons today, Price had only made a few movies in the genre prior to signing on with AIP. He had appeared in Tower of London (1939) and The Invisible Man Returns (1940) during his Universal days, both of which only barely qualify as horror; House of Wax in 1953, The Fly (1958) and Return of the Fly (1959) as the heroic police inspector; and two William Castle films: The Tingler and House on Haunted Hill (both 1959). This may seem like a lot but keep in mind that he had racked up dozens of credits by 1960, and these seven films are the only ones that even remotely qualify as horror. The Corman films changed all of that. From then on, he made horror almost exclusively, with only a few notable exceptions, until his final feature film appearance in 1990s Edward Scissorhands.

The Fall of the House of Usher

The Fall of the House of Usher (1960) sets something of a template for the series, as well as establishing the creative personnel that would collaborate with Corman on many of the films. Richard Matheson, one of the legendary horror writers of his generation, was brought on to write the script. Floyd Crosby set the look of the films with his work as director of photography on House of Usher and would continue as cinematographer on all six films that were shot in the United States. Corman mainstay Les Baxter composed the music, some of the great unsung genre music ever written. All eight films feature production design by Daniel Haller who reused, redressed, rearranged, and built upon sets from the previous film. Because of this, the sets for The Fall of the House of Usher, though reasonably impressive considering the budget, are dwarfed by the massive, cavernous halls and passageways of the later films, particularly The Haunted Palace.

House of Usher stars Vincent Price as Roderick Usher, a man with a peculiar ailment that heightens his senses to the point of torture. In structure, it sets up many elements that would echo into other entries, coming both from Poes work and from Matheson and Corman. As with many films in the series, it begins with a character riding to a large house and ends in the conflagration of the estate. It involves the illness and apparent death of a spouse or lover and the possibility of premature burial. It is the first to feature a surreal dream or hallucinatory sequence that involves experimental film techniques and visuals. Though these themes and images return again and again, they remain engaging because of the variants in tone and character across the cycle. House of Usher was a great success, partially due to the fact that it was played on double bills throughout the summer of 1960 with Alfred Hitchcocks massive hit Psycho. Corman did not intend to make another Poe picture, but Nicholson and Arkoff were keen on capitalizing on the success of the film. As a lifelong admirer of Poe, Corman was happy to oblige, but also hoped to offer some variation to the series.

The Pit and the Pendulum

1961s The Pit and the Pendulum is the most financially successful film of the cycle. In it, Vincent Price plays the dual role of Nicholas Medina and his ancestor Sebastian, who was a ruthless inquisitor who reveled in torturing his victims during the Spanish Inquisition. The film also features Barbara Steele as Nicholass wife, whom he fears he has buried alive. Even more than House of Usher, Pendulum leans into the themes of Poe, particularly premature burial, and the death of a spouse. The film has a psychological depth rarely present in horror films of the era, and an almost Hitchcockian mystery at its heart. The final shot is disturbing and iconic and lingers on with the viewer long after the credits roll.

Tales of Terror (1962) is the one anthology film of the cycle, telling three Poe stories in one film. Again, these deal with life, death, loss, and guilt. Morella features Vincent Price as a man haunted by his dead wife. When viewed with the entirety of the cycle in mind, it plays much like a dry run from the final film of the series, The Tomb of Ligeia. The most famous segment, The Black Cat, is actually an amalgamation of three Poe stories: The Black Cat, The Cask of Amontillado, and The Tell-Tale Heart. Here, humor is infused into the cycle for the first time, most memorably in a wine-tasting face off between a drunk played by Peter Lorre and a pretentious wine connoisseur played by Vincent Price. The final story, Mr. Valdimar brings another horror icon, Basil Rathbone, into the mix along with a climax that resembles something out of Creepshow.

After some financial disputes between Corman and AIP, the director decided to make The Premature Burial (1962) independently. Path, the film lab that Corman had worked with previously, wanted to start a distribution department and agreed to partially finance the film with the rest of the money being put up by Corman himself. Because Vincent Price was under exclusive contract with AIP, Corman approached Ray Milland, the Oscar winning actor of Billy Wilders The Long Weekend (1945). On the first day of shooting, Nicholson and Arkoff showed up on the set to let Corman know that they had bought out Path and he was making the film for AIP. Fortunately, the working relationship was positive and continued to be for some time.

The Premature Burial is the first of the films to be written by Charles Beaumont, well known for some of the most memorable episodes of The Twilight Zone along with dozens of short stories, novels, and screenplays. Beaumonts sensibilities are quite different from Mathesons and the film has a more somber tone while remaining very engaging. Milland plays Guy Carrell, a man obsessed with the idea of being buried alive. British actress Hazel Court makes her first appearance in the series as his long-suffering wife. New to the series composer Ronald Stein cleverly weaves the refrain of Molly Malloy, the famous Irish folk tune, into his score as a repeated theme and harbinger of death. Filled with misty graveyards, crypts, and mystery, The Premature Burial is one of the most unique and atmospheric films of the cycle.

The Raven

Feeling that it would be nearly impossible to turn Poes poem The Raven into a serious film, Richard Matheson suggested making it into a comedy. Corman, always concerned with the series becoming too repetitive, agreed. Corman was no stranger to horror-comedy. A Bucket of Blood (1959) and Little Shop of Horrors (1960) were revolutionary in the ways they melded the two. The Raven (1963) would take it to the next level. It doesnt exactly mock the previous Poe films, nor the gothic horror subgenre, but it certainly knows just the right amount of fun to poke at it. The film expands on its star power by featuring horror greats Peter Lorre and Boris Karloff in addition to Vincent Price, all playing rival wizards and culminating in a duel to the death between Karloffs Dr. Scarabus and Prices Dr. Erasmus Craven. Rounding out the cast are Hazel Court, returning to the cycle for a second time, and a very young (and probably miscast) Jack Nicholson as the unappreciated son of Lorres Dr. Bedlo.

The Haunted Palace (1963) is an unusual entry in the series. First, it is not based on the poem by Edgar Allan Poe of its title, but on the novella The Case of Charles Dexter Ward by H.P. Lovecraft. Charles Beaumont returned to the series to write the screenplay. At Cormans suggestion, Beaumont brought in elements from other Lovecraft stories to give it more depth, in Cormans words. Beaumont delivered a good script before moving on to other work, but Corman wanted a few changes, which he handed off to his assistant at the time Francis Ford Coppola, who did an uncredited dialogue polish. Here, the horror cache in the supporting cast is supplied by Lon Chaney, Jr. as the caretaker, Simon. Additionally, Milton Parsons as Jabez, Elisha Cook, Jr., John Dierkes, and Leo Gordon are all familiar faces from 40s and 50s Hollywood.

As in The Pit and the Pendulum, Price plays a dual role as an ancestor and a descendant. In this case, Charles Dexter Ward is gradually taken over by the soul of his evil great-great grandfather, Joseph Kerwin, who was burned to death by the villagers of Arkham 110 years before. The film ultimately becomes a revenge movie as Ward, overtaken by Kerwin, dispatches the descendants of those who killed him one by one. The look of the film is darker and more realistic to match the tone of its story, making it a standout in the series. It was also the final film of the cycle to be shot in the United States.

The Masque of the Red Death

For many, The Masque of the Red Death (1964) is the apex of the series. It is certainly one of the most visually stunning horror films ever made, thanks in large part to the extraordinary cinematography by Nicolas Roeg. Originally planned as the follow up to House of Usher, Corman became concerned that it was too similar in theme and story to Ingmar Bergmans meditation on religion, plague, and death The Seventh Seal (1957), so he opted for The Pit and the Pendulum instead. As the series continued to be successful, Corman felt it was time to take on Masque, which he felt was the best of Poes stories, comparisons to Bergman be damned. After reviewing Charles Beaumonts original script, Corman felt it needed a little more complexity and asked R. Wright Campbell to do a rewrite. Corman and Campbell agreed to add elements of another Poe story, Hop Frog, to achieve this added depth. The film was shot in London in five weeks, though Corman considers it more like four as British crews tended to work much more slowly than he was used to. Still, the extra time benefits the picture greatly.

Vincent Price revels in his role as the only completely irredeemable villain of the cycle, Prince Prospero, who humiliates members of his court and terrorizes his subjects for his own entertainment. Francesca, a peasant that Prospero brings into his court in an attempt to corrupt and dissuade from her heartfelt Christian beliefs, is played by English actress Jane Asher. The strong supporting cast is led by Patrick McGee as Alfredo, a member of Prosperos court but also a rival to him, and Hazel Court, returning to the series for a third time as Juliana, a devotee of Prospero and his dark allegiances. This film holds particular relevance to today as we are again faced with plague and the indiscriminate nature of death. It is a powerful reminder of imminent mortality and the fact that death will eventually come for us all.

Though neither Masque of the Red Death nor its follow-up The Tomb of Ligeia (1964) were as financially successful as earlier entries, these remain the artistic high points of the series. Ligeia is a particularly unique entry in the series for two main reasons. First, it is the only entry not written by Matheson or Beaumont, but by Robert Towne, who would go on to write the classics The Last Detail (1973) and Chinatown (1974), among others. Second, it was photographed by Hammer mainstay Arthur Grant, who brings a naturalistic look and a fluidity of camera to the film.

Of all the Poe films, Ligeia also spends the most time outdoors, taking advantage of the sunlit English countryside where it was shot, rather than in misty graveyards and behind castle walls. The film draws more from Hitchcock than the other Poe films, particularly Rebecca (1940) in which a deceased spouse haunts her former husband and his new wife, Vertigo (1958), and even a touch of Psycho (1960). Vincent Price as Verden Fell has similarities to his role of Roderick Usher, who also has great sensitivities to light. Stephanie Shepherd beautifully and subtlety plays the dual role of Ligeia and Lady Rowena, perhaps the most complex heroine of the Poe cycle, and indeed all of horror cinema up until that time. The quotation from Poe at the end of Ligeia sums up the thematic thrust of the entire cycle perfectly: The boundaries which divide life from death are at best shadowy and vague. Who shall say where the one ends and the other begins? It is a fitting ending to this remarkable series of films.

The Tomb of Ligeia

These eight films combined form one of the most consistently strong series in all of horror history. They are similar enough to hang together as a cohesive whole, but different enough to remain engaging. The series may not have changed the face of horror the way that Frankenstein, Psycho, Night of the Living Dead, The Texas Chain Saw Massacre, or Scream did, but it did influence a generation of filmmakers and writers along the way. Stephen King, Joe Dante, Martin Scorsese, John Landis, and many others all count themselves as great admirers of the cycle and saw that Corman was doing much more than meets the eye in creating them. There is an elegance, sophistication, and undercurrent of political and psychological astuteness in The Poe Cycle that is rarely found in the so-called exploitation cinema or B-pictures of the era. If you havent yet seen these classics, I humbly suggest taking a step back in time to this quiet revolution in horror cinema.

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The Horror Movies Coming to Netflix in December Include 'Tremors' and the 'Final Destination' Films - Bloody Disgusting

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He Made a Horror Movie About Pizzagate, then the Death Threats Started – VICE

Image: 'The Pizzagate Massacre' poster

No movie has captured our current political mood like The Pizzagate Massacre. The low budget grindhouse movie from Texas follows Duncan, a schlub convinced interdimensional lizard people are controlling people from the basement of a pizza restaurant. Its a relentless and shockingly empathetic horror satire about Americans who believe deeply weird shit. Its villains arent the conspiracy theorists but those who profit from riling them up.

The Pizzagate Massacre is the brainchild of filmmaker John Valley, a guy from a small rural town in Iowa who moved to Austin, Texas with dreams of making movies. He moved to Austin instead of Hollywood because he was a fan of Richard Linklater, Robert Rodrigues, and Terrence Malick.

As Valley and The Pizzagate Massacre gained notoriety, the death threats started rolling in. We knew when we made the movie it would draw some heat, he told Motherboard. But then when it actually starts happening its a whole nother story. It freaked me out a lot more than I thought it would. Valley said he deleted most of what came, saved the scarier ones, and sent some along to the authorities.

He also got support from cast and crew whod dealt with similar threats before. Weve kind of been getting a lot of that kind of pushback ever since, he said. The trailer definitely opened the floodgates.

But with the death threats and attention came a kind of legitimacy he hadnt experienced before. Everyone started treating us differently, Valley said. Everybody started taking the movie more seriously. One QAnon guy ripped the trailer and it blew up for us. Its frustrating but also relieving in a way.

Pizzagate could have been way worse. So why are we just laughing at it? Why dont we see this as a huge warning sign?

In 2016, Valley was working on a satirical modern remake of Taxi Driver when the world shifted on its axis and got deeply weird. When I saw Trump rising, all the bells started going off, he said. I knew what was coming.

His Scorsese-inspired project changed. My interest in the story was to present the humanity within the deplorables, he said. I grew up in a pretty conservative rural area, a family of hunters, lots of military in our family. So when the Trump thing started happening, I immediately knew these people and their anger. I dont condone it, but I understood it.

According to Valley, hed grown up seeing wealth inequality devastate his community. He disliked the solutions his family and friends in Iowa sought for their problems, but he understood them. The pain is real, he said. I had no interest in straight lampooning them because I feel thats been done by every late night comedy host.I thought the thing that was missing from the conversation were the humans and characters at the center of all this.

In November of 2016, when a gunman entered Comet Ping Pong in Washington, D.C. and opened fire while investigating a supposed cabal of satan worshippers, Valley was more shocked at peoples reaction than he was to the incident itself. Pizzagate could have been way worse. So why are we just laughing at it? He said. Why dont we see this as a huge warning sign? So my idea was, What if this would have gone the other way? What if people would have started getting killed?

Image: 'The Pizzagate Massacre' screengrab

Duncan, the protagonist of The Pizzagate Massacre, is a conspiracy theorist in Texas. Hes got a panel van full of guns, a confederate license plate, membership in the local militia, and ideas about who is really ruling the world. As the movie progresses, hes caught in a plot that involves the more extremist elements of his militia, an up-and-coming journalist willing to do anything for a story, and a Texas broadcaster with a penchant for conspiracy theories.

That broadcaster is Terri Lee, a thinly veiled female version of Alex Jones. As an Austinite, Valley has an intimate relationship with Jones. He knew about the conspiracy theorist before moving to Texas because he was a Linklater fan. Before becoming a figure of national scorn, Jones was a bizarre local eccentric in Austin, Texas. Most people in Texas who didnt buy into his conspiracy theories saw him as a mostly harmless lunatic with a radio show and a bullhorn. Director Linklater even put him in Waking Life and A Scanner Darkly.

Living in Austin, Jones is hard to escape. He and his goons have a habit of showing up at any public event. Anytime we would go to rallies, without fail, you would see InfoWars folks milling around and screaming at you, Valley said.

Valley noted that Jones has moved on from standing on the street corner with a bullhorn. Now hes in a tank, he said. He does this thing where he goes to big cultural moments or protests and just drives around in his tank and shouts in his bullhorn. Which is just the perfect evolution of him. You can see the story of his financial growth. You can see the story of his own fear growing. He cant be out on the street anymore without a posse around him.

By happenstance, Valley filmed the Terri Lee segments of The Pizzagate Massacre in the studio where Jones started filming his show in the 1990s. When the scout helping him find locations learned what Valleys movie was about he lit up like a Christmas tree, Valley said. Hes like, Oh my god, did you know that this was the studio that Alex Jones used?

Working on a project so closely linked to Alex Jones and conspiracy theories has had some deeply unpleasant moments. For one, it was hard to get anyone to take him seriously. People were either afraid that we were going to create a backlash for themselves that they couldnt handle or they literally thought it was pro-pizzagate, Valley said. There were some festivals that ought to know better who turned us down because they were like, You made us empathize with this character. We shouldnt be empathizing with these people.

After a slew of rejections and losing a lot of money, Valley cut together his own trailer which leaked online after it made the rounds in conspiracy circles. Thats how I learned about the movie, I saw the trailer after seeing it make the rounds in conspiracy groups I was watching.

Its been a long strange journey for Valley. He poured his heart, and his wallet, into a strange little grindhouse movie about conspiracy theorists only to be ignored and threatened. After years of development hell, the movie is finally available pretty much everywhere.

Its a movie that asks you to take the radical step of having empathy for people befuddled everyday by hoaxers like Alex Jones. Valley said that everyone has a part of them that wants to believe wild and magical things and he reminded me that that yearning to believe wild things isnt exclusive to one side of the political aisle. The pizzagater, he said, is all of us. Their confidence is the same as our confidence, he said. They think theyre right just like we think were right. If theres a clean and sober conversation, you can see which side of the story is fake. But that doesnt change the fact that these people believe what theyre doing is correct.

The real problems begin when people exploit that need to believe. When you saturate that part of the brain long enough, you can do anything with it, which is what I think people like Alex Jones, Roger Stone, Michael Flynn, and Trump do, Valley said. They all seized on it. They know what theyre doing. They know the trick theyre pulling on people, which is what makes me so angry at them.

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He Made a Horror Movie About Pizzagate, then the Death Threats Started - VICE

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Eli Roths Thanksgiving The Horror Movie That Almost Was – JoBlo.com

There are some Thanksgiving-themed horror movies, including Blood Rage, Home Sweet Home, and Thankskilling, but not that many compared to some other holidays, and theres a major shortage of good Thanksgiving horror movies. One we should be able to watch every year is Eli Roths Thanksgiving, a feature expansion of the incredible 80s slasher style faux trailer he created for 2007s Grindhouse. Unfortunately, even though Roth has said he wants to make a Thanksgiving feature, he has never gotten around to it. Fourteen years down the line, the chances of Thanksgiving ever happening seem very slim and at this point, its even more unlikely that the movie would live up to our hopes for it if it were made. This is why Eli Roths Thanksgiving is the focus of the latest episode in our The Horror Movie That Almost Was video series. Check it out in the embed above!

TheHorror Movie That Almost Wasseries is about

the various horror projects that could never seem to get things off the ground, be it for budgetary concerns, creative differences, or just an ever evolving Hollywood landscape. We dive into every aspect and see just how close these films had come to cameras rolling.

This episode was Written, Narrated, and Edited by Tyler Nichols, Produced by John Fallon, and Executive Produced by Berge Garabedian.

A few of the previous episodes ofThe Horror Movie That Almost Wascan be seen below. To see more, and to check out our other video series, head over to theJoBlo Horror Videos YouTube channel and subscribe while youre there!

Do you wish Roth had made a feature version of Thanksgiving? Would you like to see feature expansions of any other Grindhouse trailers? Let us know by leaving a comment below.

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Eli Roths Thanksgiving The Horror Movie That Almost Was - JoBlo.com

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The Power of the Dog Review: If A24 Made A Western – Bleeding Cool News


The Power of the Dog features some of the best performances you'll see all year with gorgeous cinematography, a fantastic ending, and an almost horror movie-like atmosphere proceeding over the entire enterprise.

Director: Jane CampionSummary: Charismatic rancher Phil Burbank inspires fear and awe in those around him. When his brother brings home a new wife and her son, Phil torments them until he finds himself exposed to the possibility of love.

It might seem like the western is making a return in recent years, and in some ways, it is. However, it's not returning in the traditional sense, but it is returning so people can subvert the genre. In some films, this is much more apparent. At Netflix, The Harder They Fall is giving a voice to the black cowboys that were often ignored or forgotten by pop culture.The Power of the Dog doesn't look like it's going to subvert anything until the end of the movie, which won't be spoiled here because it is awesome. However, it explores the nature of the cowboy and the toxic masculinity that sometimes comes from that lifestyle.

We see this playing out through the point-of-views of two brothers, and both actors are putting in some fantastic performances. Almost everyone in this movie is going to get buried by Benedict Cumberbatch when it comes to talking about performances. He's playing probably one of the biggest assholes we'll see on screen this year, and he is doing it so well. He is an asshole in extremely obvious ways, but he also plays low-key psychological warfare with everyone in his life. It's the kind of performance that sets your teeth on edge and also makes you wish someone would kick his teeth in as well.

However, while Cumberbatch is very good, he's not the best in the cast, and it's a shame that all of these other more subtle and understated performances are going to be pushed to the side because Cumberbatch is just so overwhelming. The real standout and the one that is probably going to be talked about the least is Kodi Smit-McPhee. His performance as Peter and the way he moves around the film really makes it feel like a horror movie at times. He does things that are just a little off, he speaks in a way that is just not right, and he looks at people like he sees too much. As the movie goes on, you think you know where his character arc is going, but rest assured that you do not. He's going to take you by surprise by the end of this movie, and it's really a stunning performance that hopefully, people will be talking about once The Power of the Dog gets a wide release.

Jesse Plemons andKirsten Dunst are also bringing some absolutely stunning performances that, once again, lean on the more subtle side. Plemons is playing a character that is supposed to be falling into the background, and he truly does an excellent job of showing the conflict in a man that's trying to blend his brother with a new wife. Dunst is likely going to get some serious awards nominations for this performance, and she deserves it. Rose is a woman that is trying her best in a world that is doing its best to beat her down, and watching not only slowly lose her grip on her life but her own sanity as Phil psychologically breaks her down is both compelling and almost nauseating to watch. However, the two of them are keeping everything much closer to their chests with their performances until everything just starts to spiral. It's not just that Cumberbatch and his performance overwhelms the movie, but that Phil and his presence in this story are overwhelming to everyone around him and not in a good way.

Director Jane Campion crafts a truly beautiful-looking movie. It's supposed to take place in Montana, which is beautiful don't get me wrong, but they made the decision to shoot in New Zealand. There are moments when you're sitting there, and the scenery of everything is just so stunningly beautiful. Campion and cinematographer Ari Wegner do an excellent job of drawing attention to the beauty of the world around these people. It makes all of the ugliness of not only the cattle business but of Phil and what he does to the people around him all the more apparent. The striking contrast of the rolling hills and the bright skies compared to Phil's cruel words and sometimes seeing brutal things like a bull castration or the slaughtering of cattle just make the entire film slightly uncomfortable to watch while also keeping you entirely entranced.

The tension and atmosphere that is present throughout this entire movie feels very much like a horror movie or something that A24 or NEON might make.The Green Knight earlier this year was an Arthurian legend by way of a ghost story, and this feels like a western with a looming feeling of dread. Things are going to go very badly for the people in this movie, there is violence hanging on the edges of everything that people do, and it always seems like Phil is one bad word away from completely losing his mind and killing someone. George is far too timid to really stand up to his brother in a way that counts, broken down by years of being verbally demeaned, and Rose has been broken down as well. The tension builds so masterfully that by the time the final reveals happen and the tension breaks, it's one of the most satisfying moments this year in ways that are incredibly hard to explain.

The Power of the Dog is one of the best films this year, and while it will stream on Netflix, it is absolutely worth looking into if it's playing in a theater near you. The stunning scenery is best seen on the big screen, and the performances are beautiful to watch. If you're unable to see it on a big screen, this is still one of the best movies of the year and something you should seek out on Netflix. These performances will be ones people will be talking about going into the last few weeks of 2021 and into the 2022 awards season. If the statement "if A24 made a western" sells this movie for you, then absolutely check it out. If you're just someone who appreciates excellent performances with a great atmosphere and a fantastic ending, then this is also the movie for you.

Review by Kaitlyn Booth


The Power of the Dog features some of the best performances you'll see all year with gorgeous cinematography, a fantastic ending, and an almost horror movie-like atmosphere proceeding over the entire enterprise.

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The Power of the Dog Review: If A24 Made A Western - Bleeding Cool News

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Horror on Sea film festival returns to Southend following two year covid hiatus – Echo

MORE than 100 horror films will be packed into one blood curdling weekend when the much loved annual Horror-on-Sea Festival returns to Southend in the new year.

Yes folks, the UKs largest independent horror film festival will run across two weekends and follows a two year hiatus due to the coronavirus pandemic.

Opening on Friday January 14 the festival runs through Saturday 15 and Sunday 16, and then again from Friday 21 to Sunday 23 January 2022.

It promises more than 36 feature films, 70 short movies and provides a showcase for 10 world premieres.

The festivals director and creator, Paul Cotgrove from The White Bus cinema, has once again hand-picked a programme of the very best and indeed some of the worst new films spanning the horror genre from zombies, vampires and monsters, to cursed demonic clowns, serial killers and a very, very bad Santa.

Paul said: Since we started Horror-on-Sea ten years ago, the festival has built up to become a major event within this area of the movie industry. So much so, that I now receive submissions from film makers and producers from around the world, meaning that we can easily screen up to 17 films each day, which equates to over 12 hours of slicing, dicing, drilling, killing and general murderous mayhem from ten in the morning to gone ten at night!

As befits its reputation as an international showcase for young writers, directors and producers, this years programme will give an audience to films from the UK, Canada, Brazil, Spain, Portugal, Belgium, Italy, Germany, Russia, Finland, Ukraine, India, Ireland, and of course, the USA.

There are also a number of films made right here in Essex All Dressed in White, The Allotment, Black Death, Dont Open the Box, Off the Hook, See What She Did, Helium Mary, Sausages, All Consumed and Locked.

As always, there is a chance for burgeoning film makers to learn from one of the masters of horror and local legend, Pat Higgins.

Higgins will relate how a Twitter exchange about a ridiculous title got out of control when a tongue-in-cheek tweet went to 'go' project in the space of an afternoon. You can join Pat as he reminisces about the making of his new gore-soaked project and once again demonstrates why he is renowned as one of the wildest indie horror directors in the country.

Once again, the festival will be hosted by Southends Park Inn by Radisson Palace hotel and is supported by visitsouthend.co.uk.

Tickets are on sale now from 7 per film, from 32 for a day pass and, for serious fans, a Mega Festival Pass - that gets you into everything at 130 for the entire festival.

For a full list of all the films, the festival schedule and pre-ordering tickets and passes stalk over to http://www.horror-on-sea.com or call the festival hotline on 07754 391 163. Please note that all films are strictly Certificate 18.

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Horror on Sea film festival returns to Southend following two year covid hiatus - Echo

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What Jason Voorhees From The Original Friday The 13th Looks Like Today – Looper

Today, Ari Lehman continues to keep his roots in the horror genre close to his heart. He recently played Doctor Stratton in the 2019 horror flick "The Lurker," which heavily paid homage to classic slasher films. Lehman has also starred in other horror films, such as the 2017 film "Rock Paper Dead," in which he plays a character who is rather conspicuously named Jason.

Since 2004, Lehman has also led his own heavy metal band First Jason, an obvious reference to his unique status as the first to play the iconic killer. He has also made numerous appearances at fan-focused celebrations of the franchise, having recently cut the ceremonial ribbon for the opening of the "Friday the 13th" exhibit at the Blairstown Museum in New Jersey. In a 2020 interview with Rewind It Magazine, Lehman expressed his enduring appreciation for the role. "I will never take it for granted that I was lucky enough to get cast in a role that fans love so much that they continue to demand more and more Jason and 'Friday The 13th' each and every day worldwide," Lehman said.

The role of Jason Voorhees has become a legendary mantle in cinema, with many talented performers donning the hockey mask, and one actor even holding the status of playingboth Jason and Freddy Kruegerat different times. Butonly Ari Lehman can claim to be the one that started the legacy of this iconic horror villain.

What Jason Voorhees From The Original Friday The 13th Looks Like Today - Looper

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