The Halloween franchise that originated all the way back in 1978 has gone through many changes and makeovers over the years, but author Andrew Grevas has meticulously gone through each and every incarnation to bring possibly the most detailed description of the series to date.
Grevas employs in-depth interviews with actors, directors, writers (and just about anyone else willing) from the ’78 original, all the way up to 2022’s Halloween Ends, that includes the likes of Dean Cundey, Ellie Cornell, Tom Atkins, Dee Wallace, and Dwight Little (just to name a few).
At first the Q&A-style of the many interviews here does seem to be a bit tedious, but the information contained within each one of them is usually enough to sustain ones attention span throughout the duration. Some of the more interesting topics discussed within can also be attributed to the many “what if” scenarios of the franchise as well.
Overall though, its a love letter from Grevas to one of horror’s most revered franchises, which longtime fans should without a doubt be able to both recognize, and respect.
While I did watch the inaugural season of Wednesday with the fam when it first dropped on Netflix back in 2022, to be honest I found it somewhat…forgettable. But the three year gap in between seasons proved to be helpful here, as the writers truly hit the mark this time around.
At the onset of season two we once again find our titular character (portrayed once more by Jenna Oretga) returning to Nevermore, this time with a bit of “celebrity” status behind her, as well as younger brother Pugsley (Isaac Ordonez) now in tow. It’s immediately clear there’s trouble in paradise, as Wednesday has a stalker hell-bent on inflicting some damage.
As if this were not enough, Wednesday must now juggle an evil new headmaster (Steve Buscemi), zombies (Owen Painter), dangerous escapees that also transform into Hydes (Hunter Doohan), and the safety in question of her roomate, Endid (Emma Myers). Other series regulars such as Luis Guzman as Gomez Addams and Catherine Zeta-Jones – who by far wins the gold medal as sexist Morticia Addams thus far – also return.
Aimed mostly at teens/young audiences (think Riverdale meets Harry Potter), the formula works enough to hold the attention of nearly any and all age groups that are willing to give it the time of day. Not perfect, but a fun ride nonetheless.
I can’t say I was really listening to Debbie Gibson’s music when I was still a kid during her prime throughout the late ’80s, though it was impossible not to at least know of her (especially having three older sisters and several female cousins in their teens during the decade). But I’ll say it again – chances are if it has to do with music or pop culture (especially relating to the ’80s or ’90s), I’m likely there for it either way.
Debbie Gibson’s story is no exception. From growing up in front of audiences on the stage and screen, to becoming the youngest person to ever write, produce, and perform a track that topped the Billboard Hot 100 (one of the many facts I did not recall ever hearing prior to reading Eternally Electric), there’s no shortage of intriguing stories to engage readers.
You never expect to hear that on top of all that fame, Gibson was often experiencing crippling panic attacks behind the scenes (and that timeless smile). But its tidbits like this that make celebrities like her feel all that much more relatable/human, and I’m glad to have taken the journey; give it a try and you just mind come to the same conclusion yourself.
In an alternate, dystopian world, young men participate in an annual walking marathon until only one contestant remains. The contest is a lottery of sorts, where survival of the fittest is all that matters.
Contestants or “walkers” are given a lengthy rulebook beforehand. The rules are simple. They must maintain a certain pace and cannot stop for any reason. They’re allocated a maximum of three warnings per hour.
Exceeding a final warning, they’re shot dead by accompanying soldiers. The last walker to survive is (supposedly) granted anything they want. So begins The Long Walk.
This intriguing premise was facilitated by the early works of Stephen King, based on a 1979 novel he wrote under the pen name Richard Bachman. King, of course, is the master of the setup. It seems only fitting that his latest screen adaptation would draw upon a novel he wrote in college as a likely allegory for the Vietnam War.
The Long Walk also shares thematic elements with another King/Bachman work, The Running Man, in which condemned contestants face off against American Gladiator–style killers while their deaths are broadcast as entertainment.
But where The Running Man turns carnage into ratings, The Long Walk frames its brutality as a tool to foster national unity and pride in a totalitarian society. Nearly 50 years later, King’s freshman novel has finally made its way to the big screen, and it’s clear that upon seeing the film, it was well worth the wait.
The Long Walk is an intense and at times harrowing ride, portraying a desolate America still reeling from the aftermath of a distant civil war. Poverty is rampant, while dissidents are swiftly eliminated—or “squaded”—by government mercenaries. The future appears bleak, yet even in such a world, entertainment remains essential to pacify the masses and rally support for the state.
Both the novel and the movie are unflinching in their portrayal of weaponized entertainment. The Long Walk presents a contest where victory depends on sheer strength and endurance, with the sole survivor awarded “anything they desire,” including boundless wealth.
Ultimately, it highlights the thin line between willing participants, spectators, and the grim reality of using human lives as expendable under the guise of duty and honor—echoing the gladiatorial contests of ancient Rome.
The many strengths of this film adaptation include excellent performances, expansive cinematography, haunting music, precise direction, and a genuine commitment to the source material.
Its opening moments deliver shocking immediacy and carnage—much like the stark beginning of No Country for Old Men (2007). Despite its bleak tone, the film weaves in moments of humor, heart, and intrigue, with its greatest strengths lying in the depth of its character development.
Early on, we’re introduced to the contestants on the first day of the walk. The film largely centers on Raymond “Ray” Garraty (Cooper Hoffman), who entered the contest despite his mother’s desperate pleas.
Hoffman, son of the late-great Phillip Seymour Hoffman, delivers a tremendous performance, carrying much of the film’s emotional weight. We see events unfold through his eyes, much like the novel, and he’s instantly relatable and sympathetic in the lead role.
Garraty forms a bond with fellow contestant Peter McVries (David Jonsson), and their relationship becomes the dramatic core of the film. Jonsson delivers an equally excellent performance as a genuinely good-natured person who repeatedly tries to keep morale high despite the circumstances.
The cast provides uniformly strong performances, and even brief glimpses into each character’s story create a sense of tragic loss when they’re eliminated. The film also smartly reduces the number of contestants from 100 in the book to 50, allowing for a more intimate and focused narrative.
Some contestants, like the ruthless and cunning Barkovitch (Charlie Plummer), are only in it for themselves. Others, like the sardonic Stebbins (Garrett Wareing), offer very little about themselves or their motives. Most are just normal kids, foolishly entering a contest with no discernible end.
The powerful and sadistic leader of the contest, known only as “The Major” (Mark Hamill) applauds the boy’s “patriotic” efforts with multiple bellowing speeches. Hamill has done great things (Tobe Hooper’s segment “Eye” in the 1993 horror anthology Body Bags, anyone?), but he seems a bit off in the role and never really ventures beyond caricature.
Nonetheless, the film achieves remarkable technical artistry throughout. Nearly every scene unfolds in motion, with performances and choreography seamlessly integrated into the act of walking.
Expansive tracking shots capture decaying towns and the mounting exhaustion etched across the contestants’ faces as days drag on. Time and distance are marked by mileposts, each one underscoring the relentless progression toward inevitable doom.
The Long Walk is a solid dystopian thriller that effectively captures all the right elements. I’d rank it in the top ten King adaptations overall.
Francis Lawrence, director of The Hunger Games series (not surprisingly), has ultimately crafted a horror classic a long time in the making.
In the beginning, Ridley Scott’s Alien (1979) redefined the horror/sci-fi sub-genre. The script by Dan O’Bannon and Ronald Shusett borrowed elements from nearly every space alien film before it, while modernizing the genre with visceral, atmospheric horror.
The legendary Xenomorph design by Swiss artist H.R. Giger has become one of the most recognizable movie monsters of all time. Of course, Alien also introduced face-huggers and chest-bursters, creating an interesting dilemma for a deadly species reliant on host bodies to reproduce.
Alien gave us one of science fiction’s greatest characters, Lt. Ellen Ripley (Sigourney Weaver), who only wishes to eradicate the Xenomorphs from existence. Ripley represents humanity in an inhumane world, where an omnipresent, faceless company (Weyland-Yutani Corp) wants the alien species at all costs.
In 1986, writer/director James Cameron delivered one of the greatest sequels ever made with Aliens. The film’s strong focus on action distinguished it from its predecessor, broadening the story’s scope with thrilling and memorable scenes throughout.
Though visually impressive, Alien 3 (1992) began the steady downward trend that continued with Alien Resurrection (1997), Alien: Covenant (2017), and the ridiculous Alien vs. Predator films.
I’m no fan of Prometheus (2012), and I moderately enjoyed the much praised but forgettable Alien: Romulus (2024). Ultimately, my interest in the series barely extends beyond Alien 3. So, color me skeptical when Disney and FX announced a TV series set two years before the events of Ripley’s first encounter, called Alien: Earth.
How does the show measure up? Seven episodes in, I can confidently declare its ranking as one of the best TV events in years.
The concept of Xenomorphs on planet Earth dates to the production of Alien 3. The idea was floated until they ultimately ended up with Ripley crash-landing on a prison planet. All the preceding films were unable to expand on this idea until now.
Alien: Earth is an eight-part series featuring a large cast and a complex, multilayered plot. Its grand scope and high production values result in the cinematic quality of HBO’s Game of Thrones or other big-budget shows. The special effects (from Wētā Workshop), set design, performances, and music are all top-notch. What the show accomplishes most effectively is capturing the primal horror of the original Alien while blending it with the thrilling action of the sequel.
This is thanks in part to series creator Noah Hawley, who clearly understands the style, motifs, and terror of the Alien universe while enriching the source material. Hawley also created the equally impressive FX series Fargo, based on the Coen brothers’ classic film. Alien: Earth has a lot to say, and its dizzying plotlines may overwhelm some viewers. But for those attuned to it, the experience is as gripping as anything in recent memory.
The story is set in 2120, where five companies control the world and lead commercial exhibitions throughout the Solar System. Mankind’s endless search for immortality has led to the creation of Cyborgs (cybernetically enhanced humans), Synthetics (AI beings), and relatively new Hybrids (Synthetics with human consciousness). Hybrids are the secret creation of the Prodigy Corporation, where they essentially implant the mind of a human (in this case, terminally ill children) into an artificial being.
Prodigy also happens to be a competitor of the Weyland-Yutani Corp, which sponsored a 65-year space expedition to obtain otherworldly specimens (most likely for biological warfare). As the USCSS Maginotnears the end of its mission, collecting several extraterrestrial specimens, disaster strikes, and the vessel crash-lands on Earth, directly into Prodigy territory. Prodigy lay claim to the ship and all its cargo, leading to further conflict with Weyland-Yutani.
We’re given glimpses into the disastrous Maginotmission, its slaughtered crew, and a fully-grown Xenomorph wreaking havoc. The show wastes no time in delivering the carnage, but it also slows the pace to introduce multiple characters with differing motivations.
Cast standouts include Wendy (Sydney Chandler), the first hybrid, and Kumi Morrow (Babou Ceesay), the cyborg chief security officer and sole survivor of the Maginot.
There’s also Kirsh (Timothy Olyphant), Prodigy’s synthetic chief scientist, Boy Cavalier (Samuel Blenkin), the childlike Prodigy CEO tech trillionaire, and indentured medic Hermit (Alex Lawther), who also happens to be Wendy’s human brother (before she became a hybrid). Overall, top-rate acting is palpable across the entire cast.
The first four episodes center around the aftermath of the Maginot crash, resulting in a loose Xenomorph amidst caverns of biological horrors throughout the ship. The hybrids are enlisted to contain the cargo as Murrow is singularly focused on delivering the same cargo to its rightful owners.
Episode five, titled “In Space, No One…” is a stand-alone flashback to the events that led to the ill-fated Maginot’s crash. In writing and directing the episode, Hawley said it was to be his own Alien movie, which it aptly feels like. With one episode now left, we can only imagine where things will go.
Naturally, Alien: Earth has received widespread critical attention, earning praise as well as criticism of its writing, characters, and heavy focus on AI.
At its best moments, it’s thrilling and intense. At its weakest, it’s a bit talky. There’s real magic at work here. After what Disney and 20th Century Fox did to the Predator franchise, turning the deadly killer into inept fodder for unlikely plot-armored characters, I’m pleasantly surprised and relieved Alien: Earth hasn’t suffered the same fate.
The show pays tribute to the original and its legacy of fans without spoon-feeding them. It stands out as a testament of science fiction horror, where we Alien fans feel right at home.
When it comes to “cover” bands (your average bar bands that simply play various songs by any given number of artists), I’ve always been vocal about my feelings towards them (which is usually not of the highest esteem). But tribute bands on the other hand, i.e. groups that go the extra mile to represent one band only as authentically as possible, I’ll usually make an exception or two for (even though in most cases I’ve typically already seen the original band/acts in the first place, such was the case with this past Saturday night’s showcase).
When I first set up coverage for the Shock Rock Showdown with Motley Crue and Alice Cooper tribute acts The Dirtt and Billion Dollar Babies, respectively (plus an appearance/autograph signing from legendary rock photographer Mark Weiss) at the Mount Dora Music Hall in Mount Dora, FL (the same venue Rewind It also covered last year’s KK’s Priest/L.A. Guns/Burning Witches show at), I didn’t know I’d once again be going to a show in ill health, having just had yet another PICC line installed/starting IV meds again the day before for the bone infection I’ve been fighting for far too long now.
But I hate not following through on my word, and the show had two things going for it that made the decision to still go all that much easier; not only was it at a seated venue (pretty much a dealbreaker right now), aside from it’s eight o’clock showing, it also had an earlier, matinee show that began at five, meaning I could be out of there early enough to wake up on time for my treatments the following morning (sold!)
But enough about my ‘woes,’ – “on with the show” (a little early Crue reference for those who remember) as they say. We arrived just in time to hear The Dirtt’s spot-on versions of “Wild Side” and “Take Me to the Top” before they slowed it down for the timeless power ballad “Home Sweet Home.” “Louder Than Hell” (also from the same 1985 album, Theatre of Pain) followed, and was definitely welcomed (certainly not one I’ve ever heard the actual Crue retrieve from the vault any of the many times I’ve seen them before).
The Dirtt giving the crowd their best Crue on Saturday night in Mount Dora, FL (Photo by Brooke Striewski).
More familiar numbers in the form of “Girls, Girls, Girls” and “Kickstart My Heart” followed before the mood shifted with “Shout at the Devil” (complete with album intro “In the Beginning” beforehand), followed by “Looks That Kill,” which saw the band ceasing activity just after the first chorus due to “technical difficulties.” After regrouping the band then paid tribute to the late Ozzy Osbourne with their rendition of 1983’s “Bark at the Moon” before finally going out on top with the classic “Live Wire.”
In between acts we caught up with said Photographer Mark Weiss, who had a table set up and was signing copies of his book The Decade That Rocked, as well as his new magazine, Rocked. With Brooke and I each being heavily involved in the world of rock journalism (both print and photo) since roughly 2009 and 2013, respectively, it almost goes without saying we’ve both been fans of his for some time now (but being more of a photographer, I knew it meant much more to Brooke than it did myself).
Rewind It’s Brooke Striewski (center) and Jesse Striewski with legendary rock photographer Mark Weiss at the Shock Rock Showdown on 9-20-25 (selfie taken by Mr Weiss).
And Weiss could not have been more gracious of a host as he signed our copy of his book, making the experience all that much more worthwhile.
Billion Dollar Babies were up next, and instantly brought their best version of Alice Cooper with them. Opening with “Black Widow,” which unfortunately the band also found themselves dealing with some of their own “technical difficulties” for. But the issues were quickly resolved by the time the band moved on to such classics as “No More Mr. Nice Guy,” “Under My Wheels,” “Feed My Frankenstein,” and of course, “Billion Dollar Babies.”
More early tracks in the form of “Long Way to Go,” “Muscle of Love,” “Is It My Body,” “Dead Babies,” “Ballad of Dwight Fry” (complete with the singer sporting the straight jacket, naturally) and “Desperado” all followed before “Go to Hell,” “I Love the Dead,” “I’m Eighteen,” and “School’s Out” finally closed out the epic set on a high note.
Shock rockers Billion Dollar Babies paying tribute to Alice Cooper in Mount Dora, FL this past Saturday night, 9-20-25 (Photo by Brooke Striewski).
As alluded to before, I’ve been lucky enough to catch both the real Alice Cooper and Motley Crue bands live over the years (if memory serves right, four times each/eight times total), so by all means I could’ve easily skipped this show and been just fine in theory. But each band played their hearts out last Saturday, and even though I would’ve loved to have heard a tad more diverse of a set (some ’80s-era Cooper thrown in there actually would’ve been extremely welcomed), the night was no doubt a blast, and I’m glad we still have bands like these keeping the music alive.
Throughout his nearly 40-year career, Trent Reznor has produced an enormous catalog of music. After 15 albums (including EPs) and numerous tours since 1988, Nine Inch Nails launched their ongoing “Peel It Back Tour” across Europe, the U.S., and Canada. I was fortunate to catch them at the Benchmark International Arena (formerly the Amalie Arena) in Tampa, FL.
The arena show spotlighted a lengthy list of iconic songs from nearly every album, a real treat for fans. This was my second Nine Inch Nails concert after catching them in Orlando for their “Twenty Thirteen Tour” in, you guessed it, 2013. It was an impressive show that the recent tour has only improved upon. I can’t recall a moment when I wasn’t captivated throughout their 2.5-hour performance (which felt like an hour at most).
The “Peel It Back Tour” includes Trent Reznor and frequent collaborator Atticus Ross, with a lineup featuring Robin Finck (guitar), Alessandro Cortini (bass), and Josh Freese (drums). The arena was structured with two performance spaces, a main stage for the band, and a smaller “B-stage” in the middle of the packed floor.
Opening DJ act Boys Noize kept things lively for the most part, playing over an hour’s worth of electronic music as the stadium crowd expanded, eagerly awaiting the main event. We waited as the lights dimmed and a single spotlight illuminated the B-stage, revealing Reznor before a grand piano. An eclectic set list began with the subdued “Right Where it Belongs” and then charged into a memorable evening of sound and fury.
After the opener, the band took center stage, switching gears with pulse-pounding “Wish” from their ’92 Broken EP, “March of the Pigs,” (an obvious crowd please-er), and epic rock ballad, “Reptile.”
Reznor frequently switched between the two stages to deliver some of the band’s well-known rock songs on the main stage and quieter, piano-based melodies on the small stage. It was effective in not only highlighting the versatility of the music but also keeping things fresh and engaging.
Nine Inch Nails seated at the piano in Tampa, FL on 9-10-25 (Photo by Shawn McKee).
The main stage radiated an electric light show of moody colors, visuals of rain, moving silhouettes, and video projection against the translucent curtain, which was frequently lowered throughout. Certain songs seemed to bathe the stage in deep reds or shadowy greens as the band pounded through one fan favorite after another.
The show captured the full force of their extensive work, resonating with a generation of fans now grown from their high school days. The set list unfolded in a mostly chronological order, featuring recent tracks like “Find My Way,” “Copy of A,” and “Vessel” before surging into a rapid-fire run of fan favorites, including “Piggy,” “Closer,” “Come Back Haunted,” “Mr. Self Destruct,” and “The Perfect Drug.”
They also performed the electro-synth rock “As Alive as You Need Me to Be” from the upcoming Tron: Ares soundtrack—their first film score to include the band’s moniker and not credited solely to Trent Reznor and Atticus Ross.
The artistry was at its peak during a finale that felt like a time capsule of electrifying closing numbers. Strobes and flares lit the stage through the searing intensity of “Burn” from the NaturalBorn Killers soundtrack.
The propulsive “The Hand That Feeds” throbbed with machine-like riffs before giving way to the inevitable “Head Like a Hole.” And then the band closed with a hauntingly beautiful rendition of “Hurt,” delivered in all its dark, melancholy glory.
I’ve long outgrown the morose teenage angst so emblematic of the ’90s (thankfully), but the music has never left me. Seeing Nine Inch Nails again was a memorable experience—a powerful tribute to their storied legacy and to the generations of fans, both young and old, who still carry it with them.
There may be more albums and tours ahead, but for now I’m satisfied with the enduring gift of rock and roll in all its forms.
It’s kind of ironic that Mike Tramp, the iconic voice behind ’80s hard rockers White Lion, would release his latest album of the band’s material re-recorded at a time when I’ve been on a personal kick of sorts of their earlier catalog (specifically the band’s 1985 debut effort, Fight to Survive).
So I was more than stoked when the recent zombie-inspired video for the title track to said first album, “Fight to Survive,” dropped (complete with an appearance from legendary metal DJ Eddie Trunk himself), which is just as fun as it is chessy.
More tracks like “She’s Got Everything,” “In The City,” “If My Mind is Evil,” and “All Burn in Hell” (still one of my personal favorites, both then and now) are all strong numbers. But surprisingly, some of the updated versions found here (such as “Cherokee”) lose a bit of their edge this time around.
White Lion is without a doubt one of the most underrated acts of their era, and the fact that Tramp is still keeping the music alive is a testament to his tenacity; give this one a spin with an open mind and you might just discover something you never knew you loved.
Typically when asked what my “favorite movie of all time” is, I struggle to give a definitive answer. But in the field of comedy films, for decades now my mind has almost instantly always gone to 1984’s This Is Spinal Tap, the rock mockumentary featuring the fictional band of the same name. So as soon as I heard the news about Spinal Tap II: The End Continues, I knew I would be there on opening night (or more accurately, an early IMAX screening of it on September 10).
The film itself follows the core of Spinal Tap, Nigel Tufnel (Christopher Guest), David St. Hubbins (Michael Mckean), and Derek Smalls (Harry Shearer) reuniting after a fifteen year gap for a comeback concert in New Orleans, all while being filmed again by Director Marty Di Bergi (Rob Reiner).
Inner band turmoil and the search for that ever elusive drummer all ensue, and there’s appearances by the likes of Paul McCartney and Elton John (among others). But the jokes unfortunately don’t always go to “11” this time around, despite how hard they may try to (although the pay off in the end is rather satisfying).
Flyer for the previously-mentioned early showing of Spinal Tap II the author attended on 9-10-25, although the Q&A advertised here was nowhere to be found, only a brief introduction from Director Rob Reiner prior to the film was present.
Can I recommend Spinal Tap II? Of course. But if you’re not as big of a fan of the first film as myself, you might find yourself lacking interest in the proceedings here. But still, we live in a world where Spinal Tap (the band) are still around to give us at the very least one more round; that alone can’t be all that bad.
2025 has been somewhat of an odd year so far for underground music, especially in the world of metal sub-genres, where bands such as 2000’s metalcore act Blessthefall are now making new music once again after an over five year recording absence.
As soon as I heard (and saw the tongue-in-cheek video for) album opener “mallxcore,” I was instantly brought back to the band’s earlier days. Tracks like “Wake the Dead,” “Drag Me Under,” and the title number are all equally-filled with brutal energy. Conversely the likes of “Somebody Else” and “Fell So Hard, Felt So Right” all show the band’s lighter side.
Earlier this year I was able to catch the band live for the first time in fifteen years at the annual Welcome to Rockville festival in Daytona, which no doubt helped sparked excitement for the band’s “comeback.” All in all, Gallows is filled with ten (mostly) intense tracks that should pacify just about any fan of the band.
