Horror Scenes I Love: Salem’s Lot (Part 2)


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“Look at me teacher.”

Those were some of the most terrifying words I’ve ever heard growing up. It’s all because of one scene from the tv mini-series which adapted Stephen King’s vampire novel, Salem’s Lot. It was a scene in the novel that terrified me as a young boy reading King for the first time.

I’ve always been gifted (or I sometimes say cursed) with having a very overactive imagination. This is why horror has always been such a fascinating genre for me. Even where the horror is all up in one’s face with it’s gore and messy aftermath my mind’s eye would make things worst or just constantly play it on repeat in my head days after the film has ended. It’s even worst when the horror comes across less through gore and more through atmosphere and built-up dread moving towards a jump-scare or something more insidious.

This particular scene is my second favorite from the Salem’s Lot mini-series. The first one I had posted a couple years back which just barely lags behind this one for third. What made this scene so effective despite it’s tv-style production was Tobe Hooper’s direction. Despite working with the censorship inherent in broadcast tv, Hooper was able to create a palpable sense of dread as the old English teacher Matt Burke senses a presence up in one of his house’s rooms. It was the same room where one of his former students had passed away in his sleep.

As the audience we already have an idea who or what is in that second floor room. Matt Burke has an idea as well, but his morbid curiosity wins out as he decides to investigate. Yet, despite such a lack in judgement he does come armed with a crucifix in hand. The way the scene builds and builds as Burke climbs the stairs and hesitating before opening the door to the room was almost too much to bear.

The reveal of his former student, Mike Ryerson, back in the room sitting in the rocking chair as one of the undead only increases the horror of the scene. His snake-like mannerisms was a new take on the vampire behavior. It’s not the usual silk and lace bloodsucker we grew up watching. This was a vampire that behaved like a predator beguiling it’s next prey. From the way Ryerson (played by Geoffrey Lewis) hissed his words and undulated his body as he stood to face his former teacher was disturbing at the very least.

Just writing about it and seeing the scene for the umpteenth time still gives me the shakes.

Horror on TV: The Twilight Zone 1.13 — “The Four of Us Are Dying”


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In this episode of the Twilight Zone, a con man (Harry Townes) has the ability to change his face to make himself appear like anyone he wants to be. Needless to say, this ability doesn’t quite work out as well for him as he might have hoped.

This episode originally aired on January 1st, 1960.

(If the video is not showing up below — some browsers apparently have problems showing embedded videos from Hulu — you can watch the episode at http://www.hulu.com/watch/440771.)

Horror on TV: Twilight Zone 3.12 “The Jungle”


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Along with starting each day of October with a horror film here at the Shattered Lens, we’re going to end each day with a horror-themed television show.

While I had previously caught a few episodes of the Twilight Zone during one of the annual holiday marathons on SyFy, I didn’t truly appreciate the show until I first exchanged e-mails with my friend in Australia, Mark. Among other things, Mark expressed a very eloquent appreciation for The Twilight Zone and that inspired me to watch quite a few episodes that have been uploaded to YouTube and Hulu. Along with being an essential piece of television history, the best episodes of the Twilight Zone remain watchable and entertaining 50 years after they were first broadcast.

Considering the esteemed place that the Twilight Zone continues to occupy in American culture, it seems appropriate to feature it during Horror Month here at the Shattered Lens.

The Jungle, which first aired on December 1st, 1961, is a personal favorite of mine. A businessman returns to New York from Africa. While in Africa, he upset a local witch doctor. Though the businessman, at first, laughs off the possibility that he may be cursed, it soon turns out that he’s wrong. There’s a lesson to this episode and here it is: Don’t piss off a witch doctor.

When I first saw this episode, the final scene caused me to have nightmares!

(By the way, I’m embedding this episode from Hulu. Sadly, you will have to deal with commercials. However, it’s really a great episode!)

(It has also come to my attention that some browsers do not work with embedded Hulu vidoes.  Seriously, the internet is so frustrating!  If the embedded video is not appearing on your browser, you should be able to watch this episode on Hulu.  Here’s the link — http://www.hulu.com/watch/440777.  I apologize for the inconvenience but still, it is a really good episode!)

Horror Song of the Day: Penny Dreadful Theme (by Abel Korzeniowski)


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It’s that time of the year. It’s October here in Through the Shattered Lens and that means one thing: horror-theme month.

October has become a sort of favorite month for us over here at Through the Shattered Lens. While other genres and topics will be posted and and get their time in the sun, this month always brings the site back to the shadows and things that made us fear the dark. Horror has been a common thing which drew Lisa and I to continue the site from it’s fledgling early months to going on almost 6 years.

I’d like to start my contribution to all-things horror by introducing those who haven’t experienced one of the best shows on TV which also has one of the most unique horror theme’s on either big or small screen.

The theme for Showtime’s Penny Dreadful was composed by Abel Korzeniowski. It’s a theme that gives an audience of hint at the show’s Victorian Age gothic setting with just the right amount of dark romance and psychological themes the show has become famous for.

So, here’s the latest “Song of the Day” set for the witching hour.

Guilty Pleasure No. 26: Project Greenlight


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Project Greenlight may be the most guiltiest pleasure to be found on television right now.

The show, which is currently airing its fourth season on HBO, was one of the earliest reality shows.  The concept behind the show is deceptively simple.  Every season, Ben Affleck and Matt Damon have held an online competition for aspiring filmmakers.  The winner of the contest gets to direct a feature film, with the understanding that there will be TV cameras present to record every decision, argument, and screw up.  At the end of the season, the film is released and hopefully, a major new filmmaker is discovered.

The pleasure part is obvious.  If you’re like me and you love movies, there’s no way you can’t be fascinated by the chance to go behind-the-scenes of an actual production.  It’s always fun to watch as the director struggles to maintain his (so far, all of the directors have been male) vision against the whims of studio execs who, often time, seem to be annoyed by the director’s very existence.

As for me, I’ve always been fascinated by the casting process.  (Don’t believe me?  Check out this post that I wrote about The Godfather.  And then check out this one too!)  My favorite part of Project Greenlight is always the episode that deals with the casting.  I love seeing who auditions, who gets turned down, and who decides that they want nothing to do with the film.  It’s a lot of fun!

As for the guilty part of this guilty pleasure, it comes from knowing that a show like this thrives on conflict.  As much as Ben and Matt may say that they are only interested in selecting the most talented director, it’s also obvious that the director they pick has to make for good television.  If production on the film goes smoothly, that’s good for the film but it’s not necessarily good for the show.  That’s just the truth when it comes to reality television.

Hence, watching Project Greenlight always leads to conflicting emotions.  On the one hand, you want the movie to turn out to be a good movie.  You want the director to be up to the task.  On the other hand, you’re specifically watching this show to watch the director screw up and make mistakes and piss people off and get into fights.  Gossip lovers that we are, we love the behind the scenes drama but it’s rare that drama actually leads to a good film.

Check out Project Greenlight‘s track record.

Season 1 started way back in 2001!  (Both this season and season 2 are available on DVD and I recommend checking out both of them.)  The winner was Pete Jones, a friendly nonentity who went on to direct the extremely forgettable Stolen Summer.  There was a lot of behind-the-scenes conflict, mostly due to a clash of personality between certain members of the crew.  From the minute the season started, it was obvious that Pete was a nice guy but essentially in over his head.  And, in many ways, Season 1 taught viewers an important lesson: when it comes to the film industry, nice guys get screwed.

However, as chaotic as season 1 may have been, it was nothing compared to what happened in 2003 when season 2 aired!  Whenever anyone wants to make the argument that Ben and Matt purposefully pick directors who are totally wrong for whatever film is being made, they usually point to season 2.  Season 2 featured the directing team of Kyle Rankin and Efram Potelle directing The Battle of Shaker Heights.  The Battle of Shaker Heights was supposed to be a quirky coming-of-age dramedy and a character study, so, of course, Ben and Matt selected two directors who were apparently incapable of human emotion.  And the end result was pure chaos!

Now, I will say a few things in Kyle and Efram’s defense.  When you watch season 2, the overriding theme is that these two directors totally ruined a great script.  Just in case we missed that, the show even featured screenwriter Erica Beeney complaining that these two directors were totally ruining her great script.  Well, sorry — the script for Battle of Shaker Heights was never that good to begin with.  (“It’s about this kid — Kelly — who is really pissed off,” Erica would tell us at the beginning of every episode, as if she was the first person to ever write about a kid who was really pissed off.)  I doubt anyone could have made a good movie out of that script.  Picking two directors who were so totally wrong for the material only served to compound the inherent suckiness of the material.

Season 2 has got a true train wreck appeal to it.  It’s one of those things that you watch with horrified fascination.  (Incidentally, Shia LaBeouf is heavily featured in season 2 and I have to say that he fits right in.)

The third season of Project Greenlight aired in 2005.  It was broadcast on Bravo and it’s unique in that it actually featured a good director (John Gulager) making a reasonably successful film (Feast).  As such, it doesn’t quite work as a guilty pleasure because, from the minute Gulager starts directing, you don’t feel any guilt about watching him.  Instead, the most interesting part of the third season comes early on when a bitchy casting director continually tries (and succeeds) at sabotaging Gulager’s attempts to get a cast with whom he feels comfortable.

(Season 3 has never been released on DVD but, the last time I checked, it was available on YouTube.)

After that third season, Project Greenlight went away for a while but now, 10 years later, it’s back!  It has returned to HBO and, after three episodes, it’s starting to look like this season may be the guiltiest and most pleasurable of all!  Ben and Matt were producing a comedy called Not Another Pretty Woman this time around.  (Pete Jones even returned to write the script.)  Not Another Pretty Woman has been described as being a broad comedy.  So, of course, they selected Jason Mann, an extremely intense elitist film snob.  One of the first things that Jason Mann did was try to fire Pete Jones and replace him with the screenwriter of that well-known comedy, Boys Don’t Cry.  When that didn’t work, Mann abandoned Not Another Pretty Woman and instead requested to make a film called The Leisure Class instead.  And, amazingly enough, he got HBO Films to agree, which means that either nobody had any faith in Pete Jones or everyone has total faith in Jason Mann!

Will that faith be rewarded or will The Leisure Class be another Battle of Shaker Heights?  Will Jason Mann be another John Gulager or will he fade into the same obscurity in which Efram Potelle and Kyle Rankin currently reside?

As of right now, I don’t know.

But I can’t wait to find out!

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Previous Guilty Pleasures

  1. Half-Baked
  2. Save The Last Dance
  3. Every Rose Has Its Thorns
  4. The Jeremy Kyle Show
  5. Invasion USA
  6. The Golden Child
  7. Final Destination 2
  8. Paparazzi
  9. The Principal
  10. The Substitute
  11. Terror In The Family
  12. Pandorum
  13. Lambada
  14. Fear
  15. Cocktail
  16. Keep Off The Grass
  17. Girls, Girls, Girls
  18. Class
  19. Tart
  20. King Kong vs. Godzilla
  21. Hawk the Slayer
  22. Battle Beyond the Stars
  23. Meridian
  24. Walk of Shame
  25. From Justin To Kelly

Scenes that I Love: Anna Chlumsky has a meltdown on Veep


Like our intrepid TV correspondent, Patrick Smith, I also watched the Emmy Awards last night.  There were bits of the show that I liked and there was a lot about the show that I didn’t care for.  I felt that Andy Samberg fell flat as host.  I thought that a lot of the acceptance speeches were so dull that I considered them to be a personal attack on anyone watching.  (I’m looking in your direction, Lisa Cholodenko.)  The political posturing felt shallow, as it often does at the Emmy awards.

(Even the political speeches that did work often seemed like they were being wasted on a crowd that has no concept of self-awareness.  Viola Davis made a passionate, timely, and articulate plea for diversity but it’s hard not to feel that, even though all the white liberals in the room patted themselves on the back for listening to her and applauding, that’s probably all that they’re going to do.)

And yet I was happy because Veep — my absolute favorite show — finally won for Best Comedy!  I love Veep because it’s a show where everyone in politics — regardless of party or ideology — is revealed to be either a terrible human being or totally and completely ineffectual.  Julia Lous-Dreyfus won the Emmy for Best Comedy Actress while Tony Hale picked up his second consecutive supporting award.

The only disappointment in Veep‘s victory?  Anna Chlumsky did not win the Emmy for Best Supporting Actress in a Comedy.  This season of Veep was truly Chlumsky’s season!  The scene below — which is today’s scene that I love — shows Chlumsky at her absolute best.  In this scene, Chlumsky’s Amy Brookhiemer finally reaches her breaking point as she realizes that her boss, President Selina Meyer (Louis-Dreyfus), essentially stands for nothing.

Even though most of us will never work for or even know a President, I think we can all relate to Amy’s feelings.  And, seriously — who hasn’t wanted to tell someone off as beautifully as Amy does here?

For this scene alone, Anna Chlumsky deserves all the awards in the world!

2015 Emmy review and winners list


Ok, let’s get over this, Andy Samberg was bad, not just bad, but really bad. All I wanted was Amy Poehler and Tina Fey back! The opening song was pretty funny, but after that, nope.

Here is the opening song.

As for as the winners, here is a list with my should haves included..

Outstanding Drama Series

“Better Call Saul” (AMC) *Should Have

“Downton Abbey” (PBS)

“Game Of Thrones” (HBO) *WINNER

“Homeland” (Showtime)

“House Of Cards” (Netflix)

“Mad Men” (AMC)

“Orange Is The New Black” (Netflix)

Outstanding Comedy Series

“Louie” (FX)

“Modern Family” (ABC)

“Parks And Recreation” (NBC)

“Silicon Valley” (HBO)

“Transparent” (Amazon)

“Unbreakable Kimmy Schmidt” (Netflix)

“Veep” (HBO) *WINNER *Agree

Outstanding Lead Actor in a Drama Series

Kyle Chandler, “Bloodline”

Jeff Daniels, “The Newsroom”

Jon Hamm, “Mad Men” *WINNER *Finally!

Bob Odenkirk, “Better Call Saul”

Liev Schreiber, “Ray Donovan”

Kevin Spacey, “House of Cards”

Outstanding Lead Actress in a Drama Series

Claire Danes, “Homeland”

Viola Davis, “How to Get Away With Murder” *WINNER

Taraji P. Henson, “Empire”

Tatiana Maslany, “Orphan Black” *Should have

Elisabeth Moss, “Mad Men”

Robin Wright, “House of Cards”

Outstanding Lead Actor in a Comedy Series

Anthony Anderson, “black-ish”

Louis C.K., “Louie”

Don Cheadle, “House of Lies”

Will Forte, “Last Man on Earth”

Matt LeBlanc, “Episodes”

William H. Macy, “Shameless”

Jeffrey Tambor, “Transparent” *WINNER * *yes!!

Outstanding Lead Actress in a Comedy Series

Edie Falco, “Nurse Jackie”

Lisa Kudrow, “The Comeback”

Julia Louis-Dreyfus, “Veep” *WINNER ok, not going to argue, but

Amy Poehler, “Parks and Recreation” *should have

Amy Schumer, “Inside Amy Schumer”

Lily Tomlin, “Grace and Frankie”

Outstanding Supporting Actor in a Drama Series

Jonathan Banks, “Better Call Saul”

Ben Mendelsohn, “Bloodline”

Jim Carter, “Downton Abbey”

Peter Dinklage, “Game of Thrones” *WINNER

Michael Kelly, “House of Cards”

Alan Cumming, “The Good Wife” *should have

Outstanding Supporting Actress in a Comedy Series

Niecy Nash, “Getting On”

Julie Bowen, “Modern Family”

Allison Janney, “Mom” *WINNER

Kate McKinnon, “Saturday Night Live”

Mayim Bialik, “The Big Bang Theory”

Gaby Hoffmann, “Transparent”

Jane Krakowski, “Unbreakable Kimmy Schmidt”

Anna Chlumsky, “Veep” *really??? How did this not happen??

Outstanding Lead Actor in a Drama Series

Kyle Chandler, “Bloodline”

Jeff Daniels, “The Newsroom”

Jon Hamm, “Mad Men” *WINNER *Finally!

Bob Odenkirk, “Better Call Saul”

Liev Schreiber, “Ray Donovan”

Kevin Spacey, “House of Cards”

Outstanding Lead Actress in a Drama Series

Claire Danes, “Homeland”

Viola Davis, “How to Get Away With Murder” *WINNER

Taraji P. Henson, “Empire”

Tatiana Maslany, “Orphan Black” *Robbed Again!

Elisabeth Moss, “Mad Men”

Robin Wright, “House of Cards”

Outstanding Lead Actor in a Comedy Series

Anthony Anderson, “black-ish”

Louis C.K., “Louie”

Don Cheadle, “House of Lies”

Will Forte, “Last Man on Earth”

Matt LeBlanc, “Episodes”

William H. Macy, “Shameless”

Jeffrey Tambor, “Transparent” *WINNER *Yes

Outstanding Supporting Actor in a Drama Series

Jonathan Banks, “Better Call Saul”

Ben Mendelsohn, “Bloodline”

Jim Carter, “Downton Abbey”

Peter Dinklage, “Game of Thrones” *WINNER

Michael Kelly, “House of Cards”

Alan Cumming, “The Good Wife” *Should have

Outstanding Supporting Actress in a Drama Series

Joanne Froggatt, “Downton Abbey”

Lena Headey, “Game of Thrones”

Emilia Clarke, “Game of Thrones”

Christina Hendricks, “Mad Men”

Uzo Aduba, “Orange Is the New Black” *WINNER* Yes, Yes!

Christine Baranski, “The Good Wife”

Outstanding Supporting Actor in a Comedy Series

Andre Braugher, “Brooklyn Nine-Nine”

Adam Driver, “Girls”

Keegan-Michael Key, “Key & Peele”

Ty Burrell, “Modern Family”

Tituss Burgess, “Unbreakable Kimmy Schmidt”

Tony Hale, “Veep” *WINNER *Well deserved!

Those are the major awards, but lets not forget Outstanding Structured Reality Program  (Shark Tank) and Outstanding Unstructured Reality Program (Deadliest Catch) are categories too!

But I want get on to something else, Tracy Morgan; OMG, when he came out and gave his speech, I won’t lie, I cried! After the crash and recovery he went through, just to be on the stage. WOW!

You can watch his speech here.

Overall, I thought it was a good Emmys. Take back what Samberg messed up, it could have been great. When I started watching I wanted Amy Poehler and Tina Fey to take over, but now I am all
Final thoughts, Broadcast TV, you got your rear end handed to you! 11 of the major awards went to Streaming or Cable.  Either learn to stream or get cable with it!

Review: Fear the Walking Dead S1E03 “The Dog”


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“Good people are the first ones to die.” — Daniel Salazar

[some spoilers]

After a two week break we’re finally back to a new episode of Fear the Walking Dead. The show has so far been very consistent in establishing one simple fact about the most of the cast in this companion series. They are, deep down in their hearts, very good people. Travis is very much your typical enlightened man who shows compassion towards his family and others. Madison loves her family no matter the sort of trouble they find themselves in. The show in it’s third episode seem very intent on pushing against their very good-nature to see who will be the first to break.

“The Dog” finds both Travis and Madison separated during what looks like the first major outbreak of the zombie apocalypse. Travis has just found his estranged son and with his ex-wife have had to seek refuge in the boarded up barbershop of one Daniel Salazar and his own family. Madison waits back home in their East L.A. suburban home with her own two children. With such a truncated season the episode doesn’t wait too long to put the families of both Travis and Daniel in danger. The riots which broke out during the last episode have begun to spun out of control and businesses in the neighborhood have begun to get looted and burned. It’s during their attempt to flee the riot zone that we see the extent of the damaged caused by the continuing riots and more signs that rioters won’t be the only danger around these two men’s families.

Back with Madison we see her attempting to shield her daughter from the truth of what she has seen during the day (it’s been less than two days in series timeline since the events of the pilot episode). Her son Nick seems to understand more of what’s truly going on around them and is more than willing to be the one to voice the ugly truth to his mother. If they’re to survive the storm that’s coming then she needs to tell Alicia what she has seen. As with the events around Travis, Madison and her kids must soon flee their own home when an infected and turned neighbor has decided to follow the barking of a dog Nick had let into their  home.

Both sequences were edited with equal amount of tense-filled moments as Travis and Madison must rely on their protective instincts to try and keep their respective families safe. The scenes with Travis and his group fleeing the barbershop have much more of an action tone to them as rioters, looters and police clash all around their group. With the Clark family it’s a sequence that wouldn’t seem out of place from any horror film. We see how resourceful Madison is starting to become since her time during the visit back at her high school in the previous episode. Some of this resourcefulness seem born out of keeping up with her junkie son Nick who has taken the initiative to do the the best thing to keep the family alive.

The writers have so far written up Nick not just as a troubled, loser drug-addict of a son, but as a survivor. His very addiction and time spent out on the streets feeding his habit has given him a sort of advanced survivor instinct that many around him still haven’t developed. It’s very clear from the first half of the season that his sister Alicia is still quite clueless to the events happening around her. She still believes that she must cut loose from her troubled family and be with her boyfriend to start a new life. Even after seeing the results of those infected, one of which happens to be her boyfriend Matt, Alicia still denies what she has seen and heard. Madison, on the other hand, has had some first-hand experience of what’s going on and has begun to fully believe Nick and gradually adapting to the new reality descending on her family and the world.

Travis, on the other hand, continues to cling to his inner goodness. His compassion for his neighbor Peter Dawson, who he finds in Madison’s home eating the remains of the barking dog that attracted him to the house, almost gets him killed if not for the fast thinking of Daniel Salazar. We see contrasting fathers in Travis and Daniel in this sequence. Travis’ good-nature almost gets him killed while Daniel’s more pragmatic approach to the deteriorating situation around them saves everyone. Even the scene where Daniel tries to teach Travis’ son how to handle the shotgun speaks volume on the differences between the two men.

Travis is the enlightened and educated man who abhors guns and violence. Daniel, we learn through some brief exposition, has survived his home country or El Salvador when many of his family didn’t and has carved out a life for his family in a new country. Travis still thinks that those in power will settle things and get everything back to normal. He even comments in the end of the episode that the cavalry has arrived when the National Guard pulls into the neighborhood to search, isolate and destroy the infected. Daniel sees this and knows that whatever has begun with the riots has spun out of control and too late for everyone still hoping for a peaceful resolution.

Fear the Walking Dead has had a tough task of making itself feel both new and familiar to fans. On the one hand, the series does feel new from the fact that this is a world still inhabited mostly by the living. It’s a world still unaware of the storm bearing down on it. Yes, we’ve seen instances of zombies making an appearance, but never in the large numbers audiences have become used to from it’s parent series The Walking Dead. The familiarity comes from the audience seeing the chaos caused by these first moments of the zombie apocalypse. We as an audience has seen the result once civilization finally broke down. We know the rules of this world even if most of the characters in the show are oblivious or slowly learning about them.

It’s that very familiarity that could make or break the series. So far, the series writers have made each character’s reaction to the events these past couple days range from dangerously naive (Alicia) to hard survivor (Tobias) and everyone in-between. While for some viewers the very naivete that some characters exhibit despite what they’ve seen or heard could become frustrating, it does sow the seeds in filling in the blanks of why civilization fell. Mistrust helps in the populace not believing what those in power has been telling them. Yet, it looks like misguided optimism and compassion also might have had a hand in speeding up the zombie apocalypse.

We’re now halfway through the first season of Fear the Walking Dead and things have begun to move along faster than it’s parent series did with it’s first season. We still have slower scenes with people just talking, but the writers never linger too long before ramping up the tension. This companion series has had the advantage of working with a world still learning the rules which makes for some dread-inducing scenes which the parent series rarely had. With the back-end episodes of series set to start it’ll be interesting to see if the writers will continue to mine the theme and focus of this first season.

Will the good people be the first to die and if they don’t then how will these horrific events change them? Will it be for the better or for the worst?

We will just have to tune in the next three Sundays and see what happens.

Notes

  • Tonight’s episode was written by Jack LoGiudice and directed by Adam Davidson.
  • Nice sequence after fleeing the barbershop as Travis and his group slowly drive past a hospital and see the chaos unfolding as zombies (looking like both patients and healthcare workers) were confronted by responding LA police and SWAT. Earlier in this sequence we even see a brief glimpse of a doctor who looks to be a zombie staggering amongst the fleeing civilians and responding police yet remaining unnoticed by both.
  • The rioting, once we see it in full, doesn’t show whether the chaos is due just to the rioting or to the zombies amongst the rioters and riot police causing their own form of disturbance.
  • Neighbor Pete Dawnson being put down by Daniel Salazar with both barrels from an over-under Turkish shotgun marks the arrival of the series’ first gory moment. Some very nice work by the effects gurus from KNB EFX.
  • The point-blank headshot of Pete via shotgun blast was a nice homage to a similar shotgun blast to the head in the original Dawn of the Dead.
  • Funny how even though people heard the two shotgun blasts and the screams of their neighbors from the night earlier, some of them seem to still have to take the garbage out in the morning. I guess living in the city with it’s constant sounds of gunshots and screams have become routine for these Los Angelinos.
  • I guess the neighbor who had the party for their girl the day before and who was being attacked by neighbor Pete Dawson didn’t survive the night uninfected if the markings left by the National Guard was to be believed.

Season 1

New iZombie trailer!


The CDub has released a new trailer for iZombie and it is awesome! Short, but but it gives us our first taste (not sorry for the pun) of what Liv (Rose McIver) will be like.

We get a glimpse of the new Blaine, and Max is in it!

I so want iZombie back on my TV! Besides Jane The Virgin, this is one of CW’s best shows!

Here is the new trailer.