It’s Shark Week so let’s celebrate the occasion with the help of the pulps! Here are some shark-related cover to sharpen your teeth on.
Join #TubiThursday For Best Of The Best!
Hi, everyone! Tonight, on Mastodon, I will be hosting the #TubiThursday watch party! Join us for Best Of The Best, starring Eric Roberts!
You can find the movie on Tubi and you can join us on Mastodon at 9 pm central time! (That’s 10 pm for you folks on the East Coast.) We will be using #TubiThursday hashtag! See you then!
Song of the Day: Low Rider by War
Today’s song of the day is one that I will always associate with Richard Linklater’s Dazed and Confused. Here is War, with Low Rider.
Scenes That I Love: Richard Linklater’s Monologue from Slacker
Today, the Shattered Lens wishes a happy birthday to the greatest director come out of Texas, Richard Linklater!
Today’s scene that I love comes from Linklater’s 1991 film, Slacker. Filmed in Austin, this film not only established Linklater as one of the best indie film directors but it also inspired a countless number of other aspiring filmmakers. How many other director have attempted to make a Slacker? None have done it as well as Linklater. Indeed, the film not only helped to define the modern independent film aesthetic but it also continues to shape the way that people view Texas’s idiosyncratic capital city.
In this opening scene, Linklater himself gets the film started, delivering a monologue as he’s driven around Austin.
4 Shots From 4 Films: Special Richard Linklater Edition
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today, we wish a happy 66th birthday to Texas’s greatest filmmaker, Richard Linklater!
That means that it’s time for….
4 Shots From 4 Films
Artwork of the Day: Hollywood Detective (by Richard Lillis)
Music Video Of The Day: More Than A Feeling by Boston (1977, directed by ????)
An instant hit when it was first released in 1976, More Than A Feeling was a song that spent several years in the making. The founder of Boston, MIT graduate Tom Scholz, spent five years working on the song, recording and re-recording it in his basement while working his day job at Polaroid.
When Boston finally signed with CBS Records, More Than A Feeling was the first single released off of their debut album and it has since remained a classic rock mainstay, with the chorus riff becoming one of the most familiar sounds in the history of rock. Scholz has said that he was inspired to write More Than A Feeling by the Left Bank’s song, Walk Away Renée. “I see my Marianne walk away” was a reference to an older cousin whom Tom Scholz had a crush on when he was nine years old.
For me, though, More Than A Feeling will always be the song that I used to listen to whenever I was driving a stolen car around San Andreas, looking for hot coffee and trying to avoid the police.

Review: Dredge

When you boot up Dredge, you might think you are getting a relaxing, Stardew Valley-style fishing experience where you just kick back, cast a line, and listen to lo-fi beats. But developer Black Salt Games and publisher Team17 had something much weirder and far more sinister in store. You play as a nameless fisherman who arrives in a strangely secluded archipelago called the Marrows, and right from the jump, things feel incredibly off. You are given a rundown boat and told to catch fish to make money, but the game slowly peels back its layers to reveal something deeply unsettling lurking beneath the waves. It is a game that takes the most mundane aspects of the fishing sim genre and twists them into a brilliant, unforgettable blend of survival, horror, and puzzle mechanics.
Let’s talk about the actual fishing mechanics because they are surprisingly robust and satisfying. You are not just mashing a button to reel in a generic fish. As you progress through the game, you unlock different rods, crab pots, and trawling nets, each requiring a slightly different approach to use effectively. There is a simple but engaging timing-based mini-game for reeling that varies depending on the size and rarity of the catch, keeping you on your toes. Catching common fish like mackerel or cod is a breeze, but when you hook something aberrant or otherworldly, the mini-game gets incredibly frantic. The game does a fantastic job of making you feel like a competent angler while constantly introducing new species and equipment to keep the core gameplay loop from going stale.
But the real genius of Dredge lies in its inventory management, which essentially turns your boat into a spatial puzzle game. Your catch does not just magically go into a bottomless bag; you have to physically slot fish into a grid on your boat’s deck. Different fish take up different amounts of space, shaped like Tetris blocks. A small anchovy takes up one square, while a massive shark might take up four or five. As your boat gets bigger, so does the grid, but you also have to fit engine upgrades, tighter nets, and refrigerated storage on that exact same grid. You are constantly playing a game of spatial Tetris while out on the water, deciding if you have room for that highly valuable abyssal fish or if you need to toss out some common junk to make space.
This is where the survival mechanics start to bleed into the gameplay, and it is also exactly where the horror starts to creep in. During the day, Dredge feels almost peaceful. The pixel art is gorgeous, the water looks serene, and the locals at the docks are quirky but polite. But once the sun goes down, the entire vibe of the game shifts dramatically. A thick, suffocating fog rolls in, your visibility drops to almost nothing, and the soundtrack changes to something deeply oppressive. You start to hear strange noises in the water, and if you linger out in the dark too long, your screen starts to warp and distort as your character’s mind begins to fracture.
This introduces the panic meter, which is easily one of the most stressful survival mechanics I have played with in a long time. If you stay in the dark or get too close to the rogue eldritch horrors swimming around the islands, your panic goes up. If it maxes out, you crash your boat and wake up having lost a chunk of your hard-earned catch and inventory space. You also have to manage your hull integrity, because ramming into rocks or getting smacked by a sea monster costs you money and risks sinking your only means of survival. Add in the need to manage your fuel to get back to port and your sleep meter to avoid passing out, and you suddenly realize you are not playing a cozy fishing game anymore. You are playing a tense resource management game where one wrong decision in the dark can completely ruin your entire run.
The way Dredge mashes up these seemingly incompatible genres is incredibly seamless. It takes the soothing, methodical loop of a game like Moonglow Bay or Animal Crossing and injects it directly with the survival anxiety of Don’t Starve and the creeping cosmic dread of a game like Call of Cthulhu. You want to push your luck and stay out late to catch that one rare nocturnal fish, but the survival mechanics punish you harshly for being greedy. The horror elements do not just serve as cheap jump scares, either; they are baked directly into the fishing mechanics. Some rare fish can only be caught during a blood moon or in the darkest parts of the ocean, forcing you to navigate through pitch-black waters filled with terrifying rock formations and unseen monsters just to fill out your encyclopedia.
Exploring the world is a joy in itself, even when it is scaring the pants off you. The archipelago is divided into distinct biomes, each with its own unique fish, hidden secrets, and terrified residents. As you complete quests for the locals—fetching specific fish, finding lost items, or hunting down dangerous aberrations—you unlock new parts of the map and new abilities for your boat. The overarching narrative is mysterious and vague in a way that works perfectly for the genre. You do not need a massive lore dump to understand that something went terribly wrong in this place a long time ago; the environment tells the story brilliantly through ruined ships, mutated wildlife, and the paranoid ramblings of the islanders.
By the time you reach the late game, your little dinghy has been transformed into a high-tech seafaring vessel, but the waters feel just as dangerous, if not more so. Dredge is an absolute masterclass in taking familiar gaming mechanics and twisting them into something completely unique. It respects your time as a player, offering a tight, well-paced experience that never feels like it is padding its runtime. Whether you are happily organizing your latest haul in the warm glow of the daytime sun or frantically paddling for your life through a foggy nightmare, the game constantly keeps you engaged. If you have even a passing interest in fishing games, survival mechanics, or Lovecraftian horror, you owe it to yourself to drop a line into Dredge. Just do not forget to head back to port before dark.
Late Night Retro Television Review: 1st & Ten 4.10 “Out of the Past”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing 1st and Ten, which aired in syndication from 1984 to 1991. The entire series is streaming on Tubi.
After last week’s trip to “the future,” this episode returns to 1988.
Episode 4.10 “Out of the Past”
(Dir by Stan Lathan, originally aired on December 7th, 1988)
As a show, 1st & Ten has a weird habit of introducing new characters and pretending as if they’ve always been around even if they’ve never been seen or even mentioned before. In this episode, we meet Coleman King (Richard Lawson), the team’s veteran running back who fears that he’s on the verge of being dropped from the Bulls. Coleman is also an old friend of TD Parker’s (O.J. Simpson).
TD is conflicted. He knows that Coleman is past his prime. The Bulls are on the verge of signing a new running back and, when they do, TD knows that he’s probably going to have to cut Colman from the team. As a former player, TD knows how painful it is when your professional career is murdered and no one is held responsible for it. Complicating matters is the clear attraction between TD and Coleman’s wife, Della (Vanessa Bell Callaway).
While TD tries to figure out how to protect both the team and Coleman, Ernie Denardo runs into his ex-girlfriend, Brenda (Shannon Wilcox), at a bar. Brenda has some scary people after her because of her unpaid gambling debts. She tells Denardo that she has money on the next Bulls game. If the Bulls win by more than ten, her debt will be paid off and then she and Denardo can be together.
The next day, the Bulls are on the verge of winning by 9. With only a few seconds left in the game, Denardo has the team kick a field goal so that they can win by 12. Denardo returns to Brenda’s apartment and discovers that she’s gone. It was all a scam, hatched by Brenda and her real boyfriend.
In tears, Denardo tells TD that he has to quit as coach of the Bulls.
TD argues that Denardo didn’t do anything wrong because he didn’t have money on the game. TD points out that the field goal unit needed the practice and that the Bulls need as many points as possible to clinch home field advantage in the playoffs. The episode ends with TD embracing the sobbing Denardo. Awwww! Is there nothing an OJ Simpson pep talk can’t fix?
After last week’s bizarre episode, this was a traditional 1st & Ten episode. This episode served as a reminder of just how bland OJ Simpson was as an actor. That said, Reid Shelton did a good job as the grief-stricken Denardo and the gambling subplot at least did have a few interesting twists. By the standards of 1st & Ten, that makes this episode a success.
Shark Week Review: Avalanche Sharks (dir by Scott D. Wheeler)
2012’s Avalanche Sharks takes place during Spring Break.
Woo hoo! SPRIIIIIIIIING BREAAAAAAAK! If there’s anything that I truly miss about college, it’s Spring Break! What do you think about when you think about Spring Break? You think about the sun, You think about the days and the nights spent lazily lounging in a bikini. You think about the binge-drinking and the drug-taking and one night stands that you regret the next morning and the realization that you’re only young once.
Avalanche Sharks has all of that. It also has a lot of snow and also sharks.
SHARK BREAK! Woo hoo!
These aren’t any old sharks. These are ghost sharks that swim around in the snow and which pop out to eat the employees and guests of a ski resort. You may be asking yourself how a shark can swim in the snow and I’m not totally sure myself. It probably helps that they’re ghost sharks and not living sharks. Still, it seems like even a ghost shark would prefer the ocean. The film suggests that the sharks are the result of an ancient curse. It also suggests that the sharks are the result of global warming. I’m going to guess that it’s a combination. The ancient curse was reactivated by global warming. Either that or the ghost sharks escaped from a lab and there’s been a massive cover-up to try to keep people from discovering the truth. But, seriously, when has that ever happened?
The movie features the usual collection of characters whose names you will struggle to remember after the movie ends. (I struggled to remember them even before the movie ended.) It’s Spring Break, after all! Why go to the beach when you can just go to a ski resort and apparently spend several days sitting in a jacuzzi? The jacuzzi is a major location in this film and it’s also the film’s excuse to feature bikinis. Myself, I couldn’t help but notice that the characters who got in the jacuzzi apparently never got out, even to sleep. 72 hours in a jacuzzi is something you might do to win a car but it’s not necessarily a good idea when there are ghost sharks around.
“You are the sexiest Marine biologist I know,” one guy says at one point and that’s pretty much sets the standard for the film’s dialogue. The movie is quickly divided between those who know about the avalanche sharks and those who don’t but, to the film’s credit, knowledge does not equal safety. Just about anyone can and will get eaten by the sharks. Some of the gore is a bit icky. The start of the film features a skier suffering a rather serious injury and I briefly had to hide my eyes. That said, it also appears that the gore budget was used up early because the later effects aren’t quite as impressive. What is impressive is the performance of James Ouimet as crazy old Duffy. Duffy is the one who tells everyone that they’re doomed. He seeks revenge after losing his dog to the sharks. “LUNA!” he yells and you totally buy it.
As my friend Jim put it, this is a film the defies a traditional rating. Yes, it would be easy to dismiss it as being another shark movie but, at the same time, it’s so stupidly entertaining that you can’t help but watch. Someone somewhere once said, “Give them snow sharks!” and this film delivered. And for that, I say thank you.













