I’ve been a fan of the Halloween movie franchise for a long time. The first flick in the series that I saw was Halloween 4: The Return of Michael Myers. I was at a friend’s house for a birthday party sometime in the fall of 1989. We watched the last half of the movie before my parents picked me up. See, I wasn’t allowed to watch most R-Rated movies until I was 11 (unless they were on broadcast TV). So I got my fill of gory ’80s horror while visiting friends’ houses or sneaking peaks at Fangoria at 7-Eleven.
Most people, I believe, secretly love their fear. They get caught up in the goose bumps and the quick inhalation of breath and the rush of adrenaline that pervades the body when being scared. Why do most people laugh immediately after a good scare? I think the body loves it. To this effect, I love horror movies. Many nights, my wife and I spend an inordinate amount of time scrolling through Netflix’s often dismal offerings, debating on which movie to watch. Usually, though, we settle for a movie from our own collection, a movie with a proven track record of
I’ve spent my life trying to work out if being born on Halloween into a religious family is anywhere near as interesting as I have at times perceived it to be. There’s a clichéd iconoclasm to it, and for as long as I can recall I’ve deployed the information as if it were the punch line to a highly-condensed, low-budget Rosemary’s Baby rip-off. It’s entirely reasonable, sensible even, to assume that’s all that the paradox amounts to – something to break the ice at parties.
Today is Pablo Picasso’s birthday. Go paint something this weekend!
Unwinnable takes exclusive photos of a were-tanooki. Or reviews a racanooki costume hoodie from 80s Tees. We’re not sure which.
Ian Gonzales recounts his times with VHS tapes in their heyday.