This year’s NYCC, director Matthew Vaughn reflected on various problems with studios, the hope for a Kick-Ass revival and new film Argylle.
With this year’s New York Comic Con coming to a close, undoubtedly one of the biggest draws of the event was director Matthew Vaughn, who gave details on an upcoming Kick-Ass reboot, why he left X-Men: The Last Stand and his promising upcoming spy thriller Argylle.
In the wide-ranging Saturday panel that our own David Arroyo attended, Matthew Vaughn said that the Kick-Ass movies had such a positive impact on people (well, except for Jim Carrey) that he thinks new characters are also worth exploring. “Kick-Ass sort of changed people’s perception of what a superhero film is at that time. So we’ll be doing it again. So it’s none of the characters from the other Kick-Ass…We’d like to bring them back after the reboot. This reboot is just going off on a tangent that I can’t really talk about now. But it’s fun.”
As for projects that just plain didn’t work with Matthew Vaughn, he recalled what pushed him to leave 2006’s X-Men: The Last Stand, citing an incident over Halle Berry. As it turns out, a version of the script had Storm saving children in Africa from a drought. Vaughn was actually into the idea — which seems a little exploitative to me — but once he found out it was a script more or less meant to lure Berry to the project and would be scrapped once she signed her contract, Vaughn was out, unable to believe they would treat her that way.
Having been in the business for more than two decades, Matthew Vaughn has definitely had his share of run-ins. For example, the studio wanted to add subtitles for Brad Pitt in Snatch, which he produced. He also hated that Paramount pushed for Rocketman to be rated PG-13 and couldn’t understand why they didn’t want Bryce Dallas Howard for Stardust.
Matthew Vaughn finally gave more information on Argylle, arriving in February. On the film — which stars Henry Cavill, Howard and Sam Rockwell — the director said, “Breaking new IP, not many people will be bothered but the studios are sort of learning now, that maybe you guys, the audience, do want original films…We wanted to do something very meta…I just loved the idea of what would happen if a wizard went to J.K. Rowling in book three and said, ‘You know what? Wizards are real. Hogwarts is real. I’m real. I’m going to show you what it’s really like,’ and going on an adventure.” He also shared the trailer and a clip.
As for other projects on the horizon, Matthew Vaughn is working on a musical and a third Kingsman movie, which was originally set to be a TV series.
What is your favorite Matthew Vaughn work? What are you most looking forward to from him?
Despite strong pre-sale numbers, Taylor Swift: The Eras Tour fell short of Joker’s record October opening
Despite strong pre-sales, Taylor Swift was no match for Joker at the box office as it failed to take down that film’s $96.2 million opening to become the highest domestic opening for the month of October. With $96 million, Taylor Swift: The Eras Tour is the second highest opening ever for the month of October. Although with just $202,337 separating the two films, it is possible we see a new champ when final numbers are reported tomorrow although some studios think the film will come in closer to the $94 million mark. Despite missing the October record, the film officially became the highest grossing concert film ever at the domestic box office as it beat out Justin Bieber: Never Say Never’s entire domestic gross by about $23 million. There is some debate about whether Michael Jackson’s: This is It is considered a concert film or a documentary that chronicles the making of his final concert prior to his death, but if you count it as a concert film, then Swift still has a ways to go to catch up to the king of pop’s worldwide total of $261.1 million.
It may be hard to catch that total when The Eras Tour has zero showtimes during the week. This one is strictly a weekend event (which apparently now includes Thursdays). I’m not entirely sure what the thought process was in making that decision, but if you wanted to see this one in theaters you either have to go today (where most showtimes, at least at my local theater, are sold out) or wait until next weekend (with showtimes starting on Thursday).
The film received an A+ cinemascore and currently has a 99% audience score, which is rarefied air. Was there ever any doubt this film would receive such high audience ratings? It’s not a typical movie where a trailer makes it look good only to be disappointed by the end result (I’m looking at you Exorcist: Believer). This movie was sold as exactly what it is: a Taylor Swift concert event on the big screen and anyone who bought tickets knew exactly what they were getting and as exit polls show, they loved every second of it. In our Thursday predictions I asked the question about whether this film was super front loaded or would have solid walk up business? It appears the “swifties” mostly purchased their tickets in advance as it appears to be a 60-40 split for pre-sales vs walk up, which is why this one couldn’t get to the magical $100 million in its opening weekend. So the real question is: what type of legs will this one have? With premium pricing in place and a no subscription service policy (meaning no AMC Stubs A-List), I wonder how many people will be willing to see this one multiple times or how many new audience members will take in the film in subsequent weeks? Of course, I have learned to never doubt the power of Taylor Swift’s fan base!
Dropping a spot to second place is The Exorcist: Believer with a far better hold than I expected. The David Gordon Green directed legacy sequel came in with an estimated $11 million, representing just a 58% drop. In our Thursday predictions, I expected this one to have a catastrophic 70% decline, so that number is actually pretty solid for the critically maligned film. It appears the studio has heard the backlash from this film and will be moving forward with the planned sequels, but will apparently be re-working them in hopes of garnering stronger critic and fan reactions. You can check out Chris Bumbray’s 4/10 review here.
The remainder of the top ten are your holdover titles with Paw Patrol: The Mighty Movie drawing in the family crowd with an additional $7 million while the more Halloween season films like Saw X (fourth place- $5.7 million), A Haunting in Venice (sixth place- $2.05 million) and The Nun II (eighth place- $1.6 million) saw decent holds. That is great news for Saw X which is seeing excellent reviews propel this one to box office glory. As a fan of the series, I hope to see more films in the franchise, but only if they can retain this level of story telling. Even though I enjoyed all of the films, at a certain point the story lost its way. And to all the snarky people out there: yes, the Saw films did have a great story to tell about morality with the first film having one of the best endings of all time.
Rounding out the top ten was The Creator with $4.3 million followed by the Duck Dynasty faith based film The Blind with $2.02 million while Denzel Washington’s Equalizer 3 looks at an additional $960,000 as it looks to finish its domestic run just shy of the $100 million mark. Coming in tenth place is the excellent and actually genuinely hilarious stock market film (yes, I just said “genuinely hilarious stock market film”) Dumb Money with an additional $920,000 added to its lackluster $12.6 million domestic total. That number is not indicative of the quality of the movie and I really hope this one finds its audience once it hits the home video market.
Did you make it to theaters this weekend? If so, let us know what you saw in the comments section. Since this is a Taylor Swift kind of weekend, our weekly poll asks: What is your favorite Taylor Swift Movie? (A movie in which she has appeared, not one of her music related films such as The Eras Tour)
It’s almost time once again to think about death and get sad and stuff because Scott Pilgrim is returning to the screen with the animated series Scott Pilgrim Takes Off. Now, ahead of its Netflix premiere next month, the show has received its latest trailer.
Revealed at this year’s New York Comic Con, the trailer for Scott Pilgrim Takes Off looks like just the sort of visual feast that fans of the 2010 movie and source graphic novels know and love. On the style, co-developer BenDavid Grabinski said, “There was some sort of visual language that is a starting point already…The thing that was helpful is that [Science] SARU were experts on the books. They knew every drawing Bryan had ever done better than he knew himself, and found a way to try to translate his style into something that was more palatable for them.”
But one of the biggest draws for Scott Pilgrim Takes Off will be that the main cast from Edgar Wright’s movie will return: Michael Cera as Scott, Mary Elizabeth Winstead as Ramona, Satya Bhabha as Matthew Patel, Kieran Culkin as Wallace Wells, Chris Evans as Lucas Lee, Anna Kendrick as Stacey Pilgrim, Brie Larson as Envy Adams, Alison Pill as Kim Pine, Aubrey Plaza as Julie Powers, Brandon Routh as Todd Ingram, Jason Schwartzman as Gideon Graves, and more. Considering how much Cera himself has said the cast hit it off so well while making the movie, here’s hoping that translates through voice work as well.
In this animated outing, “Scott Pilgrim meets the girl of his dreams, Ramona Flowers, and discovers he must defeat her seven evil exes in order to date her. But this time, things get even more complicated. Based on the graphic novels by Bryan Lee O’Malley, SCOTT PILGRIM TAKES OFF revisits and reimagines the beloved cult classic, taking Ramona Flowers, her evil exes, Scott, and his friends off on a mysterious new action-packed journey to find love.” Scott Pilgrim Takes Off comes to Netfklix on November 17th.
What do you think of the Scott Pilgrim Takes Off trailer? Does it hit the visual style of its predecessors? Let us know in the comments section below!
Suzanne Somers, who had prominent roles on Three’s Company and Step by Step, in addition to popularizing the Thighmaster, has died.
Suzanne Somers, who perfected the bimbo blonde and helped turn a fitness fad into a surefire phenomenon, has died after a battle with cancer. Somers was 76.
A statement issued by Suzanne Somers’ publicity announced the death on Sunday. “Suzanne Somers passed away peacefully at home in the early morning hours of October 15th. She survived an aggressive form of breast cancer for over 23 years…Suzanne was surrounded by her loving husband Alan, her son Bruce, and her immediate family…Her family was gathered to celebrate her 77th birthday on October 16th. Instead, they will celebrate her extraordinary life, and want to thank her millions of fans and followers who loved her dearly.”
As noted in the announcement, Suzanne Somers would have celebrated her birthday on Monday. Ahead of this, the actress even told People that she was looking forward to spending the day with family, including her husband of 45+ years, Alan Hamel. Just ahead of this news, Hamel expressed his admiration for his wife’s strength. “Suzanne and I just returned home from the Midwest where Suzanne had six weeks of intensive physical therapy…Even after our five decades together, I still marvel at Suzanne’s amazing determination and commitment.”
Suzanne Somers had her first notable role in 1973’s American Graffiti as Blonde in T-Bird. It might not sound like an important one, but it left an impression not just on Richard Dreyfuss’ character but plenty of male moviegoers. Four years later she would land the role of Chrissy Snow on Three’s Company opposite John Ritter and Joyce DeWitt. Of note, last month marked 20 years since Ritter’s untimely death at the age of 54. Somers’ bubbly personality made her a fan favorite and launched her into stardom.
Following her beloved run on Three’s Company, Suzanne Somers remained a mainstay of pop culture, serving as the spokeswoman for Thighmaster, which would actually land her a spot in the Infomercial Hall of Fame. And her fanbase would only grow, landing the matriarch role of Carol on ABC sitcom Step by Step, a show which, with 160 episodes, lasted nearly as long as Three’s Company.
Suzanne Somers wouldn’t make much of an impact on the big screen – although we do love her cameo in Serial Mom – but her TV work kept her in the public eye. In addition to the aforementioned sitcoms, Somers also appeared in the Jackie Collins adaptation Hollywood Wives, TV movie Rich Men, Single Women, multiple namesakes shows, and season 20 of Dancing with the Stars.
Suzanne Somers was first diagnosed with breast cancer in 2000.
Leave your condolences for the late Suzanne Somers in the comments section below.
Script pages for the unmade sequel to Friday the 13th (2009) reveal what happened to Jason’s dad, Elias Voorhees
Last Friday, which happened to be a Friday the 13th, screenwriters Damian Shannon and Mark Swift shared some pages from the script they wrote for the unmade sequel to the 2009 version of Friday the 13th (watch it HERE). In those pages, we got to read the description of a scene where a character would have been killed by iconic masked slasher Jason Voorhees while riding down a zip line. But those weren’t the only pages Shannon and Swift shared from the script last Friday. They also unveiled a couple pages that reveal what happened to Jason’s dad – and you can read them in this embed:
The fate and location of Jason’s dad has always been a mystery. He wasn’t mentioned in the early run of films – in fact, we never even heard his name, Elias, until the ninth movie, Jason Goes to Hell. Tom McLoughlin, the director of Jason Lives: Friday the 13th Part VI, had planned to feature the character in a cameo, but that idea got scrapped before the scene was ever filmed. A flashback in the non-canon comic book Jason vs. Leatherface showed Jason’s mother killing his dad… and as it turns out, we would have seen a version of that happen on screen if the sequel to Friday the 13th (2009) had made it into production.
Directed by Marcus Nispel from a screenplay by Damian Shannon and Mark Swift (who share a story credit with Mark Wheaton), Friday the 13th (2009) has the following synopsis: Against the advice of locals and police, Clay scours the eerie woods surrounding Crystal Lake for his missing sister. But the rotting cabins of an abandoned summer camp are not the only things he finds. Hockey-masked killer Jason Voorhees lies in wait for a chance to use his razor-sharp machete on Clay and the group of college students who have come to the forest to party.
The film stars Jared Padalecki, Danielle Panabaker, Amanda Righetti, Travis Van Winkle, Aaron Yoo, Jonathan Sadowski, Julianna Guill, Ben Feldman, Arlen Escarpeta, Ryan Hansen, Willa Ford, Nick Mennell, America Olivo, Kyle Davis, Richard Burgi, Caleb Guss, and Nana Visitor, with Derek Mears as Jason Voorhees. Mears was expected to reprise the role of Jason in the sequel.
Since the reboot made over $91 million at the global box office on a budget of $19 million when it was released in February of 2009, a sequel was quickly announced. That sequel was supposed to be shot in 3-D and released on August 13, 2010. But it was going to be a Warner Bros. and Paramount collaboration, and when the studios couldn’t agree on the money split, the project was shelved. Now we can only read the script pages Shannon and Swift share and imagine what the movie we should have seen thirteen years ago would have been like.
A Friday the 13th TV series called Crystal Lake is now in the works at Peacock and A24, and you can read everything we know about it at THIS LINK.
What did you think of the unmade sequel script pages? Would you have liked to see the scene where Mrs. Voorhees kills Elias in a Friday the 13th movie? Let us know by leaving a comment below.
Killers of the Flower Moon is a legit masterpiece, ranking among director Martin Scorsese’s greatest films.
SPOILER ALERT: Some commenters have mentioned spoilers. Please note that nothing revealed in the review isn’t revealed within the first few minutes of the movie, or in Martin Scorsese’s interviews on the movie. If you want to stay completely spoiler free, suffice to say this movie is absolutely terrific and comes with our highest recommendation.
PLOT: In the mid-20s, members of the Osage Native American Tribe, who control the old rights to deposits found under their land, begin dying at an alarming rate. One Osage member, Mollie Burkhart (Lily Gladstone), begs the government for help, leading to intervention by the agency that would soon become the FBI, only to discover that the perpetrators are closer to her than she could have ever fathomed.
REVIEW: Martin Scorsese’s Killers of the Flower Moon, despite not having even opened in theaters yet, has probably already been written about more than any other movie this year outside of the Barbenheimer phenomenon. One can understand why, as it’s the work of perhaps the greatest living director Martin Scorsese, and is the first movie the director’s made that brings together his two favorite leading men, Leonardo DiCaprio and Robert De Niro (although the two worked together before on This Boy’s Life).
It’s also noteworthy because Scorsese has been uncommonly open about how his conception of the film changed after consulting with the Osage Nation, which led to a shift in how the story would be framed. Initially, Leonardo DiCaprio was set to play Tom White, the agent who worked for the older incarnation of the FBI and investigated the case, only for the actor to eventually opt to play Ernest Burkhart, one of the murderers. As such, the movie became much more about the Osage Nation and the killers rather than the investigation itself.
As such, Killers of the Flower Moon emerges as one of the most complex and ultimately disturbing true crime tales of our time, with DiCaprio’s Burkhart being perhaps the most complex character he’s ever played. When the movie opens, he’s returning from service in WWI, where he was a cook, and eager to get into the good graces of his wealthy uncle, William King Hale (Robert De Niro), a political boss of Osage County. As per his uncle’s wishes, he becomes close with Mollie Burkhart, whose family owns the rights to a significant portion of the oil reserve under the territory held by her tribe.
On paper, Burkhart sounds like a murderous opportunist, which he was. But, he was also a man of contradictions, who actually loved Mollie and was loved back, even though at one point he was poisoning her on his uncle’s orders in an effort to inherit her land. How do you reconcile his loving Mollie and his trying to do away with her? Perhaps that’s the most disturbing aspect of this story, with Burkhart and Hale dehumanizing the Osage people to the point that they could thoroughly compartmentalize the fact that they were murderers, Neither of them considered themselves monsters, even though they certainly were, but such is the banality of evil.
DiCaprio gives one of his best performances as the none-too-bright but occasionally charming Burkhart, while De Niro also tries to play Hale in a way that doesn’t turn him into a caricature. Scorsese and his writer, Eric Roth, working from David Grann’s excellent non-fiction book, humanizes them, making this all the more compelling and disturbing were they portrayed in a more conventional way.
De Niro and DiCaprio have usually been kept separate by Scorsese, with him perhaps waiting to capitalize on the cachet of bringing them together for the right project. Killers of the Flower Moon was the perfect opportunity, with their scenes having an incredible charge to them. As you watch this, you never forget that you’re watching two of the greatest actors of all time play off each other.
Lily Gladstone, as Mollie, is just as good as DiCaprio and De Niro, with her tender and vulnerable as the trusting but sharp-witted Osage woman. While she’s wealthy, she also has to get financial approval from a paternalistic bank president (who’s also shown to be head of the local KKK chapter) to use the money that’s hers, as she’s listed as “incompetent” despite being anything but. You get why Mollie could be charmed by Burkhart, and you buy the notion that despite everything, they do love each other.
The rest of the cast is similar good, with Scorsese mostly staying away from big stars to cast more authentically. While Brendan Fraser and John Lithgow have good little roles, country singers Sturgill Simpson and Jason Isbell make just as much of an impression. The First Nations roles are brilliantly cast, with Canadian icon Tantoo Cardinal as Mollie’s mother opposite younger actors like Cara Jade Myers, JaNae Collins and Jillian Dion.
Jesse Plemons is also excellent as Tom White, the wily agent who affects a laid-back country boy demeanour but is a sharp, empathetic lawman looking to do what’s right. It’s a smaller role than it would have been had DiCaprio played the role, but Plemons evokes the man’s integrity in a way that hits close to home. Character actor Pat Healy also has a nice little role as one of White’s investigators, who, like his boss, affects a demeanour that allows the conspirators to underestimate his intelligence. The movie also has nice cameos for Jack White and genre icon Larry Fessenden.
As usual, Scorsese’s technical credits are immaculate, with the late Robbie Robertson contributing a subtle, elegiac score. Rodrigo Prieto’s cinematography demands this be seen in a theater rather than streaming. The 3.5-hour running time is proving controversial, but it should be noted that Scorsese and his ace editor, Thelma Schoonmaker, know precisely how to pace a movie like this. It’s long, but it never drags, and indeed, part of me hopes the streaming version is even more extended as I’d love to dive even deeper into the material.
As usual for Scorsese’s later work, this ends on a bittersweet note, given the material and the fact that we never really know if this will be the movie he decides to end his career on. Scorsese himself appears in the movie’s epilogue, in a moment that could serve as a nice chef’s kiss to the audience – but God willing, he’s got more movies in him; there’s no one out there that could have made Grann’s novel, which was a masterpiece of reporting, into such a beautiful film. It’s undoubtedly one of Scorsese’s genuinely great movies and an event for cinema lovers.
Director Jason Lei Howden is raising funds for his long-awaited Deathgasm sequel Deathgasm 2: Goremageddon on Kickstarter
Nearly eight years have passed since writer/director Jason Lei Howden announced that he would be making a sequel to his feature directorial debut Deathgasm (watch it HERE). In that time, Howden has made Guns Akimbo and set up a film and comic book project called Monsters of Metal… and now he’s finally getting ready to head into production on Deathgasm 2! But to get the sequel made properly, he needs some help from the fans. That’s why Deathgasm 2 is currently raising funds and selling perks – including accepting pre-orders for copies of the finished film – on Kickstarter.
Deathgasm, released in 2015, tells the story of two high-school metal-heads, Brodie (played by Cawthorne) and Zakk (Blake), who form a band called Deathgasm. One day, while delving into some dark magic to escape their mundane lives, the duo unwittingly summon an evil entity called The Blind One. In the sequel, “which promises to be equally gory”, this is what is going to happen: After thwarting a demon apocalypse (which he helped to create) Brodie is mourning the death of his best friend – the charmingly psychopathic Zakk. Unemployed and without ambition, his girlfriend Medina breaks up with him, sending him further into despair. Determined to get Medina back and find some self-worth, Brodie decides to reform his heavy metal band DEATHGASM in order to win the upcoming ‘Metal Quest’, a battle-of-the-bands which will be attended by record company executives. But the auditions for new bandmates to replace the deceased Zakk and Dion go badly. To make matters worse, Medina has started dating the lead singer of a local Emo-Core band who are tipped to win.
Brodie hesitantly decides to once again use black magic, and with the help of the now one-armed drummer Giles, they attempt to raise their dead band members from the grave. After a few terrifying failures, they finally succeed. But Undead Zakk is unpredictable & reckless, and able to detach body parts at will. Brodie also struggles to keep Zakk and Dion focused as their hunger for eating the intestines of live humans grows. They start playing a few clubs but Dion cannot come to terms with being undead and struggles to control his Zombie urges. Zakk’s constant hassling of Dion’s ‘nerdiness’ finally pushes him over the edge. Dion gets loose and steals the resurrection spell that caused so much havoc in the first film.
Heading to the cemetery, Dion begins raising the dead and dressing them in period costumes to create his own personal army. He crowns himself King of the Dead. As Dion’s undead army starts to overrun the town in a gory murder spree, Brodie and Undead Zakk must once again hack and slash their way through the forces of evil. They must stop the horde before it reaches ‘Metal Quest’ and destroys their plans of getting signed to a record label, and Brodie’s chances of winning back the love of his life – Medina. Crank your speakers up to 13!
Deathgasm stars Milo Cawthorne, James Blake, and Kimberley Crossman are expected to return for Deathgasm 2.
Deathgasm 2 will be produced in New Zealand by Nick Garrett of Fish.Ent and Grant Bradley of Aristos Films, with Hatchet 3 and Studio 666 director BJ McDonnell serving as executive producer. Raven Banner will help with world sales and oversee production of the physical items for the crowdfunding campaign.
The Kickstarter campaign is seeking to raise $300,000, and as of this writing it’s at about $214,000 with eight days to go.
Howden provided the following statement: “We’ve been blown away by the enthusiasm and love people have shown for Deathgasm. For years I’ve been asked if a sequel was in the works, and I can honestly say that fans can expect an even more intense, hilarious, and f*cked-up experience with Deathgasm 2: Goremageddon.“
Garrett added: “We need to get our fans the batshit-insane film they deserve ASAP, and we won’t achieve that through the usual funding pathways. This campaign is an opportunity for devotees to not only be a part of the Deathgasm legacy but to also contribute to the creation of a film that promises to push the boundaries of horror-comedy.“
Are you a Deathgasm fan, and will you be contributing to the Deathgasm 2 Kickstarter campaign? Let us know by leaving a comment below.
The new episode of the 80s Horror Memories docu-series looks back at Gremlins, directed by Joe Dante and produced by Steven Spielberg
JoBlo.com recently launched a new weekly documentary series called 80s Horror Memories, where each year of the 1980s has five episodes dedicated to it. Looking back at 1980, we discussed Maniac, Dressed to Kill,Alligator, Friday the 13th, The Shining, Prom Night, and The Fog. The second five episodes were a journey through 1981, covering The Funhouse, The Burning, Friday the 13th Part 2,My Bloody Valentine, Halloween II, The Evil Dead, The Howling, and An American Werewolf in London, as well as the careers of horror hosts Elvira and Joe Bob Briggs. The next five were, of course, all about movies that came out in 1982: Conan the Barbarian, The Thing, Halloween III: Season of the Witch, and Poltergeist, with an examination of the short-lived 3-D boom along the way. For 1983, we talked about a trio of Stephen King adaptations, Jaws 3-D, Sleepaway Camp, the rise of TV horror anthologies, and Psycho II. Moving on to 1984, we’ve talked about the creation of the PG-13 rating and categorized James Cameron’s The Terminator as a slasher movie. Now, we’re celebrating Christmas in October by taking a look at Gremlins! To hear all about it, check out the video embedded above.
New episodes of 80s Horror Memories will be released through the YouTube channel JoBlo Horror Originals every Monday.
Here’s the info on 80s Horror Memories: It’s been over 40 years since the decade that shaped the horror movie industry began and having lived through most of those years personally, we at JoBlo/Arrow in the Head have decided to create a 10-part documentary series in which not only cover every nook and cranny of the biggest horror themes from 1980 to 1989 but also what was happening in the world at the time. Join us as we walk down Horror Memory Lane!
And here’s the info on this particular episode: On this episode of 80s Horror Memories, let’s head to the small town of Kingston Falls – but if you find an adorable mogwai there, remember these rules: Keep him out of the light. Keep him away from water. And never feed him after midnight. Because that’s how you get GREMLINS.
This episode of 80s Horror Memories was written by Cody Hamman, narrated by Tyler Nichols, edited by Brandon Nally, produced by Berge Garabedian and John Fallon, co-produced by Mike Conway, and executive-produced by Berge Garabedian. The score was provided by Shawn Knippelberg. Special Guests: Doug Jones (Hocus Pocus), Craig Perry (Final Destination), and Matt Winston (Stan Winston Studios).
Let us know what you thought of this episode, plus share some of your own ’80s horror memories by leaving a comment!
Two of the previous episodes of 80s Horror Memories can be seen below. To see more of our shows, head over to the JoBlo Horror Originals channel – and subscribe while you’re at it!
Eleven’s actress equates the last season of the show to senior year and is enthused to graduate to new projects.
Netflix’s Stranger Things became a pop culture sensation and an anchoring series for the streamer’s original content. The show made its young cast instant stars who got to experience their own little version of the Beatles mania when fans showcased unbridled enthusiasm at conventions and public appearances. One of the series’ popular characters, Eleven, is portrayed by Millie Bobby Brown. The young actress would grow up on the show and would go on to branch out to other projects, including Netflix’s Enola Holmes films.
Stranger Things is gearing up for its last season, and according to Variety, Brown is ready to pounce on the concluding year. Brown is currently featured on the cover story of Glamour magazine for an interview she conducted before the initiation of the SAG-AFTRA strike. Brown would express her enthusiasm for returning to the Netflix show one last time, “When you’re ready, you’re like, ‘All right, let’s do this. Let’s tackle this last senior year. Let’s get out of here. Stranger Things takes up a lot of time to film and it’s preventing me from creating stories that I’m passionate about. So I’m ready to say, ‘Thank you, and goodbye.’”
One of the newest projects Brown has on the horizon is a post-apocalyptic tentpole film from Avengers directors, the Russo brothers, titled The Electric State, which brings her together with Chris Pratt. Brown glows about the new project, saying, “To be able to go toe-to-toe with Chris Pratt! It’s a very exciting opportunity that I never thought I’d be able to have, to be able to be treated the same as him and to be looked at and respected the same as him on the set by the production, by the studio.”
The Eleven actress had expressed similar sentiments about Stranger Things‘ swan song in an earlier interview with an August publication of Women’s Wear Daily. When inquired about tackling the final season, Brown replied, “I think I’m ready. It’s been such a huge factor in part of my life, but it’s like graduating high school, it’s like senior year. You’re ready to go and blossom and flourish and you’re grateful for the time you’ve had, but it’s time to create your own message and live your own life.”
