In this grand digital age, where everyone is vying for our time and attention and clicks, consumers only want one thing from the companies that asked to be noticed… honesty. Because it’s easy to make whatever claims one wishes about what they offer and so many consumers have been burned by this, that sometimes it is easy to roll one’s eyes when the latest claim about ‘being the best’ comes along. But there is in fact, honesty out there on the internet and one such company lives up to its mantra and takes care of its customers and is as honest about what they offer… is Shudder.
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For they call themselves the premier streamer for horror and they’re right. Because the folks that work there, are constantly working to curate the best original programming to accompany the classics they host, and they are always in motion and working to bring us the best new original horror films out there. And for proof that Shudder puts its money where its zombie mouth is, look no further than today’s announcement. For once again, Shudder has acquired the rights to a fascinating horror film entitled, The Cellar, ahead of its SXSW premiere and well… here are all the details on this wonderful announcement, courtesy of the premier streamer for horror… Shudder.   

‘Shudder, AMC Networks’ premium streamer for horror, thrillers and the supernatural, announced today the acquisition of The Cellar, from critically-acclaimed Irish writer-director Brendan Muldowney and starring Elisha Cuthbert and Eoin Macken, ahead of the film’s world premiere at SXSW. The film is also the closing film of FrightFest Glasgow. The Cellar will have a day-and-date premiere on April 15th, streaming exclusively on Shudder in North America, the United Kingdom, Ireland, Australia and New Zealand with a U.S. theatrical release through RLJE Films, a business unit of AMC Networks.  

Filmed on location in Roscommon, Ireland, The Cellar tells the story of Keira Woods (Cuthbert), whose daughter mysteriously vanishes in the cellar of their new house in the country. Keira soon discovers there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family’s souls forever.

“The Cellar is a riveting story that we think will appeal to both horror lovers and broader audiences alike, and we’re delighted to work with RLJE Films to bring it to the widest possible audience,” said Craig Engler, GM of Shudder, “Brendan and this talented team have crafted a dark and haunting tale that we’re excited to share with audiences this April.”

“Ever since we made the short film The Ten Steps, which The Cellar is based on, I have seen the profound effect and power it has had on audiences,” said Muldowney. “I am really excited to be working with Shudder and RLJE Films in bringing this feature-length version of the nightmare to a wider audience.”

The Cellar is an Irish/Belgian co-production with Conor Barry of Savage Productions and Richard Bolger of Hail Mary Pictures serving as producers.  It is co-produced with Benoit Roland from Wrong Men Films in Belgium.  Patrick Ewald of Epic Pictures Group, Lesley McKimm of Screen Ireland, John Gleeson and Oisín O’Neill for BCP Asset Management Sarah Dillon of the WRAP Fund and Patrick O’Neill of Wildcard Distribution are executive producers.  Production investment was provided by Screen Ireland, Epic Pictures, BCP Asset Management, The Western Region Audiovisual Producers Fund / WRAP Fund and Wallimage, BNP Paribas Fortis Film Finance, VOO & BETV.’

Over the course of the past seventy years or so, the zombie sub-genre of horror has accomplished storytelling wonders. For it has become the go to story for social commentary and examinations of the human condition, thanks to the fact George A. Romero, a.k.a. ‘The Godfather of the Dead’, figured out how to seamlessly integrate such concepts into zombie themed storytelling. Plus, it has set the bar for special effects, since zombies tearing into live human beings to feed upon them, requires top notch effects work to gross out and scare an audience. But of the many accomplishments and big moments this genre has brought to the table throughout the years, it has ironically, rarely taken advantage of the storytelling opportunities its setting provides.
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After all, most of these stories focus on the fall of humanity at the hands of the dead, or the immediate aftermath of when they take over the planet, rather than explore what life would be like in a post-zombie apocalypse world. Which is a huge opportunity to tell harrowing and potentially beautiful stories about a second dark age for man that so many storytellers are missing out upon. In fact, there’s really only one zombie franchise out there that’s taken the time to remotely explore such matters and even then, it took The Walking Dead a little while to get there. Four seasons in fact, since the first three were squarely focused on reacting to the end and finding shelter, with a deadly power struggle thrown in for good measure. But season four was a whole new ball game, since it finally allowed for the show to really look at what life might be like in a world where the dead have taken over.

A feat that the season four premiere of the show accomplishes, by picking up with the Grimes group long after the Governor disappeared into the ether, and when we catch up with everyone in ’30 Days Without an Accident’, life isn’t that bad in the world of the dead. For the survivors have crops now and they’re living together in harmony and figuring out how to earn their keep and that honestly makes life at the end of the world somewhat appealing. Because everyone seems to find peace and solace in just living in the moment and doing their best to make it to another day and that basically postulates the theory that if something like this were to happen, and people were able to come together in old school communities like this one and really chip in, life after the end of the world would be just fine.

But alas, this is TWD and conflict, and danger are central to the stories here and that finds the group along the way, through the form of two key plot lines. One of which takes the time to remind the group that despite their best efforts to control the situation, they are no longer masters of this domain. For the trip to the Big Spot!, where everyone thought they’d be safe, ended in disaster when they learned how the dead basically find their way into every place and every situation. And Rick was reminded of the fact that while they’ve found peace, not everyone has, and that in reality, the world is still a supremely cruel and broken and terrifying place beyond the walls of the prison. As evidenced by his encounter with a woman named Clara that was still struggling to reconcile that the dead rule the day. 

Plus, that ending and the ominous clues before it, that informed us of the fact that new diseases or a potential variation on an old one (more on that in a different Retro Recap), are out and about, speaks volumes to the fact that threats can and will find humanity in this precarious time. But while we wait to dive into that further, we can bask in the first real zombie story to examine life after the end. Because we really did get an up close and personal look at such a concept and regardless of the good and the bad in this tale, it was refreshing to see this at last. But what’s genuinely amazing, is that this is just the tip of the iceberg when it comes to exploring life in the land of the dead and it is going to be a true treat to revisit every amazing and heartbreaking moment from a season of storytelling that took some serious risks. Until next time.

Caution: This article contains minor spoilers for the season finale of ‘Firebite’.
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When we last settled in to discuss the wondrously refreshing AMC+ series, Firebite, we talked at length about the hero’s journey and understandably so. For ‘Hero’s Life’ dug deep into what heroic acts genuinely look like and how sometimes heroic acts can be foolish and disastrous in nature and well, revisiting those themes is critical to our discussion today… because it turns out the show wasn’t quite done with exploring that journey. For the season finale of this show, ‘The Rise of the Fallen’, looked to expand upon it further by genuinely looking at one particular motivation for heroism that we don’t think about all that often… selfishness.

Which at first glance, seems to be a negative connotation to associate with this series and this concept, but it is anything but. Because some heroes are driven, out of the selfish belief that they can heal old personal wounds and in the process of entering their quest to do so... they accomplish wonders for others and well… it is selfishness in that positive vein that entered Shanika’s heart in this tale. Because she genuinely wanted to be selfish in this tale and make years of fussiness and resistance right and that motivated her to truly take to the Bloodhunter way in this tale and go the extra mile and do good for all and that means that in many ways, Firebite has been about more than just shaking up the vampire sub-genre of horror… it’s also been a hero’s origin story.

Because by the end of this tale, Shanika is indeed fully committed to dealing with the vampires that roam the mines and their new Queen, Eleona. Which means that now our hero has her nemesis and boy, does Shanika have quite the foil to deal with. Since we saw Eleona commit to some serious darkness here, the kind that is flawlessly misguided and misplaced as you find with only the finest of villains and watching these two transform into their respective roles, truly leaves one excited for the future of this series. Since it would lead to more powerful moments akin to the finale of this tale and it would also bring about… chances for more depth and commentary. Something that this episode leaned hard into, and that’s a wonderful thing.

For horror is always at its best when it takes a little time to reflect upon our modern world and shine a light upon topics that leave people uncomfortable and this episode accomplished that, by revisiting some of the racial context introduced early on in the season. Because we heard some seriously unsettling things come out of vampire mouths in this tale, the kind that made it clear that this all- white group of vampires, are flat out racist toward Black people, plain and simple. Which brought about a great deal of commentary and observations about race relations in our world right now and the power of privilege and expanding upon this further in season two, would allow for some powerful moments and examinations to take place, the kind that would shine a solid light on an important problem.

If anything, this was just a brilliant way to bring season one of this dynamic series to a close. Because it truly set the stage for the future in a dynamic and compelling manner, and it truly brought growth to everyone we’ve met in this first outing. Because Shanika is ready to throw down and be a hero and the once mousey Eleona is now as fierce as they come, and everyone that didn’t want to fight for the cause is ready to do so and that just… leaves us hungry and eager for more. So, we can see if by chance there can be any kind of hope for the people of Opal City to live normal lives without the specter of evil hanging over their heads and well, hopefully we get news of a season two and soon… so we can get the answers to those questions and see where this incredible story will take us next.

To learn more about Eleona, visit our interview with the actor plays her, Yael Stone, right here.

Caution: This article contains spoilers for the motion picture, ‘Slapface’.
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There is a prevailing belief in our society, that children are supremely resilient, and it makes sense as to why this belief exists. After all, if they get scraped up while playing outside, they heal quickly and they bounce back from illnesses, with no problem. Plus, since their brains aren’t fully developed and formed yet, they don’t have to worry about complex notions that impact adults, they can just forge ahead and not sweat the big stuff and well… what’s problematic about that line of thinking is that… only half of it is right. Because yes, children do indeed heal fast and rebound from viruses and bacteria, but their understanding of the world and of emotions is far greater than we ever knew, and we are just now starting to learn this… the hard way.
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For more and more, we are seeing children commit some seriously unsettling acts, the kind that are violent and unrestrained in nature and it is our desire to understand the root cause of these acts, that is allowing for us to uncover the reality about children and their emotional development. In that, they are far more in tune with their emotions than we give them credit, they simply don’t know how to properly understand and process the more negative ones and because they cannot fully reconcile them… they will in fact, lash out and harm others out of that frustration. Which in turn leaves the rest of us to wonder, how we help them process those emotions so that they steer clear of dark acts, and it just so happens… that the horror streaming service Shudder, is now host to a movie that offers answers to that question in a harrowing manner in Slapface.

Now in this particular film we are introduced to Lucas and Tom. A pair of brothers that have fallen upon tough times. For their parents perished in a violent accident a few years back and Tom is doing his best to try and keep some semblance of family life together for his baby brother. Which is why he cooks and works to keep a roof over their heads, and at times… he tries to bring women into the household to offer a motherly feel. But despite his best efforts to help Lucas live a normal life and find peace over what they’ve lost, Lucas is despondent more often than not and struggles to make friends and stay out of trouble and to complicate matters further… he is convinced that a new force has entered his life. One that is born out of the supernatural legend surrounding their town and his undying belief in this spirit will leave Tom wondering as to whether or not his brother has indeed tapped into something supernatural… or if something horrible is happening to Lucas’ mind.

Which is a plot at first glance, seems mired more in the power of grief and loss and in many ways… the plot does indeed focus on that a plenty. After all, it is obvious early on in this film that Tom and Lucas don’t talk about their emotions or what happened to their parents. They instead stick to the status quo we outlined earlier and try to tough it out and if by chance they need to feel something, they resort to a horrible game of Slapface, wherein they quite literally smack each other in the face in a misguided attempt to shed their pain. But it is the grief and loss present in this story that is central to its greater themes. Because the fact of the matter is, Lucas is aware that he is feeling some horrible things, but since he cannot process or properly understand them… and is often disregarded and bullied for his lack of understanding… he struggles, and this is where the horror comes into play.
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Because those emotions boil over and manifest themselves in the form of the monster and while that seems to be nothing more than harmless imagination projection, once the violence starts toward those who displease Lucas or have picked on him or harmed him in some way, it becomes clear that he is channeling his anger and frustration. Making Lucas appear to some as a statistic of sorts, another youth lost to the lack of a family environment… when in fact, his downfall relates to the fact that he is constantly bullied and ostracized and insulted and he has to process that pain while trying to process the fact that his parents are dead. Which of course, leads to a powder keg moment. One that forces the viewer to ask if we are indeed seeing the work of a monster, or the work of an emotionally fragile child that needs more than ‘just suck it up’ as guidance.

If anything, this is simply a powerful horror film when all is said and done. Since it truly dives deep into a topic that few are willing to dive into, but we need to. Because it isn’t enough anymore to just say that kids are being moody or don’t get it. They do, and they need the help of adults to process what’s going on and they need guidance when they’re being picked on or bullied so they don’t feel lost or broken and so their emotions don’t well up, and this movie deserves a round of applause for using the best parts of horror to teach us those lessons in a uniquely unsettling manner. Because watching Lucas struggle and be bullied and turn to what is clearly evil for solace, really does leave the viewer uncomfortable. But going that route does hammer home the lesson and it stays with you for quite some time. So, if you’re ready to immerse yourself in a brilliant but disturbing world, one that truly tackles an important topic, then swing by Shudder when you have a chance and give this film a look.  

One thing that we can all agree upon, is that fear is an emotion that is both powerful and sorrowful. The power aspect comes from the fact that it does indeed motivate us to avoid trouble when we sense it, making it quite useful in that regard. But the sorrow comes from the fact… that it really does make us do regretful things. For instance, it keeps us from happiness now and again when we fear the possibility of being happy or content and instead stay on a path that is stagnant and uncomfortable and… it also tends to motivate us to take part in some extremely stupid acts now and again for reasons that we don’t always understand. Wherein we just simply feed it and let it take over and it is the foolish acts it pushes us to do, that is paramount to our discussion today.
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Because that aspect of fear was explored in the season three finale of The Walking Dead. For ‘Welcome to the Tombs’ sees the good people of Woodbury, have the fire that is fear stoked by Philip ‘The Governor’ Blake. Since he offers up outlandish claims about the entire prison group and the incident involving Merle and he does such a fine job of selling it, that it takes over the hearts and minds of this town and motivates all of them to follow the Governor willfully and foolishly to the West Georgia Correctional Facility to wage all-out war. Making it one hundred percent clear how fear can brainwash us and control us and while that should have served as a cautionary and bloody plot point… this story instead opted to find a way to point out that fear can be used in a positive light as well.

For sometimes, being scared in a different manner… can pull us out of our funk and give us clarity and understanding and potentially move us away from dangerous acts and that is exactly what happened in this tale as well. Because while the bloodthirsty Mister Blake was searching for Rick and his friends… Mister Grimes and his team got the jump on the Woodbury crew. And their use of sirens and flashbangs and multidirectional fire, designed to terrify instead of harm, scared these ‘soldiers’ so well, that they realized that wanted no part of war and that they were foolish for following the Governor into it. Which in turn motivated them to run back home. Which should have made for a wonderful ending to this plot thread, one where the Governor was cast out. But instead, it ended badly when ol’ Phil decided to make everyone pay for betraying him… with a downpour of bullets.

However, despite the dark nature of that twist, this episode really tried its best to end on a happy note. A feat that it worked toward by having Rick and a small assault team learn the truth about what the Governor did and return to Woodbury to rescue anyone left alive. A move that quite frankly, spoke volumes to an underlying theme that’s hung over the show for many seasons now. In that, the only way forward for humanity in tough or disastrous times, is to stick together and show one another kindness. And if we can do that, then better days will indeed be on the horizon. Which was indeed a feel-good message to find in a dark tale, one that was reinforced by that bus arriving at the prison to unload good people who needed community and safety and security. 

But alas, a happy ending really wasn’t in the cards for this episode. After all, Andrea died horribly thanks to the Governor’s machinations and of course… the Governor got away. A move that at the time seemed to be his exit from the series but watching this a second time around… and knowing what comes next regarding him, makes his exit quite ominous in nature. But while we wait to re-live the tough moments that came out of his escape one more time, we can in fact, bask in the majesty of an intelligent and engaging finale. One filled with quality commentary on the human condition and beautiful moments to boot. Since it was wonderful to see Rick find peace and the best parts of his soul again and well… now that we have indeed come to the end of the Woodbury saga, the time has come to steel our nerves and turn to a season of storytelling that was bold and dark and devastating. Until next time.

It is definitely safe to say that redemption and forgiveness are two pillars of the foundation of modern society, and it makes sense as to why. After all, humanity genuinely believes that our ability to understand our actions and their impact, is one of the big reasons that we have progressed so far as a species. So, to abandon those elements, and give into anger and poor choices… would make us no better than the animals we lord over and that is precisely why we are taught to say we are sorry, and mean it, when we screw up, and why we should keep good people with good moral codes around us. So that we can quickly and easily own up to our mistakes and be guided by the right voices when we aren’t sure if we are in the wrong. 
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In fact, we fear the idea of regression so much, that we tend to shun those without remorse and cut them out of our lives and we genuinely fear what the world would look like without these virtues. Which does beg, some imaginative questions. Specifically, what would the world look like without those pillars and if it did mean that we would slide back into something primal… would we be able to find redemption in any form? If anything, those questions are important to our discussion today, simply because they were addressed in the next episode of The Walking Dead. For ‘This Sorrowful Life’ not only makes it clear that yes, we would regress without those pillars, but that we could find redemption at the end of everything, provided some key acts and moments came into play.

In that, we would need an act of genuine kindness to come our way and we’d need a moment of inflection. So that we could objectively come to understand that we are on the wrong path, and that we are better than chaos and mayhem and if we can ground ourselves in what is right again… we can in fact find redemption in the darkest of times and be a great person once more and that lesson came about… by way of Merle Dixon’s journey here. Because being treated with kindness by the group and being able to reflect upon the past year and his time with the Governor, allowed for him to find his way back and do the right thing for a change. To the point where he put doubt in Rick’s mind over handing over Michonne and he of course… didn’t go through with such an act so that he could find redemption in his soul and forgiveness as well.

Which was a beautiful arc for Merle to travel in this tale, one that could have taken his character to new heights, had his journey of discovery in a world where all seems lost… not ended in such a harrowing manner. Because despite finding redemption in this tale and heroism even, since he went right after the Governor and his lieutenants in a brave and violent manner… he never got to see what would become of his change of heart. For Philip was quick to punish Merle in the worst way possible, by killing him and letting him turn so that Daryl would be forced to put down his own zombified brother. But while that is indeed a tough end to a long and winding journey toward the light, at least there’s comfort to be found in knowing that Merle found the right path at the end.

If anything, this is simply a powerful and beautiful tale when all is said and done. Since it speaks volumes to the fact that while we will sometimes lose our way in life and make poor choices in doing so… we can in fact, come back from the darkness, regardless of the circumstances. Which is one hopeful message for certain, one that the show would play with multiple times down the line. To serve as a reminder that life is full of peaks and valleys and that we are ever evolving and changing and fighting to be better and it was quite amazing to see a man as lost as Merle, live up to that mantra, regardless of the outcome. And now that this bittersweet journey has ended, it does leave one to wonder if there’s a deeper meaning waiting for us in the season three finale. The kind that only a re-watch can unlock. Until next time.

It really is a tough time to be a fan of The Walking Dead Universe right now. Because endings are everywhere in this franchise. For The Walking Dead: World Beyond has come to a close, and we are inching closer and closer to the end of the phenomenon that is The Walking Dead. And what is making these endings so difficult is that it really did seem as though every iteration of this franchise was going to last forever and give us what we crave for decades on end. 
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But alas, all good things must come to an end to properly appreciate them and their meaning and the TWD Universe isn’t quite done with its storytelling just yet. After all, there are other shows in development in this franchise and in an effort to remove some of the cloud hanging over the end of TWD, earlier today AMC Networks announced some of the initial cast and crew that will be assembling and starring in, Tales of the Walking Dead, and well… without further ado, here are all the details on who is joining the cast and stepping behind the camera (so far) of this new show, courtesy of AMC.

‘AMC Networks announced today initial casting for “Tales of the Walking Dead,” the highly anticipated new series in the expanding universe and franchise around “The Walking Dead.” Anthony Edwards (“Inventing Anna,” “WeCrashed”), Parker Posey (“Lost In Space”), Terry Crews (“Brooklyn Nine-Nine”), Poppy Liu (“Dead Ringers”) and Jillian Bell (“Rough Night”) will star in the AMC Studios-produced episodic anthology of six original, standalone stories focused on both new and established characters within the walker apocalypse. Haifaa al-Mansour (“Good Lord Bird,”
“Motherland”), Deborah Kampmeier (“Star Trek: Picard”) and Tara Nicole Weyr (“The Wilds,” “Bosch”) will each direct one episode with series producer Michael Satrazemis (“The Walking Dead,” “Fear the Walking Dead”) set to direct three episodes. Executive produced by Scott M. Gimple, chief content officer of the Walking Dead Universe and showrunner Channing Powell, who has been a writer and producer on “The Walking Dead” and “Fear the Walking Dead,” “Tales” debuts this summer on AMC and AMC+.

“Anthony, Jillian, Terry, Parker, and Poppy are the first wave of singular talents who will further expand the Walking Dead Universe into harrowing, hilarious, heartfelt, and horrifying new realms and we couldn’t be happier to welcome them to the family, along with these terrific directors.  More announcements, more wonderful folks to come,” said Gimple.

“We’ve worked hard to create unique, interesting and unexpected characters for both old and new TWD fans, and I’m thrilled that these are the actors who will bring them to life. I can’t wait for you to see the depth, drama, terror and, yes, humor they bring to the screen,” said Powell.

“The Walking Dead” and other series in the Walking Dead Universe continue to be top titles on the AMC+ streaming service, both in terms of usage and new subscriber acquisitions.  The highly anticipated return of “The Walking Dead” Season 11 Part 2 premieres Sunday, February 20 at 9:00pm ET/8c with new episodes available one week early on AMC+, beginning with the premiere episode on Sunday, February 13.

Edwards will next appear in the Netflix series “Inventing Anna,” created by Shonda Rhimes and starring Julia Garner, and Apple TV+’s “WeCrashed,” starring Jared Leto and Anne Hathaway.  He is repped by Gersh and Lovett management. 

Parker will next appear in the limited series “The Staircase” for HBO Max, and in the feature “Disappointment Blvd” for A24. She currently stars in the hit Netflix series “Lost In Space” and is repped by Gersh.

Crews is the author of “Tough: My Journey to True Power” and has appeared in numerous series, including “Brooklyn Nine-Nine,” among others.  He is repped UTA, 3 Arts, Viewpoint, and Morris Yorn.

Liu will join Rachel Weisz as a series regular in the Amazon series “Dead Ringers,” a modern update of David Cronenberg’s cult classic 1980s film. A first-generation Chinese American, Liu can also be seen in the pivotal role of Kiki in the Emmy and SAG Award-nominated HBO Max series “Hacks,” opposite Jean Smart. She recently recurred on AMC’s Emmy-nominated “Better Call Saul” and starred opposite Kal Penn in the NBC comedy series “Sunnyside.”  Liu is repped by Buchwald, Framework Entertainment and Schreck Rose Dapello Adams Berlin & Dunham. 

Bell’s credits include “Brittany Runs a Marathon,” “Rough Night,” “Idiotsitter” and “Workaholics,” among others. She is repped by 3 Arts, UTA and Chad Christopher.’

There are a great many reasons to love the streaming service, Shudder. Because not only have they brought classic franchises back to life, such as The Last Drive In with Joe Bob Briggs and George Romero’s Creepshow (courtesy of Romero alum Greg Nicotero and superfan Craig Engler), but they continue to just load their library up with brilliant horror films. The kind that are filled to the brim with powerful commentary on our modern world or feature scares that reflect what happens outside. But above all else, what truly makes their selection worth our while, is that so many of their movies prey upon our primal fears.
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Because that’s what really engages horror fans and leaves them uncomfortable when the lights go out and it just so happens, that Shudder is about to be host to another ‘primal’ horror film. For earlier today, the network announced that Night’s End is coming to the service at the end of March, and this looks to be a film that is going to prey upon our fears of the night and of what awaits us in the afterlife and well… here are all the details on what will undoubtedly be, another perfect addition to the perfect horror streaming service, courtesy of Shudder.

‘Shudder, AMC Networks’ premium streaming service for horror, thriller and the supernatural announced today the release for Jennifer Reeder’s upcoming film Night’s End starring Geno Walker (South Side, Chicago Fire), Kate Arrington (Mare of Easttown, Ray Donovan), Felonious Munk (For Life, Block Party) and Michael Shannon (Knives Out, Nine Perfect Strangers). A Shudder Original Film, Night’s End is set for release in North America, Australia, New Zealand, the United Kingdom and Ireland on Thursday, March 31. 

“Jennifer Reeder is an exciting and bold filmmaker who was an integral part of V/H/S/94, Shudder’s most watched movie ever,” said Craig Engler, general manager of Shudder. “Night’s End is eerie but human, sharply written and sure to surprise our members this March.” 

Said Jennifer Reeder, “As a longtime Shudder fan, I am deeply honored to now be part of the Shudder fam! I've made two Shudder films this year, which feels like a dream (although both films play out more like nightmares). Throughout the process of making these films with Shudder, I have felt enormously supported and my creative vision protected and amplified. Shudder cares as much about filmmakers as they do about films which is a rare and coveted combination.”

In Night’s End, an anxious shut-in unwittingly moves into a haunted apartment and hires a mysterious stranger to perform an exorcism which takes a horrific turn. The film also stars Lawrence Grimm (Chicago Med), Daniel Kyri (Chicago Fire), Theo Germaine (The Politician) and Morgan Reesh (Blood Below the Skin). 

Written by Brett Nevue, Night’s End is an Original Shudder Production in association with Crow Island Films and Institutional Quality Production. The film is produced by Neal Edelstein, Nevue and David E. Tolchinsky and executive produced by Reeder and Shudder’s Emily Gotto.’ 

One unfortunate psychological act that a great deal of people take part in, is hiding their true selves from the masses and sometimes their inner circle. And what makes this so unfortunate, is that it never truly allows for people to get to know the concealer in question. For they are instead putting on a persona, one that projects an image they wish to convey, and it is one that never lasts. Because eventually, who they really are always bubbles to the surface and that can cause all kinds of trouble. For it can motivate the inner circle to potentially leave when they realize they’ve been lied to and manipulated. But what truly makes this quirk so extremely concerning… is that a great deal of sour people uses this tactic to hide their evil from the world and well, when the façade drops, or they are discovered for who they are… ugly acts tend to follow.
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Because now, their evil is unleashed and they have no qualms with showing everyone, how dark and twisted they can be and that can bring about pain and suffering for those who stick around in the hopes that the reveal is a fluke and well… the evil that eventually shines from those that try and hide it is and the ugliness that can come out of that reveal are of concern today, because that’s precisely what happened in the next episode of The Walking Dead. For after weeks of trying to contain his darkness and fool the world into thinking that he is in fact, a good leader and a great man… the curtain surrounding Philip ‘The Governor’ Blake fell away and revealed unto us just how evil this man can be, and how petty and twisted he is, and that made ‘Prey’… one terrifying tale.

Simply because, when presented with the reality that Andrea was going to expose his plans to torture Michonne and kill everyone at the Prison after she was delivered to him… he felt he had no choice but to really let loose to protect his empire. Which in turn brought forth the terror in question as he outright hunted Andrea through the countryside. Even going so far as to follow her into a warehouse filled with the dead, so he could use them and fear to flush her out and bring her back to Woodbury and this was simply… awful to watch. Because it really demonstrated the cruelty the Governor is capable of and how much anger and fury and desire for control is flowing through him and truly… he unleashed all of that here and in the end, this plot thread ends on quite the sour note. Since Andrea doesn’t get away and ends up surrounded by the other indicator of Philip’s evil potential… the torture room he set up for Michonne.

But while it was fascinating to see the Governor just…  let go and show us how scary it can be when someone unleashes the darkness within and how that can bring about grave trouble for their inner circle and others… not all hope was lost in this tale. Because this is an episode that saw a little pushback regarding the Governor’s desires for war. Since Tyreese stood his ground when he was asked to help round up walkers for the forthcoming battle at the prison, pointing out that this was too cruel a notion, even for this cruel world. Plus, Milton took things a step further by destroying the Governor’s inventory of walkers with fire, making it clear that Philip’s journey into darkness does come with a price. In that, not everyone is going to fall in line with such notions and will do the right thing, and that really did help to lighten the tone of a supremely dark and scary episode.

One that really did show us humanity at its lowest, in a painfully realistic and uncomfortable manner. Since there was an odd familiarity to Philip’s actions here. The kind that felt akin to the guy we hear about on the news that snapped and made everyone pay. The only difference here, is that he’s in charge and able to influence and do as he pleases. But all parallels aside, this really is one of the stronger episodes of season three. Since it harkens back to the theme that man is always the greater threat, while pointing out how easily evil can thrive in the absence of rules and well, now that we’ve reached a critical turning point in the Governor’s journey into darkness… the time has to come to turn our attention to an episode that genuinely ponders upon whether or not men like Philip, and humanity in general, can be saved when the modern world comes to a screeching halt and darkness reigns supreme. Until next time.