Example Output

• Why Is Hollywood Still So Obsessed With Nuns?
• 6 New Original Horror Movies Releasing This Friday Including the Return of Cronenberg!
• The Scariest Moments from M. Night Shyamalan Movies, Ranked
• ‘Stranger Things’ Season 4: The Series Paid Homage to Freddy Krueger With Victor Creel and Small Easter Eggs
• Don’t hang your head out of the window, 10 horror movies with scary, sad, and downer endings
• Maika Monroe Needs No Coaching in How to Be Scared
• Movie Monsters Through the Years: How Does Horror Reflect Historical Fears?
• ‘Dashcam’ review: MAGA, anti-vaxx rhetoric smother this found footage horror film
• Free Horror Games – Six of the Best That You Can Play Right Now!
• Podcaster Em Schulz Talks Favorite Paranormal Locations and New Book ‘A Haunted Road Atlas’ [DEAD Time]

Parsed Results (var_dump'ed)

object(MagpieRSS)#2 (23) {
  ["parser"]=>
  int(0)
  ["current_item"]=>
  array(0) {
  }
  ["items"]=>
  array(10) {
    [0]=>
    array(11) {
      ["title"]=>
      string(45) "Why Is Hollywood Still So Obsessed With Nuns?"
      ["link"]=>
      string(100) "https://latestmovs.packagingnewsonline.com/scream-away/why-is-hollywood-still-so-obsessed-with-nuns/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Fri, 03 Jun 2022 02:25:29 +0000"
      ["category"]=>
      string(32) "Scream AwayHollywoodNunsobsessed"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69756"
      ["description"]=>
      string(634) "Hollywood loves nuns. This isn’t so much a hypothesis as an increasingly clear observation. Since the film genre known as “nunsploitation” hit its peak in 1970s Europe, Hollywood cameras have remained fixated, though to varying degrees of success and within fluctuating waves of popularity, on the Catholic Church’s sacred sisterhood. As the number of people ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(16743) "

Hollywood loves nuns. This isn’t so much a hypothesis as an increasingly clear observation. Since the film genre known as “nunsploitation” hit its peak in 1970s Europe, Hollywood cameras have remained fixated, though to varying degrees of success and within fluctuating waves of popularity, on the Catholic Church’s sacred sisterhood. As the number of people identifying as Christian continues to decline  in the United States, the fascination with women of God—on film, anyway—remains an intriguing and controversial trend. (See: Benedetta’s headline-making debut at Cannes last year.) Even streaming services have hopped on the bandwagon in recent years: In 2020, Netflix earned a surprise hit with Warrior Nunwhile more recently Peacock greenlit the series Mrs. Davisstarring GLOW’s Betty Gilpin as a nun battling “an all-powerful Artificial Intelligence.”
So what is it about these holy warriors that inspires conflict (Doubt, Warrior Nuneven The Sound of Music), humor (The Singing Nun, Sister Act, The Little Hours), or, perhaps most often, fear (The Conjuring, The Devils, The Nun)? Why, in 2022, does Hollywood seem more transfixed than ever? 
Scholars would argue it’s because the seemingly paradoxical values of the Catholic sisterhood—power and piety, strength and femininity—are as urgent and confusing now as ever. The secrecy surrounding nuns’ lifestyle gives them allure; their choice to live in a world without men makes them different; their sacred connection lends them power. It’s a dangerous concoction in combination, especially in a woman, and especially in a society not always eager to interpret nuance. A woman making a choice over her own body and her own beliefs outside of any interference from men can easily be interpreted as a radical act of feminism—and nuns appear frequently in two genres of film often tied to social criticism and caricature: horror and comedy.
“On one hand, there’s a fascination with someone who would be so devoted to their God, to their religious understanding of God, that they would take these vows of chastity and poverty,” says S. Brent Rodriguez-Plate, a professor of religion and film at Hamilton College. On the other hand, “there’s a secret life; they’re cloistered behind walls. There’s a secrecy going on that always causes fascination.” Nuns are also instantly recognizable—everyone knows a habit when they see one—and subsequently easy to represent on the silver screen. This allows filmmakers to play with symbolism that might elude less identifiable protagonists. 






	Courtesy of NETFLIX


The first true spike in nun representation on film—known as the genre “nunsploitation”— launched in Europe in the late ’60s. The genre made a point of “pushing the limits of what these characters are,” Rodriguez-Plate says, by questioning, criticizing, warping, or otherwise “poking fun at” traditional religious power structures and doctrines. Many of the films rebelled against the religious or sexual control of the traditional Catholic Church; in Ken Russel’s 1971 film The Devilsfor instance, Vanessa Redgrave’s Sister Jeanne des Anges is sexually repressed and obsessed with Urbain Grandier, a priest, whom she accuses of bewitching her. In an attempt to exorcize this bewitchment, the sisterly convent remove their clothes together and enter a spiritually onset “frenzy.” 
The film sparked the kind of controversy repeated as recently as last year, when Paul Verhoeven’s modern nunsploitation film Benedetta premiered at the Cannes Film Festival. Set in 17th century Italy, the protagonist, Benedetta, is a nun who starts having religious—and, intriguingly, erotic—visions, while also developing a secretive sexual relationship with another nun. As a mystic, she has recurring visions of Jesus, which makes her respected and listened to by members of her convent and the Church. “She uses [this newfound power] for herself,” says Virginie Efira, who plays the titular character. “The film takes on a political dimension, simply in the idea that she embraces sexuality. It’s about a woman who is negotiating, who doesn’t leave sexuality as a territory reserved to men. It’s also her own domain.” (Case in point: In different moments throughout the film, Benedetta kisses the breast of a Virgin Mary statue; another, smaller statuette is carved into a dildo.)
Within that domain, Benedetta is also an advocate. She is “someone who fights for freedom of thought, which is very complicated in this convent,” Efira says. “I think that religion often has restricted women’s bodies and the question the film asks is, ‘Who does the female body belong to?’” In Benedettanunnery is shown as a means to emancipation, rather than oppression, for the main character. Whether her choices are moral or not, she’s in control of them, and she holds the Church accountable for its own hypocrisy. “She calls out religious institutions for their blasphemy, to say, ‘You think you have God on your side although you only care about money and vanity,’” Efira says.
The way in which Benedetta portrays the Church did not go unnoticed by religious groups. Last September, the premiere of Benedetta at the New York Film Festival was met with a crowd of Catholic protesters, reported Variety. The film was also banned by the government in Russia and with the support of the Russian Orthodox Church, according to the French weekly Courrier International. The conservative Catholic-run American Society for the Defense of Tradition, Family and Property called the film “blasphemous and pornographic.”



			



	Courtesy of IFC Films


“Anytime you take religious figures, figures that people hold to be sacred and important in their lives and you maybe twist it a little bit, maybe mock it a little bit, maybe turn it a little bit toward the dark side, people are going to respond,” Rodriguez-Plate says. The dramatic response to Benedetta merely echoes what came before: The Devils was subject to so much controversy that it had to be re-edited for release. (The original cut was made available to the public as late as 2017.) More recently, The Last Temptation of Christ (1988) by Martin Scorsese was so contentious that a fundamentalist Catholic group led a terror attack on a movie theater showing the film in Paris. 
Efira was unsure how Benedetta would be received by the public prior to its release. “The body and religion, sex and the Church, those are two things that usually don’t go well together,” she admits. But Efira stresses the importance of freedom of speech on both sides, as long as it remains nonviolent. 
“The idea of shocking just to be controversial does not interest me, but being faced with questions, seeing something that is surprising, unexpected, even something that can be repulsive but that you think about afterwards…That is something I find interesting,” she says. “For that, you need a story that comes from someone who is not asking themselves, ‘Will this please everyone so that it’s lucrative?’ nor, ‘Are we sure that morally, everyone will be okay with this?’ Because if they do, conversations cannot be started.”
The controversy surrounding fictional depictions of nuns has led some in Hollywood to attempt more nuanced, nonfiction portrayals. The 2021 documentary Rebel Hearts chronicled the Sisters of the Immaculate Heart of Mary’s fight for equality and freedom against a powerful cardinal in 1960s Los Angeles. In the film, the nuns are viewed through a different lens than that of nunsploitation, but with a no less powerful feminist message: They march for social justice, advocate for their own education and go against the Church’s hierarchy to fight for what is right.
“There’s always kind of been a mystique around [nuns] and there’s been a stereotype that these nuns with the rulers are slapping people and strict disciplinarians,” says Rebel Hearts producer Shawnee Isaac Smith. “In reality, the nuns have always kind of been the unsung heroes of social activism and civil rights. They’re the ones who have always worked behind the scenes for social causes and have really not gotten any of the accolades for it. But if you look back in history, you’ll see that they’ve always been social activists.”



	
“But if you look back in history, you’ll see that [nuns have] always been social activists.”


Smith adds, “Some of these nuns actually went into becoming nuns because of their desire to become educated; they had an opportunity to become who they were without the hindrance of the patriarchal society in general.” Through nunnery, women had the opportunity to become educated. Smith wanted to help tell their stories, which is often subject to stereotypes and misconceptions. “I just saw this as a real hero’s journey and something that could be inspirational for the people who watched it,” she says.
But with agency comes power, and power—especially in the hands of a woman—so frequently ignites fear. That explains why so many nuns in film, even decades after the peak of nunsploitation, receive the horror treatment: From The Conjuring franchise to more recent releases such as Agnes (2021), Bad Nun (2020), and the upcoming film The Devil’s Lightnuns have become commonplace horror figures, scary for their command over both the sacred and profane. And when Hollywood nuns haven’t been scary, they’ve been funny: It’s hard to imagine a woman in a habit without Whoopi Goldberg’s Deloris Van Cartier of Sister Act coming to mind.
Today, filmmakers and moviegoers alike are still fascinated by the idea of women in sacred and impenetrable positions of power. Increasingly, nuns are present in genres outside of comedy, horror and erotica; science fiction, fantasy, and action are capitalizing on the intrigue. Mrs. Davis and Warrior Nun season 2, expected sometime in 2022, in particular seem bent on restructuring the stereotype of a nun as aloof and impossible to understand. Still, when it comes to film, nuns seem always to be in constant opposition to the world that surrounds them, whether it’s Mrs. Davis’ technological advances or Warrior Nun’s patriarchal society. This conflict makes them threatening—and fascinating. 
These nuanced representations of nuns on screen are essential, Rodriguez-Plate says. “Films are not just about entertainment; they change how we see the world,” he says. “We think we’re just going in and floating away and escaping for two hours and then we come back and we’re the same person. But the fact is we’ve actually changed.”
    This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io


We  wish to  say thanks to the author of this  short article for this  incredible  material



Why Is Hollywood Still So Obsessed With Nuns?



"
      }
      ["summary"]=>
      string(634) "Hollywood loves nuns. This isn’t so much a hypothesis as an increasingly clear observation. Since the film genre known as “nunsploitation” hit its peak in 1970s Europe, Hollywood cameras have remained fixated, though to varying degrees of success and within fluctuating waves of popularity, on the Catholic Church’s sacred sisterhood. As the number of people ... Read more"
      ["atom_content"]=>
      string(16743) "

Hollywood loves nuns. This isn’t so much a hypothesis as an increasingly clear observation. Since the film genre known as “nunsploitation” hit its peak in 1970s Europe, Hollywood cameras have remained fixated, though to varying degrees of success and within fluctuating waves of popularity, on the Catholic Church’s sacred sisterhood. As the number of people identifying as Christian continues to decline  in the United States, the fascination with women of God—on film, anyway—remains an intriguing and controversial trend. (See: Benedetta’s headline-making debut at Cannes last year.) Even streaming services have hopped on the bandwagon in recent years: In 2020, Netflix earned a surprise hit with Warrior Nunwhile more recently Peacock greenlit the series Mrs. Davisstarring GLOW’s Betty Gilpin as a nun battling “an all-powerful Artificial Intelligence.”
So what is it about these holy warriors that inspires conflict (Doubt, Warrior Nuneven The Sound of Music), humor (The Singing Nun, Sister Act, The Little Hours), or, perhaps most often, fear (The Conjuring, The Devils, The Nun)? Why, in 2022, does Hollywood seem more transfixed than ever? 
Scholars would argue it’s because the seemingly paradoxical values of the Catholic sisterhood—power and piety, strength and femininity—are as urgent and confusing now as ever. The secrecy surrounding nuns’ lifestyle gives them allure; their choice to live in a world without men makes them different; their sacred connection lends them power. It’s a dangerous concoction in combination, especially in a woman, and especially in a society not always eager to interpret nuance. A woman making a choice over her own body and her own beliefs outside of any interference from men can easily be interpreted as a radical act of feminism—and nuns appear frequently in two genres of film often tied to social criticism and caricature: horror and comedy.
“On one hand, there’s a fascination with someone who would be so devoted to their God, to their religious understanding of God, that they would take these vows of chastity and poverty,” says S. Brent Rodriguez-Plate, a professor of religion and film at Hamilton College. On the other hand, “there’s a secret life; they’re cloistered behind walls. There’s a secrecy going on that always causes fascination.” Nuns are also instantly recognizable—everyone knows a habit when they see one—and subsequently easy to represent on the silver screen. This allows filmmakers to play with symbolism that might elude less identifiable protagonists. 






	Courtesy of NETFLIX


The first true spike in nun representation on film—known as the genre “nunsploitation”— launched in Europe in the late ’60s. The genre made a point of “pushing the limits of what these characters are,” Rodriguez-Plate says, by questioning, criticizing, warping, or otherwise “poking fun at” traditional religious power structures and doctrines. Many of the films rebelled against the religious or sexual control of the traditional Catholic Church; in Ken Russel’s 1971 film The Devilsfor instance, Vanessa Redgrave’s Sister Jeanne des Anges is sexually repressed and obsessed with Urbain Grandier, a priest, whom she accuses of bewitching her. In an attempt to exorcize this bewitchment, the sisterly convent remove their clothes together and enter a spiritually onset “frenzy.” 
The film sparked the kind of controversy repeated as recently as last year, when Paul Verhoeven’s modern nunsploitation film Benedetta premiered at the Cannes Film Festival. Set in 17th century Italy, the protagonist, Benedetta, is a nun who starts having religious—and, intriguingly, erotic—visions, while also developing a secretive sexual relationship with another nun. As a mystic, she has recurring visions of Jesus, which makes her respected and listened to by members of her convent and the Church. “She uses [this newfound power] for herself,” says Virginie Efira, who plays the titular character. “The film takes on a political dimension, simply in the idea that she embraces sexuality. It’s about a woman who is negotiating, who doesn’t leave sexuality as a territory reserved to men. It’s also her own domain.” (Case in point: In different moments throughout the film, Benedetta kisses the breast of a Virgin Mary statue; another, smaller statuette is carved into a dildo.)
Within that domain, Benedetta is also an advocate. She is “someone who fights for freedom of thought, which is very complicated in this convent,” Efira says. “I think that religion often has restricted women’s bodies and the question the film asks is, ‘Who does the female body belong to?’” In Benedettanunnery is shown as a means to emancipation, rather than oppression, for the main character. Whether her choices are moral or not, she’s in control of them, and she holds the Church accountable for its own hypocrisy. “She calls out religious institutions for their blasphemy, to say, ‘You think you have God on your side although you only care about money and vanity,’” Efira says.
The way in which Benedetta portrays the Church did not go unnoticed by religious groups. Last September, the premiere of Benedetta at the New York Film Festival was met with a crowd of Catholic protesters, reported Variety. The film was also banned by the government in Russia and with the support of the Russian Orthodox Church, according to the French weekly Courrier International. The conservative Catholic-run American Society for the Defense of Tradition, Family and Property called the film “blasphemous and pornographic.”



			



	Courtesy of IFC Films


“Anytime you take religious figures, figures that people hold to be sacred and important in their lives and you maybe twist it a little bit, maybe mock it a little bit, maybe turn it a little bit toward the dark side, people are going to respond,” Rodriguez-Plate says. The dramatic response to Benedetta merely echoes what came before: The Devils was subject to so much controversy that it had to be re-edited for release. (The original cut was made available to the public as late as 2017.) More recently, The Last Temptation of Christ (1988) by Martin Scorsese was so contentious that a fundamentalist Catholic group led a terror attack on a movie theater showing the film in Paris. 
Efira was unsure how Benedetta would be received by the public prior to its release. “The body and religion, sex and the Church, those are two things that usually don’t go well together,” she admits. But Efira stresses the importance of freedom of speech on both sides, as long as it remains nonviolent. 
“The idea of shocking just to be controversial does not interest me, but being faced with questions, seeing something that is surprising, unexpected, even something that can be repulsive but that you think about afterwards…That is something I find interesting,” she says. “For that, you need a story that comes from someone who is not asking themselves, ‘Will this please everyone so that it’s lucrative?’ nor, ‘Are we sure that morally, everyone will be okay with this?’ Because if they do, conversations cannot be started.”
The controversy surrounding fictional depictions of nuns has led some in Hollywood to attempt more nuanced, nonfiction portrayals. The 2021 documentary Rebel Hearts chronicled the Sisters of the Immaculate Heart of Mary’s fight for equality and freedom against a powerful cardinal in 1960s Los Angeles. In the film, the nuns are viewed through a different lens than that of nunsploitation, but with a no less powerful feminist message: They march for social justice, advocate for their own education and go against the Church’s hierarchy to fight for what is right.
“There’s always kind of been a mystique around [nuns] and there’s been a stereotype that these nuns with the rulers are slapping people and strict disciplinarians,” says Rebel Hearts producer Shawnee Isaac Smith. “In reality, the nuns have always kind of been the unsung heroes of social activism and civil rights. They’re the ones who have always worked behind the scenes for social causes and have really not gotten any of the accolades for it. But if you look back in history, you’ll see that they’ve always been social activists.”



	
“But if you look back in history, you’ll see that [nuns have] always been social activists.”


Smith adds, “Some of these nuns actually went into becoming nuns because of their desire to become educated; they had an opportunity to become who they were without the hindrance of the patriarchal society in general.” Through nunnery, women had the opportunity to become educated. Smith wanted to help tell their stories, which is often subject to stereotypes and misconceptions. “I just saw this as a real hero’s journey and something that could be inspirational for the people who watched it,” she says.
But with agency comes power, and power—especially in the hands of a woman—so frequently ignites fear. That explains why so many nuns in film, even decades after the peak of nunsploitation, receive the horror treatment: From The Conjuring franchise to more recent releases such as Agnes (2021), Bad Nun (2020), and the upcoming film The Devil’s Lightnuns have become commonplace horror figures, scary for their command over both the sacred and profane. And when Hollywood nuns haven’t been scary, they’ve been funny: It’s hard to imagine a woman in a habit without Whoopi Goldberg’s Deloris Van Cartier of Sister Act coming to mind.
Today, filmmakers and moviegoers alike are still fascinated by the idea of women in sacred and impenetrable positions of power. Increasingly, nuns are present in genres outside of comedy, horror and erotica; science fiction, fantasy, and action are capitalizing on the intrigue. Mrs. Davis and Warrior Nun season 2, expected sometime in 2022, in particular seem bent on restructuring the stereotype of a nun as aloof and impossible to understand. Still, when it comes to film, nuns seem always to be in constant opposition to the world that surrounds them, whether it’s Mrs. Davis’ technological advances or Warrior Nun’s patriarchal society. This conflict makes them threatening—and fascinating. 
These nuanced representations of nuns on screen are essential, Rodriguez-Plate says. “Films are not just about entertainment; they change how we see the world,” he says. “We think we’re just going in and floating away and escaping for two hours and then we come back and we’re the same person. But the fact is we’ve actually changed.”
    This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io


We  wish to  say thanks to the author of this  short article for this  incredible  material



Why Is Hollywood Still So Obsessed With Nuns?



"
      ["date_timestamp"]=>
      int(1654223129)
    }
    [1]=>
    array(11) {
      ["title"]=>
      string(86) "6 New Original Horror Movies Releasing This Friday Including the Return of Cronenberg!"
      ["link"]=>
      string(141) "https://latestmovs.packagingnewsonline.com/scream-away/6-new-original-horror-movies-releasing-this-friday-including-the-return-of-cronenberg/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Fri, 03 Jun 2022 01:03:40 +0000"
      ["category"]=>
      string(71) "Scream AwayCronenbergFridayHorrorIncludingMoviesOriginalReleasingreturn"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69683"
      ["description"]=>
      string(724) "This month, we’ll experience the epic conclusion to the Jurassic era as two generations unite for the first time in Jurassic World Dominionstomping into theaters on June 10, 2022. A massive image gallery is now open for business, packed with shots both brand new and previously seen. Of particular note, we’ve got some new behind ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(128665) "

This month, we’ll experience the epic conclusion to the Jurassic era as two generations unite for the first time in Jurassic World Dominionstomping into theaters on June 10, 2022.
A massive image gallery is now open for business, packed with shots both brand new and previously seen. Of particular note, we’ve got some new behind the scenes photos in this latest batch, a few of which show off the practical dinosaurs featured in the movie.
Elsewhere, dinosaur mayhem is unleashed including an Allosaurus taking over the streets and a Quetzalcoatlus attacking a plane. There’s also an intriguing shot of a Baryonyx fight club…
Chris Pratt and Bryce Dallas Howard are joined by Oscar®-winner Laura Dern, Jeff Goldblum and Sam Neill in Jurassic World Dominionbeing billed as “a bold, timely and breathtaking new adventure that spans the globe.”
From Jurassic World architect and director Colin Trevorrow, Dominion takes place four years after Isla Nublar has been destroyed. Dinosaurs now live—and hunt—alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures.
Jurassic World Dominionfrom Universal Pictures and Amblin Entertainment, propels the more than $5 billion franchise into daring, uncharted territory, featuring never-seen dinosaurs, breakneck action and astonishing new visual effects. The film features new cast members DeWanda Wise (She’s Gotta Have It), Emmy nominee Mamoudou Athie (Archive 81), Den Lachman (Agents of S.H.I.E.L.D.), Scott Haze (Minari) and Campbell Scott (The Amazing Spider-Man 2).

The film’s returning cast includes BD Wong as Dr. Henry Wu, Justice Smith as Franklin Webb, Daniella Pineda as Dr. Zia Rodriguez and Omar Sy as Barry Sembenè. 


Owen Grady (Chris Pratt) and a Parasaurolophus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Owen Grady (Chris Pratt) and an Atrociraptor in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Chris Pratt on the set of Jurassic World Dominion.


(from left) Chris Pratt and director Colin Trevorrow on the set of Jurassic World Dominion.


DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Director Colin Trevorrow on the set of Jurassic World Dominion.


DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Ian Malcolm (Jeff Goldblum), Ramsay Cole (Mamoudou Athie) and Lewis Dodgson (Campbell Scott) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Chris Pratt, Omar Sy and director Colin Trevorrow on the set of Jurassic World Dominion.


Mamoudou Athie as Ramsay Cole in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Alan Grant (Sam Neill), Maisie Lockwood (Isabella Sermon) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Dr. Ian Malcolm (Jeff Goldblum) and screenwriter Emily Carmichael in a cameo (left of Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


BD Wong as Dr. Henry Wu in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Claire Dearing (Bryce Dallas Howard), Dr. Ian Malcolm (Jeff Goldblum), Dr. Ellie Sattler (Laura Dern), Dr. Alan Grant (Sam Neill) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Ian Malcolm (Jeff Goldblum), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Claire Dearing (Bryce Dallas Howard), Owen Grady (Chris Pratt), Maisie Lockwood (Isabella Sermon) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Kayla Watts (DeWanda Wise), Dr. Ellie Sattler (Laura Dern) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Director Colin Trevorrow on the set of Jurassic World Dominion.


(from left) Zia Rodriguez (Daniella Pineda) and Franklin Webb (Justice Smith) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A baby Gigantosaurus a top of a Moros Intrepedius in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A T.rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A Mosasaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A pair of Parasaurolophus and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Velociraptors Beta and Blue in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A baby Nasutoceratops, Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A Dreadnoughtus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A pair of Baryonyx in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Dichen Lachman as Soyona Santos in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Owen Grady (Chris Pratt) and Barry Sembène (Omar Sy) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


An Atrociraptor and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) An Allosaurus, Owen Grady (Chris Pratt) and a Carnotaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Chris Pratt as Owen Grady in JURASSIC WORLD DOMINION


(from left) Owen Grady (Chris Pratt), Claire Dearing (Bryce Dallas Howard) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A Quetzalcoatlus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Kayla Watts (DeWanda Wise) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A Pyroraptor, Kayla Watts (DeWanda Wise) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Alan Grant (Sam Neill) and Dr. Ellie Sattler (Laura Dern) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A Giganotosaurus and a T.rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Sam Neill as Dr. Alan Grant in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A Giganotosaurus, Claire Dearing (Bryce Dallas Howard), Maisie Lockwood (Isabella Sermon), Dr. Ellie Sattler (Laura Dern), Kayla Watts (DeWanda Wise), Dr. Alan Grant (Sam Neill), Owen Grady (Chris Pratt) and Dr. Ian Malcolm (Jeff Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Isabella Sermon as Maisie Lockwood in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


from left) Kayla Watts (DeWanda Wise), Maisie Lockwood (Isabella Sermon), Claire Dearing (Bryce Dallas Howard), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Owen Grady (Chris Pratt) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

We  would love to  say thanks to the author of this  write-up for this  amazing  material



6 New Original Horror Movies Releasing This Friday Including the Return of Cronenberg!



"
      }
      ["summary"]=>
      string(724) "This month, we’ll experience the epic conclusion to the Jurassic era as two generations unite for the first time in Jurassic World Dominionstomping into theaters on June 10, 2022. A massive image gallery is now open for business, packed with shots both brand new and previously seen. Of particular note, we’ve got some new behind ... Read more"
      ["atom_content"]=>
      string(128665) "

This month, we’ll experience the epic conclusion to the Jurassic era as two generations unite for the first time in Jurassic World Dominionstomping into theaters on June 10, 2022.
A massive image gallery is now open for business, packed with shots both brand new and previously seen. Of particular note, we’ve got some new behind the scenes photos in this latest batch, a few of which show off the practical dinosaurs featured in the movie.
Elsewhere, dinosaur mayhem is unleashed including an Allosaurus taking over the streets and a Quetzalcoatlus attacking a plane. There’s also an intriguing shot of a Baryonyx fight club…
Chris Pratt and Bryce Dallas Howard are joined by Oscar®-winner Laura Dern, Jeff Goldblum and Sam Neill in Jurassic World Dominionbeing billed as “a bold, timely and breathtaking new adventure that spans the globe.”
From Jurassic World architect and director Colin Trevorrow, Dominion takes place four years after Isla Nublar has been destroyed. Dinosaurs now live—and hunt—alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures.
Jurassic World Dominionfrom Universal Pictures and Amblin Entertainment, propels the more than $5 billion franchise into daring, uncharted territory, featuring never-seen dinosaurs, breakneck action and astonishing new visual effects. The film features new cast members DeWanda Wise (She’s Gotta Have It), Emmy nominee Mamoudou Athie (Archive 81), Den Lachman (Agents of S.H.I.E.L.D.), Scott Haze (Minari) and Campbell Scott (The Amazing Spider-Man 2).

The film’s returning cast includes BD Wong as Dr. Henry Wu, Justice Smith as Franklin Webb, Daniella Pineda as Dr. Zia Rodriguez and Omar Sy as Barry Sembenè. 


Owen Grady (Chris Pratt) and a Parasaurolophus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Owen Grady (Chris Pratt) and an Atrociraptor in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Chris Pratt on the set of Jurassic World Dominion.


(from left) Chris Pratt and director Colin Trevorrow on the set of Jurassic World Dominion.


DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Director Colin Trevorrow on the set of Jurassic World Dominion.


DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Ian Malcolm (Jeff Goldblum), Ramsay Cole (Mamoudou Athie) and Lewis Dodgson (Campbell Scott) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Chris Pratt, Omar Sy and director Colin Trevorrow on the set of Jurassic World Dominion.


Mamoudou Athie as Ramsay Cole in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Alan Grant (Sam Neill), Maisie Lockwood (Isabella Sermon) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Dr. Ian Malcolm (Jeff Goldblum) and screenwriter Emily Carmichael in a cameo (left of Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


BD Wong as Dr. Henry Wu in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Claire Dearing (Bryce Dallas Howard), Dr. Ian Malcolm (Jeff Goldblum), Dr. Ellie Sattler (Laura Dern), Dr. Alan Grant (Sam Neill) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Ian Malcolm (Jeff Goldblum), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Claire Dearing (Bryce Dallas Howard), Owen Grady (Chris Pratt), Maisie Lockwood (Isabella Sermon) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Kayla Watts (DeWanda Wise), Dr. Ellie Sattler (Laura Dern) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Director Colin Trevorrow on the set of Jurassic World Dominion.


(from left) Zia Rodriguez (Daniella Pineda) and Franklin Webb (Justice Smith) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A baby Gigantosaurus a top of a Moros Intrepedius in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A T.rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A Mosasaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A pair of Parasaurolophus and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Velociraptors Beta and Blue in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A baby Nasutoceratops, Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A Dreadnoughtus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A pair of Baryonyx in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Dichen Lachman as Soyona Santos in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Owen Grady (Chris Pratt) and Barry Sembène (Omar Sy) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


An Atrociraptor and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) An Allosaurus, Owen Grady (Chris Pratt) and a Carnotaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Chris Pratt as Owen Grady in JURASSIC WORLD DOMINION


(from left) Owen Grady (Chris Pratt), Claire Dearing (Bryce Dallas Howard) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


A Quetzalcoatlus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Kayla Watts (DeWanda Wise) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A Pyroraptor, Kayla Watts (DeWanda Wise) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) Dr. Alan Grant (Sam Neill) and Dr. Ellie Sattler (Laura Dern) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A Giganotosaurus and a T.rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Sam Neill as Dr. Alan Grant in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


(from left) A Giganotosaurus, Claire Dearing (Bryce Dallas Howard), Maisie Lockwood (Isabella Sermon), Dr. Ellie Sattler (Laura Dern), Kayla Watts (DeWanda Wise), Dr. Alan Grant (Sam Neill), Owen Grady (Chris Pratt) and Dr. Ian Malcolm (Jeff Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


Isabella Sermon as Maisie Lockwood in Jurassic World Dominion, co-written and directed by Colin Trevorrow.


from left) Kayla Watts (DeWanda Wise), Maisie Lockwood (Isabella Sermon), Claire Dearing (Bryce Dallas Howard), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Owen Grady (Chris Pratt) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

We  would love to  say thanks to the author of this  write-up for this  amazing  material



6 New Original Horror Movies Releasing This Friday Including the Return of Cronenberg!



"
      ["date_timestamp"]=>
      int(1654218220)
    }
    [2]=>
    array(11) {
      ["title"]=>
      string(59) "The Scariest Moments from M. Night Shyamalan Movies, Ranked"
      ["link"]=>
      string(113) "https://latestmovs.packagingnewsonline.com/scream-away/the-scariest-moments-from-m-night-shyamalan-movies-ranked/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 23:42:04 +0000"
      ["category"]=>
      string(52) "Scream AwaymomentsMoviesNightRankedScariestShyamalan"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69673"
      ["description"]=>
      string(635) "Director M. Night Shyamalan has had a tumultuous career as a director. He started off strong with films such as Praying For Anger and Wide Awakebringing him spotlight attention as a director. Then, in a roughly five-year span, he released some of the most critically-acclaimed films of the past two decades in The Sixth Sense, ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(13783) "

Director M. Night Shyamalan has had a tumultuous career as a director. He started off strong with films such as Praying For Anger and Wide Awakebringing him spotlight attention as a director. Then, in a roughly five-year span, he released some of the most critically-acclaimed films of the past two decades in The Sixth Sense, Unbreakableand Signs; which garnered him accolades and Oscar nominations, such as Best Director and Best Screenplay. In the same decade, in a rough eight-year stretch, Shyamalan had some films that were the exact opposite of critically acclaimed, with Avatar: The Last Airbender, Lady in the Water, and After Earth all bombing at the box office, and nearly costing him his directorial career.





In 2015, the auteur of horror rose back to popular heightswith the films The Visit, and Splitboth regaining Shyamalan the success he had early on in his career. Horror seems to be the genre Shyamalan excels in most, with Sixth Sense, Signs,Splitand his latest film, Old ,all being some of his best, and most terrifying works. Here are the scariest moments from M. Night Shyamalan’s movies, ranked.
Related: M. Night Shyamalan Films, Ranked.




MOVIEWEB VIDEO OF THE DAY






 4  The Suicide Woman – The Sixth Sense (1999)




The co-lead alongside Bruce Willis, Cole is the young boy who chaperones along with Willis in Shyamalan’s all-time classic, The Sixth Sense. A boy who can see dead people is a MacGuffin that allows for some truly terrifying filmmaking. In one of the most disturbing ones of The Sixth SenseCole encounters a woman in his kitchen in the middle of the night, who he thinks she is his mother, but turns out, is just a woman who has committed suicide. A theme too dark for a kid to deal with, Cole suffers an emotional breakdown after the terrifying scene with the suicide woman.



 3  The Beast is Unleashed – Split (2016)




In 2016, M. Night Shyamalan introduced audiences to Kevin Wendell Crumb, a man with more than twenty-four different personalities (from his dissociative identity disorder). Those other personalities take over, kidnapping three teenage girls in order to release the twenty-fourth personality known as “The Beast”, whose goal is to rid the world of the impure. Over the course of Splitthe legend and suspense of the Beast is built up by the differentiating personalities holding the girls captive. In the final act (already adding to an incredible performance by James McAvoy), the Beast is unleashed.
Kevin Crumb’s eyes go psychotic, veins begin to pop out and appear as his muscles tighten, and his sharp teeth are bared, revealing the hidden monster of the film. The suspense and the acting of the transformation and the release (along with the death of the therapist) is incredibly well done, creating one of the most disturbingly scary scenes in recent Shyamalan films.



 2  The Invasion – The Village (2004)




One of the lessons taught to many screenwriters in their attempts to write horror, is to hold off showing the monster/terror; instead, building the suspense of the creatures’ arrival through cinematography, audio, and other means. That’s what M. Night Shyamalan excels at in his 2004 film, The Village. Through clever camera work, keeping the horrific creatures in the shadows, and not allowing audiences to get a good look at them; to the growls of the creatures, mixed and made through audio production, all allow for the audience to build that fear of the creatures without seeing them. When they finally invade the village, the suspense and build-up pays off.
Related: M. Night Shyamalan’s “Old”, Review.

 1  The Birthday Scene – Signs (2002)




A prime example of what Shyamalan can do through cinematography, sound, and other cinematic tricks, the reveal of the invading aliens in Signs  is one of the best creature reveals in recent history. After many hints, and Shyamalan holding off on showing us the aliens, the reveal of the creatures during the birthday party scene is amazing. With a grainy video (found footage style), the alien reveal is a well-crafted and well-earned jump scare. Though brought down by utter weakness against water, the suspense and tension that builds as the alien creature makes its first appearance from behind the bush is truly and utterly terrifying, especially when Joaquin Phoenix’s character re-watches the video. The scene taking place during daylight makes it a much more unexpected and unsettling feeling of fear.

As said above, director M. Night Shyamalan has many fantastic and classic horror movies in his filmography. From TheSixth Sense  to Splithe manages to create (through clever camera work, audio work, and more) some of the most terrifying scenarios and situations to deal with in horror. Though there are many more moments of fear, the four moments listed above are considered to be the scariest scenes he has created.

We  want to  give thanks to the author of this article for this awesome  web content



The Scariest Moments from M. Night Shyamalan Movies, Ranked



"
      }
      ["summary"]=>
      string(635) "Director M. Night Shyamalan has had a tumultuous career as a director. He started off strong with films such as Praying For Anger and Wide Awakebringing him spotlight attention as a director. Then, in a roughly five-year span, he released some of the most critically-acclaimed films of the past two decades in The Sixth Sense, ... Read more"
      ["atom_content"]=>
      string(13783) "

Director M. Night Shyamalan has had a tumultuous career as a director. He started off strong with films such as Praying For Anger and Wide Awakebringing him spotlight attention as a director. Then, in a roughly five-year span, he released some of the most critically-acclaimed films of the past two decades in The Sixth Sense, Unbreakableand Signs; which garnered him accolades and Oscar nominations, such as Best Director and Best Screenplay. In the same decade, in a rough eight-year stretch, Shyamalan had some films that were the exact opposite of critically acclaimed, with Avatar: The Last Airbender, Lady in the Water, and After Earth all bombing at the box office, and nearly costing him his directorial career.





In 2015, the auteur of horror rose back to popular heightswith the films The Visit, and Splitboth regaining Shyamalan the success he had early on in his career. Horror seems to be the genre Shyamalan excels in most, with Sixth Sense, Signs,Splitand his latest film, Old ,all being some of his best, and most terrifying works. Here are the scariest moments from M. Night Shyamalan’s movies, ranked.
Related: M. Night Shyamalan Films, Ranked.




MOVIEWEB VIDEO OF THE DAY






 4  The Suicide Woman – The Sixth Sense (1999)




The co-lead alongside Bruce Willis, Cole is the young boy who chaperones along with Willis in Shyamalan’s all-time classic, The Sixth Sense. A boy who can see dead people is a MacGuffin that allows for some truly terrifying filmmaking. In one of the most disturbing ones of The Sixth SenseCole encounters a woman in his kitchen in the middle of the night, who he thinks she is his mother, but turns out, is just a woman who has committed suicide. A theme too dark for a kid to deal with, Cole suffers an emotional breakdown after the terrifying scene with the suicide woman.



 3  The Beast is Unleashed – Split (2016)




In 2016, M. Night Shyamalan introduced audiences to Kevin Wendell Crumb, a man with more than twenty-four different personalities (from his dissociative identity disorder). Those other personalities take over, kidnapping three teenage girls in order to release the twenty-fourth personality known as “The Beast”, whose goal is to rid the world of the impure. Over the course of Splitthe legend and suspense of the Beast is built up by the differentiating personalities holding the girls captive. In the final act (already adding to an incredible performance by James McAvoy), the Beast is unleashed.
Kevin Crumb’s eyes go psychotic, veins begin to pop out and appear as his muscles tighten, and his sharp teeth are bared, revealing the hidden monster of the film. The suspense and the acting of the transformation and the release (along with the death of the therapist) is incredibly well done, creating one of the most disturbingly scary scenes in recent Shyamalan films.



 2  The Invasion – The Village (2004)




One of the lessons taught to many screenwriters in their attempts to write horror, is to hold off showing the monster/terror; instead, building the suspense of the creatures’ arrival through cinematography, audio, and other means. That’s what M. Night Shyamalan excels at in his 2004 film, The Village. Through clever camera work, keeping the horrific creatures in the shadows, and not allowing audiences to get a good look at them; to the growls of the creatures, mixed and made through audio production, all allow for the audience to build that fear of the creatures without seeing them. When they finally invade the village, the suspense and build-up pays off.
Related: M. Night Shyamalan’s “Old”, Review.

 1  The Birthday Scene – Signs (2002)




A prime example of what Shyamalan can do through cinematography, sound, and other cinematic tricks, the reveal of the invading aliens in Signs  is one of the best creature reveals in recent history. After many hints, and Shyamalan holding off on showing us the aliens, the reveal of the creatures during the birthday party scene is amazing. With a grainy video (found footage style), the alien reveal is a well-crafted and well-earned jump scare. Though brought down by utter weakness against water, the suspense and tension that builds as the alien creature makes its first appearance from behind the bush is truly and utterly terrifying, especially when Joaquin Phoenix’s character re-watches the video. The scene taking place during daylight makes it a much more unexpected and unsettling feeling of fear.

As said above, director M. Night Shyamalan has many fantastic and classic horror movies in his filmography. From TheSixth Sense  to Splithe manages to create (through clever camera work, audio work, and more) some of the most terrifying scenarios and situations to deal with in horror. Though there are many more moments of fear, the four moments listed above are considered to be the scariest scenes he has created.

We  want to  give thanks to the author of this article for this awesome  web content



The Scariest Moments from M. Night Shyamalan Movies, Ranked



"
      ["date_timestamp"]=>
      int(1654213324)
    }
    [3]=>
    array(11) {
      ["title"]=>
      string(112) "‘Stranger Things’ Season 4: The Series Paid Homage to Freddy Krueger With Victor Creel and Small Easter Eggs"
      ["link"]=>
      string(161) "https://latestmovs.packagingnewsonline.com/scream-away/stranger-things-season-4-the-series-paid-homage-to-freddy-krueger-with-victor-creel-and-small-easter-eggs/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 22:19:55 +0000"
      ["category"]=>
      string(75) "Scream AwayCreelEasterEggsFreddyhomageKruegerPaidseasonseriesStrangerVictor"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69651"
      ["description"]=>
      string(809) "Besides Dungeons & Dragons, Stranger Things Season 4 ties in some of the horror genre’s most infamous villains that have haunted children’s dreams for years. The new season used the Nightmare on Elm Street icon Freddy Krueger as an inspiration for the evil villain Vecna. That is not all, as Stranger Things Season 4 gave ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(7915) "

Besides Dungeons & Dragons, Stranger Things Season 4 ties in some of the horror genre’s most infamous villains that have haunted children’s dreams for years. The new season used the Nightmare on Elm Street icon Freddy Krueger as an inspiration for the evil villain Vecna. That is not all, as Stranger Things Season 4 gave fans the biggest Freddy Krueger Easter egg and ties to famous horror franchises. 
[WARNING: This article contains spoilers for Stranger Things 4 Volume I]


We  want to thank the  writer of this  post for this  amazing  material



‘Stranger Things’ Season 4: The Series Paid Homage to Freddy Krueger With Victor Creel and Small Easter Eggs



"
      }
      ["summary"]=>
      string(809) "Besides Dungeons & Dragons, Stranger Things Season 4 ties in some of the horror genre’s most infamous villains that have haunted children’s dreams for years. The new season used the Nightmare on Elm Street icon Freddy Krueger as an inspiration for the evil villain Vecna. That is not all, as Stranger Things Season 4 gave ... Read more"
      ["atom_content"]=>
      string(7915) "

Besides Dungeons & Dragons, Stranger Things Season 4 ties in some of the horror genre’s most infamous villains that have haunted children’s dreams for years. The new season used the Nightmare on Elm Street icon Freddy Krueger as an inspiration for the evil villain Vecna. That is not all, as Stranger Things Season 4 gave fans the biggest Freddy Krueger Easter egg and ties to famous horror franchises. 
[WARNING: This article contains spoilers for Stranger Things 4 Volume I]


We  want to thank the  writer of this  post for this  amazing  material



‘Stranger Things’ Season 4: The Series Paid Homage to Freddy Krueger With Victor Creel and Small Easter Eggs



"
      ["date_timestamp"]=>
      int(1654208395)
    }
    [4]=>
    array(11) {
      ["title"]=>
      string(94) "Don’t hang your head out of the window, 10 horror movies with scary, sad, and downer endings"
      ["link"]=>
      string(144) "https://latestmovs.packagingnewsonline.com/scream-away/dont-hang-your-head-out-of-the-window-10-horror-movies-with-scary-sad-and-downer-endings/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 20:56:33 +0000"
      ["category"]=>
      string(54) "Scream AwaydownerEndingshangHorrorMoviesSadScaryWindow"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69595"
      ["description"]=>
      string(766) "Screengrab via YouTube Unlike distinctive genres — such as comedy and drama — whose movies include vibrant endings and happy-go-lucky directions for its characters, horror movies are much less lenient when it comes to providing a happy ending. Rather, many horror movies rely on a somber and downer ending to encapsulate the overall terror felt ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(13118) "



Screengrab via YouTube 


Unlike distinctive genres — such as comedy and drama — whose movies include vibrant endings and happy-go-lucky directions for its characters, horror movies are much less lenient when it comes to providing a happy ending. Rather, many horror movies rely on a somber and downer ending to encapsulate the overall terror felt throughout the cinematic experience. In simpler terms, directors, writers, and producers within the horror genre have a better understanding of what will enrage an audience, or how to make an audience upset or cry because of a particular ending.
The truth is, horror movies are not supposed to have happy endings. The whole point of a horror movie is to experience sheer terror and understand that it cannot always be sunshine and rainbows for the characters involved. While some horror movies still rely on a happy ending, others prefer a sad and downer ending that evokes disturbance. 
Drag Me to Hell (2009)

  

Sam Raimi is currently riding the wave of success from Doctor Strange 2but before the superhero blockbuster, Raimi highlighted his horror roots with Drag Me to Hell back in 2009. While the supernatural horror focuses on themes of voodoo, possession, and demonic abilities, there’s plenty of dark comedy hidden between the cracks. And while the comedic relief shines when it needs to, the movie features a bleak ending where main character Christine Brown realizes that the ominous curse placed upon her has failed to be reversed.
Sinister (2012)

  

Released back in 2012, Sinister remains one of the scariest movies in modern cinematic horror with one of the most unsettling endings. Throughout the film, Ethan Hawke’s novelist character Ellison Oswalt is haunted by the terrifying past of his house and a series of homemade videos that showcase children killing their families. In the film’s third act, Oswalt realizes that it is Bughuul — an ancient demonic presence — who is persuading the children into committing these horrible crimes, which includes Oswalt’s own daughter. In the end, Bughuul succeeds, and Ellison’s daughter Ashley murders the entire family.
Jeepers Creepers (2001)

  

Jeepers Creeperswhere’d you get that sad ending? The infamous horror movie follows Darry and Trish Jenner, a brother and sister duo who encounter the Creeper, an ancient demonic creature who feasts on humans for 23 days every 23 years. Amid the chaos, the film features one of the most disturbing endings, with Darry sacrificing himself for his sister and being carried off into the night sky with the Creeper, who uses his wings to escape with Darry. The movie ends with the audience learning that the Creeper has killed Darry and removed his eyes, resulting in the death of one of the best characters in horror.
Us (2019)

  

Jordan Peele has cemented his legacy as one of the best filmmakers in the modern horror genre. After the tremendous success of Get OutPeele’s follow-up film Us captured audiences with its surprise ending. The movie follows a group of doppelgangers that seek to take over the world and make a place for themselves. The conclusion to Us is perhaps one of the most unsettling moments in horror, where the believed main character Adelaide is revealed to actually be a doppelganger that killed the actual human version of herself.
Insidious (2010)

  

James Wan is one of the most prominent filmmakers in the horror genre, and Insidious remains at the top of the list in terms of his best movies. The film follows Dalton Lambert, a young boy who has the ability to astral project and winds up stuck in an otherworldly dimension called the Further. When the Lambert family enlist the help of paranormal psychic Elise Rainier, she helps Dalton’s father Josh rediscover his ability to astral project — which requires Josh to rescue Dalton from the Further. In the movie’s closing minutes, Josh — who is possessed by a dark spirit — returns from the Further and murders Elise, much to the shock of viewers everywhere.
Pet Sematary (1989)

  

The original Pet Sematary remains one of Stephen King’s best film adaptations, and features one of the darkest endings in cinematic horror history. The film revolves around the Creed family who, after they move into a house with a disturbing pet cemetery nearby, experience supernatural occurrences that cause more harm than good. When the Creeds’ youngest son Gabe gets hit by a truck and dies, his father Louis buries him in the “sematary” in hopes of bringing him back to life. Unfortunately, Louis also tries this method with his wife Rachel, but realizes that those that come back to life are zombie-like and dangerous.
Would You Rather (2012)

  

David Guy Levy’s psychological horror/thriller Would You Rather shocked viewers with its unexpected twist ending. The film stars Brittany Snow as Iris, a woman who unknowingly enters a parlor game in order to win the money and resources for her brother Raleigh’s cancer treatment. Iris eventually finds herself stuck in a warped game of “would you rather,” where the contestants must choose one of two options – though their choice could be deadly. In the end, Iris suffers unfathomable trauma and wins the game, only to return home to discover Raleigh has killed himself.
Hereditary (2018)

  

Ari Aster’s Hereditary terrified audiences back in 2018 with its bizarre, macabre, and heart-stopping scenarios. In the film, artist Annie Graham is grieving over the death of her estranged mother Ellen. As the movie progresses, Annie and the rest of the family discover the truth about Ellen’s involvement in a pagan coven that hopes to resurrect an ancient pagan deity – who seeks to inhabit Annie’s teenage son Peter. The entire movie features bleak moments that make our jaws drop – including the death of Annie’s daughter Charlie. However, the ending is the final nail in the downer coffin, where Peter dies and the demonic creature Paimon takes over his body.
The Strangers (2008)

  

The most terrifying part about The Strangers isn’t just that its plot could actually take place in real life — and it is loosely based on actual events — but that its ending is enough to raise the goosebumps on your arm. Throughout the film, a couple are stalked by a trio of merciless masked strangers that attempt to play vicious mind games. In the film’s closing moments, the trio finally invade the couple’s secluded cabin, in which they ask the “strangers” why they’re committing these crimes. One of the strangers simply responds by saying, “Because you were home.” It’s one of the most bone-chilling endings that kept viewers on the edge of their seats.
Rosemary’s Baby (1968)

  

Rosemary’s Baby is easily one of the most classic movies in cinematic horror, and with such a memorable ending, it’s certainly not difficult to understand why. Mia Farrow portrays Rosemary who, after she moves into a new apartment with her husband, becomes pregnant and fears that her neighbors have sinister intentions. In the movie’s spine-tingling final act, Rosemary discovers that she has given birth to the spawn of Satan, after having been drugged and assaulted at the request of her neighbors — who are revealed to be members of a Satanic cult.

We would like to  give thanks to the author of this  write-up for this  outstanding  web content



Don’t hang your head out of the window, 10 horror movies with scary, sad, and downer endings



"
      }
      ["summary"]=>
      string(766) "Screengrab via YouTube Unlike distinctive genres — such as comedy and drama — whose movies include vibrant endings and happy-go-lucky directions for its characters, horror movies are much less lenient when it comes to providing a happy ending. Rather, many horror movies rely on a somber and downer ending to encapsulate the overall terror felt ... Read more"
      ["atom_content"]=>
      string(13118) "



Screengrab via YouTube 


Unlike distinctive genres — such as comedy and drama — whose movies include vibrant endings and happy-go-lucky directions for its characters, horror movies are much less lenient when it comes to providing a happy ending. Rather, many horror movies rely on a somber and downer ending to encapsulate the overall terror felt throughout the cinematic experience. In simpler terms, directors, writers, and producers within the horror genre have a better understanding of what will enrage an audience, or how to make an audience upset or cry because of a particular ending.
The truth is, horror movies are not supposed to have happy endings. The whole point of a horror movie is to experience sheer terror and understand that it cannot always be sunshine and rainbows for the characters involved. While some horror movies still rely on a happy ending, others prefer a sad and downer ending that evokes disturbance. 
Drag Me to Hell (2009)

  

Sam Raimi is currently riding the wave of success from Doctor Strange 2but before the superhero blockbuster, Raimi highlighted his horror roots with Drag Me to Hell back in 2009. While the supernatural horror focuses on themes of voodoo, possession, and demonic abilities, there’s plenty of dark comedy hidden between the cracks. And while the comedic relief shines when it needs to, the movie features a bleak ending where main character Christine Brown realizes that the ominous curse placed upon her has failed to be reversed.
Sinister (2012)

  

Released back in 2012, Sinister remains one of the scariest movies in modern cinematic horror with one of the most unsettling endings. Throughout the film, Ethan Hawke’s novelist character Ellison Oswalt is haunted by the terrifying past of his house and a series of homemade videos that showcase children killing their families. In the film’s third act, Oswalt realizes that it is Bughuul — an ancient demonic presence — who is persuading the children into committing these horrible crimes, which includes Oswalt’s own daughter. In the end, Bughuul succeeds, and Ellison’s daughter Ashley murders the entire family.
Jeepers Creepers (2001)

  

Jeepers Creeperswhere’d you get that sad ending? The infamous horror movie follows Darry and Trish Jenner, a brother and sister duo who encounter the Creeper, an ancient demonic creature who feasts on humans for 23 days every 23 years. Amid the chaos, the film features one of the most disturbing endings, with Darry sacrificing himself for his sister and being carried off into the night sky with the Creeper, who uses his wings to escape with Darry. The movie ends with the audience learning that the Creeper has killed Darry and removed his eyes, resulting in the death of one of the best characters in horror.
Us (2019)

  

Jordan Peele has cemented his legacy as one of the best filmmakers in the modern horror genre. After the tremendous success of Get OutPeele’s follow-up film Us captured audiences with its surprise ending. The movie follows a group of doppelgangers that seek to take over the world and make a place for themselves. The conclusion to Us is perhaps one of the most unsettling moments in horror, where the believed main character Adelaide is revealed to actually be a doppelganger that killed the actual human version of herself.
Insidious (2010)

  

James Wan is one of the most prominent filmmakers in the horror genre, and Insidious remains at the top of the list in terms of his best movies. The film follows Dalton Lambert, a young boy who has the ability to astral project and winds up stuck in an otherworldly dimension called the Further. When the Lambert family enlist the help of paranormal psychic Elise Rainier, she helps Dalton’s father Josh rediscover his ability to astral project — which requires Josh to rescue Dalton from the Further. In the movie’s closing minutes, Josh — who is possessed by a dark spirit — returns from the Further and murders Elise, much to the shock of viewers everywhere.
Pet Sematary (1989)

  

The original Pet Sematary remains one of Stephen King’s best film adaptations, and features one of the darkest endings in cinematic horror history. The film revolves around the Creed family who, after they move into a house with a disturbing pet cemetery nearby, experience supernatural occurrences that cause more harm than good. When the Creeds’ youngest son Gabe gets hit by a truck and dies, his father Louis buries him in the “sematary” in hopes of bringing him back to life. Unfortunately, Louis also tries this method with his wife Rachel, but realizes that those that come back to life are zombie-like and dangerous.
Would You Rather (2012)

  

David Guy Levy’s psychological horror/thriller Would You Rather shocked viewers with its unexpected twist ending. The film stars Brittany Snow as Iris, a woman who unknowingly enters a parlor game in order to win the money and resources for her brother Raleigh’s cancer treatment. Iris eventually finds herself stuck in a warped game of “would you rather,” where the contestants must choose one of two options – though their choice could be deadly. In the end, Iris suffers unfathomable trauma and wins the game, only to return home to discover Raleigh has killed himself.
Hereditary (2018)

  

Ari Aster’s Hereditary terrified audiences back in 2018 with its bizarre, macabre, and heart-stopping scenarios. In the film, artist Annie Graham is grieving over the death of her estranged mother Ellen. As the movie progresses, Annie and the rest of the family discover the truth about Ellen’s involvement in a pagan coven that hopes to resurrect an ancient pagan deity – who seeks to inhabit Annie’s teenage son Peter. The entire movie features bleak moments that make our jaws drop – including the death of Annie’s daughter Charlie. However, the ending is the final nail in the downer coffin, where Peter dies and the demonic creature Paimon takes over his body.
The Strangers (2008)

  

The most terrifying part about The Strangers isn’t just that its plot could actually take place in real life — and it is loosely based on actual events — but that its ending is enough to raise the goosebumps on your arm. Throughout the film, a couple are stalked by a trio of merciless masked strangers that attempt to play vicious mind games. In the film’s closing moments, the trio finally invade the couple’s secluded cabin, in which they ask the “strangers” why they’re committing these crimes. One of the strangers simply responds by saying, “Because you were home.” It’s one of the most bone-chilling endings that kept viewers on the edge of their seats.
Rosemary’s Baby (1968)

  

Rosemary’s Baby is easily one of the most classic movies in cinematic horror, and with such a memorable ending, it’s certainly not difficult to understand why. Mia Farrow portrays Rosemary who, after she moves into a new apartment with her husband, becomes pregnant and fears that her neighbors have sinister intentions. In the movie’s spine-tingling final act, Rosemary discovers that she has given birth to the spawn of Satan, after having been drugged and assaulted at the request of her neighbors — who are revealed to be members of a Satanic cult.

We would like to  give thanks to the author of this  write-up for this  outstanding  web content



Don’t hang your head out of the window, 10 horror movies with scary, sad, and downer endings



"
      ["date_timestamp"]=>
      int(1654203393)
    }
    [5]=>
    array(11) {
      ["title"]=>
      string(50) "Maika Monroe Needs No Coaching in How to Be Scared"
      ["link"]=>
      string(106) "https://latestmovs.packagingnewsonline.com/scream-away/maika-monroe-needs-no-coaching-in-how-to-be-scared/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 19:32:33 +0000"
      ["category"]=>
      string(36) "Scream AwaycoachingMaikaMonroeScared"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69553"
      ["description"]=>
      string(688) "In our interview, the star of “Watcher” (and “The Guest” and “It Follows”) shows once again that she’s the modern-day scream queen we deserve. From indie gems like “It Follows” and “The Guest” to the sci-fi chiller “Tau,” the pitch-black “Villains,” or the uproarious “Greta,” Maika Monroe has become our modern-day scream queen. However, her ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(15651) "
In our interview, the star of “Watcher” (and “The Guest” and “It Follows”) shows once again that she’s the modern-day scream queen we deserve. 


From indie gems like “It Follows” and “The Guest” to the sci-fi chiller “Tau,” the pitch-black “Villains,” or the uproarious “Greta,” Maika Monroe has become our modern-day scream queen. However, her true obsession is working with exciting new filmmakers — who, more often than not, just so happen to make brilliant horror movies.
“It’s a conversation that I’ve had with my team, just to be on the lookout for up-and-coming filmmakers that are making interesting and different stuff,” Monroe said during a recent interview with IndieWire. “We all are trying to be up on the short films that come out of film festivals and the smaller movies. I try and pay attention to that as much as possible. It’s part of my job.”
Monroe was an instant fan of Chloe Okuno after seeing her 2014 short film, “Slut.” Years later, when Monroe received the script for the “Watcher,” she was thrilled to recognize the filmmaker’s name on the title page. The pair soon connected over Zoom, where they shared stories of feeling disconnected when they lived in foreign countries. What’s scarier than real life?

Related


Related

“She had lived in Russia out of school and I had moved to the Dominican Republic out of school,” Monroe said. [We talked about] having this real feeling of isolation and being alone in a country that we didn’t really speak the language. And then she told me her ideas for this film and wanting to have this real Hitchcockian vibe to it.”
A hit at Sundance back in January, Okuno’s feature debut follows an American actress (Monroe) who moves to Bucharest with her husband and is horrified to discover she’s being watched in her new home.
To prepare for “Watcher,” Monroe screened films like “Rosemary’s Baby” (another movie with “the apartment building is like another character” vibe) to “Lost in Translation” (nailed the ex-pat discomfort). As for the feeling of being watched by someone else, the sense of creepy unease that can come with being a woman in a world, and the fear of all that not being understood — on those points, Monroe needed no coaching.

“Watcher”

Sundance
“This story is very grounded and very realistic and yes, they’re heightened moments and thrills because it is a movie, but it’s a story that anyone, especially women, can relate to,” she said. “It’s absolutely something that I’ve experienced, the amount of times that I’ve put my car key in between my fingers, prepared because I can feel someone behind me, or walking down the street and someone whistles at you or looks you up and down. As a woman, you’re just raised to think that that is normal and I think honestly, with this shift in films and the #MeToo movement, it’s starting to change where it’s like, ‘No, this shouldn’t be normal.’”
Okuno’s film builds to — no spoilers — a banger of an ending that puts a pretty fine point on the concepts Okuno, co-writer Zack Ford, and Monroe build on for 91 nail-biting minutes. “When I was reading the script, I really didn’t know where it was going to go,” Monroe said. “But then I love the ending that’s, without spoiling it, very blunt.”
The final sequence required three days to shoot and sustaining that level of terror made Monroe feel as if she was “constantly on the verge of having a mental breakdown.” By the time they landed the final shot, Monroe said, she was “just so fucking ready. There was just this feeling of satisfaction of getting through that. I hope it plays, but definitely, there were a lot of feelings on that day.”
For Monroe, playing scared — hell, maybe even being scared — is another day at the office. Learning how to leave it at the office is a work in progress.
“I’ve definitely gotten better at it,” she said. “I’ve learned that for me, for my mental health, I have to be able to let go of it at the end of the day. A lot of the movies that I do are very dark and very intense, and it doesn’t do me any good to live in that space for longer than I needed to. For these movies, I want the characters to be grounded as possible, so to do that, [I have] to pull from my own traumas and my own experiences and that obviously is very overwhelming. But, for me, it is very important to be able to let go.”

“It Follows”

Practice makes perfect. She grew up “absolutely in love” with horror movies and pointed to the “Nightmare on Elm Street” franchise as a perpetual favorite. For Monroe, David Robert Mitchell’s “It Follows” was the same kind of game-changer, the sort of film that showed just how many facets horror can actually tackle with styles and scares to spare.
“I really got lucky with ‘It Follows,’” she said. “It sort of changed the game for the horror genre. I think back in the ’60s and ’70s and early ’80s, there was some really amazing, elevated horror in the genre, and then something got lost somewhere and it was about hot girls and sex and blood.”
Monroe said she’s still surprised by the enduring power of “It Follows,” which served as the first entry in what became this most recent run of the “elevated horror” genre, along with films like “The Babadook” and “The Witch.”
“Of course I had no idea what it was going to be,” she said. “I had seen David’s previous film, ‘The Myth of the American Sleepover,’ that was so beautiful and so dreamy, and I was like, ‘OK, maybe this style mixed with a horror film could be very interesting,’ but I had no idea the effect of it and that it [would be] such an important film to so many people, so many years later.”
Monroe self-taped her audition for Mitchell while in production on “The Guest,” not realizing that both films would arrive in 2014 (“The Guest” premiered at Sundance in January, and “It Follows” arrived at Cannes in May). That set her course as a scream queen for a new generation. Almost a decade on, rumors of sequels still abound.

“The Guest”

Picturehouse
When IndieWire spoke to “The Guest” director Adam Wingard last year, he teased the possibility of a “Guest” miniseries and alluded to the creation of an official “The Guest 2” soundtrack, which he later released this past April. So, would Monroe be game for an actual film sequel?
“One hundred percent!,” she said. “I just had such a blast shooting that film. I love Adam. I love [writer] Simon [Barrett]. Obviously, Dan [Stevens] is fucking genius in that movie.”
But not everything is scary for Monroe, nor does it have to be. Her upcoming slate shows off still more range: Currently in post are the “incredibly intense and very different vibe” of Nick Cassavetes’ “God Is a Bullet” (“I am covered head to toe in tattoos and I have a crazy bowl cut”) and the dark comedy “Significant Other,” which re-teams her with “Villains” directors Dan Berk and Robert Olsen opposite Jake Lacy (Monroe is a big “White Lotus” fan).
So what else does she want to do? Not missing a beat, Monroe laughs. “A lighthearted comedy!”
IFC Midnight releases “Watcher” in theaters on Friday, June 3.

	Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.


We  wish to thank the author of this  post for this awesome content



Maika Monroe Needs No Coaching in How to Be Scared



"
      }
      ["summary"]=>
      string(688) "In our interview, the star of “Watcher” (and “The Guest” and “It Follows”) shows once again that she’s the modern-day scream queen we deserve. From indie gems like “It Follows” and “The Guest” to the sci-fi chiller “Tau,” the pitch-black “Villains,” or the uproarious “Greta,” Maika Monroe has become our modern-day scream queen. However, her ... Read more"
      ["atom_content"]=>
      string(15651) "
In our interview, the star of “Watcher” (and “The Guest” and “It Follows”) shows once again that she’s the modern-day scream queen we deserve. 


From indie gems like “It Follows” and “The Guest” to the sci-fi chiller “Tau,” the pitch-black “Villains,” or the uproarious “Greta,” Maika Monroe has become our modern-day scream queen. However, her true obsession is working with exciting new filmmakers — who, more often than not, just so happen to make brilliant horror movies.
“It’s a conversation that I’ve had with my team, just to be on the lookout for up-and-coming filmmakers that are making interesting and different stuff,” Monroe said during a recent interview with IndieWire. “We all are trying to be up on the short films that come out of film festivals and the smaller movies. I try and pay attention to that as much as possible. It’s part of my job.”
Monroe was an instant fan of Chloe Okuno after seeing her 2014 short film, “Slut.” Years later, when Monroe received the script for the “Watcher,” she was thrilled to recognize the filmmaker’s name on the title page. The pair soon connected over Zoom, where they shared stories of feeling disconnected when they lived in foreign countries. What’s scarier than real life?

Related


Related

“She had lived in Russia out of school and I had moved to the Dominican Republic out of school,” Monroe said. [We talked about] having this real feeling of isolation and being alone in a country that we didn’t really speak the language. And then she told me her ideas for this film and wanting to have this real Hitchcockian vibe to it.”
A hit at Sundance back in January, Okuno’s feature debut follows an American actress (Monroe) who moves to Bucharest with her husband and is horrified to discover she’s being watched in her new home.
To prepare for “Watcher,” Monroe screened films like “Rosemary’s Baby” (another movie with “the apartment building is like another character” vibe) to “Lost in Translation” (nailed the ex-pat discomfort). As for the feeling of being watched by someone else, the sense of creepy unease that can come with being a woman in a world, and the fear of all that not being understood — on those points, Monroe needed no coaching.

“Watcher”

Sundance
“This story is very grounded and very realistic and yes, they’re heightened moments and thrills because it is a movie, but it’s a story that anyone, especially women, can relate to,” she said. “It’s absolutely something that I’ve experienced, the amount of times that I’ve put my car key in between my fingers, prepared because I can feel someone behind me, or walking down the street and someone whistles at you or looks you up and down. As a woman, you’re just raised to think that that is normal and I think honestly, with this shift in films and the #MeToo movement, it’s starting to change where it’s like, ‘No, this shouldn’t be normal.’”
Okuno’s film builds to — no spoilers — a banger of an ending that puts a pretty fine point on the concepts Okuno, co-writer Zack Ford, and Monroe build on for 91 nail-biting minutes. “When I was reading the script, I really didn’t know where it was going to go,” Monroe said. “But then I love the ending that’s, without spoiling it, very blunt.”
The final sequence required three days to shoot and sustaining that level of terror made Monroe feel as if she was “constantly on the verge of having a mental breakdown.” By the time they landed the final shot, Monroe said, she was “just so fucking ready. There was just this feeling of satisfaction of getting through that. I hope it plays, but definitely, there were a lot of feelings on that day.”
For Monroe, playing scared — hell, maybe even being scared — is another day at the office. Learning how to leave it at the office is a work in progress.
“I’ve definitely gotten better at it,” she said. “I’ve learned that for me, for my mental health, I have to be able to let go of it at the end of the day. A lot of the movies that I do are very dark and very intense, and it doesn’t do me any good to live in that space for longer than I needed to. For these movies, I want the characters to be grounded as possible, so to do that, [I have] to pull from my own traumas and my own experiences and that obviously is very overwhelming. But, for me, it is very important to be able to let go.”

“It Follows”

Practice makes perfect. She grew up “absolutely in love” with horror movies and pointed to the “Nightmare on Elm Street” franchise as a perpetual favorite. For Monroe, David Robert Mitchell’s “It Follows” was the same kind of game-changer, the sort of film that showed just how many facets horror can actually tackle with styles and scares to spare.
“I really got lucky with ‘It Follows,’” she said. “It sort of changed the game for the horror genre. I think back in the ’60s and ’70s and early ’80s, there was some really amazing, elevated horror in the genre, and then something got lost somewhere and it was about hot girls and sex and blood.”
Monroe said she’s still surprised by the enduring power of “It Follows,” which served as the first entry in what became this most recent run of the “elevated horror” genre, along with films like “The Babadook” and “The Witch.”
“Of course I had no idea what it was going to be,” she said. “I had seen David’s previous film, ‘The Myth of the American Sleepover,’ that was so beautiful and so dreamy, and I was like, ‘OK, maybe this style mixed with a horror film could be very interesting,’ but I had no idea the effect of it and that it [would be] such an important film to so many people, so many years later.”
Monroe self-taped her audition for Mitchell while in production on “The Guest,” not realizing that both films would arrive in 2014 (“The Guest” premiered at Sundance in January, and “It Follows” arrived at Cannes in May). That set her course as a scream queen for a new generation. Almost a decade on, rumors of sequels still abound.

“The Guest”

Picturehouse
When IndieWire spoke to “The Guest” director Adam Wingard last year, he teased the possibility of a “Guest” miniseries and alluded to the creation of an official “The Guest 2” soundtrack, which he later released this past April. So, would Monroe be game for an actual film sequel?
“One hundred percent!,” she said. “I just had such a blast shooting that film. I love Adam. I love [writer] Simon [Barrett]. Obviously, Dan [Stevens] is fucking genius in that movie.”
But not everything is scary for Monroe, nor does it have to be. Her upcoming slate shows off still more range: Currently in post are the “incredibly intense and very different vibe” of Nick Cassavetes’ “God Is a Bullet” (“I am covered head to toe in tattoos and I have a crazy bowl cut”) and the dark comedy “Significant Other,” which re-teams her with “Villains” directors Dan Berk and Robert Olsen opposite Jake Lacy (Monroe is a big “White Lotus” fan).
So what else does she want to do? Not missing a beat, Monroe laughs. “A lighthearted comedy!”
IFC Midnight releases “Watcher” in theaters on Friday, June 3.

	Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.


We  wish to thank the author of this  post for this awesome content



Maika Monroe Needs No Coaching in How to Be Scared



"
      ["date_timestamp"]=>
      int(1654198353)
    }
    [6]=>
    array(11) {
      ["title"]=>
      string(75) "Movie Monsters Through the Years: How Does Horror Reflect Historical Fears?"
      ["link"]=>
      string(129) "https://latestmovs.packagingnewsonline.com/scream-away/movie-monsters-through-the-years-how-does-horror-reflect-historical-fears/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 18:10:39 +0000"
      ["category"]=>
      string(52) "Scream AwayfearsHistoricalHorrorMonstersMovieReflect"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69531"
      ["description"]=>
      string(720) "Horror movies, whether classified as “elevated” or made for mass appeal, are time-honored vehicles for social commentary. They often hold a metaphorical mirror up, mining the depths of more real-world traumas to explore as metaphors. As societal fears and unrest evolve, so do the main monsters or tropes. Here is how movie monsters mirrored real-life ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(30792) "

Horror movies, whether classified as “elevated” or made for mass appeal, are time-honored vehicles for social commentary. They often hold a metaphorical mirror up, mining the depths of more real-world traumas to explore as metaphors. As societal fears and unrest evolve, so do the main monsters or tropes. Here is how movie monsters mirrored real-life fears across the decades.
 
  The 1930s Featured Vampires, Mummies and Xenophobia




  As the Great Depression took hold, audiences hungered for an escape, from screwball comedies to immersive horror stories. Contrasting American normality against the supernatural allowed an outlet for daily anxiety onto something less close to home and more classically scary: monsters and insidious creatures pulled right from the pages of classic tales. Being scared of something on-screen is a safe way to allow the anxiety, stress and foreboding that already exists inside of an audience to be released, and the Depression was certainly a time when people had plenty of fear bottled up.


  
RELATED: What’s On Shudder: Movies & Series Coming In May 2022
At the same time, a more insidious and painfully real monster was also taking hold: xenophobia. The so-called “exotic” villains, mad scientists and vampires with foreign accents, were a manifestation of desperate times fostering an undercurrent of racism. After all, what was scarier than a foreign outsider preying on all-American (white) purity? Other movie monsters, such as mummies and their curses, took colonial guilt and extrapolated it onto the silver screen.
  The 1940s Saw Wartime Violence and the Beasts Within




 
  By the time the ’40s took hold, Americans and the world at large were trapped in the all-too-real horrors of manmade violence as World War II waged on. All of the horrors of wartime detoured society’s underlying fears from “othering” the monsters to exploring something a little more introspective: the monster within. Humanity’s own inner propensity for violence, a dormant beast just below the surface, was overtly explored with Lon Chaney Jr.’s iconic Wolf Man, striking a nerve with a world realizing in real-time how easily the violence of men could truly be unleashed.


 
  The 1950s Spotlighted Nuclear Fears and Giant Mutant Dinosaurs




  It’s not hard to trace the root of the fears in the ’50s. From omnipresent Cold War threats to the ongoing guilt of America dropping a nuclear bomb on Japan, the fallout manifested rather literally in mutant creatures and alien invasions, such as the huge, mutant ants in Them!. Godzilla rising from the seas of Japan, freshly radiated into power was a direct result of the true horror of nuclear bombing.
On the homefront, alien invasion movies, from Invasion of the Body Snatchers to The Day the Earth Stood Still to the film adaptation of War of the Worlds​​​​​​, began pumping out, amplifying a double threat of uncertainties. Americans lived in daily fear of foreign threats, namely the Cold War and nuclear annihilation, not to mention the American government’s Communism phobia. At the same time, the space program was ramping up, and the unknowns of other planets were becoming more tangible. Who knew who or what the country might find out there beyond the stars?


  
RELATED: Why Dracula Daily Is One of the Best (& Most Unique) Adaptations of Dracula
  The 1960s Tackled Civil Rights, General Uncertainty and the Grip of Racism




  Societal unrest and tensions ran high as racist values clashed with progressive calls for civil rights in the ’60s. Protests and marches took up the call for racial equality, and Hollywood mined racial tensions for stories. Zombies, having roots in historically African voodoo traditions, began their rise to popularity in the 1960s. George A. Romero’s Night of the Living Dead was a gruesome masterclass in social realism and pointed to the dangers of mob mentality, be it through propaganda or brain-eating zombification. Scenes of police and K9 units aggressively searching for zombies looked purposefully similar to real-life cops tracking down civil rights activists. When Ben, the movie’s staunchly human protagonist, is mistaken by the police for a zombie and shot, they coldly shrug it off by saying: ”That’s another one for the fire.” The fact that the movie finished filming merely days before the assassination of Dr. Martin Luther King Jr. was cruelly prescient.


  
Outside of the civil rights movement, this was a decade of profound uncertainty all around, with generational divides showing more clearly than ever. There were protests on the news, women were gaining autonomy over their lives, gayness was more openly discussed, and the younger generation was rebelling against the Vietnam War. Combine a generation of progressives with a loosening of censorship rules and that decade saw a rapid influx of horror movies that allowed audiences either an outlet to process all the change or worked as cautionary tales against betraying traditionalism.
Movies such as The Haunting took a skeptical and scientific eye to typical ghost stories while weirder, more surreal horror such as Carnival of Souls more overtly explored the nightmares of one’s own mind. By the end of the decade, movies like Rosemary’s Babyfor example, tackled women’s bodily autonomy and the reticence of the old guard and religious fanaticism to allow female empowerment.


  
RELATED: How the Slasher Is Reclaiming the Horror Genre, from X to Scream
  The 1970s Revealed More Material Fears – Slashers and Serial Killers




  Moving into the ’70s, fears became more based within the mortal realm. As the era of serial killers began, unspoken fears naturally centered on being the next unwitting victim of a homicidal maniac. Combine that with the general feeling that, after a decade of so much turmoil, the suburbs were no longer the idealized safe harbor of the American dream sold to nuclear families and the slasher genre was ripe for stardom. Female empowerment was again the base for cautionary tales, too, as the “have sex, get killed” stereotype took root. Demonic possessions and hauntings such as The Exorcist coincided with the uncertainty of societal upheaval, a pattern that would also repeat in the 2010s with a booming interest in The Conjuring films.
 
  The 1980s Focused on Themes Surrounding Automation, Corporations and Aliens




  Reagan-era America ushered in a whole new level of subconscious uneasiness. Increases in automation created fears of obsolescence, while the trickle-down corporation heaven of the ’80s created a looming threat of total Big Business control. AI villains such as in The Terminator spoke to universal fears of technology outpacing people, while blockbusters such as Ridley Scott’s Alien (released in 1979 and spawning a franchise into the 1980s) took the corporate overlords threat (the Company, a faceless corporate monolith at peace with sacrificing people in the name of quarterly goals) and magnified it into the vacuum of space.


  
RELATED: Doctor Strange 2 Isn’t the First Multiverse of Horror
  The 1990s Waved In Riot Grrrl Feminism and Witchcraft




  Grunge and new-wave feminism took hold in the 1990s, with everything from Daria‘s hyperintelligent yet cynical takes to the punk feminism subculture of Riot Grrrl. From left to right, girl power separated greatly from any male dependencies was coming in waves, and a patriarchal establishment was unsettled by women coming into full power. So naturally, witchcraft and witchy movies took over. While movies such as The Craft, The Blair Witch Project and The Crucible were cautionary tales meant to show the terrifying effects of female power (in the form of conjuring here) gone too far, other witch-starring movies like Practical Magic boldly spliced scares with emotional messages about the loving power found in sisterhood, female independence from men and traditionally sidelined domestic roles.
 




  The 2000s were all but fully defined in America by the attacks of September 11th. That was a sobering loss of innocence for an entire nation, swiftly switching gears all around from the optimism and progression of the 1990s to a reactionary and anxious track. Horror movies reflected that change, too, shifting suddenly from the magical and the mystical to gruesome, hardened horror that could theoretically be played out at any time in real life.

In a post-9/11 world, people quickly became hardened, extremist and pessimistic as everything was heightened. Gory and violent “torture porn” films such as Saw or Hostel found great success as did found footage films. Watched by an audience so far removed from the event and helpless to do or know anything other than that a brutal, unhappy ending was in store, found footage reflected feelings of disconnect and alienation and the fear that we were ultimately doomed and alone, far removed from help, hope or the risk of emotional involvement. Extreme violence and found footage observations summed up an entire generation of the overwhelmed and disconnected.
  
RELATED: From Morbius to Venom to Godzilla: Why Critic & Fan Opinions Are So Different
  The 2010s Hammered Home the Monster Is Us Theme




  As audiences and storytellers moved into the 2010s, people’s biggest fears took another inward turn. The calls were coming from inside the house — the personified house. Were the real monsters humanity all along? Social commentary horror hit its greatest highs since Rod Serling’s Twilight Zone stories of the 1960s with auteurs like Jordan Peele carrying the torch into the pit of man’s fears. Get Out became an instant classic by tapping into more personal and cerebral fears, namely the sinister effects of sugar-coated, sly racism. And if the monsters weren’t our darker, crueler human selves, they were the grief we carried with us, such as in The Babadook.


 
  The 2010s/2020s Transitioned to the Idea That the Monster Is Trauma




  As we continue on through the later 2010s through the early 2020s of today, horror continues to creep inside of us. There is a new influx of ghost stories in tumultuous times, found in Mike Flanagan’s The Haunting anthologies or the sins of generations coming to a head in the Fear Street trilogy, representing collective fears of personal and generational pasts literally coming back to haunt. A Lynchian sense of dread pervades the landscape, rich with feelings of being trapped in a life people never envisioned for themselves, like the eerie claustrophobia of Vivarium.
 
 
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                        





What Jordan Peele’s Nope Actually Means (& It Isn’t an Acronym) 

Read Next
                                    

        

About The Author



        Kelsey Yoor

                            (116 Articles Published)

                    

Kelsey is a Boston & Baltimore-based Star Wars enthusiast, SVU aficionado, horror devotee and evangelist for sour candy. She has one young adult novel and a slight road trips problem. She can be found on IG: @itskelseyytime for weird travel, cheese and dog stories. 

                    More From Kelsey Yoor
            

        
We  wish to  give thanks to the  writer of this article for this  amazing  web content



Movie Monsters Through the Years: How Does Horror Reflect Historical Fears?



"
      }
      ["summary"]=>
      string(720) "Horror movies, whether classified as “elevated” or made for mass appeal, are time-honored vehicles for social commentary. They often hold a metaphorical mirror up, mining the depths of more real-world traumas to explore as metaphors. As societal fears and unrest evolve, so do the main monsters or tropes. Here is how movie monsters mirrored real-life ... Read more"
      ["atom_content"]=>
      string(30792) "

Horror movies, whether classified as “elevated” or made for mass appeal, are time-honored vehicles for social commentary. They often hold a metaphorical mirror up, mining the depths of more real-world traumas to explore as metaphors. As societal fears and unrest evolve, so do the main monsters or tropes. Here is how movie monsters mirrored real-life fears across the decades.
 
  The 1930s Featured Vampires, Mummies and Xenophobia




  As the Great Depression took hold, audiences hungered for an escape, from screwball comedies to immersive horror stories. Contrasting American normality against the supernatural allowed an outlet for daily anxiety onto something less close to home and more classically scary: monsters and insidious creatures pulled right from the pages of classic tales. Being scared of something on-screen is a safe way to allow the anxiety, stress and foreboding that already exists inside of an audience to be released, and the Depression was certainly a time when people had plenty of fear bottled up.


  
RELATED: What’s On Shudder: Movies & Series Coming In May 2022
At the same time, a more insidious and painfully real monster was also taking hold: xenophobia. The so-called “exotic” villains, mad scientists and vampires with foreign accents, were a manifestation of desperate times fostering an undercurrent of racism. After all, what was scarier than a foreign outsider preying on all-American (white) purity? Other movie monsters, such as mummies and their curses, took colonial guilt and extrapolated it onto the silver screen.
  The 1940s Saw Wartime Violence and the Beasts Within




 
  By the time the ’40s took hold, Americans and the world at large were trapped in the all-too-real horrors of manmade violence as World War II waged on. All of the horrors of wartime detoured society’s underlying fears from “othering” the monsters to exploring something a little more introspective: the monster within. Humanity’s own inner propensity for violence, a dormant beast just below the surface, was overtly explored with Lon Chaney Jr.’s iconic Wolf Man, striking a nerve with a world realizing in real-time how easily the violence of men could truly be unleashed.


 
  The 1950s Spotlighted Nuclear Fears and Giant Mutant Dinosaurs




  It’s not hard to trace the root of the fears in the ’50s. From omnipresent Cold War threats to the ongoing guilt of America dropping a nuclear bomb on Japan, the fallout manifested rather literally in mutant creatures and alien invasions, such as the huge, mutant ants in Them!. Godzilla rising from the seas of Japan, freshly radiated into power was a direct result of the true horror of nuclear bombing.
On the homefront, alien invasion movies, from Invasion of the Body Snatchers to The Day the Earth Stood Still to the film adaptation of War of the Worlds​​​​​​, began pumping out, amplifying a double threat of uncertainties. Americans lived in daily fear of foreign threats, namely the Cold War and nuclear annihilation, not to mention the American government’s Communism phobia. At the same time, the space program was ramping up, and the unknowns of other planets were becoming more tangible. Who knew who or what the country might find out there beyond the stars?


  
RELATED: Why Dracula Daily Is One of the Best (& Most Unique) Adaptations of Dracula
  The 1960s Tackled Civil Rights, General Uncertainty and the Grip of Racism




  Societal unrest and tensions ran high as racist values clashed with progressive calls for civil rights in the ’60s. Protests and marches took up the call for racial equality, and Hollywood mined racial tensions for stories. Zombies, having roots in historically African voodoo traditions, began their rise to popularity in the 1960s. George A. Romero’s Night of the Living Dead was a gruesome masterclass in social realism and pointed to the dangers of mob mentality, be it through propaganda or brain-eating zombification. Scenes of police and K9 units aggressively searching for zombies looked purposefully similar to real-life cops tracking down civil rights activists. When Ben, the movie’s staunchly human protagonist, is mistaken by the police for a zombie and shot, they coldly shrug it off by saying: ”That’s another one for the fire.” The fact that the movie finished filming merely days before the assassination of Dr. Martin Luther King Jr. was cruelly prescient.


  
Outside of the civil rights movement, this was a decade of profound uncertainty all around, with generational divides showing more clearly than ever. There were protests on the news, women were gaining autonomy over their lives, gayness was more openly discussed, and the younger generation was rebelling against the Vietnam War. Combine a generation of progressives with a loosening of censorship rules and that decade saw a rapid influx of horror movies that allowed audiences either an outlet to process all the change or worked as cautionary tales against betraying traditionalism.
Movies such as The Haunting took a skeptical and scientific eye to typical ghost stories while weirder, more surreal horror such as Carnival of Souls more overtly explored the nightmares of one’s own mind. By the end of the decade, movies like Rosemary’s Babyfor example, tackled women’s bodily autonomy and the reticence of the old guard and religious fanaticism to allow female empowerment.


  
RELATED: How the Slasher Is Reclaiming the Horror Genre, from X to Scream
  The 1970s Revealed More Material Fears – Slashers and Serial Killers




  Moving into the ’70s, fears became more based within the mortal realm. As the era of serial killers began, unspoken fears naturally centered on being the next unwitting victim of a homicidal maniac. Combine that with the general feeling that, after a decade of so much turmoil, the suburbs were no longer the idealized safe harbor of the American dream sold to nuclear families and the slasher genre was ripe for stardom. Female empowerment was again the base for cautionary tales, too, as the “have sex, get killed” stereotype took root. Demonic possessions and hauntings such as The Exorcist coincided with the uncertainty of societal upheaval, a pattern that would also repeat in the 2010s with a booming interest in The Conjuring films.
 
  The 1980s Focused on Themes Surrounding Automation, Corporations and Aliens




  Reagan-era America ushered in a whole new level of subconscious uneasiness. Increases in automation created fears of obsolescence, while the trickle-down corporation heaven of the ’80s created a looming threat of total Big Business control. AI villains such as in The Terminator spoke to universal fears of technology outpacing people, while blockbusters such as Ridley Scott’s Alien (released in 1979 and spawning a franchise into the 1980s) took the corporate overlords threat (the Company, a faceless corporate monolith at peace with sacrificing people in the name of quarterly goals) and magnified it into the vacuum of space.


  
RELATED: Doctor Strange 2 Isn’t the First Multiverse of Horror
  The 1990s Waved In Riot Grrrl Feminism and Witchcraft




  Grunge and new-wave feminism took hold in the 1990s, with everything from Daria‘s hyperintelligent yet cynical takes to the punk feminism subculture of Riot Grrrl. From left to right, girl power separated greatly from any male dependencies was coming in waves, and a patriarchal establishment was unsettled by women coming into full power. So naturally, witchcraft and witchy movies took over. While movies such as The Craft, The Blair Witch Project and The Crucible were cautionary tales meant to show the terrifying effects of female power (in the form of conjuring here) gone too far, other witch-starring movies like Practical Magic boldly spliced scares with emotional messages about the loving power found in sisterhood, female independence from men and traditionally sidelined domestic roles.
 




  The 2000s were all but fully defined in America by the attacks of September 11th. That was a sobering loss of innocence for an entire nation, swiftly switching gears all around from the optimism and progression of the 1990s to a reactionary and anxious track. Horror movies reflected that change, too, shifting suddenly from the magical and the mystical to gruesome, hardened horror that could theoretically be played out at any time in real life.

In a post-9/11 world, people quickly became hardened, extremist and pessimistic as everything was heightened. Gory and violent “torture porn” films such as Saw or Hostel found great success as did found footage films. Watched by an audience so far removed from the event and helpless to do or know anything other than that a brutal, unhappy ending was in store, found footage reflected feelings of disconnect and alienation and the fear that we were ultimately doomed and alone, far removed from help, hope or the risk of emotional involvement. Extreme violence and found footage observations summed up an entire generation of the overwhelmed and disconnected.
  
RELATED: From Morbius to Venom to Godzilla: Why Critic & Fan Opinions Are So Different
  The 2010s Hammered Home the Monster Is Us Theme




  As audiences and storytellers moved into the 2010s, people’s biggest fears took another inward turn. The calls were coming from inside the house — the personified house. Were the real monsters humanity all along? Social commentary horror hit its greatest highs since Rod Serling’s Twilight Zone stories of the 1960s with auteurs like Jordan Peele carrying the torch into the pit of man’s fears. Get Out became an instant classic by tapping into more personal and cerebral fears, namely the sinister effects of sugar-coated, sly racism. And if the monsters weren’t our darker, crueler human selves, they were the grief we carried with us, such as in The Babadook.


 
  The 2010s/2020s Transitioned to the Idea That the Monster Is Trauma




  As we continue on through the later 2010s through the early 2020s of today, horror continues to creep inside of us. There is a new influx of ghost stories in tumultuous times, found in Mike Flanagan’s The Haunting anthologies or the sins of generations coming to a head in the Fear Street trilogy, representing collective fears of personal and generational pasts literally coming back to haunt. A Lynchian sense of dread pervades the landscape, rich with feelings of being trapped in a life people never envisioned for themselves, like the eerie claustrophobia of Vivarium.
 
 
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                        





What Jordan Peele’s Nope Actually Means (& It Isn’t an Acronym) 

Read Next
                                    

        

About The Author



        Kelsey Yoor

                            (116 Articles Published)

                    

Kelsey is a Boston & Baltimore-based Star Wars enthusiast, SVU aficionado, horror devotee and evangelist for sour candy. She has one young adult novel and a slight road trips problem. She can be found on IG: @itskelseyytime for weird travel, cheese and dog stories. 

                    More From Kelsey Yoor
            

        
We  wish to  give thanks to the  writer of this article for this  amazing  web content



Movie Monsters Through the Years: How Does Horror Reflect Historical Fears?



"
      ["date_timestamp"]=>
      int(1654193439)
    }
    [7]=>
    array(11) {
      ["title"]=>
      string(85) "‘Dashcam’ review: MAGA, anti-vaxx rhetoric smother this found footage horror film"
      ["link"]=>
      string(133) "https://latestmovs.packagingnewsonline.com/scream-away/dashcam-review-maga-anti-vaxx-rhetoric-smother-this-found-footage-horror-film/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 16:48:33 +0000"
      ["category"]=>
      string(68) "Scream AwayantivaxxDashcamFilmFootageHorrorMAGAREVIEWRhetoricsmother"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69489"
      ["description"]=>
      string(713) "Annie Hardy in DASHCAM. The new found footage horror film Dashcam dives head first into the controversy surrounding the COVID-19 global pandemic. Despite one million people dying in the United States as a result of the virus, there are plenty who refuse to believe this health catastrophe is as severe as doctors and scientists have ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(6526) "


Annie Hardy in DASHCAM.

The new found footage horror film Dashcam dives head first into the controversy surrounding the COVID-19 global pandemic. Despite one million people dying in the United States as a result of the virus, there are plenty who refuse to believe this health catastrophe is as severe as doctors and scientists have said. The film puts center stage a main character who embodies this divisive sentiment.
Sure, there are plenty of supernatural jump scares in Dashcambut perhaps the most horrifying aspect is the protagonist Annie, and the real danger her views and actions cause for herself and those around her. For some reason, the filmmakers have decided to make a MAGA-red-hat-wearing, anti-vaxx-believing, somewhat racist final girl their “heroine.” Is it satire? Is it the dreaded bothsidesism? Are they being controversial to spark a conversation? Whatever it is, the result is a movie with an overbearing, unlikeable main character who nearly sucks the air and thrills out of an otherwise scary film.
Directed by Rob Savage (Host), who co-wrote the screenplay with Gemma Hurley and Jed Shepherd, Dashcam tells the story of a musician named Annie who has been livestreaming with her fans as she drives around downtown Los Angeles. Annie, who is against the pandemic lockdowns and mitigation tactics, decides to escape to the U.K. to visit her old bandmate. Her anti-vaxx and anti-mask behavior soon causes chaos and tension. Annie decides to run off with her bandmate’s car and livestream herself doing rideshare deliveries around town but soon gets caught up with sinister supernatural forces who aim to take her soul. This shaky camera horror-filled adventure is of course livestreamed for us, the movie audience, and Annie’s fictional viewers.
Now, to be clear, I don’t think you have to love, or even like, a main character in order to enjoy a film. There are plenty of solid movies in the world where a main character is polarizing and has questionable morals, annoying quirks, or a downright evil personality. What often saves these types of movies is that these characters are not allowed to overshadow the storytelling. They often exist to serve a purpose in the story. It’s not about them, but what they represent. Such as Joaquin Phoenix’s portrayal in Joker.
You know his trajectory is a doomed one, but the filmmaker, knowing we’ll have to spend so much time with his character, works to draw us in and get invested in his journey. Unfortunately, no such mechanism is used in Dashcam. Viewers are forced to stick close to Annie without the character earning the investment of the 77 minutes we’re made to watch her. If the choice was made to have a character so polarizing in order for viewers to sympathize with the “other side,” or find common ground, then the movie fails in that endeavor. Annie is aggressively bold with her views and we’re never really given a reason why. She destroys any chance of sympathy with her unrepentant tendency to ridicule others in her slur- and insult-riddled “songs” that she sings while driving.
That then leaves the idea that Annie’s story serves as a cautionary tale. Maybe through her constant mistakes and insensitivity we’re supposed to learn how not to act when it comes to political differences. I do feel that Annie’s character is so over the top and ridiculous as to drive home the irrationality of those who lean on conspiracy theories rather than facts. There are characters in the movie who counter her behavior, but they are often overpowered by Annie’s dialogue. There’s a subtle nod to the notion that in the end, no matter what, Annie’s actions will be the end of her, but it may be too little too late for an audience subjected to her exploits for over an hour-and-a-half.
Or perhaps Annie is really a test for the audience, to see whether we’re capable of caring for the life of a character that we may vehemently disagree with politically. Well, if that is the case, I failed the test because I came away not caring if Annie lives or dies. Then again, I don’t think anyone will care if this character lives or dies no matter where they land on the political spectrum. That’s not a failure in our humanity, but a failure in the storytelling.
A saving grace of the film lies in the effective horror scares. The action never really lets up once the supernatural plot kicks off. The sinister happenings are welcomed in that they give us a bit of a break from Annie when she’s too scared to say something offensive. Director Rob Savage, along with co-writers Hurley and Shepard, are no strangers to computer screen footage horror since they gave the world the superior movie Host in 2020. There are genuinely terrifying moments for those wanting a horror fix. The question is, will that be enough for viewers who won’t care for the main character?
Overall, Dashcam delivers a blood-soaked horror-filled ride, but it fails to supply the audience with an effective character worth taking it with.
Dashcam will be released on VOD and theatrically nationwide on June 3, 2022.
															 


CONTRIBUTOR


																											
																											


												

						      
						
We would like to thank the  writer of this  short article for this awesome  web content



‘Dashcam’ review: MAGA, anti-vaxx rhetoric smother this found footage horror film



"
      }
      ["summary"]=>
      string(713) "Annie Hardy in DASHCAM. The new found footage horror film Dashcam dives head first into the controversy surrounding the COVID-19 global pandemic. Despite one million people dying in the United States as a result of the virus, there are plenty who refuse to believe this health catastrophe is as severe as doctors and scientists have ... Read more"
      ["atom_content"]=>
      string(6526) "


Annie Hardy in DASHCAM.

The new found footage horror film Dashcam dives head first into the controversy surrounding the COVID-19 global pandemic. Despite one million people dying in the United States as a result of the virus, there are plenty who refuse to believe this health catastrophe is as severe as doctors and scientists have said. The film puts center stage a main character who embodies this divisive sentiment.
Sure, there are plenty of supernatural jump scares in Dashcambut perhaps the most horrifying aspect is the protagonist Annie, and the real danger her views and actions cause for herself and those around her. For some reason, the filmmakers have decided to make a MAGA-red-hat-wearing, anti-vaxx-believing, somewhat racist final girl their “heroine.” Is it satire? Is it the dreaded bothsidesism? Are they being controversial to spark a conversation? Whatever it is, the result is a movie with an overbearing, unlikeable main character who nearly sucks the air and thrills out of an otherwise scary film.
Directed by Rob Savage (Host), who co-wrote the screenplay with Gemma Hurley and Jed Shepherd, Dashcam tells the story of a musician named Annie who has been livestreaming with her fans as she drives around downtown Los Angeles. Annie, who is against the pandemic lockdowns and mitigation tactics, decides to escape to the U.K. to visit her old bandmate. Her anti-vaxx and anti-mask behavior soon causes chaos and tension. Annie decides to run off with her bandmate’s car and livestream herself doing rideshare deliveries around town but soon gets caught up with sinister supernatural forces who aim to take her soul. This shaky camera horror-filled adventure is of course livestreamed for us, the movie audience, and Annie’s fictional viewers.
Now, to be clear, I don’t think you have to love, or even like, a main character in order to enjoy a film. There are plenty of solid movies in the world where a main character is polarizing and has questionable morals, annoying quirks, or a downright evil personality. What often saves these types of movies is that these characters are not allowed to overshadow the storytelling. They often exist to serve a purpose in the story. It’s not about them, but what they represent. Such as Joaquin Phoenix’s portrayal in Joker.
You know his trajectory is a doomed one, but the filmmaker, knowing we’ll have to spend so much time with his character, works to draw us in and get invested in his journey. Unfortunately, no such mechanism is used in Dashcam. Viewers are forced to stick close to Annie without the character earning the investment of the 77 minutes we’re made to watch her. If the choice was made to have a character so polarizing in order for viewers to sympathize with the “other side,” or find common ground, then the movie fails in that endeavor. Annie is aggressively bold with her views and we’re never really given a reason why. She destroys any chance of sympathy with her unrepentant tendency to ridicule others in her slur- and insult-riddled “songs” that she sings while driving.
That then leaves the idea that Annie’s story serves as a cautionary tale. Maybe through her constant mistakes and insensitivity we’re supposed to learn how not to act when it comes to political differences. I do feel that Annie’s character is so over the top and ridiculous as to drive home the irrationality of those who lean on conspiracy theories rather than facts. There are characters in the movie who counter her behavior, but they are often overpowered by Annie’s dialogue. There’s a subtle nod to the notion that in the end, no matter what, Annie’s actions will be the end of her, but it may be too little too late for an audience subjected to her exploits for over an hour-and-a-half.
Or perhaps Annie is really a test for the audience, to see whether we’re capable of caring for the life of a character that we may vehemently disagree with politically. Well, if that is the case, I failed the test because I came away not caring if Annie lives or dies. Then again, I don’t think anyone will care if this character lives or dies no matter where they land on the political spectrum. That’s not a failure in our humanity, but a failure in the storytelling.
A saving grace of the film lies in the effective horror scares. The action never really lets up once the supernatural plot kicks off. The sinister happenings are welcomed in that they give us a bit of a break from Annie when she’s too scared to say something offensive. Director Rob Savage, along with co-writers Hurley and Shepard, are no strangers to computer screen footage horror since they gave the world the superior movie Host in 2020. There are genuinely terrifying moments for those wanting a horror fix. The question is, will that be enough for viewers who won’t care for the main character?
Overall, Dashcam delivers a blood-soaked horror-filled ride, but it fails to supply the audience with an effective character worth taking it with.
Dashcam will be released on VOD and theatrically nationwide on June 3, 2022.
															 


CONTRIBUTOR


																											
																											


												

						      
						
We would like to thank the  writer of this  short article for this awesome  web content



‘Dashcam’ review: MAGA, anti-vaxx rhetoric smother this found footage horror film



"
      ["date_timestamp"]=>
      int(1654188513)
    }
    [8]=>
    array(11) {
      ["title"]=>
      string(66) "Free Horror Games – Six of the Best That You Can Play Right Now!"
      ["link"]=>
      string(117) "https://latestmovs.packagingnewsonline.com/scream-away/free-horror-games-six-of-the-best-that-you-can-play-right-now/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 15:26:05 +0000"
      ["category"]=>
      string(26) "Scream AwayGamesHorrorPlay"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69479"
      ["description"]=>
      string(652) "Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(11416) "

Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They are releasing their first book, A Haunted Road Atlaswhich is filled with travel tips, beverage recommendations, haunted locations, and more. The guide also includes some of the country’s most notorious crime scenes and paranormal locations.
I was excited to have the opportunity to speak with co-author Em Schulz about their experiences with the supernatural, their favorite true crime/paranormal locations, A Haunted Road Atlasand more. Em is a member of The Ghost Club, the Society of Psychical Research, the Parapsychological Association, and the Mutual UFO Network (MUFON).
Read on for my full interview with Em Schulz!

Bloody Disgusting: You and Christine Schiefer have an award-winning podcast called And That’s Why We Drink and the two of you are releasing your first book on May 31st, called A Haunted Road Atlas. How did you become involved with the paranormal and can you talk a little bit about your experiences as a paranormal investigator?
In Schulz: I’ve been interested in ghosts since I was a little kid. When I was seven, my grandfather passed and about a week after he passed, everyone in the family started having their own weird, independent experiences. My cousin had an experience a week after he died where she got a picture of him when he obviously shouldn’t have been there. My mom was seeing him in her dreams. When I was asleep in the middle of the night, I woke up to him sitting on the bed, and just kind of petting leg and smiling at me. The next day, I told my mom, “I’m going to grow up and be a ghost hunter,“ which weirdly, worked out. I think my mom was expecting that to not happen [laughs]. Growing up, I was really interested in anything spooky; I always wanted to go to haunted houses, or buildings, or do ghost tours when we were traveling.
When I got to college, I ended up becoming a ghost tour guide, which kind of was a pseudo-paranormal investigator start to my career. I was working in a museum across the street from this one building, and I went in there to ask if it was haunted. And I guess they thought I was asking for a job. I don’t know how they came to that conclusion because I just wanted to know some general ghost stuff on my lunch break, and I guess they read it as I was looking to start working for them. They did ghost tours and saw that I was interested and told me to come back Friday night and they paid me twenty bucks after the ghost tour. After that, each of my weekends during college was spent doing ghost tours with them, doing some set up with equipment beforehand, and doing my own little ghost hunts before our guests got there. Through that I got into the real ghost hunting world and then I did some volunteer groups as I moved around. I ended up in Boston for a while and did a volunteer group there, where I would investigate. That’s kind of how I broke into the world [laughs].
BD: Through your podcast, you have covered hundreds of cases involving everything from hauntings to alien abductions, and cryptids. Can you share your most unnerving paranormal experience or the scariest case you have investigated?
ES: When I was working as a ghost tour guide, I had some really scary experiences. I remember being upstairs by myself in an attic setting everything up before we had our guests come in. I had already turned the equipment on, and I was doing my own little ghost hunting stuff, since I had some time to kill. All of the sudden, I saw this big mass of solid black; you couldn’t see through it. It was like a shadow, and I heard a growl. I don’t really remember anything else. I don’t remember it coming near me or anything, but all of the sudden my hand started hurting and I had a big scratch on my hand for a while. That was really the only time I’ve been scratched by something or touched by something.
There was another time I was staying at a friend’s house, and she always said that the place seemed haunted, but she didn’t have any real proof. I was lying in bed, and I swear I felt something grab my butt [laughs]. It was like something cupped by butt while I was sleeping. I was sharing a bed and she was one of my childhood friends, so I thought she was trying to make a joke or something. So, I said, “Haha, very funny,” and when I looked over, she hadn’t even gotten in bed yet. There was an imprint on the blanket like someone had grabbed me. About two weeks later when she was moving out, she moved some of the furniture that had been in the building when she moved in, and there was a whole decomposition stain. So, it was kind of her final proof that someone had died in the building, and it was haunted.

BD: As I mentioned earlier, you and Christine have written your first book, A Haunted Road Atlas. The book is a guide to some of the country’s most infamous crime scenes and hauntings, and also includes recommendations for bars, restaurants, oddity museums, travel tips, and a lot more cool stuff! Out of all the locations in the book, do you have a favorite haunted location and a favorite crime scene and why?
ES: For a crime scene, it would also be a paranormal location because we write about the Cecil Hotel, which is huge in Los Angeles. I feel like a lot of people in the paranormal are aware of the Cecil Hotel, especially if you live near it. I would say it’s my favorite true crime and paranormal spot if I’m combing them, just because so much history happened there. It’s probably riddled with energy. But in terms of just paranormal, I actually haven’t been before. I actually discovered the location while I was writing this book and had never heard of it before.
Near Cincinnati, Ohio, there is a place called the Sedamsville Rectory and I’d never heard of it, but, wow, that is a scary place! I don’t know too much about its history, all I know is that while there were a few priests living there, they all seemed to have checkered pasts. There was one priest who was known for assaulting children, so there is a lot of negative energy there. One of the current owners is regularly getting possessed in the building. They’ve done a bunch of guest spots on television to talk about it and the owners are aware of what’s going on. It’s super spooky. As of the last time I checked, I think they were trying to turn it into an Airbnb. It works out pretty well if you’re into morbid tourism. That is a place I’m very interested in, but also never want to go to [laughs].
BD: A Haunted Road Atlas will be out on May 31st. Where can people buy it and are you working on anything new involving the paranormal?
ES: There are a few bookstores we’re going to do some book signings. We’re doing one in Cincinnati, we’re doing one in Boston. You can buy it online and my personal favorite is that it will be in Boston at The Strand. Boston is me and Christine’s combined hometown because that is where we met, so it’s a special city to us. As far as working on other projects, we don’t have anything in works right now in terms of books, but I guess it depends on how much people like this book. We’re definitely open to writing more. Maybe in the future this will be a series.
You can pick up your copy of A Haunted Road Atlas  right now!

We would like to  give thanks to the author of this  write-up for this  remarkable  material



Free Horror Games – Six of the Best That You Can Play Right Now!



"
      }
      ["summary"]=>
      string(652) "Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They ... Read more"
      ["atom_content"]=>
      string(11416) "

Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They are releasing their first book, A Haunted Road Atlaswhich is filled with travel tips, beverage recommendations, haunted locations, and more. The guide also includes some of the country’s most notorious crime scenes and paranormal locations.
I was excited to have the opportunity to speak with co-author Em Schulz about their experiences with the supernatural, their favorite true crime/paranormal locations, A Haunted Road Atlasand more. Em is a member of The Ghost Club, the Society of Psychical Research, the Parapsychological Association, and the Mutual UFO Network (MUFON).
Read on for my full interview with Em Schulz!

Bloody Disgusting: You and Christine Schiefer have an award-winning podcast called And That’s Why We Drink and the two of you are releasing your first book on May 31st, called A Haunted Road Atlas. How did you become involved with the paranormal and can you talk a little bit about your experiences as a paranormal investigator?
In Schulz: I’ve been interested in ghosts since I was a little kid. When I was seven, my grandfather passed and about a week after he passed, everyone in the family started having their own weird, independent experiences. My cousin had an experience a week after he died where she got a picture of him when he obviously shouldn’t have been there. My mom was seeing him in her dreams. When I was asleep in the middle of the night, I woke up to him sitting on the bed, and just kind of petting leg and smiling at me. The next day, I told my mom, “I’m going to grow up and be a ghost hunter,“ which weirdly, worked out. I think my mom was expecting that to not happen [laughs]. Growing up, I was really interested in anything spooky; I always wanted to go to haunted houses, or buildings, or do ghost tours when we were traveling.
When I got to college, I ended up becoming a ghost tour guide, which kind of was a pseudo-paranormal investigator start to my career. I was working in a museum across the street from this one building, and I went in there to ask if it was haunted. And I guess they thought I was asking for a job. I don’t know how they came to that conclusion because I just wanted to know some general ghost stuff on my lunch break, and I guess they read it as I was looking to start working for them. They did ghost tours and saw that I was interested and told me to come back Friday night and they paid me twenty bucks after the ghost tour. After that, each of my weekends during college was spent doing ghost tours with them, doing some set up with equipment beforehand, and doing my own little ghost hunts before our guests got there. Through that I got into the real ghost hunting world and then I did some volunteer groups as I moved around. I ended up in Boston for a while and did a volunteer group there, where I would investigate. That’s kind of how I broke into the world [laughs].
BD: Through your podcast, you have covered hundreds of cases involving everything from hauntings to alien abductions, and cryptids. Can you share your most unnerving paranormal experience or the scariest case you have investigated?
ES: When I was working as a ghost tour guide, I had some really scary experiences. I remember being upstairs by myself in an attic setting everything up before we had our guests come in. I had already turned the equipment on, and I was doing my own little ghost hunting stuff, since I had some time to kill. All of the sudden, I saw this big mass of solid black; you couldn’t see through it. It was like a shadow, and I heard a growl. I don’t really remember anything else. I don’t remember it coming near me or anything, but all of the sudden my hand started hurting and I had a big scratch on my hand for a while. That was really the only time I’ve been scratched by something or touched by something.
There was another time I was staying at a friend’s house, and she always said that the place seemed haunted, but she didn’t have any real proof. I was lying in bed, and I swear I felt something grab my butt [laughs]. It was like something cupped by butt while I was sleeping. I was sharing a bed and she was one of my childhood friends, so I thought she was trying to make a joke or something. So, I said, “Haha, very funny,” and when I looked over, she hadn’t even gotten in bed yet. There was an imprint on the blanket like someone had grabbed me. About two weeks later when she was moving out, she moved some of the furniture that had been in the building when she moved in, and there was a whole decomposition stain. So, it was kind of her final proof that someone had died in the building, and it was haunted.

BD: As I mentioned earlier, you and Christine have written your first book, A Haunted Road Atlas. The book is a guide to some of the country’s most infamous crime scenes and hauntings, and also includes recommendations for bars, restaurants, oddity museums, travel tips, and a lot more cool stuff! Out of all the locations in the book, do you have a favorite haunted location and a favorite crime scene and why?
ES: For a crime scene, it would also be a paranormal location because we write about the Cecil Hotel, which is huge in Los Angeles. I feel like a lot of people in the paranormal are aware of the Cecil Hotel, especially if you live near it. I would say it’s my favorite true crime and paranormal spot if I’m combing them, just because so much history happened there. It’s probably riddled with energy. But in terms of just paranormal, I actually haven’t been before. I actually discovered the location while I was writing this book and had never heard of it before.
Near Cincinnati, Ohio, there is a place called the Sedamsville Rectory and I’d never heard of it, but, wow, that is a scary place! I don’t know too much about its history, all I know is that while there were a few priests living there, they all seemed to have checkered pasts. There was one priest who was known for assaulting children, so there is a lot of negative energy there. One of the current owners is regularly getting possessed in the building. They’ve done a bunch of guest spots on television to talk about it and the owners are aware of what’s going on. It’s super spooky. As of the last time I checked, I think they were trying to turn it into an Airbnb. It works out pretty well if you’re into morbid tourism. That is a place I’m very interested in, but also never want to go to [laughs].
BD: A Haunted Road Atlas will be out on May 31st. Where can people buy it and are you working on anything new involving the paranormal?
ES: There are a few bookstores we’re going to do some book signings. We’re doing one in Cincinnati, we’re doing one in Boston. You can buy it online and my personal favorite is that it will be in Boston at The Strand. Boston is me and Christine’s combined hometown because that is where we met, so it’s a special city to us. As far as working on other projects, we don’t have anything in works right now in terms of books, but I guess it depends on how much people like this book. We’re definitely open to writing more. Maybe in the future this will be a series.
You can pick up your copy of A Haunted Road Atlas  right now!

We would like to  give thanks to the author of this  write-up for this  remarkable  material



Free Horror Games – Six of the Best That You Can Play Right Now!



"
      ["date_timestamp"]=>
      int(1654183565)
    }
    [9]=>
    array(11) {
      ["title"]=>
      string(107) "Podcaster Em Schulz Talks Favorite Paranormal Locations and New Book ‘A Haunted Road Atlas’ [DEAD Time]"
      ["link"]=>
      string(155) "https://latestmovs.packagingnewsonline.com/scream-away/podcaster-em-schulz-talks-favorite-paranormal-locations-and-new-book-a-haunted-road-atlas-dead-time/"
      ["dc"]=>
      array(1) {
        ["creator"]=>
        string(11) "Harry World"
      }
      ["pubdate"]=>
      string(31) "Thu, 02 Jun 2022 14:02:29 +0000"
      ["category"]=>
      string(86) "Scream AwayatlasbookdeadfavoriteHauntedLocationsParanormalPodcasterroadSchulzTalkstime"
      ["guid"]=>
      string(51) "https://latestmovs.packagingnewsonline.com/?p=69446"
      ["description"]=>
      string(772) "Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They ... Read more"
      ["content"]=>
      array(1) {
        ["encoded"]=>
        string(11594) "

Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They are releasing their first book, A Haunted Road Atlaswhich is filled with travel tips, beverage recommendations, haunted locations, and more. The guide also includes some of the country’s most notorious crime scenes and paranormal locations.
I was excited to have the opportunity to speak with co-author Em Schulz about their experiences with the supernatural, their favorite true crime/paranormal locations, A Haunted Road Atlasand more. Em is a member of The Ghost Club, the Society of Psychical Research, the Parapsychological Association, and the Mutual UFO Network (MUFON).
Read on for my full interview with Em Schulz!

Bloody Disgusting: You and Christine Schiefer have an award-winning podcast called And That’s Why We Drink and the two of you are releasing your first book on May 31st, called A Haunted Road Atlas. How did you become involved with the paranormal and can you talk a little bit about your experiences as a paranormal investigator?
In Schulz: I’ve been interested in ghosts since I was a little kid. When I was seven, my grandfather passed and about a week after he passed, everyone in the family started having their own weird, independent experiences. My cousin had an experience a week after he died where she got a picture of him when he obviously shouldn’t have been there. My mom was seeing him in her dreams. When I was asleep in the middle of the night, I woke up to him sitting on the bed, and just kind of petting leg and smiling at me. The next day, I told my mom, “I’m going to grow up and be a ghost hunter,“ which weirdly, worked out. I think my mom was expecting that to not happen [laughs]. Growing up, I was really interested in anything spooky; I always wanted to go to haunted houses, or buildings, or do ghost tours when we were traveling.
When I got to college, I ended up becoming a ghost tour guide, which kind of was a pseudo-paranormal investigator start to my career. I was working in a museum across the street from this one building, and I went in there to ask if it was haunted. And I guess they thought I was asking for a job. I don’t know how they came to that conclusion because I just wanted to know some general ghost stuff on my lunch break, and I guess they read it as I was looking to start working for them. They did ghost tours and saw that I was interested and told me to come back Friday night and they paid me twenty bucks after the ghost tour. After that, each of my weekends during college was spent doing ghost tours with them, doing some set up with equipment beforehand, and doing my own little ghost hunts before our guests got there. Through that I got into the real ghost hunting world and then I did some volunteer groups as I moved around. I ended up in Boston for a while and did a volunteer group there, where I would investigate. That’s kind of how I broke into the world [laughs].
BD: Through your podcast, you have covered hundreds of cases involving everything from hauntings to alien abductions, and cryptids. Can you share your most unnerving paranormal experience or the scariest case you have investigated?
ES: When I was working as a ghost tour guide, I had some really scary experiences. I remember being upstairs by myself in an attic setting everything up before we had our guests come in. I had already turned the equipment on, and I was doing my own little ghost hunting stuff, since I had some time to kill. All of the sudden, I saw this big mass of solid black; you couldn’t see through it. It was like a shadow, and I heard a growl. I don’t really remember anything else. I don’t remember it coming near me or anything, but all of the sudden my hand started hurting and I had a big scratch on my hand for a while. That was really the only time I’ve been scratched by something or touched by something.
There was another time I was staying at a friend’s house, and she always said that the place seemed haunted, but she didn’t have any real proof. I was lying in bed, and I swear I felt something grab my butt [laughs]. It was like something cupped by butt while I was sleeping. I was sharing a bed and she was one of my childhood friends, so I thought she was trying to make a joke or something. So, I said, “Haha, very funny,” and when I looked over, she hadn’t even gotten in bed yet. There was an imprint on the blanket like someone had grabbed me. About two weeks later when she was moving out, she moved some of the furniture that had been in the building when she moved in, and there was a whole decomposition stain. So, it was kind of her final proof that someone had died in the building, and it was haunted.

BD: As I mentioned earlier, you and Christine have written your first book, A Haunted Road Atlas. The book is a guide to some of the country’s most infamous crime scenes and hauntings, and also includes recommendations for bars, restaurants, oddity museums, travel tips, and a lot more cool stuff! Out of all the locations in the book, do you have a favorite haunted location and a favorite crime scene and why?
ES: For a crime scene, it would also be a paranormal location because we write about the Cecil Hotel, which is huge in Los Angeles. I feel like a lot of people in the paranormal are aware of the Cecil Hotel, especially if you live near it. I would say it’s my favorite true crime and paranormal spot if I’m combing them, just because so much history happened there. It’s probably riddled with energy. But in terms of just paranormal, I actually haven’t been before. I actually discovered the location while I was writing this book and had never heard of it before.
Near Cincinnati, Ohio, there is a place called the Sedamsville Rectory and I’d never heard of it, but, wow, that is a scary place! I don’t know too much about its history, all I know is that while there were a few priests living there, they all seemed to have checkered pasts. There was one priest who was known for assaulting children, so there is a lot of negative energy there. One of the current owners is regularly getting possessed in the building. They’ve done a bunch of guest spots on television to talk about it and the owners are aware of what’s going on. It’s super spooky. As of the last time I checked, I think they were trying to turn it into an Airbnb. It works out pretty well if you’re into morbid tourism. That is a place I’m very interested in, but also never want to go to [laughs].
BD: A Haunted Road Atlas will be out on May 31st. Where can people buy it and are you working on anything new involving the paranormal?
ES: There are a few bookstores we’re going to do some book signings. We’re doing one in Cincinnati, we’re doing one in Boston. You can buy it online and my personal favorite is that it will be in Boston at The Strand. Boston is me and Christine’s combined hometown because that is where we met, so it’s a special city to us. As far as working on other projects, we don’t have anything in works right now in terms of books, but I guess it depends on how much people like this book. We’re definitely open to writing more. Maybe in the future this will be a series.
You can pick up your copy of A Haunted Road Atlas  right now!

We would like to  give thanks to the  writer of this  post for this awesome content



Podcaster Em Schulz Talks Favorite Paranormal Locations and New Book ‘A Haunted Road Atlas’ [DEAD Time]



"
      }
      ["summary"]=>
      string(772) "Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They ... Read more"
      ["atom_content"]=>
      string(11594) "

Welcome back to DEAD Time! This month, I got spooky with a new book about taking a haunted road trip and talked to one of the authors about their experiences with the paranormal. in Schulz and Christine Schiefer are the hosts of the wildly popular, award-winning, true crime/paranormal podcast And That’s Why We Drink. They are releasing their first book, A Haunted Road Atlaswhich is filled with travel tips, beverage recommendations, haunted locations, and more. The guide also includes some of the country’s most notorious crime scenes and paranormal locations.
I was excited to have the opportunity to speak with co-author Em Schulz about their experiences with the supernatural, their favorite true crime/paranormal locations, A Haunted Road Atlasand more. Em is a member of The Ghost Club, the Society of Psychical Research, the Parapsychological Association, and the Mutual UFO Network (MUFON).
Read on for my full interview with Em Schulz!

Bloody Disgusting: You and Christine Schiefer have an award-winning podcast called And That’s Why We Drink and the two of you are releasing your first book on May 31st, called A Haunted Road Atlas. How did you become involved with the paranormal and can you talk a little bit about your experiences as a paranormal investigator?
In Schulz: I’ve been interested in ghosts since I was a little kid. When I was seven, my grandfather passed and about a week after he passed, everyone in the family started having their own weird, independent experiences. My cousin had an experience a week after he died where she got a picture of him when he obviously shouldn’t have been there. My mom was seeing him in her dreams. When I was asleep in the middle of the night, I woke up to him sitting on the bed, and just kind of petting leg and smiling at me. The next day, I told my mom, “I’m going to grow up and be a ghost hunter,“ which weirdly, worked out. I think my mom was expecting that to not happen [laughs]. Growing up, I was really interested in anything spooky; I always wanted to go to haunted houses, or buildings, or do ghost tours when we were traveling.
When I got to college, I ended up becoming a ghost tour guide, which kind of was a pseudo-paranormal investigator start to my career. I was working in a museum across the street from this one building, and I went in there to ask if it was haunted. And I guess they thought I was asking for a job. I don’t know how they came to that conclusion because I just wanted to know some general ghost stuff on my lunch break, and I guess they read it as I was looking to start working for them. They did ghost tours and saw that I was interested and told me to come back Friday night and they paid me twenty bucks after the ghost tour. After that, each of my weekends during college was spent doing ghost tours with them, doing some set up with equipment beforehand, and doing my own little ghost hunts before our guests got there. Through that I got into the real ghost hunting world and then I did some volunteer groups as I moved around. I ended up in Boston for a while and did a volunteer group there, where I would investigate. That’s kind of how I broke into the world [laughs].
BD: Through your podcast, you have covered hundreds of cases involving everything from hauntings to alien abductions, and cryptids. Can you share your most unnerving paranormal experience or the scariest case you have investigated?
ES: When I was working as a ghost tour guide, I had some really scary experiences. I remember being upstairs by myself in an attic setting everything up before we had our guests come in. I had already turned the equipment on, and I was doing my own little ghost hunting stuff, since I had some time to kill. All of the sudden, I saw this big mass of solid black; you couldn’t see through it. It was like a shadow, and I heard a growl. I don’t really remember anything else. I don’t remember it coming near me or anything, but all of the sudden my hand started hurting and I had a big scratch on my hand for a while. That was really the only time I’ve been scratched by something or touched by something.
There was another time I was staying at a friend’s house, and she always said that the place seemed haunted, but she didn’t have any real proof. I was lying in bed, and I swear I felt something grab my butt [laughs]. It was like something cupped by butt while I was sleeping. I was sharing a bed and she was one of my childhood friends, so I thought she was trying to make a joke or something. So, I said, “Haha, very funny,” and when I looked over, she hadn’t even gotten in bed yet. There was an imprint on the blanket like someone had grabbed me. About two weeks later when she was moving out, she moved some of the furniture that had been in the building when she moved in, and there was a whole decomposition stain. So, it was kind of her final proof that someone had died in the building, and it was haunted.

BD: As I mentioned earlier, you and Christine have written your first book, A Haunted Road Atlas. The book is a guide to some of the country’s most infamous crime scenes and hauntings, and also includes recommendations for bars, restaurants, oddity museums, travel tips, and a lot more cool stuff! Out of all the locations in the book, do you have a favorite haunted location and a favorite crime scene and why?
ES: For a crime scene, it would also be a paranormal location because we write about the Cecil Hotel, which is huge in Los Angeles. I feel like a lot of people in the paranormal are aware of the Cecil Hotel, especially if you live near it. I would say it’s my favorite true crime and paranormal spot if I’m combing them, just because so much history happened there. It’s probably riddled with energy. But in terms of just paranormal, I actually haven’t been before. I actually discovered the location while I was writing this book and had never heard of it before.
Near Cincinnati, Ohio, there is a place called the Sedamsville Rectory and I’d never heard of it, but, wow, that is a scary place! I don’t know too much about its history, all I know is that while there were a few priests living there, they all seemed to have checkered pasts. There was one priest who was known for assaulting children, so there is a lot of negative energy there. One of the current owners is regularly getting possessed in the building. They’ve done a bunch of guest spots on television to talk about it and the owners are aware of what’s going on. It’s super spooky. As of the last time I checked, I think they were trying to turn it into an Airbnb. It works out pretty well if you’re into morbid tourism. That is a place I’m very interested in, but also never want to go to [laughs].
BD: A Haunted Road Atlas will be out on May 31st. Where can people buy it and are you working on anything new involving the paranormal?
ES: There are a few bookstores we’re going to do some book signings. We’re doing one in Cincinnati, we’re doing one in Boston. You can buy it online and my personal favorite is that it will be in Boston at The Strand. Boston is me and Christine’s combined hometown because that is where we met, so it’s a special city to us. As far as working on other projects, we don’t have anything in works right now in terms of books, but I guess it depends on how much people like this book. We’re definitely open to writing more. Maybe in the future this will be a series.
You can pick up your copy of A Haunted Road Atlas  right now!

We would like to  give thanks to the  writer of this  post for this awesome content



Podcaster Em Schulz Talks Favorite Paranormal Locations and New Book ‘A Haunted Road Atlas’ [DEAD Time]



"
      ["date_timestamp"]=>
      int(1654178549)
    }
  }
  ["channel"]=>
  array(7) {
    ["title"]=>
    string(27) "Scream Away – Latest Movs"
    ["link"]=>
    string(42) "https://latestmovs.packagingnewsonline.com"
    ["lastbuilddate"]=>
    string(31) "Fri, 03 Jun 2022 02:25:29 +0000"
    ["language"]=>
    string(5) "en-US"
    ["sy"]=>
    array(2) {
      ["updateperiod"]=>
      string(9) "
	hourly	"
      ["updatefrequency"]=>
      string(4) "
	1	"
    }
    ["generator"]=>
    string(28) "https://wordpress.org/?v=6.0"
    ["tagline"]=>
    NULL
  }
  ["textinput"]=>
  array(0) {
  }
  ["image"]=>
  array(0) {
  }
  ["feed_type"]=>
  string(3) "RSS"
  ["feed_version"]=>
  string(3) "2.0"
  ["encoding"]=>
  string(5) "UTF-8"
  ["_source_encoding"]=>
  string(0) ""
  ["ERROR"]=>
  string(0) ""
  ["WARNING"]=>
  string(0) ""
  ["_CONTENT_CONSTRUCTS"]=>
  array(6) {
    [0]=>
    string(7) "content"
    [1]=>
    string(7) "summary"
    [2]=>
    string(4) "info"
    [3]=>
    string(5) "title"
    [4]=>
    string(7) "tagline"
    [5]=>
    string(9) "copyright"
  }
  ["_KNOWN_ENCODINGS"]=>
  array(3) {
    [0]=>
    string(5) "UTF-8"
    [1]=>
    string(8) "US-ASCII"
    [2]=>
    string(10) "ISO-8859-1"
  }
  ["stack"]=>
  array(0) {
  }
  ["inchannel"]=>
  bool(false)
  ["initem"]=>
  bool(false)
  ["incontent"]=>
  bool(false)
  ["intextinput"]=>
  bool(false)
  ["inimage"]=>
  bool(false)
  ["current_namespace"]=>
  bool(false)
  ["last_modified"]=>
  string(31) "Fri, 03 Jun 2022 03:25:56 GMT
"
  ["etag"]=>
  string(29) "coCddTZ0cwgJUsX3SfRjpD2EtfY
"
}