Spectre Collie

It seems like there’s been a spate of found footage/Zoom-based horror movies, enough to qualify as its own sub-genre, although I can’t actually think of many besides Unfriended.

The title of this post was stolen from my husband, who was maybe half paying attention to the movie while next to me on the sofa.

The whole topic of generative AI has been a lot on my mind for the past couple weeks, even apart from just having to sigh and say “this sure sucks.”

Since I’ve already broken the seal on Spooktober 2026, and I’ve been in the mood to make through my movie backlog this extended weekend, I figured I was finally ready to watch The Babadook from 2014.

It’s still early September and I’m already in a Halloween mood.

My take on generative AI has pretty rapidly gone from a tentative, “it sucks and I hate it, but after the bubble pops, there might be a few very specific use cases for it, like with programming,” to a vehemently zero-tolerance stance.

It’s almost like all that time I spent evangelizing Steam hardware was for nothing.

When I finally saw Phantasm, the movie whose reputation terrified me so much that it took me until middle age to see it, I was surprised by how charming it was.

AMC has been taking part in the celebration of life for Dolly Parton by bringing some of her movies back to theaters, albeit at times that only unemployed people can see them.

I only knew about the movie Buddy from the Dead Meat channel, so all I knew going in was that it was a horror movie about a Barney-style children’s show, written and directed by Casper Kelly, who made the “Too Many Cooks” short for Adult Swim.

When Dolly Parton passed away this week, I joined the people online celebrating what a special person she was.

I still don’t know exactly what “A Long December” by Counting Crows was meant to evoke in Teenage Sex and Death at Camp Miasma, but I can tell you what it did for me: instantly took me back to that window of time in the early-to-mid 1990s when I was worki…