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Interview: Leigh Whannell on Taking the INSIDIOUS Franchise Full Circle for THE LAST KEY

Posted: 04 Jan 2018 04:13 PM PST

He's co-starred in and written all four films in the Insidious series, and he even sat in the directorial seat for the previous sequel, but for The Last Key, Leigh Whannell is taking audiences, and franchise favorite Elise Rainier (Lin Shaye), back to the past, as we get to experience where it all started for our favorite parapsychologist, who must stop a powerful demonic force that once terrorized her as a young girl and is back to wreak more havoc.

At the recent press day for Insidious: The Last Key, Daily Dead had the chance to speak with Whannell about the inspiration behind this latest sequel, and he also discussed his enthusiasm for collaborating with Shaye, and how her involvement has helped transform the successful franchise into something very special.

This is a franchise you've been with now through all four films, in various capacities, and I really love how it all comes full circle for Elise in this film. I'm curious, for you, what was different with the process on this film versus the prior three Insidious films?

Leigh Whannell: The trick is to make it look like it was all planned, when really it's chaos behind the scenes. You're in the restaurant eating this dish, you don't know that behind that wall the kitchen is in total chaos. For me, it was a hard process to find the story for this film.

I remember when I started writing, I had a case of writer's block for a while. I remember weeks going by, and just not being able to think of anything new to say. In hindsight, it seemed so natural that I would take Lin and put her front and center in the film and go into her backstory, but it just took a while to get there. Sometimes these films do. There wasn't really any grand design or plan for it, but I'm so glad I decided to go into Lin's backstory, because now when I watch the film, it's the most interesting direction for me that we could've gone in.

Does it make it easier for you when you're working with somebody like Lin, who you know so well and you know that she can go to the places that this character needs to go in this one? Because it is probably the deepest exploration of her character that we've seen thus far.

Leigh Whannell: Absolutely. It absolutely does make it, if not easier, more fun to write for someone whose voice you know. I always think about the writers of The Simpsons. That show has been running for so long that you have to figure that some of those writers have gotten to the point where they know what Homer Simpson would say in any given situation. You know, "Oh, this is what Homer would say here."

I had that feeling a little bit with Lin. I know her so well as a human being that it was nice to write in her voice. To sit back and actually hear Lin's voice in my head, it was almost like she was there with me writing the film. That's a rare thing, and at least for me as a writer, I don't usually have that advantage of writing in someone's voice because I don't know which actor's going to be cast, or if it's an original character that I've never written before, so I'm inventing them from the ground up. Whereas with Lin, it's our fourth time around, and I really know her, so there was a real joy to that, writing for her.

With Insidious: Chapter 3, you had so many components that you were juggling on that one, because you were also directing. Was it nice to step back in this one and really be able to focus on the story, hand the reins over to a guy like Adam [Robitel], who is very capable and very confident as a storyteller, and enjoy it from a different perspective again?

Leigh Whannell: Yeah, there was something good about that, because when you're writing a film, you still have that creative hand in it. It's not as if I sat back and let somebody else do everything. Like with the Saw movies, for instance, I wrote three of them, and after the third one I was completely hands off. I didn't have anything to do with those movies. They had new writers, new directors, and so I felt very divorced from it. I felt very distant from it.

With this fourth Insidious movie, even though I didn't direct, I felt really invested emotionally, having written the script and even being on set every day as an actor. Working with Lin, there was a joy to seeing someone new, because what Adam can bring to the table is a fresh set of eyes. He had his own ideas about Insidious and how we should do it, and that's a tough thing to do.

It's tough to be the new kid at school, and Adam handled it very well. He's a calm guy. He's not someone that throws temper tantrums or gets stressed out on set. He takes everything in stride. To a degree, that's pretty amazing, especially for him to step into a really well-established world and throw off like that. It was pretty impressive.

It's amazing that you guys ended up building this franchise around a female protagonist that's older than we normally see in films of any genre. Did you guys realize coming into these sequels the precedent you were setting? I think it's pretty awesome.

Leigh Whannell: Well, you know, the whole thing of Lin is really a happy accident, because in that first movie, she was one of the supporting cast. The stars of the movie were Patrick Wilson and Rose Byrne, and the story really centered around them and their child.

I wouldn't say that Lin's character was an afterthought, but she was the Zelda Rubinstein. She was the quirky psychic that comes in to help save the day. There was no thought at all that we would be building films around her character later. It's a really happy accident and stroke of luck that we got Lin Shaye to do it. Imagine if we'd cast some other actor who wasn't as compelling. We wouldn't have the option of making films about her. I see it as a real gift from the movie gods that we got Lin.

And you're right, you don't see women Lin's age playing lead roles in studio films. It's a sad fact of the movie industry. Not even just women of Lin's age; it seems like the cutoff point for women has been remarkably early. I've heard women talk about the phone not ringing once they hit 40, which is not the case for men. As you know, men are able to continue playing these lead roles well past the so-called expiry date for women. It's really kind of sad.

Lin is very aware of how rare it is, and we just love it. I will tell you this, something that makes me really happy about the Insidious films, especially this last one, is knowing that Lin's the lead, and how unique that is in contrast to a lot of other films that have the young people running around in the lead roles. But it's just something that makes me really happy. A happy byproduct of these movies is giving Lin Shaye a stage, because she needs one. She should have one. She's got so much to offer, and it makes you realize how many more films could be great if they were based around characters and people of ages that don't usually get a chance. What stories are we not seeing? Anyway, I love it. I really love it.


In case you missed it, check here to catch up on Heather's other Insidious: The Last Key interviews and her review of the film.

The post Interview: Leigh Whannell on Taking the INSIDIOUS Franchise Full Circle for THE LAST KEY appeared first on Daily Dead.

Scott’s Favorites of 2017

Posted: 04 Jan 2018 03:15 PM PST

Hey everyone. Having written and rewritten this introduction four times, I've resigned myself to a simple fact: I can't rewrite what has been. I can't change what is done. But the future isn't set in stone, and my present is better than it's been in a very long time. I guess which is to say that I'm forever an optimist; I can't help it and frankly, I don't care to change. It's just the way I'm built. So, it was a busy year, and many of the reasons why you'll see described below with my list of favorite things from 2017. As you'll see, horror—and horror people—never let me down.


Okay this will be very short, so let's get it out of the way: I didn't see any horror TV this year at all. I'm SORRY, OKAY? TV always seems the one format that is the easiest to slip through my grasp—perhaps because it's always just there, waiting—but indeed it has survived and thrived, with great notices for season two of Channel Zero and The Exorcist (both which made my fave list last year). I promise I'll do better in 2018. Um, I'm almost done watching Hannibal, though, does that count?



Again, it's been a crazy year on the work and the home front; I've always loved to read, but it seems the more I write, the less I'm able to dig into a good book. There are two, however, that have (wait for it) bookended my year:

Never Sleep Again: The Elm Street Legacy: The Making of Wes Craven's A Nightmare on Elm Street: Yes, it came out in 2016, but I read it when I read it, and I'm so glad I did. Author Thommy Hutson wrote and produced the amazing doc of the (partial) same name, but instead of the whole series, here he focuses on the ground zero original, allowing it to breathe and expand beyond the allotted time given in the doc. Essential reading for any fan of the film or just great, in-depth "making of" tomes.

Monster Squad: Celebrating the Artists Behind Cinema's Most Memorable Creatures: Written by Daily Dead's very own Managing Editor and Top Critic Heather Wixson (alternate spelling: Wixon), Monster Squad delves into the stories behind some of your very favorite practical makeup effects by the people who created them. I'm nowhere near finished with this book (it packs in a ton of info and it was released late in the year), but Heather's talent and love for these creature makers oozes off of every page. This is a tremendous undertaking from a gifted, passionate writer.



I greased up my ear holes with many a podcast this year; most of them horror-based, all of them terrific in their own way: engaging hosts, interesting topics, and a passion for film that's contagious. In no particular order, this is what I fed my auditory canals:

  • F This Movie!
  • Pure Cinema Podcast
  • '80s All Over
  • Faculty of Horror
  • Shock Waves
  • Really Awful Movies
  • Just the Discs
  • Post Mortem
  • Splathouse
  • Dead Ringers
  • Scream Cast
  • Scream Addicts

I'm sure many of the above are already on your listening lists, and if not, give each and every one a go—I promise there's something for everyone.



This was another very good year for feature film horror, not only for content, but for the box office; it seems whenever real life gets to be too much (and 2017 had way too much 2017 in it, for everyone), audiences turn to escapism to possibly overcome their fears in a safe environment. (Pop psychology to be sure, but I think it holds some truth, and us horror lovers would be there regardless of our environs. That's just how we roll.) These are my top picks for the year:

IT: My first Stephen King adaptation on the list, and I believe the best. Confession: I still haven't read the book, so my only previous knowledge is the 1990 miniseries, which is still beloved by some and derided by many. (Personally, I think it's a mixed bag with some great moments. Not that you asked.) Andy Muschietti (Mama) has crafted a rare beast: a studio-made horror film with an emphasis on winning, fully developed characters over cheap scares (although it has more than its share of shivery terror). I eagerly await his 2019 follow-up to see what's in store for the grown ups. It should end well for everyone, right?

Gerald's Game: Hell, I might as well throw another King on the pile, as Mike Flanagan (Hush) solidifies his standing as a modern master of horror with an adaptation of a seemingly un-filmable book. Again, another King that works because of a belief that character is enough to drive a film. Plus, THAT SCENE. Plus plus, Carla Gugino should be noticed for her heroic performance. Oh and plus plus plus, can I have the number of Bruce Greenwood's trainer?

Dearest Sister: The power of film is such that I first saw this back in January on Shudder and it has never left my thoughts. Laotian director Mattie Do has crafted a ghost story that projects that country's social and economic disparity in a haunting, delicate light; when a poor village girl travels to the city to help her recently blinded and wealthy cousin, she finds that the cousin can communicate with the dead, which she uses to her financial benefit. There's an eerie sadness to the villager's plight, and to the film itself.

Get Out: Call it "horror," call it a "social thriller," call it whatever you want, but never forget how groundbreaking it is for the genre. Saturated with commentary on (sadly) still hot button issues of racism, cultural appropriation, and fear of assimilation, comedian Jordan Peele's directorial debut is direct and fierce in its message while still managing to be a cracking love letter to the genre. Judging by the success of this film, Peele will be able to make whatever movies he wants, and I'll be first in line.


Tragedy Girls: From the makers of the hilarious Patchwork, this breezy romp manages to make many cunning observations about the disconnect of social media in a warm, disarming, and winning way. Well-rounded characterizations, good laughs, and solid kills (will) make it a delight for horror lovers, mark my words.


Mayhem: Joe Lynch knows horror inside and out; even better, he has the talent to back up the talk—in a similar vein to his previous action extravaganza, Everly (2014), Mayhem simply pops off the screen with sly humor and hyperkinetic moves. It's Office Space meets Lord of the Flies, laced throughout with splatter-ific fun that is becoming Lynch's specialty. At least I hope so. Nobody does it better.


So, there you have it, some oases in a continually burning desert. We all have our own; and I hope that whatever you take pleasure in, it helps get you from one day to the next, and maybe even inspire you to help make a better tomorrow. Never forget that in the horror world, we're all in this together. That should always count for something. And to anyone who has ever read my blathering here or listened to me prattle on Daily Dead's very own Corpse Club podcast (what, you thought I wouldn't mention it?), my most sincere and humble thanks. I hope to keep doing it until they change the locks. Wishing you all the light and love in 2018.


Want to what other members of the Daily Dead team enjoyed in 2017? Catch up on all of our favorites coverage here.

The post Scott’s Favorites of 2017 appeared first on Daily Dead.

Interview: Director Hèctor Hernández Vicens on the Symbolism & Style of DAY OF THE DEAD: BLOODLINE

Posted: 04 Jan 2018 02:20 PM PST

He took us into the morgue with The Corpse of Anna Fritz, and for his second feature film, Hèctor Hernández Vicens aims a morbid lens at a world gone mad in Day of the Dead: Bloodline. With the reimagining of George A. Romero's Day of the Dead coming out to theaters, VOD, and Digital HD beginning January 5th from Saban Films, Daily Dead recently spoke with lead actress Sophie Skelton, and we also had the pleasure of talking with Hèctor about the movie's twisted love story, paying homage to Romero's work while still telling a different tale, and incorporating symbolism into the living dead narrative.

Thank you for taking the time to talk about Day of the Dead: Bloodline, Hèctor. This movie is based on a beloved film by George A. Romero. Coming off your previous film, The Corpse of Anna Fritz, which I think a lot of horror fans really enjoyed, what interested you about doing a new version of Romero's story?

Hèctor Hernández Vicens: Well, I love Romero's Dead movies. I think they are really great movies. One day I received a script from the producer with the title Day of the Dead: Bloodline, based on Romero's movie. I read the script and I saw that it's completely another movie, but with some similar events: the bunker, the military, and the zombie apocalypse. I thought that I could create a style knowing that it's a low budget, but I could enjoy creating the characters and their emotions, and making the movie was something that is great to me.

Yeah, it must have been really fun as a director to play in that world. You spent some time in the morgue with The Corpse of Anna Fritz and in this one, you go back to the morgue, but then you're also dialing up the story to this really intense apocalypse on a bigger scale. It was really exciting to see you go from a smaller, intimate film like Anna Fritz and then expand from there.

Hèctor Hernández Vicens: I love movies that happen in a single space. In Anna Fritz, it was all in a morgue. In this case, practically the whole movie is in a bunker. So, a lot of things I made in Anna Fritz, I put in this movie, too.

Of course, Anna Fritz is my style because I was one of the writers and producers. In this case, it's the producer's movie, so my role was to make the movie that the producers wanted me to do. But, like in Anna Fritz, I had to create an atmosphere that involves the entire movie and to play with emotions of the characters.

I enjoyed the approach that you took to the zombies. They have these herky-jerky movements and they move quickly. When you were looking at it from that perspective, how did you want to portray the zombies? They turned out to be really creepy.

Hèctor Hernández Vicens: Well, the producers wanted fast zombies. I like both: fast and slow. You can create different kinds of actions and horror using a lot of zombies that walk slowly or a few zombies that run fast as hell. In this case, I had a zombie coach. When I was casting for the movie, we had the casting for the actors and the casting for the zombies, I liked one of the people that came in a lot and I gave him the role of zombie coach. In this case, I didn't want zombies running like sports players. In some movies, zombies run, but I wanted zombies to be fast, but at the same time be zombies. I created only one [style of] zombie with the zombie coach and from that moment, the zombie coach worked with all the zombies and created zombies that way.

That's a great title to have on your résumé: zombie coach [laughs].

Hèctor Hernández Vicens: Yeah, "zombie coach" [laughs].

It was really interesting to see what you and Jonathan [Schaech] created with the zombie-human hybrid Max, because that's your version of Bub, the zombie from Romero's movie that everyone really loves. Max was intriguing on his own, too, and really creepy because he's so human-like and that smile that he has is so nightmarish. I thought that was really interesting how you guys collaborated on that. 

Hèctor Hernández Vicens: Yes, I love to work with Jonathan. Jonathan has a great imagination and portrayed the character as hating the other zombies. He has to eat flesh, he has to kill people. And really, his life situation is bad luck. At the same time, though, he needs love.

I didn't want too much zombie movement with Max. He's [Schaech] an actor that, without talking, gives you a lot. He gives a lot to the screen. And after talking about his humanity, after a very few hours of talking about the movie, [Schaech] could work alone, and was always giving great suggestions.

Yeah, that was really nice to see, especially those scenes that he has with Sophie [Skelton], because Max had already loved her character, Zoe, before turning into a zombie, so it added that extra creepy factor and became a romance gone bad.

Hèctor Hernández Vicens: He's like a ghost. A ghost is somebody who is dead. Some elements like hate and frustration are still here. A ghost is a part of somebody. I think Max is the same. He's love, hate, frustration, and happiness, and Zoe, of course, hates him because he was a motherfu**er when he was alive. And when Zoe sees him, Zoe remembers the past. And the past is that her family is dead, everybody is dead. All her friends in the university: dead. So, when Zoe hurts Max in the lab, Max is dead, Max is the past, and Zoe hates him for this reason. Zoe represents the life, she wants to save humankind and Max represents death. He wants to destroy everybody because he hates everybody.

And when Zoe faces her past when they capture Max, she is taking control of her own demons.

Hèctor Hernández Vicens: Yes, I think everything symbolizes something in this movie and in lots of zombie movies. In this movie, I like the character situations. For me, everything that happens in the bunker, it's life, it's our world. In the bunker, there is hate, love, people hating other people, people with hope, people without any hope—like in the world. So, we have very few main characters, but each one represents something. For me, the movie is a rendition of who humans are in our cities, towns, and wherever.

It's very diverse, and it's really cool that you got to film in Bulgaria, which is a type of environment that you don't typically see in a zombie movie.

Hèctor Hernández Vicens: Yes, it was shot in the American studios in Sofia, Bulgaria. There are really great, big studios with great people there, and a lot of American movies are shot in Bulgaria. All the zombies are Bulgarian people.

So, you got to zombify the locals, that's cool. When you're making a movie that is re-imagining a preexisting film like Day of the Dead, were you always thinking of giving little nods to Romero's film, or were you more concentrated on making this its own thing, or a little bit of both?

Hèctor Hernández Vicens: Well, this movie isn't like Romero's movies. I think the director usually never has to try to imitate another director, but at the same, the title is nearly the same title of Romero's movie. So, when I went to the studio, my first idea was to create the stage, to create the walls, to do the color of the walls of the rooms, and the color of the costumes and the color of the lighting of the movie, with a little bit of this Romero style. But only this, because then the characters are different and the script is different. But, at the same time, in Romero's movie, the characters have very strong emotions, and I tried to do the same in the remake.

With Day of the Dead: Bloodline coming out on January 5th, are there any other projects coming up that you can talk about?

Hèctor Hernández Vicens: Well, with Anna Fritz, I wrote and produced the movie. Now, I am preparing another movie that is also written by me. I love to write and to shoot. With Day of the Dead, it was an experience to work with a script written by other people, and I loved it. But, after Day of the Dead, after one year with zombies and blood—I love zombies, but I need to write again and to make another movie written by me. I am working on that right now.

Red band trailer:

The post Interview: Director Hèctor Hernández Vicens on the Symbolism & Style of DAY OF THE DEAD: BLOODLINE appeared first on Daily Dead.

Zombie Crosses Paths with a Piranha in New Installment of Jeff Fuller’s Living Dead Comic Strip ZOMICS

Posted: 04 Jan 2018 12:34 PM PST

Zombies aren't the only ones who will eat flesh in the apocalypse, especially when you take underwater critters into account... Since the first panels premiered on Daily Dead during Comic-Con, we've been excited to showcase artist Jeff Fuller's living dead comic strip Zomics, which finds the macabre humor in the everyday horrors of a zombie apocalypse. We release a new installment of Zomics every Thursday, and we're excited to share another panel with Daily Dead readers today!

This week's Zomics is a reminder that even when you're a zombie in the living dead apocalypse, you're not completely safe from something taking a bite out of you, especially when you cross paths with a piranha.

In case you missed Fuller's previous Zomics panels, you can check out all of them in the gallery below, and stay tuned to Daily Dead next Thursday for another installment!

Influenced by Dr. Seuss and The Addams Family creator Charles Addams, Fuller has worked as an award-winning art director for nearly a quarter of a century, garnering multiple Emmy and BDA awards. He turned his artistic talents to zombies when he started thinking about the comedic qualities that would live on in a zombified world:

"The origin of Zomics: While camping with my wife and kids we stared discussing what life would be like if there really were zombies. We decided that it would be a little scary, a little gross and a lot of funny. This was the birth of the single panel zombie comic strip, or ZOMICS for short."

The post Zombie Crosses Paths with a Piranha in New Installment of Jeff Fuller’s Living Dead Comic Strip ZOMICS appeared first on Daily Dead.

Watch the Official Trailer for New Haunted House Movie WINCHESTER, Starring Helen Mirren

Posted: 04 Jan 2018 10:23 AM PST

Do you believe in ghosts? Sarah Winchester sure did, and her resolve to protect her family from sinister spirits is the main focus of the new horror film Winchester. Starring Helen Mirren, Jason Clarke, and Sarah Snook, Winchester will haunt theaters this February, and CBS Films has opened the door to the official trailer for those who dare to step through its threshold.

You can watch the new trailer below, and in case you missed it, read our own Heather Wixson's impressions from her visit to the real-life Winchester Mystery House.

Synopsis: "Inspired by true events. On an isolated stretch of land 50 miles outside of San Francisco sits the most haunted house in the world. Built by Sarah Winchester, (Academy Award®-winner Helen Mirren) heiress to the Winchester fortune, it is a house that knows no end. Constructed in an incessant twenty-four hour a day, seven day a week mania for decades, it stands seven stories tall and contains hundreds of rooms. To the outsider it looks like a monstrous monument to a disturbed woman's madness. But Sarah is not building for herself, for her niece (Sarah Snook) or for the brilliant Doctor Eric Price (Jason Clarke) whom she has summoned to the house. She is building a prison, an asylum for hundreds of vengeful ghosts, and the most terrifying among them have a score to settle with the Winchesters..."

Directed by The Spierig Brothers, Winchester stars Helen Mirren, Jason Clarke, Sarah Snook, Angus Sampson, and Finn Scicluna-O'Prey. Lionsgate and CBS Films will release the supernatural thriller in theaters on February 2nd, 2018.

The post Watch the Official Trailer for New Haunted House Movie WINCHESTER, Starring Helen Mirren appeared first on Daily Dead.

The Miskatonic Institute of Horror Studies’ Spring 2018 Classes to Focus on the Written Works of Shirley Jackson, Richard Matheson’s I AM LEGEND, and More

Posted: 04 Jan 2018 09:06 AM PST

While in high school or college, did you ever wish that your curriculum was focused solely on the horror genre? That dream becomes a reality at the Miskatonic Institute of Horror Studies. Since 2010, this organization has held lectures around the world that dig deeper into great works of horror, and this spring is no exception, as the institute will once again have horror-themed classes in New York and London.

At its New York branch this spring, the Miskatonic Institute of Horror Studies will focus on the works of Shirley Jackson, the history of black horror, and much more, while its London branch will host several intriguing classes as well, including one on Richard Matheson's seminal novel I Am Legend. You can view the full schedule for both branches below, and visit Miskatonic New York and Miskatonic London online for more information.

Press Release: Following the successful conclusion of our 2017 winter semester with seasonal classes on Christmas Horror on Film and Television at both our London and New York branches, the Miskatonic Institute of Horror Studies is pleased to announce our spring curriculum and instructors, as well as exciting new developments. 

Coming up in 2018 we'll guide our students through folk horror, cults in film and Black Horror: The Revolutionary Act of Subverting the White Gaze. We'll offer classes examining the works of gothic author Shirley Jackson, true crime and Noir writer John Gilmore, Richard Matheson's seminal horror text I Am Legend, and host a conversation between horror fiction titan Ramsey Campbell and prolific author and editor Stephen Jones. Rounding things out Miskatonic London will feature a class by Watchmaker Films' Mark Rance on the complexities of digital restoration (with a case study of his restoration of F.W. Murnau's 1922 Nosferatu) while Miskatonic NYC will close its semester with a class presented by the co-founder of distribution and restoration company Vinegar Syndrome, Joe Rubin. Full class descriptions and instructor bios follow below.

Continuing for 2018 - now at both New York and London branches - is the Diabolique Scholarship. Each year Diabolique Magazine sponsors up to five students to participate in Miskatonic free of charge for the year. Applications and information for the scholarship are available on the Miskatonic websites here: New York: https://www.miskatonic-nyc.com/courses/ | Londonhttp://www.miskatonic-london.com/courses/

Miskatonic London also says farewell this year to its longtime co-director, genre film journalist and scholar Virginie Sélavy, who nurtured the branch from its founding in 2015. In her role at Miskatonic Selavy oversaw dozens of lectures, hosted a legion of special guests and taught some remarkable classes of her own. Sélavy leavesMiskatonic to focus on a new book project, explaining: "I've decided to step down as Miskatonic London co-director to focus on writing my book. It's been really exciting to help set up Miskatonic London and co-run it in its first three years of existence. Kier-La Janisse had a great idea and I'm glad to have been involved in bringing it to life.Miskatonic London has created a strong sense of community and tapped into a real appetite in the public for learning about the more obscure and neglected corners of horror film. It has opened up a dialogue between fans and academics and encouraged the spread of more critical ways of discussing horror. I am looking forward to seeing it continue to grow and develop under the new co-directorship." 

Stepping in as Miskatonic London's co-director as of January 2018 is Josh Saco, the curator behind Cigarette Burns Cinema, one of the UK's leading independent film exhibitors, who caters to fans of left field, classic horror and exploitation cinema, screening primarily from rare 16mm and 35mm prints at prestigious venues including the Barbican, Prince Charles and Regent Street Cinema and various festivals. "Our beloved genre offers various darkened alleyways and avenues," says Saco, "I look forward to exploring, discovering and sharing these mysterious corridors of the Miskatonic Institute with everyone." 

Saco will be running Miskatonic London with founder Kier-La Janisse, who also co-runs the New York branch with film writer and Visit Films' Assistant Director of Festivals and Non-Theatrical, Joe Yanick.

In spring 2018 Miskatonic also says farewell to its longest-running branch in Montreal, whose co-directors Mario DeGiglio-Bellemare and Kristopher Woofter have decided to branch off into their own local community of horror scholarship under the name The Montreal Monstrum Society. Woofter will however be joining MiskatonicNYC as an instructor for its Shirley Jackson class on March 13th (see class descriptions below). 

About the Miskatonic Institute of Horror Studies:
Named for the fictional university in H.P. Lovecraft's literary mythos, the Miskatonic Institute of Horror Studies is an international organization that offers university-level history, theory and production-based masterclasses for people of all ages, founded by film writer and programmer Kier-La Janisse in March 2010, with regular branches in London and New York as well as presenting special events worldwide.

For more updates sign up for the Miskatonic Newsletter HERE!      


The Miskatonic Institute of Horror Studies – NYC
 Tuesdays, January 9February 13March 13April 10May 8
Time: 7:00pm-9:30pm
Venue: Film Noir Cinema
Address: 122 Meserole, Greenpoint, Brooklyn
Prices: $12 advance / $15 on the door / 
$50 Full semester pass

The Miskatonic Institute of Horror Studies – London
 Thursdays, January 18February 15March 15April 19May 17

Time: 7:30pm-10pm (Doors 7pm, no admittance after class starts at 7:30)
Venue: Horse Hospital

Address: Colonnade, Bloomsbury, London

Prices: £10 advance / £11 on the door / £8 concs / £45 Full semester pass


Instructor: Sukhdev Sandhu

Named after the last pagan king of England, David Rudkin/ Alan Clarke's Penda's Fen (1974) is deep heresy, an extraordinary piece of folk horror, a visionary film that is almost a foundational text in the pantheon of The Old Weird Albion. A clergyman's son – agonistically, ecstatically – has his personal armour stripped away: parentage, nationality, sexuality, patriotism. He has encounters with an angel, a demon, the ghost of Edward Elgar, the crucified Jesus, and Penda himself. A radical archaeology of Deep England and a praise-song to anarchist transformation, it culminates with the most euphoric revelation in British cinema: "My race is mixed. My sex is mixed. I am woman and man, light with darkness, nothing pure."

Only recently exhumed after having been out of circulation for forty years, Penda's Fen has lost none of its power to bewitch and ensorcel. This illustrated talk by Sukhdev Sandhu, editor of The Edge Is Where The Centre Is, a limited-edition art book on the film, will explore its topographies and febrile contexts – experimental public broadcasting, avant-garde arcadias, the rural uncanny, a mid-70s Britain that teetered on the brink of civil war, the rise of eldritch England.

About the Instructor:
Sukhdev Sandhu runs the Colloquium for Unpopular Culture at New York University where he is also Director of the Center for Experimental Humanities and teaches classes on hydropoetics, ghosts and sound art. His books include London Calling (2003), I'll Get My Coat (2005), Night Haunts (2007), and Other Musics (2016). A former Critic of the Year at the British Press Awards, he writes for The Guardian, The Wire, Frieze, Sight and Sound, Bidoun, and Suddeutsche Zeitung. He makes radio documentaries for the BBC and runs the publishing imprint Texte und Töne.


Instructor: Dianca London Potts

From Spencer Williams' Son of Ingagi to Jordan Peele's Get Out, the cinematic screen has consistently served as a site of subversion for filmmakers of the African diaspora. Through the camera's lens, tales of hauntings, demonic possession, vampirism, and hoodoo rituals gone awry have become a celluloid metaphor for colonization and racism's toll on the Black psyche. Within this space, expressions of Black embodiment and the Black experience are momentarily freed from the limitations the white gaze. The narrative shifts, allowing for the complexity and depth of Black identity and its subsequent anxieties, fears, and vulnerabilities to be examined outside the constraints of traditional tropes.

Whether it's Blaxploitation classics like Blacula and Sugar Hill, or successors like Spike Lee's Da Sweet Blood of Jesus and the aforementioned Get Out, Black horror films are a historically visual mode of resistance within a pervasively supremacist culture. Rather than being sacrificial lambs, wise sages, or saviors to non-POC protagonists, Black characters within this context determine their goals and desires in opposition to whiteness rather than their proximity to it.  William Crain's Prince Mamuwalde becomes the immortal Blacula, Ben — the sole Black character depicted in George Romero's cult classic Night of the Living Dead —becomes a hero. Jordan Peele's Chris becomes a survivor. Within this narrative context, the off-screen script is flipped. The marginalized aren't merely centered, they're canonized.

This multimedia presentation will offer an immersive thematic overview of Black horror narratives while highlighting noteworthy films within the genre spanning the early 1900s to modern day. Select films will be paired with excerpts of literary, sociological, and philosophical texts to enhance students understanding of the cinematic genre and its radical roots. Through visual, cultural, and historical exploration, this presentation aims to examine and foster dialogue about what happens when subjection is subverted and what stories can be told when the white gaze is decentered.

About the Instructor:
Dianca London Potts earned her MFA in fiction from The New School. She is a Kimbilio Fiction Fellow, a VONA Voices alumna, and the online editor of Well-Read Black Girl. Her words have been featured in Lenny Letter, The Village Voice, Vice, and elsewhere. Her memoir, Planning for the Apocalypse, is forthcoming from 37 Ink. She currently works and resides in Brooklyn.


Instructor: Kristopher Woofter

This class is devoted to the work of the reclusive Vermont author whose brutal short story, "The Lottery," still holds the record for the most letters of protest sent to The New Yorker for publishing it. Come along with instructor Kristopher Woofter as we walk through the haunted spaces of Jackson's four major works: THE LOTTERY AND OTHER STORIES (1949), and her "uncanny house trilogy," THE SUNDIAL (1958), THE HAUNTING OF HILL HOUSE (1959), and WE HAVE ALWAYS LIVED IN THE CASTLE (1962). A bestseller in her time, and a major influence on authors like Stephen King and Joyce Carol Oates, Jackson's work has gone relatively unacknowledged by scholarship that relegates her to obscurity. Jackson's body of work varied from domestic satire in her darkly humorous memoirs RAISING DEMONS and LIFE AMONG THE SAVAGES), to young-adult fiction (THE WITCHCRAFT OF SALEM VILLAGE), to uncanny psychological studies (THE ROAD THROUGH THE WALL, THE BIRD'S NEST), to her most popular work in the realm of horror and the weird.  This class brings Jackson back to acknowledge her place as one of America's—and without question one of horror's—greatest writers.

About the Instructor:
Kristopher Woofter teaches courses on the American Gothic, the Weird tradition, and literary and cinematic horror in the English Department of Dawson College, Montréal. He earned his PhD from Concordia University. He is co-editor of the upcoming collection, Joss Whedon vs. Horror: Fangs, Fans and Genre in Buffy and Beyond (I.B. Tauris). Kristopher is also a programmer for the Montréal Underground Film Festival and served for ten years as a co-chair for the Horror Area of the PCA/ACA annual national conference.


Instructor: Rémy Bennett

LA Despair: Chasing Death with John Gilmore is a multimedia presentation exploring the life and work of the late Noir and true crime writer John Gilmore that is a meditation on the relationship between pop cultural crime landmarks in the past century and celebrity iconography viewed amidst the landscape of the tragedies he chronicled. A Los Angeles Native born in 1935 to a homicide detective and a bit player for RKO pictures, Gilmore was as authentically hard boiled as they come, destined to document all that seethed within the underbelly of Tinseltown and the American desolation beyond from his uniquely informed firsthand accounts.

Unearthing what is lurking in the shadows of the American dream-cum-nightmare by holding a mirror up to our morbid obsessions with fame and failure is at the center of Gilmore's singular artistic career inhabited by subjects he crossed paths with ranging from Marilyn Monroe to Charles Manson. In the 1950s as a young actor and greaser, Gilmore was a member of "Night Watch", the infamous biker gang led by James Dean and it was their deeply personal and troubled friendship that entrenched him deeper into the tragic rise and fall of the desperate figures surrounding him. His talent for mining the very darkest regions of the human soul is strikingly evident in the book that solidified him as a professional writer, Cold Blooded: The Tucson Murders based upon the factual account of his relationship with the 1960s Rockabilly "thrill killer" from Tucson, Arizona, Charles Schmidt who murdered teenage girls and buried them in the desert in the 1960s. In his pulp noir chronicle La Despair: A Landscape of Crimes and Bad Times Gilmore documents the rise and fall of movie stars, porn actors, hustlers, killers, and fame seekers whose self-destruction, insecurity, and greed devour and transform them into what Gilmore called the personification of the "LA Mutant". Arguably the most stunning and indelible journalistic feats of Gilmore's career is, Severed: The True Story Of The Black Dahlia Murder which documents with sympathy and dread the ill-fated life and enigmatic death of his first love, Elizabeth Short.

LA Despair: Chasing Death With John Gilmore is an experience that takes its participants on a "Hollywood Death Trip" that follows the trail of subversion and intimate insight that John Gilmore left behind after his death, delving into the obsessions and passions that fueled him while charting the sordid history of the city of fallen stars that birthed him, in all the mystery and allure of its glitter and doom.

About the Instructor:
Rémy Bennett is a filmmaker, writer, and curator living in New York City. She earned her BA in acting and drama studies from The Central School of Speech and Drama in London and studied film at SVA in New York. Her feature film debut Buttercup Bill was shown at Raindance, The New Orleans Film Festival, and The Marfa Film Festival and she recently completed a documentary series called Under Her Skin for the all-female led media company The Front. Her short film Eat Me and installation about a female serial killer/web cam girl that showed at The SPRING/BREAK art fair was voted as one of the top 10 shows to see at Armory Week in 2016 W Magazine and Gothamist, along with the group show GLORY HOLY that she curated along with her sister. Bennett has contributed as an artist and writer to PLAYBOY, 1985ARTISTS, VICE, and BUST MAGAZINE, and has most recently curated a film series at The Roxy Hotel Cinema called GRIT & GORE: NYC HORROR which featured artist talks with Larry Fessenden, William Lustig, Frank Henenlotter, and Roberta Findlay.


Instructor: Joe Rubin

Led by Joe Rubin, the co-founder of Vinegar Syndrome – an acclaimed film restoration and distribution company with an emphasis on horror, exploitation and adult films - this class will discuss the basic issues and challenges associated with film preservation, with a specific focus on issues most common to genre films. Topics shall include film decay and restorative processes, format specific preservation techniques, the role of home video in the preservation of genre films, viewer expectations in the digital age, as well as a general overview of the methodologies by which Vinegar Syndrome selects films for restoration and release.

About the Instructor:
Joe Rubin is a film collector and programmer who founded Vinegar Syndrome with Ryan Emerson in 2012.


Instructor: Howard David Ingham

British "folk horror" was in many ways a phenomenon of the 1970s, but it has seen a massive revival of popularity in the last decade. What caused it to grow in the fields, forests and furrows of the 1970s and early 1980s? And why has it come back with such a vengeance?

In Secret Powers of Attraction, Howard David Ingham gives a broad overview of British folk horror in its time and space, and how popular interest in the occult creates the conditions for it to become a force in our collective imagination.

Howard's overview of British folk horror is the starting point for an exploration into the cultural atmosphere of the 1970s and the present. If horror is a reaction to our culture, folk horror holds a mirror up to the concerns of the day. The politics and popular culture of both eras give ample space for folk horror to grow. Howard looks at period ephemera and cultural concerns of the time, drawing parallels with the present day. The Wicker Man and Ghost Stories for Christmas sprang from a world of TV astrologers and spiritualists in the national news, the National Front and the Three-Day Week; The Witch, Without Name and the films of Ben Wheatley come from the same milieu that brought us #witchesofinstagram, the return of the far right and Brexit. Secret Powers of Attraction explores how a world where the uncanny has become normal reflects itself in the horror genre, just as it did decades ago.

Secret Powers of Attraction begins with a look at the central filmic texts of the Folk Horror movement: Witchfinder General, Blood on Satan's Claw and The Wicker Man, explores folk horror in the British TV play (including classics such as Robin Redbreast, the Exorcism, and The Stone Tape) and examines how folk horror tropes invaded popular TV, from Doctor Who to Robin of Sherwood. Finally, bringing the story into the present, Howard will look at the folk horror renaissance, including the films of Ben Wheatley and Peter Strickland, the rise of independent folk horror and the unexpected places it appears in popular culture right now.

About the Instructor:
Howard David Ingham is a writer and educator. He lives in Swansea. Between 2005 and 2012 his work appeared in more than forty publications for White Wolf Games Studio. He writes games, fiction and books, and keeps a regular blog about film and culture at Room207Press.com. His book We Don't Go Back: a Watcher's Guide to Folk Horror is due for release in 2018.


Instructors: Ramsey Campbell and Stephen Jones

The Oxford Companion to English Literature describes RAMSEY CAMPBELL as "Britain's most respected living horror writer". An author, editor and critic, he has been given more awards than any other writer in the field, including the Grand Master Award of the World Horror Convention, the Lifetime Achievement Award of the Horror Writers Association and the Living Legend Award of the International Horror Guild, while in 2015 he was presented with an Honorary Fellowship by John Moores University, Liverpool, for "outstanding services to literature".

Initially influenced by the works of H.P. Lovecraft, he published his first short story in 1962 and his first collection two years later, both with August Derleth's famed Arkham House imprint. Since then he has published literally hundreds of short stories and novellas, and more than thirty-five novels, from The Doll Who Ate His Mother,The Face That Must Die and The Hungry Moon, to more recent titles such as Thirteen Days by Sunset BeachThe Searching Dead and Born to the Dark. Campbell has also novelised such movies as Bride of FrankensteinDracula's DaughterThe Wolf Man and Solomon Kane, and PS Publishing recently issued Ramsey Campbell's Limericks of the Alarming and Phantasmal, which was illustrated by Pete Von Sholly and covered the entire history of horror fiction.

For this exclusive event, Ramsey Campbell will discuss his life, his career and his ideology with his friend and colleague, award-winning editor and writer STEPHEN JONES, as well as giving advice to would-be writers on the current state of horror publishing. The evening will end with a Q&A session with the audience. This is an opportunity no horror fan can afford to miss—an informal discussion with one of the giants of the genre, with more than half-a-century of writing experience to draw upon, about the state of modern fiction and film. Don't miss it!

About the Instructors:
Ramsey Campbell lives on Merseyside with his wife Jenny. His pleasures include classical music, good food and wine, and whatever's in that pipe. His web site is atwww.ramseycampbell.com.

Stephen Jones lives in London. One of Britain's most acclaimed horror and dark fantasy writers and editors, he has more than 145 books to his credit. You can visit his web site at www.stephenjoneseditor.com.


Instructor: Stacey Abbott

Richard Matheson's novel I Am Legend (1954) is a recognized classic of science fiction and horror. It has been adapted many times in films such as The Last Man on Earth(1964), The Omega Man (1971), and I Am Legend (2007). In 1958, Matheson wrote a script adapting the novel for Hammer Studios, but it was never filmed. The script was rejected by both the MPAA and the BBFC. In 1968, George Romero directed Night of the Living Dead, a film he admitted was inspired by Matheson's novel, and this was the film that Matheson felt was most faithful to the themes of his book.

Through an analysis of a selection of official and unofficial adaptations of the novel, including Matheson's own script, this lecture by Stacey Abbott considers how this text marks a key transformative moment within the evolution of the horror genre on film. It will consider how the novel reimagined the vampire film through the lens of science fiction and how Matheson's adaptation for Hammer offered a new, more brutal and modern approach to horror than the studio's Gothic adaptations of The Cure of Frankenstein (1957) and Dracula (1958). Abbott will discuss how the script confounded the censors in its approach to horror, signaling a cultural resistance to the modernization of the genre and a growing tension between filmmakers and arbiters of cinematic taste.  Finally, in this lecture Abbott will demonstrate not only how I Am Legend influenced Romero's work, representing a key bridge between classic and new horror, but also continues to influence twenty-first century filmmakers, particularly in the development of the vampire and zombie genres.

About the Instructor:
Stacey Abbott is Reader in Film and Television Studies at the University of Roehampton. She is the author of Celluloid Vampires (2007), Undead Apocalypse: Vampires and Zombies in the 21st Century (2016), and co-author, with Lorna Jowett, of TV Horror: The Dark Side of the Small Screen (2012).


Instructor: Mark Rance

This show-and-tell lecture will illustrate many of the issues encountered and (with varying degrees of success) resolved in a digital restoration of Murnau's NOSFERATU. We will begin with a description of the original production and the technology used to make the film. The film's own troubled history complicated the film's physical reconstruction, and that impacted the digital restoration. The reconstructed master print was made from many disparate elements, as a single negative was simply not available. We will examine many scenes and shots in a side-by-side comparison of the unrestored reconstructed print and the digitally restored version of the same material. As we do, this talk will investigate many of the problems faced by any restoration team when not all the original elements are available. We will examine the use of VFX tools, grain management, tinting processes and photo-chemical to digital translation issues when restoring motion pictures.

This talk will primarily explore the complex and subjective issues currently floating around in many analog-versus-digital discussions of film and how those opinions can influence the determination of what the restored version should look like if the goal is to replicate the original projected image at the time of first release. Can digital restorations generate valid preservation copies of photo-chemical materials? Let's find out.

About the Instructor:

Mark Rance is a documentary filmmaker who for many years was a producer at The Criterion Collection before forming his own company in Los Angeles and producing DVDs and Blu-rays for the Hollywood studios. His titles include THE SILENCE OF THE LAMBS, ROBINSON CRUSOE ON MARS, HARD EIGHT (aka SYDNEY), BOOGIE NIGHTS, MAGNOLIA, SEVEN, I,ROBOT, THE PRESTIGE, RESERVOIR DOGS and THE DARK KNIGHT. He moved to London in 2004 and established Watchmaker Films to restore and distribute lost independent films. Those restorations include Eagle Pennell's THE WHOLE SHOOTIN' MATCH and LAST NIGHT AT THE ALAMO; Tobe Hooper's first feature, EGGSHELLS; and Jack Hazan's A BIGGER SPLASH.


Instructor: Ian Cooper

There had been mass murderers before, and there have been since, but Manson is an enduring symbol of unfathomable evil. He transformed seemingly peaceful hippies—sons and daughters of the middle class—into heartless killers. Then he set them loose in Los Angeles's most privileged neighborhoods – LA Weekly (2009)

You honestly have to wonder – what would low-rent exploitation producers have done in the early 70s without Charles Manson? – Trash Film Guru (2013)

This class will examine the rise of alternative religious movements/cults in California in the 1960s and 70s which spawned an ongoing sub-genre of the horror film. The focus will be on the Manson Family, not only the most notorious of these groups but also the one with the greatest cultural impact. This is due to a number of factors including the nightmarish, random violence, the involvement of a number of high-profile artists and celebrities, from Roman Polanski and Dennis Wilson through to Dennis Hopper and Angela Lansbury and the dark glamor of Manson himself, quotable, photogenic and always willing to play up for the cameras.

The Family story has been reworked in a dizzying variety of contexts, from true crime mini-series (Helter Skelter [1976]) to Claymation satire (Like Freaky, Die Freaky[2006]) and even as hardcore porn (Manson XXX [2015]) while Charlie himself has been variously cast as revolutionary, white supremacist, Satanist and vampire. The Manson story contains a number of highly-exploitable elements, from sexual and chemical excess through to horrific and inexplicable violence and it can also be slanted in a variety of ways, a warning against false prophets, an indictment of the counter-culture, a slice of anti-drug propaganda or simply gruesome spectacle.

As well as a focus on the first wave of Mansonsploitation, low-budget independents such as The Other Side of Madness (1971) and Sweet Savior (1971), there will be a consideration of the Family references in an eclectic collection of films including the work of John Waters (Multiple Maniacs [1970] and Russ Meyer (Beyond the Valley of the Dolls [1970]), the British period gothic tradition (Blood on Satan´s Claw [1970]), no-budget labours of love such as Manson Family Movies (1984) and Jim Van Bebber´s The Manson Family (2003). This will lead on to an examination of other cults including The People´s Temple and the mass suicide at Jonestown, an event reworked as glossy TV mini-series (Guyana Tragedy: The Story of Jim Jones [1980), low-budget exploitation (Guyana: Crime of the Century [1979]) and found-footage horror (The Sacrament [2013]).

There will also be a consideration of the renewed fascination with cults in the 21st century. The events of 9/11, like the Tate/LaBianca murders served as a reminder that terrifying violence can strike without warning and internet-inspired ´lone wolf`terror attacks have ensured that fears of brainwashing and mind control are again part of the zeitgeist. This fascination is reflected in films such as The Strangers (2008) and The Invitation (2015) and TV shows such as Aquarius (2015 – 16) and American Horror Story:Cult (2017).

About the Instructor:
Ian Cooper is an author and screenwriter. His books include Devil´s Advocates: Witchfinder General (Auteur 2011), Cultographies: Bring me the Head of Alfredo Garcia (Wallflower Press 2012) and Frightmares: A History of British Horror (2016). He has also written for edited collections on subjects including early 70s vampire films and the cult appeal of Klaus Kinski. His books, Devil´s Advocates: Frenzy (Auteur) and Family Values: The Manson Family on Film and TV (McFarland) will be published in 2018.

He also has a number of screenplays in various stages of development in the UK and US. He lives in Germany.

The post The Miskatonic Institute of Horror Studies’ Spring 2018 Classes to Focus on the Written Works of Shirley Jackson, Richard Matheson’s I AM LEGEND, and More appeared first on Daily Dead.

Horror Highlights: THE NIGHT SITTER, New Soska Sisters Apparel from Terror Threads, KOSHCHEI THE DEATHLESS #1

Posted: 04 Jan 2018 08:35 AM PST

"There's something trying to get me... three of them, actually." The atmospheric trailer for The Night Sitter headlines today's Horror Highlights, which also includes a look at Terror Threads' new apparel featuring filmmakers Jen and Sylvia Soska, as well as preview pages from the first issue of Mike Mignola's new Hellboy comic book miniseries, Koshchei the Deathless.

The Night Sitter Trailer: "A scheming con artist (Elyse DuFour, AMC's The Walking Dead) poses as innocent babysitter "Amber" to steal from Ted Hooper, a wealthy occult enthusiast with a reclusive son named Kevin. Her crew arrives to clean out the house just as Kevin stumbles upon one of his father's most prized artifacts and unwittingly summons a trio of witches known as The Three Mothers. As the playful, sadistic witches start picking people off, Amber and Kevin form an unlikely bond and try to survive the night together."

Written and directed by Abiel Bruhn and John Rocco, and executive produced by Jeffrey Reddick, The Night Sitter stars Elyse DuFour, Jack Champion, and Jermaine Rivers.


Soska Sisters Terror Threads Apparel: Press Release: "Jen and Sylvia Soska - the horror filmmakers collectively known as the Soska Sisters - are behind such cult movies as American Mary, Dead Hooker in a Trunk, and See No Evil 2, as well as the hosts of GSN's Hellevator.

Terror Threads has launched a pair of exclusive designs featuring the twisted twins, which are on sale now at TerrorThreads.com.

The first design, by renowned horror artist Joel Robinson (Scream Factory, Synapse Films), depicts the sisters stitched together into a Frankenstein-like monster. It's black-light reactive and comes on T-shirts, tank tops, baseball tees, hoodies, mugs, phone cases, and turntable slipmats.

The second design, from Terror Threads' own Toto6 and Ama Lea, features the Soskas parodying another pair of famous twins: the Gradys from The Shining. It's available on T-shirts, tank tops, baseball tees, and hoodies.

TerrorThreads.com will carry an exclusive The Houses October Built 2 combo. Limited to 31, it includes the new film on Blu-ray, autographed by director-writer-star Bobby Roe and writer-star Zack Andrews, and a black light-reactive shirt designed by Sam Coyne. The design will also be available separately on T-shirts, tank tops, baseball tees, and mugs."


Mike Mignola's Koshchei the Deathless #1 Preview Pages: Press Release: "MILWAUKIE, Ore., (January 2, 2018)—Legendary Hellboy creator Mike Mignola is returning to Hell, along with acclaimed artist Ben Stenbeck and award-winning colorist Dave Stewart, for Koshchei the Deathless, a new six issue mini-series from Dark Horse Comics. Sent to kill Hellboy by the Baba Yaga in Darkness Calls, Koshchei the Deathless hinted at a long and tragic life before being enslaved to the Russian witch. Now Koshchei relives every horrible act on his road to immortality and beyond, with none other than Hellboy himself—in Hell. Here Mignola returns to Hell and to the bizarre folklore that's filled some of his greatest books, reuniting with one of his favorite collaborators, Ben Stenbeck (Frankenstein Underground, Witchfinder: In The Service of Angels, Baltimore) and Dave Stewart. The debut issue of Koshchei the Deathless is on sale on January 3, 2018.

Koshchei the Deathless #1 (of 6)
Mike Mignola (W/Cover), Ben Stenbeck (A), and Dave Stewart (C)
On sale Jan 03
FC, 32 pages

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