Alam Nyo Ba?

Sad news has reached the horror and animation communities as word begins to spread that Daveigh Chase, the multi-talented actress, has passed away. According to Chase’s boyfriend, Roy Hernandez, Chase died on Tuesday from meningitis and an infection in her blood, which caused her to have septic issues and led to her body shutting down. She was 35.

How do you know Daveigh Chase?

You know Daveigh Chase better than you think you do. Early in her career, she played Samara Morgan, the undead drowned girl in The Ring, and she voiced the timeless animated characters Lilo from Disney’s Lilo & Stitch and Chihiro Ogino in the English-language dub of Studio Ghibli’s Spirited Away.

Daveigh Chase’s most iconic roles

Chase’s Samara Morgan is arguably one of the most iconic horror characters of the past two decades. Samara is a staple of horror pop culture, with other films, TV shows, and music videos paying homage to the character’s nightmarish visage and distinct crabwalk. Chase even won an MTV Movie Award for Best Villain for her portrayal of Samara, who is also a popular Halloween costume selection every year at Spirit Halloween outlets.

Elsewhere, Chase voiced Lilo Pelekai in the Disney animated classic Lilo & Stitch. In the film, Lilo is a young, orphaned Hawaiian girl who lives on the island of Kauai with her older sister Nani and her extended family of alien visitors marooned on Earth. Lilo is a firecracker with an explosive personality who loves to cause mischief. She’s got a lot of heart, and fans celebrate Chase’s performance to this day. Additionally, Chase provides the English-language voice of Chihiro Ogino (also known as Sen) in Hayao Miyazaki’s animated masterpiece Spirited Away. After being transported to a strange world of forest spirits and wicked witches, Chihiro summons her inner strength to overcome an impossible fantasy before she becomes a part of the strange land forever. Chase’s performance is one of the most unforgettable in all of Studio Ghibli history, full stop.

Other notable performances by Daveigh Chase include Samantha Darko in Donnie Darko and S. Darko, Rhonsa Volmer in the TV drama series Big Love, and more.

We want to express our sincere condolences to Ms. Chase’s family, friends, and fans, and thank her for sharing her gifts with us. Rest well.

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Doug Bradley became a horror icon through his performance as the Cenobite known as Pinhead in the 1987 Clive Barker classic Hellraiser, a role he would reprise in seven sequels (Hellbound: Hellraiser II, Hellraiser III: Hell on Earth, Hellraiser: Bloodline, Hellraiser: Inferno, Hellraiser: Hellseeker, Hellraiser: Deader, and Hellraiser: Hellworld) before stepping away from the franchise. Twenty years have gone by since Bradley last played Pinhead in a Hellraiser movie – but now, Saber Interactive and Boss Team Games have brought him back to the role for the video game Hellraiser: Revival, which will be coming soon to PC via Steam, PlayStation 5, and Xbox Series X and S. Now, a new trailer has been unveiled to announce that the release date is October 8th, and you can watch it in the embed above.

Clive Barker Approved

Hellraiser: Revival is described as being a “story-driven, single-player survival horror action game set in the Hellraiser universe.”

Clive Barker helped craft the story for the video game and provided the following statement: “Working on the first true Hellraiser game has been a venture deep into the recesses of my darkest imaginings. The dedication that Saber and Boss Team Games have shown is nothing short of remarkable. They’ve immersed themselves in the Hellraiser universe, capturing its essence — the seductive pull of suffering, the beauty within the grotesque — and forged a narrative that invites players to step beyond the threshold. I’m eager for both the curious and the damned to experience this new chapter in the Hellraiser mythos, where every moment balances on the brink of nightmare and revelation.“

Players will fight Hell’s wretches, deviants, cultists, and priests as they discover the tale of Aidan, who must unlock the dark powers of the Genesis Configuration, a mysterious puzzle box, to help his girlfriend from a hellish abyss. As Aidan, you’ll harness the box’s infernal abilities to survive your pact with the sinister Pinhead and battle against the twisted cult that worships him and the Cenobites. Fail, and your suffering will be legendary, even in Hell.

Will you be playing Hellraiser: Revival when it’s released in October? Take a look at the release date announcement trailer, then let us know by leaving a comment below.

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From the director of the global Netflix hit The Platform, Galder Gaztelu-Urrutia’s new thriller Rich Flu is available now on Digital and On-Demand platforms – and to mark the occasion, we’re proud to share an EXCLUSIVE clip from the film! You can check it out in the embed above.

What is Rich Flu about?

Scripted by Gaztelu-Urrutia, Sam Steiner, and The Platform writers Pedro Rivero and David Desola, Rich Flu has the following synopsis: A strange and unexpected disease is taking the lives of the world’s wealthiest and most influential people. First, the billionaires die, then the multi-millionaires, and so on progressively. The pandemic threatens to reach anyone with any kind of massive fortune. No one knows where the limit is… At first, the masses joyfully welcome the disappearance of these great fortunes, but as the collapse of their economic empires affects the stock market, employment, and economic stability, chaos takes over the First World.

Mary Elizabeth Winstead (10 Cloverfield Lane) stars with Rafe Spall (The Big Short), Lorraine Bracco (The Sopranos), Dixie Egerickx (The Secret Garden), Timothy Spall (Mr. Turner), Jonah Hauer-King (The Little Mermaid), Cesar Domboy (Outlander), Dayana Esebe (LA Star), and Richard Sammel (3 Days To Kill).

Rosamund Pike was originally slated to star in the film, but she dropped out due to scheduling issues and was replaced by Winstead. It’s Timothy Spall who really takes the spotlight in our exclusive clip, delivering a two-minute monologue.

Spencer and Jackie director Pablo Larraín produced Rich Flu with Juan de Dios Larraín, through their Fabula banner. Gaztelu-Urrutia also produced the film, alongside Basque Films’ Carlos Juárez, Albert Soler of Mamma Team, and Nostromo Pictures’ Adrián Guerra and Núria Valls. Filming took place in Barcelona, Fuerteventura, and Senegal.

In between The Platform and Rich Flu, Galder Gaztelu-Urrutia also brought us The Platform 2, which was (like its predecessor) a Netflix release.

Are you interested in Rich Flu? Take a look at our exclusive clip, then share your thoughts on this one by leaving a comment below. I enjoyed The Platform, so I’m looking forward to Rich Flu (and really need to catch up on The Platform 2).

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When the TV series based on the popular video game franchise Twisted Metal made its premiere on the Peacock streaming service back in July of 2023, it quickly became one of Peacock’s top five original series, racking up 400 million viewing minutes in its first weekend and earning the honor of being the streamer’s “most-binged” premiere. Season 2 followed last summer, earning a third-season renewal – and now, Deadline reports that Star Wars legend Mark Hamill has joined the cast of Twisted Metal season 3, taking on the recurring role of Pope Charlie Kane, the leader of the Eastern Sovereignty and estranged father of Sweet Tooth!

What is Twisted Metal about?

Based on an original take by Deadpool and Zombieland screenwriters Rhett Reese and Paul Wernick, this adaptation of the Twisted Metal franchise centers on a motor-mouthed outsider who is offered a chance at a better life, but only if he can successfully deliver a mysterious package across a post-apocalyptic wasteland. With the help of a trigger-happy car thief, he’ll face savage marauders driving vehicles of destruction and other dangers of the open road, including a deranged clown who drives an all too familiar ice cream truck.

Anthony Mackie (Captain America: Brave New World) stars in the series as John Doe, “a smart-ass milkman who talks as fast as he drives. With no memory of his past, John gets a once-in-a-lifetime opportunity to make his wish of finding community come true, but only if he can survive an onslaught of savage vehicular combat.” AEW wrestler Joe Seanoa, a.k.a Samoa Joe, plays iconic video game character Sweet Tooth, with Will Arnett (Arrested Development) providing the character’s voice.

Mackie had this to say about Mark Hamill joining the cast: “For Mark Hamill to come into this world with us is amazing. He’s someone I’ve admired for a long time — a true legend who’s influenced generations of actors. Being able to now call him a castmate is an incredible honor, and we’re excited to see what he brings to the world of Twisted Metal.“

Mackie, Arnett, Reese, and Wernick executive produce the Twisted Metal series alongside Marc Forman of Electric Avenue, Jason Spire of Inspire Entertainment, Peter Principato of Artists First, Asad Qizilbash and Carter Swan from PlayStation Productions, and Hermen Hulst, Head of PlayStation Studios. The series is co-produced by Sony Pictures Television, PlayStation Productions, and Universal Television, a division of Universal Studio Group. New to the list of executive producers this season is new showrunner David Reed, who took over a showrunner for season 3 after the exit of Michael Jonathan Smith, who was showrunner on the first two seasons. It was a surprise to hear that there had been a showrunner change, as Smith had previously said that he had ideas in place for seasons 3 and 4.

Are you a fan of Twisted Metal, and are you glad to hear that Mark Hamill has joined the cast for season 3? Let us know by leaving a comment below.

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Fresh off of working with the Radio Silence production company on Ready or Not: Here I Come, Sarah Michelle Gellar has signed on to star in another Radio Silence production, a supernatural romance called Thud. Deadline reports that this one will see Gellar taking on the role of the Grim Reaper and sharing the screen with Rudy Pankow (Outer Banks), who will be playing the Devil. Director Mali Elfman, who made her feature directorial debut with the genre-bending 2022 film Next Exit, is at the helm.

What is Thud about?

Scripted by Noga Pnueli (Meet Cute), Thud watches as the Grim Reaper and the Devil meet cute at a three-day destination wedding, falling in love after colliding at the event, where they’ve each come to sow their own chaos.

Derek Bishé and David Grove Churchill Viste are producing the film, which will shoot in Los Angeles with a California tax credit. Radio Silence‘s Tyler Gillett and Matt Bettinelli-Olpin serve as executive producers alongside Helmstreet Productions’ Lindsay Helms and Joel Nevells, Divide/Conquer‘s Greg Gilreath and Adam Hendricks, Dan Lawler, and Pnueli.

Pnueli’s script for the time travel romantic comedy Meet Cute was featured on the Black List. Alex Lehmann directed the film, which was released in 2022. Another Pnueli script, High Society, was also featured on the Black List, and is in development at Legitimate Pictures and Peacock. Also in 2022, Pnueli wrote and directed the time reversal sci-fi dramedy Deborah.

Aside from making Next Exit, Mali Elfman has directed multiple short films over the years, including an animated short called The Scariest Skeleton (for an anthology project called Dark Corners) that saw her working alongside the likes of Stephen King, Paul Tremblay, and Kate Siegel. She also has many producing credits, including Mike Flanagan’s Before I Wake, Karen Gillan’s The Party’s Just Beginning, the horror anthology Scare Package, Lee Moss’s Birth/Rebirth, Gary Shore’s Haunting of the Queen Mary, Tina Romero’s Queens of the Dead, and more.

Are you interested in watching Sarah Michelle Gellar and Rudy Pankow play the Grim Reaper and the Devil (and fall in love) in Mali Elfman’s Thud? Share your thoughts on this one by leaving a comment below.

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Three years have passed since it was announced that James Wan’s company Atomic Monster and Jason Blum’s company Blumhouse Productions, which recently merged, would be making a feature film adaptation of Behaviour Interactive’s global multiplayer horror video game Dead by Daylight – and now, the project has finally found its director! Thordur Palsson, who created the Netflix serial killer thriller series The Valhalla Murders and made his feature directorial debut with the folk horror movie The Damned, will be taking the helm of Dead by Daylight.

What is Dead by Daylight?

Dead by Daylight is a multiplayer (4vs1) horror game where one player takes on the role of the savage Killer, and the other four players play as Survivors, trying to escape the Killer and avoid being caught, tortured and killed. Survivors play in third-person and have the advantage of better situational awareness. Since its launch in 2016, Dead by Daylight has reached over 50 million players worldwide, with two million players stepping into The Fog every day. The game features a vast universe where classic horror survives and thrives. Having welcomed iconic characters from TV, film, and gaming, it’s only fitting that the franchise expands to new horizons to tell its story.

James Wan, Jason Blum, and Behaviour Interactive’s Stephen Mulrooney are producing the Dead by Daylight film. Behaviour Interactive’s Remi Racine, Atomic Monster’s Michael Clear and Judson Scott, Blumhouse’s Ryan Turek, and Striker Entertainment’s Russell Binder serve as executive producers.

Thordur Palsson will be directing the film from a screenplay by David Leslie Johnson-McGoldrick, who has previously worked with Wan on the Conjuring sequels and both of his Aquaman movies, and Alexandre Aja, who is best known for being the director of Haute Tension, The Hills Have Eyes (2006), Piranha 3D, and Crawl, among other films.  Aja isn’t directing Dead by Daylight because he’s busy making the shark thriller Under Paris 2 for Netflix.

What has Thordur Palsson said about Dead by Daylight?

Our friends at Bloody Disgusting report that Palsson’s involvement with the film was revealed at a celebration of the game’s 10th anniversary. Jason Blum announced, “Thordur is the filmmaker we trust to carry Dead by Daylight from the screen you play on to the big screen you watch in theatres.“

Palsson provided the following statement: “For me, the main thing is capturing the feeling of playing Dead by Daylight. The main thing is I want to capture the feeling of looking over your shoulder. I want to capture the dread, the tension, the fear of what’s waiting for you in The Fog.“

What do you think of Thordur Palsson being hired to direct Dead by Daylight? Are you looking forward to this film? Let us know by leaving a comment below.

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Trilogies in the world of film are inherently flawed. Sometimes you get the law of diminishing returns with entries like The Godfather Part III or Creepshow 3. Other times you get movies that are great but divisive, such as Halloween III: Season of the Witch or Hellraiser III: Hell on Earth. Every once in a while, though, a trilogy comes along that wasn’t really intended to be a trilogy at all. No, I’m not talking about Romero’s Dead trilogy. I’m talking about John Carpenter’s Apocalypse Trilogy.

Never heard of it? What are the themes that tie these movies together? How do they reflect Carpenter’s feelings on Hollywood and humanity? And how do the films hold up both as a trilogy and as standalone pieces? Let’s talk about it.

The John Carpenter Apocalypse Trilogy consists of 1982’s The Thing, 1987’s Prince of Darkness, and 1994’s In the Mouth of Madness. On the surface, these movies have almost nothing in common. The only actor to appear in more than one of them is the late, great Peter Jason, who shows up in both Prince of Darkness and In the Mouth of Madness. As for the writers, Bill Lancaster wrote The Thing, while In the Mouth of Madness was penned by Michael De Luca. Prince of Darkness was written by “Martin Quatermass,” a pseudonym Carpenter used himself, much like the “John T. Chance” editor credit on Assault on Precinct 13.

The production companies were different. The editors were different. The cinematographers were different. Even the music, while partially composed by Carpenter, involved different collaborators across the films. So what makes these movies a trilogy, and who decided they were one?

Why These Three Movies Form a Trilogy

The second question is easier to answer. While the exact quote is difficult to track down today, Carpenter himself eventually referred to these films as his Apocalypse Trilogy. What’s interesting is that even among horror fans, these three classics aren’t always grouped together. That’s understandable. They share no characters, no plot continuity, and no obvious connective tissue. They’re not like the Creepshow films, which share a title but little else. They’re not like Romero’s Dead series, which follows humanity’s decline across multiple stories. Carpenter’s trilogy is something different entirely.

The connection isn’t narrative. It’s thematic.

The End of the World, Three Different Ways

The first movie follows a group of people thrust into a situation where they must stop what would almost certainly be the end of the world. The second movie follows a group of people thrust into a situation where they must stop what would almost certainly be the end of the world. The third movie changes things slightly. This time, only a handful of people are thrust into a situation where they must stop what would almost certainly be the end of the world.

Yes, that’s oversimplifying things. But if we’re going to argue that these films form a trilogy, it’s a useful starting point. The stronger connection comes from the themes running through all three films.

Body, Soul, and Mind

I’ve seen others describe the trilogy as body, soul, and mind. I can’t take credit for that interpretation, but it’s worth exploring because it fits surprisingly well.

The Thing — The Body

The Thing, with its all-time practical effects, is clearly the body-horror entry. While David Cronenberg is often considered the king of body horror, Carpenter and Bill Lancaster created something that rivals anything the Canadian master ever produced.

Twelve men are isolated in Antarctica with only each other, a handful of dogs, old books, and reruns on videotape to keep them company. They’re already going stir-crazy before an alien organism arrives. The body horror first manifests through the dogs. Had the creature achieved its goals, the same process would have spread to humanity.

What makes the horror so effective is that it quickly becomes existential. The characters aren’t just afraid of dying. They’re afraid of losing their identities. Their bodies may survive in some form, but what remains is a grotesque imitation of who they once were. The men can no longer trust what they see. Their friends become monsters. Human physiology itself becomes unreliable.

While paranoia is rightly viewed as the film’s central theme, the body horror is inseparable from that paranoia. Every transformation reminds the audience that the human body itself has become the enemy.

Prince of Darkness — The Soul

If The Thing is about the body, then Prince of Darkness is about the soul. Where the Antarctic researchers risk having their bodies consumed, the students, scientists, professors, and priests of Prince of Darkness risk losing something even deeper.

Once again, ordinary people are thrust into an impossible situation. Either they stop the threat or humanity suffers the consequences. Unlike the alien terror of The Thing, the evil here is rooted in religious imagery and existential fears many people grow up with. Whether you believe in those ideas or not, they’re familiar enough to feel deeply unsettling.

One of the most tragic elements of the film is the possibility that some of the possessed victims remain aware of what’s happening to them. One character catches a glimpse of their reflection and, despite the laughter on the surface, appears overwhelmed with sadness underneath. We know mirrors function as windows to another reality within the story, but we also glimpse the possibility that these people are trapped inside themselves, forced to watch their own corruption unfold.

Their bodies remain. Their souls no longer belong to them. Like The Thing, the stakes extend beyond the individual. The characters aren’t merely fighting for themselves. They’re fighting for everyone.

In the Mouth of Madness — The Mind

The final piece of the trilogy focuses on the mind. It’s right there in the title.

Madness takes several forms throughout In the Mouth of Madness. We see personal madness as John Trent struggles to distinguish dreams from reality. We see collective madness as entire communities and eventually society itself lose their grip on sanity.

What’s especially fascinating is that the film leaves open the possibility that everything we’re seeing is simply one man’s descent into insanity. That’s probably not Carpenter’s intended reading, but it’s still there.

The mind differs from the body and soul because it’s ultimately a battle fought alone. The men in The Thing can physically fight back. The survivors in Prince of Darkness can unite against evil. The mind offers no such comfort. Reality becomes subjective. Truth becomes unreliable. The horror never relents because it exists entirely inside the one place nobody else can reach.

Science, Faith, and Reality

There’s another way to interpret the trilogy. Rather than body, soul, and mind, you can view the films through the lenses of science, faith, and reality.

The Thing and Science

For all its horror, The Thing remains deeply rooted in science. The researchers realize they can’t trust prepared food because contamination is possible. Blair calculates how quickly the organism could infect the entire planet. MacReady eventually develops the blood test that exposes the creature. Even though the alien technology is vastly superior to humanity’s, it can still be understood through logic and scientific reasoning.

MacReady’s famous hot-wire blood test sounds simple, but the reasoning behind it is sound. Likewise, his conclusion that the creature struggles with heat becomes the foundation of their resistance. The victory is costly, but it is achieved through science.

Prince of Darkness and Faith

Prince of Darkness occupies the middle ground. Science plays a major role. Researchers analyze the mysterious liquid. Computers interact with it. Data is gathered and studied. But ultimately, the film places its faith elsewhere.

Donald Pleasence’s priest and Victor Wong’s professor engage in some of the best science-versus-faith conversations Carpenter ever put on screen. The answers never come entirely from one side or the other. Catherine’s sacrifice requires faith. The survivors require faith. Humanity’s resistance requires faith. Not necessarily faith in a particular religion, but faith in people, purpose, and the willingness to sacrifice for something larger than oneself.

In the Mouth of Madness and Reality

Finally, we arrive at reality itself. In the Mouth of Madness may be the greatest H.P. Lovecraft adaptation that isn’t actually based on a Lovecraft story.

Science offers no answers. Traditional faith offers no protection. Instead, the film confronts a terrifying question: What if reality itself is negotiable?

John Trent spends the film slowly realizing that his understanding of the world means absolutely nothing. Reality bends around him. Events occur outside his control. Entire truths are rewritten without warning. Whether it’s discovering the book has already been published or noticing the strange blue imagery repeatedly inserted into his journey, Trent slowly learns that reality belongs to someone or something else. And there’s nothing he can do about it.

What the Trilogy Says About John Carpenter

Before discussing why these are great movies individually, it’s worth looking at another thread connecting all three films. John Carpenter himself. More specifically, the endings. None of these films end happily. Yet each ending represents a different stage in Carpenter’s outlook on humanity, Hollywood, and the possibility of victory.

Three Endings, Three Versions of Doom

The Thing

The ending of The Thing has sparked debate for decades. MacReady and Childs sit in the freezing darkness after destroying the station. The creature appears defeated, but uncertainty remains. Is one of them infected?

Many fans believe Childs is The Thing. Others argue MacReady secretly tested him. Personally, I don’t buy either interpretation. I think neither man is infected. They’re simply doomed. The victory is real, but so is the cost. Humanity survives. The heroes do not.

Prince of Darkness

A few box-office disappointments and increasing frustration later, Carpenter gave us Prince of Darkness. This ending is even more ambiguous.

Throughout the film, characters experience recurring dream broadcasts that resemble grainy VHS footage. They may be warnings. They may be visions of the future. They may even represent a shared form of madness. When Catherine sacrifices herself to prevent the Anti-God’s arrival, she saves humanity but condemns herself to an unimaginable fate.

Unlike The Thing, there are survivors. Dennis Dun escapes. Victor Wong survives. Donald Pleasence survives. Brian survives. But certainty does not. Brian’s final dream suggests Catherine may still be trying to return. The film concludes with him reaching toward the mirror, leaving audiences to wonder whether the nightmare is truly over.

In the Mouth of Madness

By the time we reach In the Mouth of Madness, Carpenter’s outlook seems considerably darker. The story is framed as a flashback told by John Trent from inside a psychiatric institution. Initially, this setup suggests the possibility of a heroic sacrifice. Instead, we discover something far more terrifying. Trent never had control. Humanity never had control. The apocalypse isn’t prevented. It happens. The world effectively ends, and the film concludes with Trent watching the story of his own downfall unfold on a movie screen while laughing through tears.

It’s one of the bleakest endings in horror history. And it feels like Carpenter finally throwing up his hands and saying, “Fine. You win.”

Why the Apocalypse Trilogy Still Works Today

The trilogy is only loosely connected, but that’s exactly why it works. As standalone films, each entry ranks among Carpenter’s finest work.

The Thing remains one of the greatest horror films ever made, delivering unmatched practical effects, body horror, and paranoia. Prince of Darkness offers a deeply unsettling blend of science fiction, religion, and cosmic dread. It also features Alice Cooper as a possessed homeless man who weaponizes a bicycle frame, which certainly doesn’t hurt. In the Mouth of Madness stands as one of the finest Lovecraftian films ever made. Ironically, we may have Memoirs of an Invisible Man to thank for that. Carpenter’s difficult experience making that film eventually led to a strong working relationship with Sam Neill, whose performance as John Trent became one of the defining elements of In the Mouth of Madness.

These movies never dominated the box office. Even Prince of Darkness, which performed better than many remember, wasn’t a blockbuster. What they did accomplish was something far more lasting. They captured uncertainty, dread, and what it means to be human when confronted with forces that cannot be understood.

Final Thoughts

There is enormous pressure attached to making a trilogy. Very few reach the heights of The Lord of the Rings. Even fewer maintain consistent quality across all three installments. Some series stumble with their final chapters. Others never find their footing at all. The Apocalypse Trilogy succeeds because it doesn’t operate like a traditional trilogy. It isn’t connected by continuity, recurring characters, or even by a shared universe. Instead, it’s connected by ideas. Body, soul, and mind. Science, faith, and reality. Hope, uncertainty, and defeat.

Together, these films chart humanity’s struggle against extinction while simultaneously reflecting John Carpenter’s evolving view of the world around him. That makes them one of the most fascinating trilogies in horror history.

Each film stands entirely on its own as a masterpiece. Together, they become something even rarer: a trilogy united not by story, but by philosophy.

Give them another look through those lenses and decide for yourself where they stand among horror’s greatest trilogies. My guess? You won’t find another one quite like them.

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