Entertainment
Young and Restless Early Spoilers Sept 14-18: Nikki Seizes POWER & Billy SHUTS IT DOWN!
Hey, The Young and the Restless fans. We have got your early weekly spoilers for the week of September 14th with Nikki Newman (Melody Thomas Scott) grabbing control, but she may be furious at Victor Newman (Eric Braeden) soon. Also, Billy Abbott (Jason Thompson) is rejecting something that he probably should say yes to.
Also, during the week of September 14th through the 18th, we’ve got Nick Newman (Joshua Morrow) worried for Marie Kirkland (Jade Harlow) and Adam Newman (Mark Grossman) worried for Sally Spectra (Courtney Hope). And Victoria Newman (Amelia Heinle) and Kyle Abbott (Michael Mealor) cannot keep their hands off of each other.
And as we always do on early edition day, we go over what’s happening the rest of this week and then we get into what is coming next week. So, let’s jump right into all that.
Young and the Restless: Adam Worries About Sally
Wednesday, September 9th on The Young and the Restless, we’ve got Adam telling Chelsea that Connor Newman (Judah Mackey) wants to attend a therapeutic boarding school out in Colorado that has a great baseball program. So, Chelsea is really shocked that Connor wants to leave home, but Adam says Connor has ambitions.
And Adam says they’re holding a spot and they have to decide on the school by the end of the day. Sally stops by to chat with Chelsea and Adam and she mentions her scare. So, he’s worried, but Sally insists that she and the baby are fine and says Billy agreed to give up on Chancellor and focus on their family.
Sally leaves and Adam tells Chelsea that Sally deserves happiness and he hopes Billy doesn’t screw it up. Speaking of, he enters and Adam congratulates Billy for being a rational adult for a change, but Adam’s not sure Billy can stick to it. He mocks Adam and says he and Victor will have to find someone else to destroy.
Billy then gripes to Sally about Adam attacking him. Sally wants Billy to stop looking for a fight. Adam has a flashback of Sally being mad when he chose her life over their baby Ava’s and Sally advises that Billy just should avoid Adam. And he’s griping to Chelsea about Billy screwing up his life and Sally’s.
Y&R Spoilers: Billy Impressed and Michael Shocked
Adam says that Billy messes things up and then he always wants to blame others. And Chelsea tells Adam that it’s okay to worry about Sally. And then Adam tells Chelsea he loves her and they go. Sally tells Billy about Victoria reviving Vibrante and that Audra Charles (Zuleyka Silver) is using her patents to get a big payout and an exclusive advertising deal format.
Billy is impressed that they are taking things from Newman and he tells Sally about Jack Abbott (Peter Bergman) offering to fund a startup, but Billy says he just doesn’t trust Jack. Michael Baldwin (Christian Leblanc) goes to see Nick at rehab and Michael tells Nick he’s not making good choices and he asks why he would admit to harming some random guy.
And Michael tells Nick about the multiple police reports that have been made about Logan Kirkland (Tommy Walker) at home, at work, outbursts everywhere. Nick is stunned that nobody ever stopped the guy. Michael tells him Marie is free. Nick thanks Michael and he asks if Nick’s playing hero again. And he says he just wants to help Marie but Michael says, “Focus on your own recovery.”
Nick Needs to Stop Playing Hero
And when Nick asks if Marie’s coming back to rehab, Michael doesn’t know. So, Nick talks in group about Logan’s death and that helping Marie distracted him from pills. And then Nick is asking staff if they’ve heard from Marie. He worries she needs help and isn’t going to come back to rehab because Logan died there. But they tell Nick, “Focus on yourself.”
Kyle tells a skeptical Jack and Diane about the media war with Vibrante. And they question Kyle what’s in it for Jabot. Kyle says it’s about getting to Victor when Vibrante fails since it started because he was paying Audra to ruin him and Claire. So Kyle wants to crush it. But Diane thinks that Victor may be cooking up a scheme. Kyle tells them Nikki’s going to be running Vibrante. Diane doesn’t like it, but Jack’s impressed.
Young and the Restless: Diane Worries about the Threat of Victor
And he says he can root for Nikki, but still hate Victor. Diane says Victor is going to come after them again. Jack somehow thinks that Nikki can moderate this and while talking to Victoria, Nikki goes ahead and accepts the job, but shuts down the rivalry concept. And Nikki’s happy to run Vibrante so Victoria can focus on Newman.
And she also thinks that her mom needs to run it so she can push back against Victor if he wants to use the company against Jabot. Nikki and Victoria head over to see them. Diane’s not happy and says they should have made an appointment and that Jabot is not going to do heavy lifting to help Vibrante.
Jack tries to calm things down, but Diane mocks the very idea that Nikki could control Victor. Kyle and Victoria tease each other and then he leaves and daydreams of her. Diane’s not happy when Jack offers to give Nikki some pointers. She thanks Jack and they leave. Diane’s annoyed and says that Victor is not going to be sidelined and she guarantees this is trouble.
Young and Restless: Audra Puts Billy on Notice
Thursday, September 10th, on The Young and the Restless. Audra gives Billy a little reality check. Of course, it’s about Sally, and she’s probably warning him not to hurt her best friend. Audra may want Billy to drop the Chancellor thing permanently. We have got Patty Williams (Stacy Haiduk) on the loose. She’s on a loading dock this week, smiling.
And then she goes and finds Matt Clark (Roger Howarth) at the motel. He is stunned to see Patty and asks why she’s there and how she got out of prison. And she tells Matt if she told him, she’d have to kill him. Phyllis Summers (Michelle Stafford) gets buddy-buddy with Sharon Newman (Sharon Case).
And I think this is all part of Phyllis’s plan to set Sharon up to be in fake danger. So, she may be over at the coffee shop just trying to brainstorm some ideas to help Matt save her life and get basically unearned redemption. Obviously, this is all going to blow up in Phyllis and Matt’s faces.
Y&R Spoilers: Jack Tries to Trap Patty
Friday, September 11th on The Young and the Restless. Jack sets a trap for Patty. So, it sounds like they were notified that Patty is out. Whether she escaped or whether she somehow got released, they’re going to be horrified. I’m thinking the trap that Jack sets is trying to get Patty locked back up, but that could backfire. This week, Jack and Diane are at Society. Jack is holding his abdomen and his leg.
Diane looks concerned. This could be complications from the stab wound that Patty gave him or the centipede bite from Tahiti. Phyllis gets mixed signals from Matt. I think it’s about Patty. I tend to think Matt may not tell Phyllis that Patty came around mostly trying to protect Phyllis. Victor hatches a new plot for vengeance against the Abbotts. We’ll see if he’s trying to use Vibrante against Jabot just like Diane was worried that he would do because we know Victor never learns anything. The man has zero character growth. It is so frustrating.
Young and the Restless: Kyle & Victoria Playing with Fire
The week is September 14th through the 18th on The Young and the Restless. Victoria and Kyle keep playing with fire and sneaking around to get frisky. And now they don’t even have the excuse of the viral feud to explain why they’re getting together. Stephanie Simmons (Vivica A. Fox) is going to exit soon, but she will tell Nate she’ll be back. Vivica A. Fox is taking a couple of months off from The Young and the Restless to film a new movie, Women Like Us.
And Nikki soon confronts Victor because of him going after Jack and the Abbotts. We will find out if the surgery on Nate’s hand worked and if he’s going to get to go back to the hospital as a surgeon after all his rehab and physical therapy. Plus, we have more scenes with Stephanie before Vivica takes her break. So, she and Nate may heat up really soon.
Phyllis’s ridiculous scheme could end up getting Sharon seriously injured, especially with Patty on the loose and possibly interfering. Jack’s trap for Patty could put him and Diane in danger. We’ll see if Patty is also in contact with Victor. Plus, Nick’s on pins and needles hoping to see Marie back at rehab. I think she will return and I think there is romance ahead for her and Nick.
Entertainment
Susan Saint James Dies at 80: Eight Emmy Nominations, One Win and a Career She Walked Away From
Susan Saint James, the Emmy-winning actress who anchored two of television’s most recognizable pairings, has died at 80. Her family said she died Monday of pancreatic cancer. Tributes since have focused on a rare Hollywood story: a performer who reached the top of network TV more than once, then chose to leave it.
From Contract Player to Prime-Time Emmy Winner
Born Susan Jane Miller in Los Angeles on Aug. 14, 1946, Saint James grew up partly in Rockford, Illinois, after her father took a job leading a model-kit manufacturer. She spent about three years modeling in France before returning to California at 20 to try acting. The move paid off fast. As a Universal contract player, she landed a part in a 1966 TV movie and then a regular role on NBC’s The Name of the Game.
On that stylish 90-minute series she played Peggy Maxwell, an editorial assistant who kept getting kidnapped. She won an Emmy in 1969 for the first season, then earned nominations in 1970 and 1971. Few actors collect a statuette so early in a TV career.
The Rock Hudson Years and a Contract Fight
Within months of that series ending, Saint James was back in another rotating NBC format. McMillan & Wife paired her with Rock Hudson as a San Francisco police commissioner and his crime-solving spouse, Sally. It aired alongside Columbo and McCloud as part of the NBC Mystery Movie lineup. The role brought her Emmy nominations in 1972, 1973 and 1975. She left after five seasons in 1976 amid a contract dispute, while Hudson stayed for a sixth.
She also worked in film, running from the law with Peter Fonda in Outlaw Blues, playing Dracula’s target in Love at First Bite, and appearing in How to Beat the High Cost of Living and Carbon Copy.
Kate & Allie and the Decision to Step Back
In 1984, Saint James reunited with her High Cost of Living co-star Jane Curtin for the CBS sitcom Kate & Allie. They played divorced childhood friends raising three kids together in a Greenwich Village brownstone. The show ran six seasons, ending in 1989, and drew three Emmy nominations for outstanding comedy series. Saint James personally earned nominations in 1984 and 1985. By the Hollywood Reporter’s count, that makes her an eight-time nominee.
After the show ended, she largely stopped acting. She told People magazine in 2002 that she was tired of being “one of those people juggling knives and melons and then [saying], ‘Toss me in a razor blade.’” Her departure came while she was still in demand, which is why some obituaries describe her as quitting at her peak.
Family, Loss and Service
Saint James married television executive Dick Ebersol, the former Saturday Night Live executive producer and NBC Sports head, in November 1981. He is her third husband and survives her. In 2004, the couple lost their youngest child, 14-year-old Teddy, in a plane crash. Reports describe them as continuing on together after that tragedy.
Away from the screen, Saint James pursued entrepreneurial ventures and devoted considerable time to charity. She served as a board member and longtime volunteer for the Special Olympics.
Her family’s statement emphasized that side of her life. It described her as “generous with her time and energy, which she valued more than money, and instinctively drawn to whoever needed lifting up.” It added: “She taught her children to pause, be kind and look out for other people.”
For viewers, Saint James will be remembered as the warm, quick-witted presence of 1970s mystery nights and 1980s sitcom Thursdays. By choosing family and service over another series, she left the screen on her own terms.
- ‘Kate & Allie’ star Susan Saint James dead at 80 (foxnews.com)
- Kate & Allie star Susan Saint James dead at 80 as family pays tribute (The Independent)
- Susan Saint James, ‘Name of the Game,’ ‘McMillan & Wife’ and ‘Kate & Allie’ Star, Dies at 80 (The Hollywood Reporter)
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It is now one of the most recognisable songs of the 1960s, but Time of the Season began as a modest, rushed and occasionally tense piece of work. In a Guardian “How we made” interview, Zombies keyboardist Rod Argent and singer Colin Blunstone recall a recording shaped by a tiny budget, a ticking studio clock and a band on the verge of splitting.
A £1,000 album and a self-produced gamble
By 1967 the Zombies had only one UK hit, She’s Not There, which Argent wrote at 18. They had signed to CBS and been handed £1,000 to make their second album, Odessey and Oracle. Argent says that was not a lot of money even then. The band recorded in a handful of sessions spread over six months and, for the first time, produced themselves.
The money ran out quickly, but Argent argues the pressure helped. The tight timeframe gave the record a spontaneity and freshness he still tries to preserve in his work, he says, partly because it is “just much more fun”.
The last song written, and a hunch it was a hit
Time of the Season was the final song Argent wrote for the album. He was sharing a flat with bassist Chris White, and the two swapped ideas by wandering between each other’s rooms. Argent recalls telling White he thought he had just written a hit.
He ties the lyrics to the mood of 1967, when television brought pictures of war into living rooms and some viewers decided they wanted no part of it. The “Who’s your daddy?” line, he says, nods back to Gershwin’s Summertime, an early song the band performed together. “Is he rich like me?” was meant to carry a double meaning, with “rich” suggesting an understanding of how to live.
Abbey Road, the Beatles and a heated session
The band recorded at EMI Recording Studios, later renamed Abbey Road. The Beatles had been in just before them making Sgt Pepper’s Lonely Hearts Club Band, and the Zombies shared some of the same engineers, notably Geoff Emerick. Argent credits him with a distinctive way of combining the bass and tom-tom sounds. Argent suggested the clap before the beat and the exhaled vocal sound that follows it.
Blunstone remembers a less serene experience. He was still learning the song as he sang it, watching a red recording light and a clock while studio staff enforced strict finishing times. At one point a piano was wheeled away mid-take. With Argent in the control room demanding precise phrasing, tempers frayed. Blunstone says he told Argent to come in and sing it himself, and the reply was blunt. He finds it funny now that he swore at his bandmate between takes of such angelic lines.
Blunstone also admits he did not rate Time of the Season as the album’s best shot at success. He thought Care of Cell 44 sounded like a hit single, but it flopped. The album emerged in a misspelled sleeve after the band had already split.
Death rumours and a delayed hit
The version of events available here cuts off before the full story of how the song found its audience. The article’s introduction and captions hint at it. A DJ in Boise, Idaho, reportedly would not stop playing the track, and a later passage mentions that Al Kooper became a CBS staff producer after leaving Blood, Sweat & Tears. The standfirst also recounts that, a year after the split, two bands toured the US as the Zombies, with one claiming a new singer because a member had supposedly been killed in a car crash. The headline adds that a death was reported in Rolling Stone.
Even so, the interviews offer a clear picture of a classic made quickly and cheaply, with plenty of friction. Argent says of the song, in a caption, that he has never worked out how it can be both of its time and timeless.
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Entertainment
Walter Koenig, Star Trek’s Chekov, Dies at 90: George Takei Says He Was “More Than Chekov”
Walter Koenig, the actor who brought the earnest young Russian navigator Pavel Chekov to life on the original Star Trek, has died at the age of 90. His representatives said he died of old age at home in North Hollywood on Sunday night, surrounded by his daughter and niece.
Koenig had marked his 90th birthday only last month, on September 14. His death came as one of Star Trek’s best-known friendships was being celebrated in public once again.
George Takei leads the tributes to Walter Koenig
George Takei, who played Hikaru Sulu, was among the first to respond. In an Instagram post, he said the two met on the bridge of the Enterprise in the 1960s and stayed friends for almost six decades. Koenig was best man at Takei’s 2008 wedding to Brad Takei. His birthday also fell on the couple’s wedding anniversary, a coincidence Takei said he would always treasure.
“Walter was more than Chekov,” Takei wrote. “He was a writer, a teacher, a thoughtful man, and a loyal friend.” He signed off with a nod to the show: “Keep navigating a steady course.”
Adam Nimoy, son of Leonard Nimoy, called Koenig “such a nice guy” and recalled enjoying his company on the convention circuit. Michael Okuda, a scenic artist and technical consultant on several Trek productions, remembered an interview Koenig gave to the Roddenberry Archive.
A career that outgrew one navigator
Born in Chicago and raised in Manhattan, Koenig was the son of Soviet Jewish immigrants. He trained at New York’s Neighborhood Playhouse School of the Theatre, where his classmates included James Caan, Christopher Lloyd and Dabney Coleman. He joined Star Trek in its second season in 1967, and the show ended in 1969. Chekov was reportedly introduced to appeal to younger viewers, with a mop-top haircut and a habit of claiming everything was invented in Russia.
The studio also promoted the character as a response to criticism in the Soviet newspaper Pravda about the lack of a Russian on the crew. Koenig later denied that claim. Either way, a Russian officer on an Enterprise bridge fit the show’s Cold War-era vision of nations working together.
He was candid about the limits of the role on television. By his own account, Chekov’s job was to set out the bones of the plot and let McCoy, Spock and Kirk fill it in. The films gave him more to do. He appeared in all six original-cast movies between 1979 and 1991, and the Academy of Science Fiction, Fantasy & Horror nominated him for The Wrath of Khan and The Voyage Home. He also appeared briefly in Generations in 1994 and voiced President Anton Chekov in Star Trek: Picard in 2023.
Outside Trek, Koenig played the ruthless telepath Alfred Bester on Babylon 5 and wrote an episode of the animated Star Trek spin-off. He was also a published author, with credits including Columbo and Futurama. Earlier this year he won the Platinum Award for best actor at the 2026 Independent Shorts Awards for the short film Mr. Fleischmann. His representatives called it a fitting recognition of a lifetime devoted to his craft.
Koenig’s wife, Judy Levitt, who appeared with him in three Trek films and in Babylon 5, died in 2022. They had married in 1965. Their son Andrew, who played “Boner” on Growing Pains, died in 2010 at 41. Koenig is survived by his daughter Danielle, an actress and screenwriter.
Another soap veteran gone
The entertainment world also lost Alan Dysert, best known as the scheming con man Sean Cudahy on All My Children. He appeared in 79 episodes between 1980 and 1990. His wife, Michele, announced on Facebook that he died on October 23 at 75. She did not give a cause. In a 2023 memoir, however, Dysert wrote that he had been diagnosed with a rare, aggressive and incurable cancer.
Dysert later worked as a producer and as an acting teacher. His wife said he had asked loved ones to celebrate his life rather than mourn it.
For Star Trek fans, the loss of Walter Koenig closes another chapter of the original crew’s story. Judging by the tributes, what colleagues remember most is his warmth and the decades of friendship behind the character.
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An Ohio pastor and his wife have the internet ablaze after introducing their congregation to his second wife during a recent sermon. Prophet Israel T. Ford and his wife, Pastor Lydia Ford, made the announcement on Sunday, October 25, at the LifeWorks Church in Wickliffe, Ohio.
RELATED: Florida Pastor Timothy Chaneyfield Arrested For Alleged Sexual Abuse And Exposing 14-Year-Old Boy To HIV
Ohio Pastor Israel T. Ford And Spouse Introduce Second Wife
Pastor Lydia Ford made the announcement with her husband during a Sunday sermon at LifeWorks Church in Wickliffe. In a clip shared by Hollywood Unlocked, Ford revealed that she and Prophet Ford were in a polygamous marriage with another woman, Minister Shakayla Ford.
“I want to share that you know Prophet and I, you know, we are living, even right now, um, in what we would call a polygamous marriage,” she said. “My husband, our Prophet, he has a second wife. Y’all know her. Y’all love her. Y’all benefit from her ministry every week. And so, I just want to take this time and just, um, as a pleasure of mine to introduce to y’all Prophet’s wife and my sister in marriage, Minister Shakayla.
Second Wife Claims Marriage Is Will of God
Minister Shakayla Ford then spoke to the congregation, and she had jokes. After she was introduced by her sister-wife, she got up on stage and said, “Wow. Um cat’s out the bag.”
The Prophet’s second wife then claimed the marriage was “the will of God” as she sought to address folks’ concerns about her lifestyle.
“I want to speak to the fact that I know people have questions,” she said. “People have comments and concerns. And one thing that um, you know, I want to address is that, it, it is amazing to know that this is the will of God and to live it. I have not been slight not one bit, and I have gained so much… and I have learned so much from pastor. I mean, he has poured so much into me and into our family… is it the image of what God wants to put in the earth.”
Watch the clip below.
Folks Act OUT On Social Media
People couldn’t wait to leave opinions in Hollywood Unlocked’s comment section, and several folks dragged the church leaders in the process. Others dropped jokes.
User @sha_lettice replied, “Tell me Pastor was cheating without saying it…😂😂.”
@brandyslin added, “Can the wife get a second man too 😂😂😂.”
@iambrianamoenae noted, “she can’t even pronounce it correctly 😂.”
User @themazebanks wrote, “Wondering when he’s gon announce his secret husband.”
@iamjudimoon noted, “If this is what’s happening in the light, I can’t imagine what’s happening in the dark.”
User @dave_badazz3 joked, “This a Tubi Church 😂😂.”
@schinal_5 added, “What in the WITCHES of EASTWICK!?! And to the congregation, why did no one walk out!? 😮🤡🤹🏽♀️🎪.”
@_lovebri___ replied, “Her saying Cats out the bag in her coming out speech was crazyyy lol.”
User @_desinee wrote, “We are definitely living in the last days!”
@njsoup153 joked, “Pastor done sampled the whole congregation.”
@_mealsbymel added a prediction. “@druski gon ahead and tap in with this foolery 😂😂.”
RELATED: Say, WHAT?! Florida Woman Arrested & Charged After Allegedly Setting Man On Fire During Argument
What Do You Think Roomies?
Wes Craven’s 1996 horror movie Scream is one of the most celebrated films in the genre. With iconic characters and a fresh, darkly comedic take on the slasher, this movie changed what was possible within the horror genre. The soundtrack for Scream is just as iconic as the movie, full of ‘90s alternative and indie rock music that sets the scene for a classic high school experience plagued by a vicious killer. This soundtrack is nothing short of perfect for both the movie and the Halloween season — and well worth listening to all year around.
Alternative and indie rock often align with the dark themes explored in the horror franchise – but choosing the right songs for a movie, especially one so reliant on the fear and suspense of the audience, is no small feat. These five songs off the Scream soundtrack are all perfect choices for the scenes in which they can be heard. Through taking a closer look at these eerily memorable tracks, we can better understand the interaction between alt-rock and the horror genre.
5
“Whisper” by Catherine
Starting off on a comparatively lighter note, “Whisper” by Chicago-based alt-rock band Catherine sets the tone for day-to-day life at the fictional Woodsboro High School. Catherine was active from the mid-80s through the ’90s and often compared to The Smashing Pumpkins. They were just underground enough to be cool – surely something the Californian teens in this film may have burned onto their CDs. “Whisper” appeared on their 1996 album Hot Saki & Bedtime Stories, released the same year as Scream. The track is best known for its inclusion in the film.
This song plays towards the beginning of the film. The scene portrays the students lounging around on the school quad, discussing the recent killing of Casey Becker (the tragically short-lived character played by Drew Barrymore). They are talking about the extremely disturbing murder and mutilation of a friend with an alarming level of apathy, indicating the feeling of invincibility and lack of empathy that comes with being a teenager… and perhaps something more nefarious. “Whisper” is a fitting track for this scene – chill, easy background music, but with an edge. Crunchy guitar riffs are balanced with aptly whispery vocals, setting the tone as relaxed, but with a subtle undercurrent of unease.
4
“Red Right Hand” by Nick Cave & The Bad Seeds
This next track is much better known – for a multitude of reasons. Nick Cave & The Bad Seeds are renowned in their field and extremely popular amongst the gothic-rock crowd. They released their most popular album, Murder Ballads, the same year as Scream – they were at the peak of their popularity in the mid-to-late ’90s. “Right Red Hand” was released two years earlier, and quickly became the band’s signature song. Featuring creepy lyrics (sung spoken-word style by Cave) and eerie bell tolls, listening to the song is akin to hearing a ghost story in the dead of night. It is superfluously spooky in a Scooby-Doo kind of way – picture the gang tiptoeing through a haunted mansion on a dark and stormy night. Jinkies!
“Red Right Hand” is frequently featured in movies and television, perhaps most notably as the theme music for the popular BBC show Peaky Blinders. It is also present in all seven movies in the Scream franchise, except for the fourth installment (copyright issues). The song acts as a harbinger throughout the films – when you hear Nick Cave’s melancholic warble, Ghostface is sure to be close behind.
3
“Youth of America” by Birdbrain
This high-energy, rebellion-steeped track is the definition of teenage angst. “Youth of America” was the final single released by Birdbrain, a short-lived, post-punk band formed in Boston in the early ’90s. Their biggest accomplishment as a group was this song being used in Scream – the official music video features scenes from the film interspersed with clips of the band performing at the scenes of the fictional murders. They truly capitalized on the exposure they received from the movie. This is not to disparage the group or the song – the inclusion of the somewhat niche group does wonders for the era-specific world-building in Scream.
“Youth of America” has a classic indie rock, post-punk feel, featuring a driving drumbeat and distorted guitar. The lyrics describe the death and waste of the youth of America, assumedly in the metaphorical sense – the powers that be are indoctrinating the children, brainwashing the teens, keeping the people down. Good ol’ angst and anti-establishment awesomeness. However, in this context, the often repeated lyrics “You’re all dead” take on a much more literal meaning. This song plays during the high school party at Stu Macher’s (expertly played by Matthew Lillard) house, right before the violence reaches a bloody crescendo.
2
“School’s Out” by Alice Cooper
Alice Cooper’s “School’s Out” has been a high school anthem since its 1972 release. Cooper, one of the biggest names in hard/glam rock, is known for his over-the-top theatrical performances and costumes, making his work incredibly conducive to the horror genre. Aptly nicknamed the “Godfather of Shock Rock,” Cooper’s career has had an immense influence on a variety of subgenres under the rock and roll umbrella. “School’s Out” is his biggest international hit, capturing the excitement of the final moments before it’s time to leave the classroom behind
The iconic lyrics “School’s out for summer/ School’s out forever/ School’s been blown to pieces” play as the principal of Woodsboro High School announces the suspension of classes due to the recurrent attacks on students. The song is right on the nose – but in an effective way. The inclusion of this track captures the frenzy and paradoxical excitement surrounding the unexplained wave of violence, and subtly alludes to the fact that perhaps the perpetrators of these crimes are closer than the students are being led to believe. No one ever expects the call to come from inside the house.
1
“Don’t Fear the Reaper” by Gus Black
Gus Black’s stripped-down, acoustic cover of “(Don’t Fear) The Reaper” by Blue Öyster Cult is a quintessential indie singer-songwriter track. Black recorded and produced this song specifically for the Scream soundtrack. Equally romantic and melancholic – with violins and harmonies for added cinematic effect – the use of this cover is perhaps the most clever musical choice in the film.
The original Blue Öyster Cult version is featured in 1978 horror classic Halloween, which heavily inspired the plot and characters of Scream. Halloween is referenced consistently throughout the film, and using a cover of “(Don’t Fear) The Reaper” adds another layer of connection between the two movies. The song plays after Billy Loomis (played by Skeet Ulrich) sneaks through his girlfriend’s window and into her bedroom. Sidney Prescott (Neve Campbell) is initially startled – and rightfully so. There’s a killer on the loose! When she realizes it’s just her boyfriend, she relaxes. There’s no need to be afraid … or is there? Should she fear the reaper? The foreshadowing is expertly executed – one of the many details that makes Scream one of the most iconic slasher movies ever made.
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I love how the skincare conversation has shifted from anti-aging to longevity. We can’t stop the aging process, but we can age gracefully with the right ingredients and products. One dermatologist is on a mission to bring that same philosophy to makeup with the brand-new Dose of Derm All-In-One Clinical Foundation.
Celebrity dermatologist Dr. Sheila Farhang is bringing Dose of Derm to life, which features makeup formulas developed with clinical-grade skincare ingredients. Her brand will include a full range of makeup products, but the one we’re most excited about is the newly launched All-In-One Clinical Foundation.
Get the All-In-One Clinical Foundation at Dose of Derm!
This unique foundation functions like a tinted moisturizer and contains SPF 45. It’s lightweight yet extremely buildable with a soft-blur, filter-like finish that allows you to layer until you get your desired coverage. The ingredient list reads more like a high-end serum than a complexion product. It contains peptides, plant-derived exosomes, vitamin C, hyaluronic acid and more to not only cover imperfections but also correct them.
The unique, clinically-tested formula is proven to do six things: Protect against the sun’s rays, correct uneven tone and discoloration, deeply hydrate, brighten dullness, smooth pores and texture and support the skin barrier. While there are currently only six shades, they’re tone-shifting and can morph to your complexion for the best possible match.
Although the foundation just launched, it’s already garnered a few fans. “I love that there are actual skincare ingredients in this,” one reviewer writes. “I’m way more conscious about what I put on my skin now, so it’s nice knowing my foundation is doing more and actually treating my skin!”
If you look for makeup that conceals redness and blemishes without compromising your skin’s barrier or texture, try the All-In-One Clinical Foundation at Dose of Derm today!
Get the All-In-One Clinical Foundation at Dose of Derm!
Hey, The Young and the Restless fans. We have got hot new spoilers for next week, which sees the start of November sweeps. We’re going to talk about Nick Newman (Joshua Morrow) doing another bad thing, Lily Winters (Christel Khalil) getting fierce about work and family, and Sharon Newman (Sharon Case) being completely shocked.
We’ve got the latest The Young and the Restless spoilers for the week of October 26th. So, we are heading into don’t-miss-an-episode moments, because sweeps kicks off this coming Thursday in a big way.
The Young and the Restless: Kyle and Victoria Push the Envelope
First, let’s talk about Kyle Abbott (Michael Mealor) and Victoria Newman (Amelia Heinle), because they are really pushing the envelope. At the end of this week, Kyle meets with Victoria up at Crimson Lights to discuss their London trip. So, they talked about sneaking into that suite at Billy Abbott (Jason Thompson) and Sally Spectra (Courtney Hope)’s GCAC wedding, which was really risky. But he and Victoria seem to think they’re going to get away with this affair indefinitely, and we know they won’t.
So, Kyle heads out onto the Crimson Lights patio at the end of the week, where he kisses Victoria. She’s stunned and can’t believe Kyle did that in public, but you can also tell Victoria is thrilled. It’s almost like she wants to get caught.
So, Kyle agrees to meet Victoria in London, and she jokes about how it’s too risky to invite him to fly over there on the Newman jet with her. And Kyle agrees, but tells Victoria he would love to join the Mile High Club with her. And then Kyle promises he’ll find a reason to fly over to London. And Victoria’s excited. She thinks they can go out and relax in public together.
Yeah, she said in public. It seems like a sketchy idea, but Kyle and Victoria may think they’re safe being all the way across the pond while engaging in their fling.
Phyllis and Victor Show Up on Y&R
So, when they come back in from the patio after smooching and plotting, they run right into Phyllis Summers (Michelle Stafford), who wants to know why Kyle and Victoria are together. They make excuses and tell Phyllis a lot went down at Billy and Sally’s wedding. And of course, that distracts Phyllis, because she’s so excited it all went down at her establishment.
And then she tells Victoria and Kyle that Billy is taking the Abbott jet to London to see Jill Abbott (Jess Walton). And of course, Phyllis has to do some bragging. This time, it’s about the big party she and Lauren Fenmore (Tracey Bregman) are planning for Arabesque.
So Kyle’s like, “Enough.” He leaves the coffee shop, which is good timing, because right after, Victor Newman (Eric Braeden) shows up to discuss the London trip with Victoria. And while they’re chatting, Billy, Lauren, and Michael Baldwin (Christian Leblanc) enter, and Victor tells them he’s so sorry about Jill. And Billy is shocked that Victor isn’t making any snide remarks. So after Billy and the others leave, Victor tells Victoria that she might run into all of them in London. And it turns out Victor is absolutely right. We’re going to get to that in just a second.
So Kyle now needs a reason to leave town. He tells Jack Abbott (Peter Bergman) he is leaving town to go look at an acquisition he’s considering. Jack thinks it’s sudden, but Kyle says he needs to see if it’s worth the hype. And then he texts Victoria and says, “All set. This is going to be fun.”
Young and Restless: Cane Runs Into Kyle in London
All right, now let’s talk about her and Kyle getting busted. In next week’s The Young and the Restless spoilers, things take a turn for him and Victoria in London. We talked about this in our last video, and sure enough, as we expected, Kyle runs into somebody from Genoa City.
It looks like Kyle is waiting for Victoria to meet him when Cane Ashby (Billy Flynn) strolls up, and he sees Kyle at a pub in London. And Cane says, “Fancy seeing you here.” And then Cane asks Kyle, “What are you doing in London?”
So him running into Cane is very problematic, because I’m sure Kyle is waiting on Victoria, since they hope to do some date-type activities in London. Clearly, feelings are involved for them to want to hang out in public. I think this London trip is going to end very badly for Kyle and Victoria.
If Cane’s there when Victoria walks in to meet Kyle, I bet that Cane clocks that Kyle is there with Victoria, even if they deny it and try to pretend it’s a coincidence. But I also don’t think Cane would tell Victor anything. But trouble’s coming.
What Did Nick Do to Matt in Y&R?
Also, to set the stage for this next spoiler, remember that this week, Nick dropped by to tell Sharon and Mariah Copeland (Camryn Grimes) that he confirmed Matt Clark (Roger Howarth) is in the mental hospital, that he dropped him off, and that he won’t be a problem. And then Nick and Mariah were working on Sharon, telling her, “Don’t go see Matt.”
And remember, he asked Sharon to be his therapist. She’s considering it. She thinks Matt being better is peace of mind for everybody. Mind you, it’s hot on the heels of Nick beating Joe (Chris Grant Wenchell), the drug dealer, nearly to death. So Nick may be off pills, but now he seems addicted to violence. It’s like he’s Genoa City‘s Batman or the Punisher.
So in next week’s The Young and the Restless spoilers, while they’re up at Crimson Lights, Sharon asks Nick, “What really happened to Matt?” And then Nick tells Sharon, “It’s best if you don’t know.” So I’m wondering if Matt never made it to the mental health clinic. Maybe Nick was trying to talk Sharon out of going to see Matt there because Nick never took him there. I mean, honestly, we know that he wants Matt dead.
So, I’m excited to see what happened. Nick might have beaten Matt and left him for dead, dumped him in a ditch somewhere, and felt it was the best thing for everybody. Remember when he was at Sharon’s asking for her help? Nick wanted to kill Matt on the spot, and Sharon told him no.
The Young and Restless: Lily Fires Nate
Also next week, The Young and the Restless spoilers have Lily really taking care of business. She’s with Nate Hastings (Sean Dominic) and Devon Hamilton Winters (Bryton James) at Society. And Lily shocks Nate when she tells him that, as CEO of Winters, she is officially firing him.
So I think with Lily’s cancer-free results, she is moving forward. And that could also mean Nate got good medical test results and might have gotten the all-clear to get back into the OR after having successful surgery on his hand. So I suspect that’s why Lily is firing Nate from Winters, so that he can follow his dream and be a surgeon again.
And we should also be seeing Stephanie Simmons (Vivica A. Fox) on screen again fairly soon, so that she and Nate can resume their romance, as well as enjoy time as co-workers at the hospital.
The Young and the Restless: Adam Won’t Go Away
Also, in a recent interview, Billy actor Jason Thompson said that soon Adam Newman (Mark Grossman) goes all out to stay in the picture. And the actor said that’s the exact opposite situation that Billy wants to find himself in. This week, he did sincerely thank Adam for being there to deliver baby Ruby. But with that handshake done, Billy just wants Adam to go away. But he continues to show up. And official The Young and the Restless spoilers say it really starts to affect Billy.
So, I suspect that starts next week while Billy is in London. I think we’ll see Adam dropping by to visit Sally and little Ruby. We might even have Adam offering Sally a helping hand with her baby girl. If so, Billy won’t like it. And I’m guessing Chelsea Lawson Newman (Melissa Claire Egan) will be alarmed if Adam’s suddenly way more present in Sally’s life and focused on little Ruby.
Carlos PenaVega had an admittedly heated reaction to wife Alexa PenaVega’s Dancing With the Stars elimination.
“The best moment is, after I get eliminated, Carlos and Shirley Ballas, [who] is Mark [Ballas]’s mother, … get into a fight backstage,” Alexa, 38, recalled on the Thursday, October 22, episode of the couple’s “LexLos” podcast, acknowledging Shirley, 66, is a “legend” in the ballroom community. “She goes, ‘Are you happy? Semifinals?’ And Carlos was like, ‘No, I’m not happy, my wife just got eliminated!’”
Carlos, 37, stressed that he is grateful the pair’s brief verbal altercation was not captured on film.
“She was sweet, but it was actually bad timing,” Carlos admitted. “She wasn’t trying to be mean, it was just bad timing.”
Shirley, the head judge on the U.K.’s Strictly Come Dancing, has not publicly addressed the accusations. Us reached out for comment.
Carlos and Alexa competed against each other on DWTS season 21 in 2015 with respective pro partners Witney Carson and Mark, 40. The Spy Kids star and Mark finished in sixth place, while Carlos and Carson, 33, made it all the way to the finale but came up short behind winners Derek Hough and Bindi Irwin.
Reflecting on her departure from the competition, Alexa claimed that Mark had an inkling their time in the ballroom would be cut short before it was officially announced.
“[Mark] knew we were getting eliminated, however, that day Tamar [Braxton] gets deathly ill. We end up finding out it’s, like, deathly ill and she should have remained in the hospital,” Alexa alleged, claiming Mark was already aware they were booked on The View to discuss their elimination. “The producers, from what Tamar said, went to the hospital and were like, ‘You need to do it.’ … Mark was like, ‘I believe we would have still been in if Tamar had stayed at the hospital.”
Braxton, 49, and pro partner Val Chmerkovskiy ended up withdrawing from the show “the next day” because of the singer’s illness.
“Mark was really hoping that was the moment of, ‘If she stays in the hospital, we won’t go home tonight and get one more week to show what we can do,’” Alexa recalled. “[Carlos and I, our two dance partnerships] would have still been in the bottom, but it’s just such a different story.”
Alexa and Carlos were the first married celebrities to compete against each other on DWTS, during a time they claim had “a lot of drama behind the scenes.”
“At the time, Witney and Mark were not getting along at all,” Alexa alleged on Thursday. “They refused to be in the same room together. It was really hard because we’re married and the whole point of doing the show was, ‘We’re gonna do this together as much as possible. The second we go in, boom, ‘Mark and Witney refuse to be in a room together.’”
Mark and Carson have not publicly addressed the reported feud. Us reached out for comment.
Chris Pratt has confirmed that Peter Quill, better known as Star-Lord, will return to the Marvel Cinematic Universe.
While promoting Season 2 of The Terminal List, Pratt revealed that he has remained in contact with Marvel Studios president Kevin Feige and executive producer Lou D’Esposito about making good on the promise made at the end of Guardians of the Galaxy Vol. 3.
The 2023 film concluded with Peter Quill stepping away from the Guardians and returning to Earth to reconnect with his grandfather. However, the film’s final title card made one thing clear: “The Legendary Star-Lord Will Return.”
Now, Pratt says Marvel is actively working toward that return.
[credit: marvel studios]
“I have a great relationship with Kevin and Lou, and there have been both ongoing conversations about how we make good on that promise and also hard action taken to make sure that we make good on that promise,” Pratt said during an appearance on The Bingeworthy podcast.
Pratt then offered his clearest confirmation yet that Star-Lord’s time in the MCU is not over.
“So yeah, you’ll see Star-Lord again,”
Pratt said. “He’s not going anywhere.”
The actor did not reveal exactly when or where Star-Lord will return.
That leaves several possibilities open as Marvel Studios continues expanding the cosmic side of the MCU while also preparing major upcoming crossover films.
Pratt has not been officially announced as part of Avengers: Doomsday, so any connection to that film remains speculation. Avengers: Secret Wars could also provide another opportunity for the character to reappear, while future cosmic projects could potentially bring Peter Quill back into space.
Pratt first debuted as Star-Lord in 2014’s Guardians of the Galaxy and went on to play the character throughout the Guardians trilogy as well as Avengers: Infinity War, Avengers: Endgame and Thor: Love and Thunder.
Although Guardians of the Galaxy Vol. 3 marked the end of James Gunn’s version of the team, Marvel deliberately left the door open for Star-Lord.
Pratt’s latest comments now make it clear that the promise was more than just a tease.
Peter Quill will return to the MCU.
The only question left is when.
Let’s Face It, This One Really Stuck With Me
There are comic-book movies that play things safe, and then there are movies like Clayface, which seem determined to reshape what we expect from the genre.
I went into this one hoping for something dark and slightly different, but I honestly didn’t expect to enjoy it quite as much as I did. What surprised me most was how confidently the movie embraces its horror identity. It doesn’t feel as though someone simply took a conventional comic-book movie and added a few scary moments to make it darker. The horror feels like part of its DNA.
At the same time, Clayface never forgets that there needs to be a human story underneath all the strangeness.
The film stars Tom Rhys Harries as Matt Hagen / Clayface, with a supporting cast that includes Naomi Ackie, David Dencik, Max Minghella and Eddie Marsan. It is directed by James Watkins, from a screenplay by Mike Flanagan and Hossein Amini.
Clayface is strange, creepy, uncomfortable, visually interesting and far more emotional than I anticipated. Most importantly, it kept me invested.
I give it 4 out of 5 stars, and I think this is one face from the DC universe that will be difficult to forget.
A Different Kind of Comic-Book Movie
One of the things I enjoyed most about Clayface is that it doesn’t feel trapped by the expectations of what a comic-book movie is supposed to be.
Yes, the character comes from DC. Yes, there are obviously fantastical elements involved. But the film is formally described as a body-horror psychological thriller, and that combination gives it a very different flavour.
That immediately sets it apart.
The movie isn’t constantly trying to overwhelm you. There is a darker, more uncomfortable atmosphere running through it, and I found myself becoming increasingly absorbed in that mood.
It also feels considerably more personal than I expected.
Rather than focusing entirely on how visually impressive Clayface can look or what the character can physically do, the movie’s greatest strength is the person at its centre. That gives everything else more meaning.
There is spectacle, obviously, but there is also vulnerability.
For me, that balance is what separates Clayface from something that could easily have been dismissed as a gimmick.
Tom Rhys Harries Gives the Movie Its Heart
Tom Rhys Harries plays Matt Hagen / Clayface, and for me, he is the glue holding the entire movie together.
Sorry. I couldn’t resist that one.
This is not an easy character to play because the performance needs to work before you even consider the more fantastical aspects of Clayface. If I don’t care about Matt Hagen as a person, everything surrounding him becomes considerably less interesting.
Thankfully, Harries gives the character real humanity.
There is an emotional vulnerability to his performance that I really liked. He allows Matt to feel like a person rather than simply the necessary human component of a comic-book character.
It is also a performance that has to communicate a lot without constantly spelling everything out.
Harries handles that very effectively.
There are moments where his expressions and physical performance do as much work as the dialogue. His performance needed to convince me that there was something recognisably human underneath a story that becomes increasingly strange, and I think he achieves exactly that.
More importantly, I found myself invested in the character.
That might sound like a rather basic requirement, but it makes an enormous difference in a movie like this. Without that connection, Clayface could have become little more than an impressive collection of horror imagery.
Instead, there’s an emotional centre.
And Harries deserves a lot of credit for it.
Naomi Ackie Makes Her Presence Felt
Naomi Ackie is another important part of the ensemble.
What I particularly enjoyed about her performance is the grounded quality she brings to the movie.
When you’re dealing with a story containing such unusual and exaggerated concepts, the supporting performances become incredibly important. Everyone cannot behave as though they know they’re in a comic-book movie. The world needs to feel real enough for the extraordinary parts to matter.
Ackie gives the film some of that grounding.
She shares the screen comfortably with Harries and has enough presence that I never found myself simply waiting for Clayface to return whenever the focus shifted elsewhere.
That is important.
A strong central performance can only carry a movie so far. The people surrounding that character need to feel as though they belong within the same story, and I think the cast succeeds in doing that.
A Supporting Cast That Understands the Assignment
The film also features David Dencik, Max Minghella and Eddie Marsan among its principal supporting cast.
Collectively, I thought the cast was one of the movie’s strengths.
Nobody feels as though they wandered in from a completely different type of film. That consistency is particularly important here because Clayface is balancing several different tones at once.
There’s drama.
There’s horror.
There’s psychological tension.
And underneath all of that, there’s still a comic-book movie.
Those ingredients could easily clash, but the performances help hold everything together.
I also appreciated that the supporting characters don’t make the film feel overcrowded. There are enough personalities around Matt to give his world texture without making the movie feel desperate to introduce dozens of characters purely for the sake of expanding a universe.
It keeps its attention where it belongs.
The Horror Really Works
This is probably where Clayface surprised me the most.
Its body-horror and psychological-horror classification isn’t simply window dressing.
There is something fundamentally unsettling about Clayface as a concept.
And the movie understands that.
Instead of avoiding the disturbing implications of the character in favour of something more conventional, it embraces them. The result is a movie that can be uncomfortable without feeling as though it is desperately trying to shock you every few minutes.
For me, the best horror is often the stuff that stays in your imagination.
There are ideas here about appearance, identity and our relationship with ourselves that naturally lend themselves to horror. The movie taps into those without needing to explain every theme directly to the audience.
I appreciated that.
It trusts you enough to sit with some of those ideas.
And because the horror is linked so closely to the character, it feels relevant rather than decorative.
There are undoubtedly moments designed to make you uncomfortable, but I never felt the film had forgotten about the person underneath all the horror.
That makes an enormous difference.
The Flow Keeps Everything Moving
Pacing was another area where I thought Clayface worked particularly well.
The film has a reported runtime of approximately 108 minutes, and I think that suits this story.
It doesn’t take forever to get going, but it also doesn’t rush through the quieter material just to reach the next big moment.
There’s a rhythm to the movie that I really enjoyed.
It knows when to slow down.
It knows when to build tension.
And it knows when to let loose.
That balance means the movie rarely feels monotonous.
This becomes particularly important with horror because constantly trying to operate at maximum intensity can actually make a film less effective. If everything is supposed to be shocking, eventually nothing is.
Clayface understands the value of contrast.
Some moments are quieter and more character-focused. Others allow the horror and spectacle to come forward. Moving between those different gears prevents the film from feeling repetitive.
For the most part, I thought the transitions between them felt natural.
There were a few occasions where I thought a moment could have been given slightly more room to breathe, which is one of the reasons I haven’t gone all the way to five stars. But those are relatively minor criticisms.
Overall, this movie moves.
More Than Just Impressive Effects
Obviously, a character called Clayface creates certain expectations visually.
But what I appreciated is that the film never allowed its visual side to become the only reason for watching.
The physicality of the character is important, naturally, but I found the psychological side far more interesting.
The movie keeps returning to questions surrounding identity.
How much of who we are is connected to what we see in the mirror?
How much of ourselves is determined by how other people see us?
And what happens to a person’s sense of identity when those things stop feeling permanent?
Those are fascinating ideas for a character like Clayface.
I wasn’t expecting the movie to make me think about them quite as much as it did.
That doesn’t mean Clayface suddenly becomes a philosophical lecture disguised as a comic-book movie. Far from it. There is plenty here for anyone simply wanting something dark and entertaining.
But there is something underneath the surface.
Quite literally, in this case.
It Actually Has Its Own Identity
One of my frustrations with interconnected franchises is that individual movies can sometimes start feeling like trailers for whatever comes next.
Thankfully, that isn’t what I took away from Clayface.
The movie is part of DC’s broader cinematic universe and its Gods and Monsters chapter. But what I liked is how strongly Clayface establishes its own tone.
It feels like its own movie.
That sounds simple, but it matters.
I didn’t need endless reminders of a larger universe to remain interested. I was interested in this character, this atmosphere and this particular story.
More comic-book movies should have that confidence.
Give me different genres.
Give me different tones.
Give me filmmakers willing to make something that doesn’t look and feel exactly like the movie that came before it.
Clayface gave me enough of that individuality to make me excited about where this type of comic-book filmmaking can go.
There is no post-credits surprise, so no need to face all the credits.
Why Four Stars and Not Five?
For all the things I enjoyed, I wouldn’t call Clayface perfect.
There are sections where its different identities fight for attention a little more than I would have liked.
Being a psychological thriller, body-horror movie, character drama and comic-book film all at once is an ambitious balancing act. Most of the time, I think it pulls it off.
Most of the time.
There were moments where I would have preferred the movie to remain with its characters slightly longer rather than moving onwards.
And although I liked the film’s ambition, not every element landed equally strongly for me.
Still, those issues never seriously damaged my enjoyment.
I would rather have a movie take risks and occasionally become slightly messy than have something technically polished but completely forgettable.
Clayface has personality.
It has atmosphere.
And it certainly isn’t forgettable.
A Surprisingly Emotional Experience
Perhaps my biggest compliment is that I cared more about Matt Hagen than I expected to.
A character like Clayface could so easily become defined entirely by appearance and abilities. Instead, the film gave me enough of a human connection that I genuinely cared about the person at the centre of it.
That changed the entire experience for me.
The darker material matters more when you are emotionally invested.
The horror becomes more unsettling.
The quieter scenes become more meaningful.
And the bigger moments feel earned rather than obligatory.
That’s ultimately why Clayface worked for me.
It gave me the strangeness I wanted but also something underneath it.
Conclusion: Consider Me Mouldly Impressed
Let’s face it, Clayface could very easily have gone horribly wrong.
Okay, that’s my final face pun.
Probably.
What I got instead was one of those movies that reminded me why I enjoy seeing comic-book characters pushed into completely different genres.
Tom Rhys Harries gives the film a strong and vulnerable centre, while Naomi Ackie, David Dencik, Max Minghella and Eddie Marsan help create a supporting ensemble that keeps the stranger elements of the movie grounded.
I really enjoyed how the movie flowed. It takes the time to establish its atmosphere, gradually increases the intensity and knows when to allow the character moments to take centre stage.
Most importantly, I enjoyed that Clayface actually feels different.
It’s dark without becoming miserable.
It’s strange without losing sight of its characters.
It’s visually ambitious without relying entirely on spectacle.
And it’s horrific without forgetting the humanity underneath the horror.
Is everything perfectly moulded?
Not quite.
But the imperfections didn’t stop me from thoroughly enjoying the experience. If anything, the willingness to take risks is part of what I liked about it.
I went into Clayface expecting an interesting addition to the DC universe.
I came out having enjoyed something far stranger, darker and more emotionally engaging than I expected.
A solid 4 out of 5 stars from me.
And if this is the shape DC’s more experimental movies are going to take, then consider me mouldly impressed.
Catch Clayface at a movie theatre near you.
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