How the Official Novelization for ‘Halloween’ 2018 Expands and Enriches This Year’s Hit Sequel

In just under three weeks, David Gordon Green’s Halloween has exhilarated audiences to the tune of over $200 million in box office receipts, a milestone for this franchise and the slasher film subgenre. But even people happy with the film still find hang-ups to criticize, from Dr. Sartain’s motivations, to The Shape’s ambivalence in harming an infant in the home of a Haddonfield resident he bashed to death with a hammer, to Allyson’s jerk boyfriend Cameron (but he’s Lonnie Elam’s kid, of course he’s a jerk) getting away scot-free.

To those conflicted Halloween fans, I have one recommendation to make: read the novelization.

Written by Bram Stoker Award winner John Passarella, co-author of Wither, author of Wither’s Rain, Wither’s Legacy, Kindred Spirit, Shimmer, and a chain of Supernatural, Grimm, Buffy and Angel media tie-ins, the Halloween novelization is a satisfying companion piece to David Gordon Green’s feature.

I can already hear the rebuttals: But Mike, I shouldn’t have to read a book to get answers to questions or fix problems I have with a movie. No, you’re right, you shouldn’t have to. And you don’t have to. But it does help. Something I love about a movie novelization is its function to expand and enrich the narrative of a film. A movie is always subject to its post-production phase. Scenes are either dropped or reshot for a variety of reasons, be it time constraints, pacing problems… any number of issues. A novelization, however, is based on the screenplay (a particular draft or a number of drafts) and isn’t subject to any of those issues. Yes, an author has the freedom to embellish and expound upon characters, but you’ll also find scenes in there that were taken out of the finished film. We may not know what belonged to the screenwriters or what was simply an author’s take on the material unless the subsequent Blu-ray release contains deleted scenes; that being said, a novelization still gives us a broader take on the material and (possibly) the original intent of the filmmaker.

Take The Shape’s reluctance to harm that baby. While some saw this as a parallel to Michael ignoring the infants in the Haddonfield Memorial Clinic newborn ward in Rick Rosenthal’s Halloween II (1981) or young Michael sparing his little sister Boo in Rob Zombie’s Halloween (2007), or proof the Shape does in fact have a conscience, others were confused. (And to those people who were confused, or surprised, he didn’t kill the baby, my only response is… Really?). David Gordon Green has gone on record that the infant was a late edition to the movie; the actor who was hired to play the husband of The Shape’s victim never came to set when those scenes were being shot, and Green was forced to improvise. While the finished film never gives us much information as to Michael’s current mental state or how random his behavior is, the book suggests quite a bit.

In the novelization’s opening pages, Dr. Sartain explains to true crime podcasters Aaron Joseph-Korey and Dana Haines that he disagreed with Dr Loomis’ description of Michael as pure evil. “Pure evil is not a diagnosis,” he tells them. Aaron asks Sartain if there’s any similarity between the homicidal maniac that made headlines in 1978 and the amenable patient of this institution. Sartain calls Michael “an aging, evolving animal, as we all are. And although we have worked very closely, these halls display the limitation of my analysis.” Under his care, Smith’s Grove has implemented a holistic form of therapy for Michael, and in that time, Sartain concludes that Michael’s tendency towards violence has been irrevocably erased. “We left two kitty cats in his cell overnight and they were retrieved virtually unharmed,” he says. Sartain may be convinced, but his research lacks one vital element, and it may lead him to facilitate Michael’s escape so he might study him in the wild. Michael’s decision to leave two kittens alone illustrates the randomness of his actions during his house to house murder spree later. Whether this is writer John Passarella’s addition or excised material from David Gordon Green’s first assembly, it does manage to expand on Michael’s psychology.

Scenes deleted from the theatrical cut of the film that were merely teased in marketing materials also appear in the book. One such scene has Aaron putting on Michael’s mask and scaring Dana in the shower, in a blatant parody of Hitchcock’s Psycho. (Now, if the lead up to the shower scene is done in the style of the opening of John Carpenter’s Halloween, with a POV through the mask’s eyeholes, it would also make it an homage of the opening of Tobe Hooper’s The Funhouse. Dammit, I wanna see those deleted scenes!) Aaron tells her: “When I wear this, there is a certain tendency or inclination that the legacy of the mask seems to inspire.” Sartain, later donning the mask — in the scene that has left just about everyone who has seen the film conflicted — would be a fitting callback to this, and would’ve made a lot more sense, if only this deleted moment had remained in the film.

Which leads us to Cameron Elam, Allyson’s disloyal boyfriend. In the film, Allyson catches Cameron fraternizing with another girl at the Exquisite Corpse Halloween high school dance. Cameron, drunk and irate, argues with Allyson, and dumps Allyson’s cell phone in a bowl of nacho cheese when he doesn’t get his way. Allyson storms off, and this is the last we see of Cameron. In the book, things play out a little differently.

In the book, Cameron chases after Allyson, still trying to make amends with her and failing miserably. By this point, the police have arrived and the dance is being cancelled and evacuated with confirmation Michael Myers is on the loose again in Haddonfield. When an officer finds Cameron and Allyson under the bleachers in the midst of their argument and this cop interrupts the lovers’ spat to usher them off school grounds, Cameron isn’t having it. Cameron and the cop scuffle, and Cameron gets arrested. That explains why Cameron never gets his moral comeuppance from The Shape: he was sleeping off his drunk in the county jail. But something tells me it’s just as well. If David Gordon Green comes back to direct the inevitable sequel, I’m fairly certain we’ll see Cameron again and he’ll get what’s coming to him. I’d expect it to be pretty brutal too, since it’s been prolonged. In the slasher film law of averages, survivors of one entry aren’t always so lucky in the next. The audience wants Cameron dead, and by God he better get it in the sequel, or heads will roll.

David Gordon Green’s Halloween is a story about the effects of PTSD on three generations of women, and their strength and ultimate perseverance against The Shape who has haunted their family, figuratively and literally, over a forty year span. The novelization allows this story to breathe. It offers so much more added depth, so much more background (on Laurie Strode, especially; it even drives home the point of that final shot in a very succinct, poignant way), it’d be a shame to spoil all of it. Just pick up a copy and enjoy.

The Shape is waiting.

Novella ‘Hellraiser: The Toll’ Was Just Released in Audiobook Format, Narrated by Director Tom Holland

Released earlier this year by Subterranean Press, writer Mark Alan Miller’s Hellraiser: The Toll tells the story of what happened between Clive Barker’s iconic works The Hellbound Heart and its follow up, The Scarlet Gospels. This week, it has been released as an audiobook, narrated by Child’s Play and Fright Night director Tom Holland!

Thirty years after Kirsty escaped from the clutches of the Hell Priest, Pinhead, and lived to fight another day, her life has never been the same. Every few years she fashions a new name, a new identity, and a new home for herself. She is a woman who is running from her past at all costs, which is why it comes as such a surprise when she receives a mysterious letter in the mail, addressed to the identity she’s been running from over half her life.

Answering the letter’s query, she begins a descent down a rabbit hole to the ultimate confrontation. Her actions stir something unnameable in the ether and throw her into a game where nothing…not even what she sees in front of her very eyes…can be trusted.

Written by Mark Alan Miller (Next Testament, The Steam Man), the audiobook boasts narration by director Tom Holland (Child’s Play, Fright Night); a full cast that includes Mali Elfman (Fun Size Horror, Before I Wake), Kasey Lansdale (Hap and Leonard, Fender Lizards), Peter Atkins (Hellraiser 2, Wishmaster), & Robert Parigi (Tales from the Crypt, Agent’s of S.H.I.E.L.D); and original music by powerhouse composer Cris Velasco (God of War 1-3, Clive Barker’s Jericho).

You can grab the Hellraiser: The Toll audiobook through Amazon today.

Here’s Henry Cavill as Geralt of Rivia In Netflix’s “The Witcher”!

Netflix today debuted a first look at Henry Cavill in character as Geralt of Rivia, ahead of production for “The Witcher” beginning in Hungary.

Based on the best-selling fantasy series, “The Witcher” is an epic tale of fate and family. Geralt of Rivia, a solitary monster hunter, struggles to find his place in a world where people often prove more wicked than beasts. But when destiny hurtles him toward a powerful sorceress, and a young princess with a dangerous secret, the three must learn to navigate the increasingly volatile Continent together.

Further casting on “The Witcher” was also confirmed, with Eamon Farren (The ABC Murders, Twin Peaks) as Cahir, Joey Batey (Knightfall, Strike) as Jaskier, Lars Mikkelsen (House of Cards, Sherlock) as Stregobor, Royce Pierreson (Wanderlust, Judy) as Istredd, Maciej Musiał (1983) as Sir Lazlo, Wilson Radjou-Pujalte (Jamillah & Aladdin, Dickensian) as Dara, and Anna Shaffer (Harry Potter) as Triss.

The new cast join previously announced Freya Allan (The War of the Worlds, Into The Badlands) as Ciri, Anya Chalotra (The ABC Murders, Wanderlust) as Yennefer, Jodhi May (Game of Thrones, Genius) as Calanthe, Björn Hlynur Haraldsson (Fortitude) as Eist, Adam Levy (Knightfall, Snatch) as Mousesack, MyAnna Buring (Ripper Street, Kill List) as Tissaia, Mimi Ndiweni (Black Earth Rising) as Fringilla, Therica Wilson-Read (Profile) as Sabrina, and Millie Brady (The Last Kingdom, Teen Spirit) as Renfri.

Stephen King’s New Castle Rock Novella ‘Elevation’ is Now Available

Just one day before Halloween, Scribner has just released Stephen King’s Elevation, a brand new 160-page novella set in the prolific author’s Castle Rock universe.

Check out the cover art below, and start reading today!

The book is described as “a riveting, extraordinarily eerie, and moving story about a man whose mysterious affliction brings a small town together—a timely, upbeat tale about finding common ground despite deep-rooted differences.”

In Elevation

“Although Scott Carey doesn’t look any different, he’s been steadily losing weight. There are a couple of other odd things, too. He weighs the same in his clothes and out of them, no matter how heavy they are. Scott doesn’t want to be poked and prodded. He mostly just wants someone else to know, and he trusts Doctor Bob Ellis.

In the small town of Castle Rock, the setting of many of King’s most iconic stories, Scott is engaged in a low grade—but escalating—battle with the lesbians next door whose dog regularly drops his business on Scott’s lawn. One of the women is friendly; the other, cold as ice. Both are trying to launch a new restaurant, but the people of Castle Rock want no part of a gay married couple, and the place is in trouble. When Scott finally understands the prejudices they face – including his own — he tries to help. Unlikely alliances, the annual foot race, and the mystery of Scott’s affliction bring out the best in people who have indulged the worst in themselves and others.”

[Book Review] ‘Wolfman Confidential’ Is a Howling Good Read

Wolfman Confidential is the third book in author Justin Robinson’s on-going series about Nick Moss. Who is Nick Moss? He is a man who has an interesting life. After all, it’s not exactly safe working as a private investigator in a world where monsters and humans live side by side. From spellbinding witches to wailing phantoms to werewolf cops, Nick must navigate his profession very carefully if he wants to stay alive and stay human.

The novel follows on from previous books City of Devils and Fifty Feet of Trouble, but you needn’t worry about having to read those to understand what’s going on here. Like any great detective novel series, while reading them all can enrich your experience, each one functions as a standalone mystery that can easily become your first entry into this world.

In this last outing, Moss is handed a rather sensitive case. Someone out there is bumping of things that go bump in the night and the police actually want Nick’s help for once. What follows turns out to be one of Nick’s most dangerous and intriguing adventures to date, offering up a delicious slice of neo-noir creature feature fiction that is sure to delight many a monster fan out there.

Moss has quickly become one of my favorite new fiction characters. He’ll get the job done, but since he’s not quite up to James Bondian levels of heroism, he’s going to have a ton of close calls along the way. From his cynical sense of humor to his rough-n-tumble antics to his (thus far) bottomless well of luck, he’s exactly the kind of character I want to see interacting with all of my favorite night creatures. He’s the crime fiction equivalent of Indiana Jones.

Beyond Nick himself, what truly sets this novel and its predecessor apart for this monster lover is Robinson’s delightful sense of humor that is infused into every single page. His dry wit and penchant for unobtrusive meta references to film, urban legends, mythology, and literature simply makes every chapter an insanely entertaining ride for the reader. Justin Robinson is quickly proving himself to be the Raymond Chandler of “monster kid” pulp fiction and this is his finest work to date.

If you’re a fan of monsters, hard-boiled detective fiction, and quirky genre humor, you owe it to yourself to pick up Wolfman Confidential and the other two novels in this series. They are a deft mixture of ’50s crime fiction and ’40s monster movies; the literary equivalent of cult film favorites Cast a Deadly Spell and Witch Hunt, if you will. You also might want to consider checking out Robinson’s other works. The man is a jack of all trades, dishing out all kinds of different tales of horror, fantasy, and science fiction alike. Also, be sure to keep an eye out for the next Nick Moss monster mash! I certainly will be.

Revisiting the Novelization of John Carpenter’s ‘Halloween’ and Its Fascinating Michael Myers Origin Story

“And once started, it trod the earth forevermore, wreaking its savagery suddenly, swiftly, and with incredible ferocity. Then, its lust sated, it shrank back into the mists of time for a year, a decade, a generation perhaps. But it slept only and did not die, for it could not be killed. And on the eve before Samhain it would stir, and if the lust were powerful enough, it would rise to fulfill the curse invoked so many Samhains before.”

Time and time again, the Halloween franchise has attempted to explain away the reasoning behind Michael Myers’ mania. Since the very beginning, the Halloween films have tried to peel back a layer or two of Michael’s mystique, enticing viewers with a glimpse of the ultimately unknowable while risking damage to the mystery that makes him such a potent, terrifying villain. Is he merely a madman, out for a fun night of spree killing, as the first film suggested? Or perhaps, is he “purely and simply evil”, as that inaugural movie’s Ahab Doctor Loomis gravely intoned in one of the film’s most indelible scenes?

The first sequel suggested that Michael was solely interested in killing his family members when it was revealed that the previous film’s Final Girl Laurie Strode was his little sister, while the fourth and fifth entries would bolster this assumption by having Michael target his last remaining relative – little Jamie Lloyd, his preteen niece. The sixth film would take the series into utterly bonkers territory when it revealed that Michael was under the control of a Druid cult, who’d placed upon him the “Curse of Thorn” in order to bestow upon him a great supernatural power that they wished to harness. The final cinematic attempt at explaining away what drives the Shape came with Rob Zombie’s 2007 remake, which grounded Michael’s backstory and presented him as a burgeoning young psychopath growing up under the weight of mental illness and an abusive environment.

And with David Gordon Green’s brand new “requel” having just arrived in theaters this past week, we now have the possibility of yet another explanation, yet another possible hint as to Michael’s true nature. Are viewers given any further insight into what makes Michael tick, or is the Shape being presented as a faceless boogeyman yet again, much as he was when the story first began? We’ll leave that for viewers to discover. Before you dash off to catch a screening of this newest installment (if you haven’t already), allow we here at Bloody Disgusting to present to you the all too seldom discussed origin of Michael Myers…

Published in 1979, the year following the first film’s release, author and literary agent Richard Curtis’ Halloween novelization presented a tale which hewed closely to the events of John Carpenter’s film, yet deviated in some fascinating ways. Curtis, writing under the pseudonym Curtis Richards, provided additional scenes throughout to expand the film’s story and deepen its characters. Among these bonus moments were an early bit featuring Doctor Loomis testifying before a court about Michael’s behavior (which was not unlike a scene which would be filmed for Halloween’s television cut a couple of years later, which can now be found in the film’s extended cut). Here, Loomis details young Michael Audrey Myers’ time in Smith’s Grove Sanitarium, noting that many strange occurrences would befall anyone in the hospital who crossed the child, causing injuries ranging from food poisoning and broken bones to near-death – leading Loomis to note that Michael Myers “may be the most dangerous person I have ever handled”.

Further additional scenes included a revelation that Doctor Loomis had a wife (who he phones while en route to Haddonfield to warn against opening her door to trick-or-treaters that evening), a detailing of Michael’s sexual attraction to Annie during his stalking, and even gives the Shape a mask that’s entirely different from the pale, iconic Shatner-visage that’s become synonymous with the character. From Curtis’ novelization: ”The man had dark red-stained lips and his eyes were rimmed in purple, like grossly overused eyeshadow. A livid scar zig-zagged down his cheek.”

But the most significant addition to the Shape’s story came with Curtis’ prologue, which begins in northern Ireland during the early days of the Celtic race, placing its events sometime around 500 BC. The Druid clan we’re introduced to are preparing to celebrate the festival of Samhain (pronounced “Sow-when”, apologies to Doctor Loomis). The celebration is intended to please their sun god Muck Olla, known alternatively as both the god of the underworld and, wait for it…”the boogeyman”.

These people are presided over by King Gwynwyll, whose youngest daughter Deirdre has recently come of age. Fair-haired and stunning, Deirdre is noted as being the most beautiful young woman in this clan. Inevitably, she has begun drawing the attentions of the various young warriors throughout the land.

She has also caught the eye of a young man named Enda. A lovestruck fifteen-year old, Enda is presented as a sympathetic wretch whose botched birth left him deformed, with a “shriveled arm and … twitching mouth”. Despite the ridicule from his own family for his ill-advised infatuation, Enda convinces himself that, if he could only skirt by Deirdre’s all too protective family and speak with her directly, he might possibly win both her heart and hand.

This certainty led Enda to pursue Deirdre one day, trailing after her once he found her alone (shades of the Shape stalking his prey here). As Enda approached Deirdre, she mistook his intentions, crying out “Help! Help! He means to rape me!” Laughter ensued once Deirdre realized Enda’s true plan, with the resulting humiliation infuriating the boy, leading him to drink – and to plot his revenge.

On the day of Samhain, the people lit a large bonfire and danced about it in celebration. Enda moved amongst the revelers, drinking and hefting a large butcher’s blade, all while eyeing Deirdre and her just-announced fiancé Cullain. His attack was swift, cutting down the dancing couple with a rage-fueled ferocity – slicing Cullain’s throat to the windpipe, then driving his blade down to the hilt into Deirdre’s chest.

Whatever pleasure Enda’s vengeance brought him was short-lived. The distraught tribe set upon the disabled youth, rending him limb from limb, tearing him apart. In the end, only Enda’s severed head and removed heart remained, commanded by the King to be taken to the “Hill of Fiends” and cursed by his shaman. And so it was done, with the shaman proclaiming “Thy soul shall roam the earth till the end of time, reliving thy foul deed and thy foul punishment, and may the god Muck Olla visit every affliction upon thy spirit forevermore.”

Curtis then outlines the various transmutations the celebration of Samhain would undergo throughout the centuries, until it finally became the relatively harmless holiday that we horror fans know and love to celebrate every year. Though from time to time, Curtis notes, “the innocent frolic of All Hallow Even was shattered by some brutal and inexplicable crime, and the original spirit of the celebration was brought home to a horrified world.” And so, Curtis’ prologue ends, but not before adding one last touch to precede the events that open the film.

The following chapter introduces us to young Michael Myers, six-years old and itching to go trick-or-treating in his new clown costume. Michael is presented as a normal child here, being schooled on the boogeyman and the darker origins of the holiday by his grandmother. When the talk turns morbid, Michael’s mother Edith chides Grandma, until the discussion takes a surprising turn – revealing that Michael has been having violent dreams, and has been hearing voices which tell the boy to say that he hates others. This recalls Edith’s own Grandpa Nordstrom, who’d had bad dreams and heard voices before some grim, ultimately undescribed event. The novel continues on from there, following Michael along his path to murdering his sister Judith, much as the film begins.

While Curtis’ ingenious marriage of Celtic lore and Carpenter’s film could hardly be considered canonical (but then again, with the various timelines the franchise now boasts, what is canon for Halloween these days?), it does provide a fascinating explanation for Michael’s drive to kill. And yet, does it make the boogeyman more or less scary for knowing his “true” origin? Do we need to know why the Shape takes to the streets, stalks victims, cuts down random folks who run afoul of him on his favorite holiday? In this writer’s opinion, the scariest Michael is the one who is utterly unfathomable. But even so, Curtis’ novelization provides an intriguing addition to the lore that’s every bit as interesting as “the boogeyman”, Laurie and Michael being siblings, the Thorn cult, etc.

And maybe that’s what makes Michael the scariest of all modern cinematic villains. That, for all the possible explanations, for every potential reason for his evil that we’re given, it only moves us further away from truly knowing him. For all the faces Michael is given throughout the franchise, they are all hidden behind the same blank, pale, emotionless mask – forever rendering him an enigmatic, impenetrable Shape.

NOTE: all quotes in bold italics taken from Richard Curtis’ Halloween novelization.

30th Anniversary Edition of the Late Jack Ketchum’s ‘Offspring’ Now Up for Pre-Order

After Jack Ketchum shocked the world with his debut novel Off Season, he followed it up with a sequel just as terrifying and shocking: Offspring. As the next entry in Ketchum’s Dead River Series, the novel is beloved by the late author’s fans and is now being published in a very special 30th anniversary edition format from Dark Regions Press.

The 30th Anniversary Edition includes the full novel accompanied by five new illustrations from Tomislav Tikulin and new wraparound dust jacket artwork by David Stoupakis. Exclusive bonus materials include a foreword and afterword (authors to be announced soon), photos, timelines, writings and more during Jack Ketchum’s time working on Offspring.

The books will be signed by all contributors and will feature Jack Ketchum’s signature facsimile stamped in silver or gold in memoriam.

Two different editions will be published:

Signed & Numbered Limited Hardcover

  • Signed by all contributors
  • Limited to 500 signed & numbered copies worldwide
  • Bound in black book cloth with front cover and spine stampings in silver
  • Printed offset on premium acid-free paper
  • Smyth sewn binding
  • Jack Ketchum’s signature facsimile stamped into book cover in silver in memoriam
  • Color wraparound dust jacket

Deluxe Signed & Lettered Traycased Hardcover

  • Signed by all contributors
  • Limited to 26 signed & lettered copies worldwide
  • Bound in red leather with front cover and spine stampings in gold
  • Printed offset on premium acid-free paper
  • Smyth sewn binding
  • Color wraparound dust jacket
  • Color illustrated end sheets
  • Red satin book ribbon
  • Housed in a red clamshell Offspring traycase stamped into lid with Jack Ketchum’s signature facsimile in gold in memoriam

To learn more and pre-order your copy, head over to the Dark Regions website.

A Novel-Length Version of the Novella That Inspired ‘The Thing’ Has Just Been Discovered!

As most are aware, John Carpenter’s The Thing and the film that preceded it, 1951’s The Thing from Another World, were both adaptations of the novella Who Goes There?, penned by John W. Campbell Jr.  It was first published in the August 1938 issue of Astounding Science Fiction, and an expanded, never-before-seen version of the story has just been found!

Over on Kickstarter, a man by the name of John Betancourt has announced the discovery of a novel-length version of the classic novella, which was trimmed down for publication in Astounding Science Fiction way back in 1938. All these years later, the full version had remained undiscovered, but Betancourt is now fan-funding the release of the story in full.

It’s titled FROZEN HELL.

Betancourt explains, “In 1938, acclaimed science fiction author John W. Campbell published the novella Who Goes There?, about a team of scientists in Antarctica who discover and are terrorized by a monstrous, shape-shifting alien entity. The story would later be adapted into John Carpenter’s iconic movie The Thing (following an earlier film adaptation in 1951). The published novella was actually an abridged version of Campbell’s original story, called Frozen Hell, which had to be shortened for publication. The Frozen Hell manuscript remained unknown and unpublished for decades, and it was only recently rediscovered.”

Frozen Hell expands the Thing story dramatically, giving vital backstory and context to an already incredible tale. We are pleased and honored to offer Frozen Hell to you now, as Campbell intended it. You will be among the first people to ever read this completed version of the story.”

You can snag a copy of the eBook with a $7 donation, with paperbacks beginning at $12. The good news? The fund has *already* surpassed its goal amount, so this is 100% happening!

Head over to Frozen Hell‘s Kickstarter page to pitch in!

Upcoming Book ‘Lady from the Black Lagoon’ Will Spotlight the Creature’s Female Designer

Unfortunately, it’s still not all that widely known that it was Milicent Patrick who designed the iconic Gill-Man for Universal’s Creature from the Black Lagoon, a contribution that was largely downplayed at the time. After all, makeup artist Bud Westmore desired to erase Patrick from the history books, often taking sole credit for designing the creature.

Finally, Milicent Patrick’s story will be told in Mallory O’Meara’s upcoming book The Lady from the Black Lagoon, previewed by Bustle this week.

The site details the upcoming book, “O’Meara, a woman who also works in Hollywood as a writer and producer for Dark Dunes Productions in Los Angeles, knows exactly how things like this happen, because she lives this reality daily. In the book, she intersperses her own experiences in Hollywood with the story of Milicent for an expansive examination of how women in cinema are undermined, uncredited, harassed, and ultimately, forgotten.”

The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick will be released on March 5, 2019.