Scarily relatable, surprisingly humorous, undeniably intriguing, Eric Ford Holevinski’s indie film “The Restaurant” has it all—from moments every food industry worker will understand to startling, jump-out-of-your-seat scares. As his first endeavor in filmmaking, Ford seems to have found subject material that draws from personal and universal experiences, while maintaining both humorous and horrifying themes. “The Restaurant,” a comedy-horror centered around a fast-paced New York City Italian restaurant, leads viewers into a spiral of scares and laughs as the busboy discovers a dark secret the manager is keeping. The secret? A customer-hungry entity in the basement that must be fed for the rave reviews to keep flooding in. Being his first foray into the indie film industry, Ford explained the motivations, developments and experiences of his career in the film industry in a Q&A.
James Duncan is the author of Blood Republic, arguably the first-ever “Libertarian” political-thriller. Published by Primal Light Press, the highly praised work of fiction has arrived just in time for the current-election cracks within the two-party system, leading many readers to the question, “did the author have a crystal ball?”
During the closing hours of the tightest presidential election in US history, firebrand Annie Daniels is a Democratic-socialist senator determined to win the White House. She dreams of eradicating injustice, and hopefully, saving her dying daughter’s life. Major Amos Daniels, her conservative Green Beret brother, might have something to say about that though, if her plans go against his faith. As an Electoral College tie nears, the country erupts into rioting, and Annie and Amos are thrust to opposite ends of a constitutional crisis with guns drawn. Will the Daniels family find common ground above ideology to prevent a second civil war? Or, will an unknown enemy-of-the-state escape justice while pushing the nation into chaos?
Many American colleges are insular freak shows resembling the Duggar family – except the incest is intellectual. And their Duggar-like offspring, political lobotomees untroubled by self-doubt, want to save the world. Justice is their business, and business is good.
We need to talk about the role that provocative comedy holds today in a progressive world.
It isn’t so much that college students are too politically correct (whatever your definition of that concept is), it’s that comedy in our progressive society today can no longer afford to be crass, or provocative for the sake of being offensive. Sexist humor and racist humor can no longer exist in comedy because these concepts are based on archaic ideals that have perpetrated injustice against minorities in the past….
So, yes, Mr. Seinfeld, we college students are politically correct. We will call out sexism and racism if we hear it. But if you’re going to come to my college and perform in front of me, be prepared to write up a set that doesn’t just offend me, but has something to say.
Oh, would that Political Correctness could Borg the world, submitting everyone to a frictionless, unified consciousness while actualizing our individuated diversities. As Arthur Allen Leff observes, “[w]hat we want, Heaven help us, is simultaneously to be perfectly ruled and perfectly free, that is, at the same time to discover the right and the good and to create it.” Until that deliverance, we must ensure the progress thus far made. Doing so requires domesticating comedy, proscribing jokes that “can no longer exist” because they reprise the hateful past. Moreover, comedy can’t simply amuse; like propaganda, it must improve us (Read Nick Gillespie’s excellent take-down of such “[d]idactic [a]rt.”)
Our third nominee for the Trailer of the Year Award is definitely going to be a long shot in taking the top prize, but it’s a fun trailer full of all the right camera shots, a campy tone, with accelerating soundtrack all topped with Kevin Bacon as the bad guy with a mustache that might win ‘Stache of the Year.
Two young boys come across an abandoned police cruiser with the keys still inside, they decide to leave well enough alone, walk to the nearest adult and tell them what they found. Oh no, wait… that’s the boring version. These kids take that sucker for joyride. Sirens, lights and high speed, it’s all fun and games until the cop (Bacon) who left it behind comes looking for it.
Film opens August 7, I hope it’s as campy-fun as the trailer.
by Hugh Howey
One of the first major success stories of the self-publishing revolution, Wool is the tale of a post nuclear war dystopia where what remains of the human race is confined underground in a giant silo stretching deep into the earth. The silo lives under strict protocols which begin to unravel when a new Sheriff investigates a recent series of murders.
A large part of what made this book compelling was its surprising twists, so SPOILERS AHEAD:
What I learned, Part 1 – Bold choices early in a story can give a reader a sense of uneasiness which can carry through the whole book. The first two main viewpoint characters, the original Sheriff and the original Mayor are both killed within the first 1/3 of the novel. Because they are both quite likable and resourceful, as a reader we can never be quite sure that our newest main character is going to survive. It was a risky choice because it may have alienated readers, but I found it to be very successful.