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Behind the Brews: Tilted Mash- Small Brewery, Big Plans

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Tilted Mash: Small Brewery with Big Plans

It’s the little brewery with the big plans. Tilted Mash is among the newer of the Sacramento region’s breweries and maybe the smallest. The Elk Grove tasting room is no more than about 900 square feet. That’s barely room enough for a 3-barrel brewing system, a small walk-in cooler, a bar and a handful of tables. That lack of room has not gone unnoticed by the two men behind the brew.

“We’re pretty much tapped out on our tanks right now. We can’t really grow from here on,” says co-owner Jonathan Martinez.

“The capacity is not with how much we can brew, but how much we can store when we’re brewing,” adds co-owner Derrick Prasad. “We just need space.”

Left to right: Current taproom, current cold storage

So less than a year after opening at their current location, Martinez and Prasad are getting ready to make a big move to a new location. Actually, move itself is small. It’s just around the corner from where they are now. But it’s the new location that’s big; huge in fact. More than 7,000 square feet. And for the Tilted Mash duo, they are literally building off the success they’ve already had.

Tilted Mash
Clockwise from top left: New main taproom, secondary seating area and barrel room, brewing area, kids room

“Everything we’re doing with our move is all financed through the taproom. It’s financed with us; we’re not putting any additional money in it. Everything we’re doing is either our labor or friends and family or ‘will work for beer,’” says Prasad with a laugh.

Martinez says the new facility was a former motorcycle showroom and that’s about how it looks for now. He says the huge space will be divided into four areas: the main tasting room, a secondary seating area and barrel room, the brewing location and a room just for the kids.

“We’re trying to make an experience. We’re trying to make our brewery a destination,” says Martinez.

“We want to make it a comfortable, neighborhood environment where people can just come hang out have a pint or two,” Prasad says.

The new space will also address the biggest issue for Tilted Mash, its overall lack of storage space. And it will also allow Prasad and Martinez to set up a canning line with the hope of being in regional stores soon.

“We’re not trying to push every beer,” says Prasad.

Martinez adds, “Overall goal is to bring people in, ‘Oh wow this is great, I wonder what else they have at the brewery?’”

The pair hopes to open the new brewery by their first anniversary in April.

It all Started in Preschool

This history of Tilted Mash goes back to preschool. No, Martinez and Prasad were not plotting to open a brewery between snack and nap time. Instead, they met while chaperoning a field trip for their daughters more than a decade ago.

“Derrick was just dabbling in the craft beer stuff, brewing at home and I was very interested so I wanted to just go and check it out,” Martinez says.

“And stand there and drink beer while I was brewing,” laughs Prasad.

They quickly became brewing buddies, using an old homemade 3-tier brewing system. In fact, Prasad says they used it so much, their mash tun started to tilt (hence the name: Tilted Mash). “Toward the end, one of us had an old grandma style heating pad with flowers and would have to hold it during the entire hour-long mash because we couldn’t wedge it to keep it stable enough with the liquid in there.”

Eventually, their beer-drinking beer-making hobby became serious business.

Tilted Mash Cans
You can’t buy Tilted Mash in the stores yet, but you can buy crowlers in the taproom.

“We started researching early on what it takes to actually make it a business. So we’ve taken business classes, we went to Siebel in Chicago just to learn about the business side of brewing,” says Prasad. “Learned all that information and then promptly broke every one of those rules by moving into the spot we’re in right now, which is why we’re getting ready to move to a larger location.”

Things really took off when they came across an online ad from a brewery in Paso Robles which was selling a 3-barrel electric brewing system.

“The tanks looked brand new, looked like he maybe brewed on it once or twice,” says Martinez. “It was still spanking brand new!”

And Prasad says just like that they were brewery equipment owners. “Once we had it sitting in storage, it was like, ‘OK, it’s real now. We own a brew system. Let’s figure out how to do this.’”

Who Needs Sleep When you Have Beer?

Tilted Mash Taps
Tilted Mash typically has eight different beers on tap.

It was the winter of 2012 when the Titled Mash duo bought their brewery system. It wouldn’t be until the spring of 2016 that Tilted Mash opened its doors. Why did it take so long?

For starters, Martinez and Prasad are doing it on their own. They didn’t take out loans or take on investors.

“We wanted to make sure we would be able to do whatever we wanted without worry about paying the bills,” Prasad laments. “We buy tanks and we buy stuff as we can afford it based on taproom sales. It’s a self-sustaining entity now.”

They both also have full-time jobs, Prasad owns a printing company, Martinez sells real estate. They also have families. So when you’re juggling that much, something has to give.

“Our brew days start like 4 or 5 o’clock in the morning and probably finish around 3ish,” Martinez says.

“You don’t sleep. We both have small kids too. We’re both involved parents, so one sacrifice is sleep,” Prasad adds. “We don’t miss events with our kids, we miss sleep.”

Barrels of Fun… and Beer

At Tilted Mash you aren’t going to find some off-the-wall craft beer. That’s not their style. What you will find is solidly crafted beers meant for everyone to enjoy.

“We want it to be comfortable. We want you to come in and not have to be a craft beer junky to sit and enjoy our beers,” says Prasad.

The taproom features 8 different beers at a time including cream ales, IPAs, lager and a red. That’s not to say they don’t experiment. In fact, Titled Mash is already gaining a reputation for its barrel-aged beers, specifically rum barrels from Saint Croix. They also use Wild Turkey barrels and in fact, the pair is about to embark on an experiment using both.

Tilted Mash
Rum and Wild Turkey barrels used for barrel-aged beer.

“We have a 12% Belgium dark strong, brewed in conjunction with a home-brew winner,” Prasad explains. “We’re going to release a non-barrel-aged version, but then put 1/3 in rum barrels and 1/3 in Wild Turkey barrels. And sometime next fall see what it turned into. Really differentiate what barrels do.”

Even though their previous barrel-age beers have sold out quickly, the pair admits it’s not exactly the most fiscally responsible brewing model.

“It’s something that when it’s done it’s very fulfilling, but financially it makes the business finance side of me cry,” Prasad says. “Of course, (we have) no investors so we can do what we like.”

And so far, doing what they like is paying off for the little brewery with big plans.

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‘A Cure For Wellness’ Review: Insanity Is Sometimes The Best Medicine (For Boredom, At Least)

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Like most Gore Verbinski movies, A Cure For Wellness delves into excess and extremism. A psychological horror-thriller in the vein of Shutter Island, The Shining, One Flew Over the Cuckoo’s Nest and American Psycho, to name a few notable comparisons, it’s a demented, disturbing, delusional and utterly bonkers mind trip that, ultimately, weirdly charms you. Self-aware of its absurdities, and heightening them with pitch-black comedy and squirm-inducing visual delights, it’s a trippy, deprived mood piece that’s rich in translucent atmosphere, sickening imagery and heart-pounding discomfort. It’s an insane thrill ride.

On an untypical weekday morning, arrogant young hotshot financial executive Lockhart (Dane DeHaan) is given an unusual assignment. With Roland Pembroke (Harry Groener), the company’s CEO, secluded without contact in a remote Swiss Alps wellness center, where Pembroke shipped himself in order to cure an unknown (and presumed unreal) mental illness, Lockhart travels all the way to the mountains to retrieve his boss before their flailing company officially goes underwater. Upon arriving, Lockhart realizes Dr. Volmer (Jason Isaacs), the spa’s mysterious director, holds a weird power over his patients, one that enraptures Lockhart following an intensive deer-related car accident.

With his leg broken and his sanity questioned, Dr. Volmer performs a variety of different tests on Lockhart, all of which provide nightmarish visions and horrific eel-related images. Lockhart knows things must be askew, yet the evidence suggests he is, in fact, unwell. Only Hannah (Mia Goth), Victor’s much-younger sister, holds the key to his real safety.

Where so many directors service the studios these days, Verbinski genuinely takes risks. They don’t always work in his favor, admittedly, but he’s among the most exciting filmmakers we have working today, if purely because he knows how to excite you. His filmography ranges from generally misguided (The Lone Ranger) to criminally underrated (The Weather Man), but he’s an uncompromising, unrelenting force of cinematic fortitude. He is a filmmaker that challenges, provokes, intimidates and ultimately excites the viewer.

A Cure For Wellness is not his best work. It’s overlong, overstuffed, convoluted and its overreaching finale is perhaps a little (i.e. waaay) too goddamn ridiculous for its own, ahem, well-being. But Verbinski’s latest film, which is his first horror film since 2002’s The Ring and his first R-rated movie since 2005’s aforementioned The Weather Man, is an exhilarating, unintimidated mild return-to-form, filled with suspense, dread and gloriously invigorating unsettlement. Where other studio horror films lack a pulse, this movie pounds.

As such, this is Verbinski letting loose, freeing himself of nitty-gritty studio notes and overwhelming compromises, to make the ridiculous, inhibition-less horror film he didn’t ultimately make as a rightful follow-up to his unusually-inspired Ring American remake. For better or worse, Verbinski is a visual filmmaker with intensive drive and specific creative energy. To ignore or discredit that so easy — as his critics often do — is to discredit his persistent, continuous adversities in the face of studio-fueled cinematic banality today.

From the beautiful cinematography to the excellent production designs to the unnerving performances, notably from a committed DeHaan and a marvelous Goth, A Cure For Wellness isn’t necessarily the year’s most spotless movie, but it is an uncompromising accomplishment all its own. To hell to those who dismiss it due to its apparent influences. This movie might be inspired, yes, but that’s also what makes it so enjoyable and rousing. Yes, it is intemperately stylized and over-extended, but that’s what makes it all-the-better. Well, for the most part, at least. The creative liberties give it more queasy zest. The 2 1/2 hour runtime, while certainly exhausting, gets you further into the psychopathic madness.

Even in a time where horror films are more exceptional than usual, from The Babadook to It Follows to The Witch to last month’s surprising Split (at least, for the most part), A Cure For Wellness feels like a breath of fresh air. It’s fraught with high tension, unsettled invigoration and hard-fought artistic flourish, and that’s a damn good thing to see realized. Is it a masterpiece? Certainly not. Is it temperamental in its effectiveness? Sometimes, yes. But it’s just so exciting to see a movie this freely insane get the chance to go wild. Creative bankruptcy can be an uncurable nightmare, but that’s no concern for Verbinski.

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‘The Black Hood’ Ramps Up Tension As It Heads To An Explosive Conclusion

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Greg Hettinger, formerly known as the Black Hood, was living as a vagrant in California after giving up his life of turmoil as a masked vigilante in Philly. He just wanted trouble to stop following him wherever he went, but even living on the fringes of society couldn’t prevent that. His need to help others and stop to stay hot on his trail. The Nobody’s been scouring the country to find Greg, leaving a trail of bodies in his wake. He’s dead-set on undoing Greg’s heroic work, creating a higher body count everywhere that Greg has stepped foot. Now it’s up to Greg to retrace his footsteps all the way back to where it all began—but what will he find there?

Black HoodThe Black Hood Season 2 #3
“The Nobody Murders Pt. 3”

Written by Duane Swierczynski

Art by Gregg Scott
Colors by Kelly Fitzpatrick
Lettering by Rachel Deering
Published by Dark Circle Comics, an imprint of Archie Comics

Writing

This issue of The Black Hood REALLY ups the tension and suspense, as the confrontation between Hettinger and the elusive Mr. Nobody finally happens, albeit just for a moment. Duane Swierczynski writes with precision, as we get sharp-edged interior monologs for Black Hood that truly depict the desperation the ex-cop is feeling. It continues the ‘hard-boiled’ style and flow that has been such a good part of this comic.

The Nobody also comes across as a deadly, yet entertaining villain (the best kind in my opinion), who, misguided as it is, has a philosophy for his violent rampage. I find myself thinking about HIS backstory and what created such a human monster of a man.

The pacing here is excellent, with a perfect ‘cat and mouse’ intensity that propels the narrative forward. We’re heading to a conclusion here soon, and you can feel the tension about to pop.

And then there is a surprising cliff-hanger of an ending that sort of turns the series on its head and brings into question some of what has happened not only in Season Two but in the set-up and origin of Greg Hettinger as Black Hood as well.

Art

Gregg Scott and Kelly Fitzpatrick drive the story with very cinematic panels and layouts, that really express the suspense of the narrative.  There are a lot of  ‘widescreen’ panels, scenes of driving, with claustrophobic depictions of Hettinger behind the wheel as we see slightly off-colored scenes of Nobody’s actions and their aftermaths. This juxtaposition makes the reader sweat along with the Black Hood, as we feel as helpless as he does.

As has been the case for the whole series, the linework and colors are refreshingly non-glossy and gritty. This work is comparable to what Sean Phillips has been doing for years, putting it in the BEST company for the crime comic genre.

Conclusion

Crime comic fans should really be reading this title, as it offers something unique with its mythology. It’s also a visual treat with a very taut narrative. Next issue seems to be the conclusion to this first Season Two arc, so it’s a good time to go back, catch up, and get ready for what is going to be one hell of a showdown between Black Hood(s)? and Mr. Nobody.

You can pick up The Black Hood and other Dark Circle Comics here or at your local comics shop.

This issue includes a backup,  a classic Black Hood story written by Robin Snyder and Marv Channing with art by Al McWilliams. It’s a fun bronze-age story from 1981 that will give you a nice sense of history regarding this character.

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Marvel’s Secret Empire Will Cost Ya $55 In May

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Marvel must rack up a lot of macitence costs polishing those massive, brass balls of theirs. That’s only explanation I can think of as to why their upcoming crossover event, Secret Empire, is so damn costly. May will release the end of the Captain America Hydra Agent storyline that caused so much controversy last year. Yesterday’s solicitations for the month of May revealed upcoming plot details, artwork, and costs for the big budgeted, super-mega, crossover event. And yes, if we add all the comics that are connected to Secret Empire, it comes out to 55 dollars.

Now it’s time to play comic book math!

Let’s crunch the numbers! Each title below will have the exact price next to it, the numbers on the right (in parenthesis) will be the former number rounded up for simplicity’s sake. At the bottom I’ll add everything up for you, because I’m sure Math is the last thing you want to think about.

I’ll also include the plot descriptions and page numbers incase you’re curious. But, click here for a complete list of May’s solicitations. 

Quick note: some of the tie-ins don’t have plot descriptions.

SECRET EMPIRE #1. $4.99 ($5.00). 48 pages.

“It’s been building for months, across a bevy of titles! But now, the moment has arrived for Steve Rogers to step into the light and declare his allegiance to Hydra! How can the heroes of the Marvel Universe cope with this shattering betrayal by the most trusted figure among them? And what will this mean for the world? The map of the Marvel Universe changes in ways nobody will expect — TRUST THE SECRET EMPIRE!”

SECRET EMPIRE #2. $4.99 ($5.00). 48 pages.

“Enshrouded in darkness, plagued by the minions of Baron Mordo and cut off from all assistance, The Defenders and Doctor Strange struggle to save the lives of the innocent people consigned to this hell on Earth. Will Dagger prove to be the key to stopping this nightmare? Meanwhile, will the appearance of a new hero provide Iron Man with the key to Captain America’s startling change? THE SECRET EMPIRE WILL DEFEND YOU!”

SECRET EMPIRE #3. $3.99 ($4.00). 40 pages.

“Under constant attack from wave after wave of invading Chitauri aliens, Captain Marvel and the deep space task force under her command is waging a war of attrition — one they may not be able to survive! And back on Earth, things aren’t looking too rosy for Hawkeye and his band of renegade heroes, either! But don’t worry —THE SECRET EMPIRE WILL AVENGE YOU!”

SECRET EMPIRE: UPRISING One-Shot. $4.99 ($5.00). 40 pages.

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CAPTAIN AMERICA: STEVE ROGERS #17. 3.99 (4.00). 32 pages.

U.S.AVENGERS #6. 3.99 (4.00). 32 pages.

“Steve Rogers shoots to kill — and A.I.M. is the target! As Roberto Da Costa’s dreams come crashing down, can the U.S.Avengers stay in one piece? Plus: Are we actually going to kill Cannonball?”

CAPTAIN AMERICA: SAM WILSON #22. 3.99 (4.00). 32 pages.

“In a world that’s undergone dramatic changes, Sam Wilson takes to the skies again! What is the mission that brings Sam back out from the shadows?”

DOCTOR STRANGE #21. 3.99 (4.00). 32 pages.

“New York City is under attack by dark forces, and only Doctor Strange has a shot at saving it. But it’s quite a longshot!”

ULTIMATES 2 #7. 3.99 (4.00). 32 pages.

“As Steve Rogers makes his move, the Ultimates find themselves on the wrong side of his plans. With an existential threat in control of Earth, Galactus might be their last hope… but the Lifebringer has problems of his own.”

DEADPOOL #31 3.99 (4.00). 32 pages.

“Deadpool trusts Steve Rogers implicitly. How could he not? Now, it’s time to put that trust to the test. The result will have serious ramifications for Deadpool in days to come.”

THE MIGHTY CAPTAIN MARVEL #5. 3.99 (4.00). 32 pages.

“The Chitauri fleet has nearly reached Earth space and it’s up to Captain Marvel to stop it. Taking on an entire armada of alien spacecraft is a tall order for Carol and the crew of Alpha Flight Space Station. Luckily they’ve got some help from their Sisters (and brothers) in arms.”

SECRET WARRIORS #1. 3.99 (4.00). 32 pages.

“Captain America has been revealed to be an agent of Hydra – and he’s coming after Inhumans! S.H.I.E.L.D. Agent Daisy Johnson, a.k.a. QUAKE, wants no part of Hydra, so she goes underground, teaming up with MS. MARVEL, MOON GIRL & DEVIL DINOSAUR, KARNAK and INFERNO to set things right – for the Inhumans, but also for the entire country! Penned by rising star Matthew Rosenberg (Kingpin, Rocket Raccoon, 4 Kids Walk Into A Bank) and drawn by the immensely talented Javier Garrón (Death of X, Inhumans vs X-Men), SECRET WARRIORS is one part coming-of-age story, one part spy-thriller, all action and all heart. Don’t miss the next (and final?) generation of Inhumans as they take the Marvel Universe by storm!”

SECRET WARRIORS #2. 3.99 (4.00). 32 pages.

“When Karnak reveals what he believes to be S.H.I.E.L.D.’s true motivation for imprisoning the Inhumans, Quake finds a new sense of direction for her mission…but not everyone on the team agrees. As tensions rise between Ms. Marvel and Quake, Moon Girl finds an unlikely kinship with another team member. Can Quake steady the rocky relationship with her Secret Warriors before S.H.I.E.L.D. finds what they’re looking for? Or will a rift between allies leave the entire world in darkness?”

So of the 14 comics, three of them cost $4.99. That’s $14.97. We can round that up to $15.00. Plus, the ten additional comics come in at $3.99, which ends up costing around $39.90. We can also round that up to $40.00. Adding it all together, we get to exactly $54.87. But again, let’s round up for the sake of simplicity. As the title of this article states, the first month of this nine issue crossover event with tie-in stories will cost $55.

Of course it’ll be spread out over the month of May; nobody will be buying all in one go. But, even still that pricing is just ridiculous.

Comics are not as inexpensive as they used to be, and can be very expensive hobby. The rise in cost is more complicated than Marvel jacking up the price: economic inflation, printing costs, coloring costs, talent contracts, and other factors all contribute to the price. However, the expansive list of tie-in comics demands a stronger investment from customers.

There are two rebuttals that I’m sure many fans will point out. The first is that Secret Empire (particularly issues #1 and #2) will have extra pages than the average comic. That is definitely a plus, but for many people that $4.99 price point is still too much money to part with. Especially when there are cheaper books from other companies. Plus, those comics will still have advertisements in them.

Second, some people might say that there is no obligation to buy all those tie-in comics. This is true, you don’t have to buy them, and just focus on the main series, which will only be $15. That’s $40 cheaper. However, there’s nothing to stop Marvel from putting in vital information for the overarching plot in the tie-ins. They’ve done it before in just about every crossover event since the first Civil War. (The one event that sticks out in my mind as the biggest accuser of doing this was the awful Shadowland series). This strategy basically hijacks these comics into a storyline that could alter their storylines. Ignoring the completionists, who will buy it all no matter what, there will be fans who begrudgingly will buy the tie-ins featuring their favorite characters to see how it effects them.

What’s really bothersome about all this though (despite the incredibly high cost) is that Marvel has been crossover crazy for ten years now. And since Civil War II was introduced last May, Marvel has had at least one crossover event going on. Right now, there are two happening at the same time. Monster Unleashed and Inhumans vs X-Men; the former has a ton of tie-in comics too! And when those end, April will be the first month without a crossover event in 11 months.

Their crossover events, no matter how world shattering, have no meaning anymore. We as fans can’t savor them anymore, or consider them special, because they don’t break from the norm. They are the new standard. These crossovers are exhausting and causing a burnout amongst fans, and if Marvel can’t see that then they are willfully ignorant. Or they’re too busy polishing those massive brass, balls of theirs to care.

Are you sick of these crossover events? Want Marvel to change their strategies? Think I’m an idiot? Leave a comment to explain your thoughts.

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Best Picture Oscar Winners From the 2000s, Ranked

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The Best Picture Oscar winners from the 1970s were a decade of groundbreaking films in an age of American cinematic renaissance. The 80s were more uneven, heavy on the epics, and the 90s, despite having some all-timers win BP, were full of losing films that have withstood the test of time better than the winners themselves.

Which brings us to the latest complete decade of Best Pictures. The 2000s were all over the map, with epics and small films winning, lousy movies beating better work, and one of the strongest Best Picture nominee fields of all time.

Let’s take a look and arbitrarily rank ’em…

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1. No Country For Old Men

The list of 2007 Best Picture nominees is one of the all-time greats. Juno, Michael Clayton, and Atonement are all terrific films, but the race in 2007 came down to Paul Thomas Anderson’s seminal Western epic There Will Be Blood (still my personal preference), and The Coen Brothers’ minimalist, Texas Noir. No Country For Old Men is one of the Coen’s true, unwavering masterpieces, a slinking, quiet specter of cinematic dread lurking across the West-Texas desert. And Javier Bardem’s Anton Chigurh is and always will be one of cinemas finest villains.

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The 10 Best Mike Episodes Of ‘Mystery Science Theater 3000’

The 10 Best Mike Episodes Of 'Mystery Science Theater 3000'

We got Movie Sign! The series return of Mystery Science Theater 3000 has been announced for April 14th. Before the new episodes, let’s take the time to look back at the best episodes featuring both hosts of the previous run. Next up, the head writer who would be host, Michael J. Nelson.

1Space Mutiny

Slab Bulkhead! Fridge Largemeat! Punt Speedchunk! Just a few of the many nicknames the trio gives the main character of this cheap sci-fi film. This poorly produced movie which was actually intended to have a sequel was the best episode featuring Mike as the host of the show.


What are your favorite episodes of Mystery Science Theater 3000 featuring Michael J. Nelson? Leave a comment below and let us know.

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The 10 Best Joel Episodes Of ‘Mystery Science Theater 3000’

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We got Movie Sign! The series return of Mystery Science Theater 3000 has been announced for April 14th. Before the new episodes, let’s take the time to look back at the best episodes featuring both hosts of the previous run. First up, the best showcasing series creator Joel Hodgson.

1Manos: The Hands of Fate

This episode was so good it was voted number one on the fans choice during the Turkey Day Marathon in 2016. Watch as a family is trying unsuccessfully to find the Valley Lodge only to discover the domain of the mysterious Master and his socially awkward servant Torgo. It’s one of the worst movies ever made but it’s so bad it is one of the most entertaining episodes of this series. Give it a watch yourself and see why.


What are your favorite episodes of Mystery Science Theater 3000 featuring Joel Hodgson? Leave a comment below and let us know.

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‘Futurama’ Getting Mobile Video Game

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Futurama is returning, but not in the way one would think.

The show, created by Matt Groening, is being turned into Futurama: Worlds of Tomorrow, a mobile video game.

Worlds of Tomorrow is being developed by the TinyCo division of JamCity, and features many returning writers, artists, and developers from the original show.

Additionally, the original Futurama animators will be returning for the game.

No release date has been given.

What are your thoughts on Futurama being turned into a game? Will you play it? Comment below!

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‘Get Out’ Review: Not Only Is The Film Bizarre & Hilarious But Extremely Important

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‘Get Out’ Provokes Serious Thought While Providing Serious Scares

I don’t know if people will feel the impact of ‘Get Out‘ immediately but this film will change horror. The genre hasn’t been challenged like this in decades, while race hasn’t been touched on like this in horror since ‘Night of the Living Dead‘. The importance of this isn’t how it handles race but how realistic a horror story is told. With many supernatural horror films crowding the box offices, I’m glad a movie like this can shine!

There’s nothing scarier than racism and ‘Get Out‘ proves that.

If you’ve seen the trailers, you “get” the premise. Young, black Chris Washington (Daniel Kaluuya) is off to meet his white girlfriend’s parents for the first time. He’s expectably nervous but his girlfriend brushes off his fears saying things like “my dad isn’t racist, he would’ve voted for Obama to have a third term” and other vapid white statements. So once he arrives at the house, all his fears begin to come true as everything feels wrong.

That’s what director Jordan Peele does very well here. I feel perturbed from the moment Chris and his girlfriend Rose Armitage (Allison Williams) roll up to her house. Without ever feeling forced, the scares and suspense are very apparent. At first, it’s normal nerves but as things get stranger, those nerves turn into real fear and confusion. The character of Chris feels those emotions and so do the viewers.

For all the scares, I knew Peele of the comedy duo Key and Peele would add some humor but I’m glad it never took away from the horror. Balancing horror and comedy is hard without going too funny and ‘Get Out‘ found a perfect balance. This is high praise but Jordan Peele’s direction reminds me of Wes Craven’s in ‘Scream‘!

“Black Is In Fashion”
– Quote from ‘Get Out

All the performances of the film are noteworthy but it’s Rose’s parents Dean (Bradley Whitford) and Missy (Catherine Keener) that sell the horror in this piece. As soon as they step on screen, you are uneasy and that feeling grows the more their characters unravel. Seeing Missy’s hypnotisms scenes are the most white-knuckle moments I’ve seen from a studio horror film in some time. I found myself wanting it to be over so I can be less tense. That’s powerful horror filmmaking from a first time horror director!

I would be serious remiss to not note how hilarious Lil Rel Howery is. He plays Chris’ best friend and serves as the comedic relief. He’s really the only source of typical humor but it comes off so honest. His character Rod is the person who yells at the screen and says “get out of there, you moron!”. Lil Rel Howery is not only used for laughs, though. He actually pieces together a lot of the mystery behind what’s going on in this creepy suburb. Even if his TSA skills keep telling him this is all about “sex slaves”…

“Like comedy, horror has an ability to provoke thought and further the conversation on real social issues in a very powerful way… ‘Get Out’ takes on the task of exploring race in America, something that hasn’t really been done within the genre since ‘Night of the Living Dead’ 47 years ago. It’s long overdue.”
Jordan Peele (2015 Press Release)

Peele is so right about this being “long overdue”. While there’s been a few horror films with predominate black casts or directors, the issue of race is NEVER looked at in this genre.

It’s usually played for laughs or tropes but this movie continues on what the iconic ending of ‘Night of the Living Dead‘ started. There’s even a scene that feels like it’s building towards something similar! What George Romero did with his classic zombie film was feature an African-American man at the forefront of a horror film and basically make him a hero…until he’s killed by some morons! That moment still sends shockwaves through the genre and I’m glad Jordan Peele used that as an inspiration for ‘Get Out‘.

Intense racial issues in America seem to be at the biggest high since the Civil Rights Movement. So this movie feels more than timely, it feels like the start of something.

Without trying too hard, real conversations can be started from this film. Topics like racial profiling, white privilege, and blind racism are things I walked away with. It also gets to showcase a unique voice in a film genre that has almost zero black visibility.

Final Thoughts:

Get Out‘ is going to do for horror what Beyonce’sLemonade‘ did for music. It tells a bold singular vision of life as a black American. It doesn’t hold back with dealing with hard issues but somehow, all of that doesn’t make it any less approachable.

Jordan Peele never scarifies his horror for his humor and I applaud. For a first-time horror filmmaker, Peele has one of the brightest futures in the genre!

I have no doubt this will make it onto my “Best of 2017” list.

4 out of 5, for sure.


Get Out opens February 24th, 2017.
The film is written and directed by Jordan Peele and stars Daniel Kaluuya, Catherine Keener, Allison Williams, Bradley Whitford and Caleb Landry Jones.

“In Universal Pictures’ Get Out, a speculative thriller from Blumhouse (producers of The Visit, Insidious series and The Gift) and the mind of Jordan Peele, when a young African-American man visits his white girlfriend’s family estate, he becomes ensnared in a more sinister real reason for the invitation. Now that Chris (Daniel Kaluuya, Sicario) and his girlfriend, Rose (Allison Williams, Girls), have reached the meet-the- parents milestone of dating, she invites him for a weekend getaway upstate with Missy (Catherine Keener, Captain Phillips) and Dean (Bradley Whitford, The Cabin in the Woods). At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined.”
– [www.getoutfilm.com]

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‘Mystery Science Theater 3000’ Premiere Date Revealed

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Mystery Science Theater 3000 is coming back. After a successful kickstarter back in 2015, the beloved cult classic series was commissioned for a return of 14 episodes. Afterward it was the revealed the show would have a new home on Netflix. All fans needed was the exact date the new series would come out. Rejoice MiSTes (the nickname for those who are fans of Mystery Science Theater 3000) because we have movie sign and the series is indeed coming in 2017.

Announced through new host Jonah Ray Rodrigues’ instagram, the new season of the show is set to launch on April 14th. It will feature original show creator Joel Hodgeson returning as executive producer. The show will also feature Felicity Day as Kinga Forrester, the new mad scientist who will be sending the bad movies to the Satellite of Love with the help of her assistant, Son of TV’s Frank played by Patton Oswalt. The robots will have their voices provided by Hampton Yount as Crow T. Robot and Baron Vaugh as Tom Servo. The new cast looks perfectly suited to take up the roles of their predecessors.

What do you think of the news of the premiere date of the new season of Mystery Science Theater 3000? Leave a comment below and let us know.

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