For years, Dame Dash has led both a public and legal battle with his former business partner Jay-Z. Recently, Dame claimed to have made headway in offloading a piece of hip-hop history.
According to Dame Dash, his plan to sell his share of Jay-Z’s highly acclaimed debut album, Reasonable Doubt. During a recent appearance on America Nu Network (viewable here), Dame even claimed that Drake expressed interest in purchasing his stake. However, there appears to be some confusion over who actually owns the shares. Continue below for more information.
Can Dame Dash Actually Sell His Share Of Jay-Z’s ‘Reasonable Doubt?’
Based on an investigative piece conducted by Rolling Stone‘s Andre Gee (viewable here), Dame Dash doesn’t appear to be the rightful owner of the stake. Technically speaking, Dame Dash can not sell his stakes. According to the outlet, in order to “satisfy an $823K judgment” in his Josh Webber and Muddy Waters Films lawsuit, Dame was ordered to turn over his shares of Roc-A-Fella Inc (which own stake in Jay-Z’s album) over to the US Marshals.
Now, Christopher Brown, the attorney of Webber seemingly controls the stakes as in an effort to recoup the judgment on behalf of his client. So, it appears that the reports of an auction supposedly held on August 29 might have been true. But, Dame Dash having a deciding factor is allegedly a fallacy.
Although Diddy maintains his innocence, law enforcement have seemingly begun to investigate the claims. Back in March, Diddy’s Los Angeles and Miami homes were raided. Now, according to TMZ, Diddy is currently in federal custody in connection with the ongoing case.
So far, the only detail shared regarding his detainment is where it took place. The outlet claims Diddy was taken to the FBI’s (Federal Bureau of Investigation) field office in Manhattan, New York.
Marc Agnifilo, Diddy’s attorney, issued a statement regarding the matter to the outlet. Continue below to read.
We are disappointed with the decision to pursue what we believe is an unjust prosecution of Mr. Combs by the U.S. Attorney’s Office. Sean “Diddy” Combs is a music icon, self-made entrepreneur, loving family man, and proven philanthropist who has spent the last 30 years building an empire, adoring his children, and working to uplift the Black community.
He is an imperfect person but Is not criminal. To his credit Mr. Combs has been nothing but cooperative with this investigation, and he voluntarily relocated to New York last week in anticipation of these charges. Please reserve your judgment until you have all the facts. These are the acts of an innocent man with nothing to hide, and he looks forward to clearing his name in court.
Last week’s trend of band tension (hi, Jane’s Addiction) propelled another group’s bad blood into public discourse. Today (September 16), Morrissey appears to have called out his former The Smiths bandmate.
In a blog post titled, “The Plot Thickens” (viewable here), Morrissey seeming claimed that Johnny Marr co-opted the legal rights to their famed group behind his back.
“J Marr has successfully applied for 100% trademark rights / Intellectual Property ownership of The Smiths name,” he wrote. “His application has been accepted on whatever oaths or proclamations he has put forward. This action was done without any consultation to Morrissey, and without allowing Morrissey the standard opportunity of ‘objection’. Amongst many other things, this means that Marr can now tour as The Smiths using the vocalist of his choice, and it also prohibits Morrissey from using the name whilst also denying Morrissey considerable financial livelihood.”
He closed the note by declaring that he alone was responsible for the group’s naming. “Morrissey alone created the musical unit name ‘The Smiths’ in May 1982,” he wrote.
Upon search of the UK’s Intellectual Property Office public listings there are two registrants for separate previous ‘The Smiths’ filings. However, an initial search of newly filed and recently awarded trademarks for The Smith did not yield any results. Of the two older registrants, neither appear to be linked to Johnny Marr.
Johnny Marr has not issued a statement regarding Morrissey’s claim.
If you want to sweat the small things and cry over the bigger ones, Mark Hoppus has something just for you. The Blink-182 bassist and vocalist has officially announced the title and release date for his memoir.
With the support of journalist Dan Ozzi, the “Dance With Me” musician’s life story (so far) will be laid out in the book, Fahrenheit 182. Although the literary work is slated to hit shelves until April 2025, Hoppus was sure to tease its content in a promotional video shared to Instagram (viewable here).
“This book has everything,” said Hoppus. “A young man born in the California Desert joins a punk rock band and goes on to conquer the world. It’s got skateboarding, it’s got punk rock clubs, it’s got ’90s music, but that’s not all! Pre-order now, and we’ll throw in at no extra cost to you: Anxiety, depression, band breakups, loss of self, suicidal thoughts and ideation, and of course, everyone’s favorite, cancer! This sh*t gets dark. So order your copy today and make sure you don’t miss out on all the small things.”
Its publisher HarperCollins’ description mirrors Hoppus’ take but with a lot less sarcasm filtered for family-friendly audiences. “Threaded through with the very human story of a constant battle with anxiety and Mark’s public battle and triumph over cancer, Fahrenheit-182 is a delight for fans and also a funny, smart, and relatable memoir for anyone who has wanted to quit but kept going,” read the synopsis.
When Creative Director Adrian Martinez started out in the music industry, he had no idea where he’d be today. Doing what he describes as “bits and pieces of the creative process” and capturing content for artists via video and photography was his first glimpse into a future he hadn’t necessarily planned for. “I was doing like a ton of video editing. I got into graphic design,” he tells UPROXX. “I started working on cover art from there. I got into music video direction after a couple of years of being around artists and networking.” Those connections he made combined with a comfort behind the camera – not to mention the symbiotic relationship he was able to easily build between himself and musicians – “snowballed into other opportunities” and he was able to put on live shows for artists.
Fast-forward to now, Martinez has worked with the likes of Rauw Alejandro, Peso Pluma, Bad Bunny, 6lack, and more to bring their creative ideas to life. From 3D animation to branding merch design and experience production, his creative house, STURDY, has become a one-stop shop for musicians who want start to finish creative handling of their campaigns.
Ahead of receiving the Spotlight Award for excellence in creative direction at the upcoming UPROXX event for the Sound + Vision Awards, we spoke to Martinez about how his creative intuition and love for music pushed him into a self-made career and what he’s most excited to create next.
Is there an early project you worked on that cemented your desire to be a creative director?
I got an opportunity, which was at the end of 2016, to work with PARTYNEXTDOOR on his second tour. He let me do the creative behind it, let me design it. I had no idea what I was doing, but I was just going to figure it out and had good people working around me on all the other departments of the show. From there, I found out that I enjoyed working on the design side of the show more than capturing it. As a creative director, I’m able to speak to all these different people that work across different mediums and take in different parts of what a campaign is these days — which is everything from cover art to marketing ad mats, tour posters, the music videos, all the way through to the stage design and lighting direction.
When you say you enjoyed the design side more than the capture side, what was it about that experience with PARTYNEXTDOOR that led you to that realization?
On a very basic level, I felt that when I was taking photos, I didn’t enjoy how he was lit. I didn’t enjoy how the lighting was captured. It always felt a little messy and uncurated and it felt like the lights were just there to be there. I felt like he should be standing here at this part of the show or he should interact this way and the lighting should be hitting him from the back so that he has a good rim light. That PARTY show I’m talking about was much more a trial than a success, but it made me open my eyes to what was possible and where I wanted to go.
Do you always work on every aspect of a campaign and all the different facets you mentioned, from tour posters to set designs?
My goal is to be able to do the campaign and its live side. I feel like that’s where the needle really gets threaded in the best way and where I have found the most success. People always do want to piece it together and I understand there are other creatives involved before I get in the mix, there are always other people helping execute things and I think it’s important to be open to the collaborative process. But I try to either keep it to the whole campaign or the whole live show, and if that’s separate, that’s cool. But ideally, like I said, it’s kind of like the more global approach.
You mentioned PARTYNEXTDOOR felt like a trial. What was you first success?
Four or five months later I got an opportunity to work on another OVO SOUND artist’s show. It was Majid Jordan playing at Coachella. That was April of 2017. I felt that through that process I got to know the artists very well. I had a sense of confidence and comfort in being able to ask questions and try to assert my point of view much more than just subsiding to what they wanted.
Also, in between the PARTY tour and the Coachella show I had met a couple of guys that ended up being a co-founder of this company I run called STURDY, and they were really focused on the visual side of the shows. They were doing 3D and 2D animation and I was with them almost every single day. I was soaking up so much. I learned things like a pixel map which is what you use to map content onto screens properly. I picked up new software and started messing with After Effects and seeing what I could do with 3D software. I didn’t realize that it was the very beginning of what we’re doing now. When I look back it’s still one of the shows that stands out to me because it felt like although we were young kids having fun, we were also really into the process. We were very dedicated.
Tell me more about Sturdy, how did it come together?
We got to work on a lot of shows really quickly after that, and we started getting opportunities to do visuals and get involved in the creative side of artists’ careers. Things were kind of moving for us pretty rapidly in the summer of 2017. We got to work on Kendrick Lamar’s tour. It was a three-day turnaround on some visuals but we were super stoked and it was awesome to be able to work with Dave [Friley] and Kendrick on that. It gave us a little bit more validation within the industry. And also, I needed more confidence to keep pushing and keep going.
By summer of 2018, we got to work on Drake’s tour visuals and we’re seeing stuff happen at a really high level and felt like we were actually starting to compete with bigger companies and being looked at by bigger clients. We realized that if we were just a bunch of ragtag freelancers, it was just never gonna turn into something real. We also knew we really enjoyed working together and that our team dynamic paired with finding a name that we felt we could stand behind made us want to make it official. By the fall of 2018, we had made STURDY an official thing.
LVRN/Interscope
The position of Creative Director can be opaque in some cases, especially when you’re doing so many jobs and wearing so many hats. How do you describe your work to people?
I always say a creative director is not just the person who says this is how we’re going to do it. You’re actually directing creatives. That is what you’re doing. So that means you have a bunch of people that you need to be able to speak to in a way they’ll understand. That translates to the way that they look at the execution, the buttons that they press on their side, and the way they process concepts. And then you have to do that in a bunch of different ways with all these different people. Same with a live show. You have the guys who do visuals, and then you have the guys who are in charge of rigging and that are in charge of making sure that the building can withstand the weight of the screens that are hanging or the lights or whatever. And then you have the lighting designer and you have to make sure that they’re doing things in a way so that the really cool designs and renders that you have in 3D are realistic in real life and the list goes on.
What are you excited to create next?
Without getting super specific, I’ve just got some really exciting tours coming out this next year that are with artists that I love, that I listen to, that I’m fan of. It’s always fun to be able to work with an artist whose music you are a fan of, and you then become part of that picture and help build that world. It’s a privilege for sure.
When bridging the gap between summer and fall beers, we’re looking for something that has the light, fruity, piney flavors we love about summer beers and the complexity and balance of autumnal beers. That’s why we love hazy IPAs. The juicy, hazy, tropical fruit flavor makes us realize that summer isn’t over while still preparing our palates for the more complex beers that cold weather brings.
For those new to the style, the hazy IPA (also known as the New England-style IPA) hasn’t been around forever. In fact, it’s as contemporary as beer styles come. It’s only been around for two decades and has only exploded in the last ten years. The first hazy IPA was crafted by John Kimmich the famed brewmaster at Vermont’s The Alchemist Brewery. It’s called Heady Topper and is still one of the most popular New England-style IPAs.
Even if you don’t live somewhere that gets full-blown seasons with leaves falling and such, you likely feel a little difference (especially at night) when autumn rolls around. These ten hazy IPAs are perfect for the fall days and nights ahead. Keep scrolling to see them all. As a bonus, we ranked them all on overall quality and seasonal appropriateness.
With a name like Mind Haze, you’re not left wondering what kind of beer this is. Brewed with 2-row base malt, wheat, Munich malt, torrified wheat, blonde RoastOat, and oats, it gets its over-the-top hop aroma and flavor from the liberal use of Mandarina, Cascade, Azacca, El Dorado, Mosaic, Chinook, Cashmere, Callista, and Idaho 7 hops.
Tasting Notes:
Nose: The nose is a welcoming blend of tangerine, lemon peel, ripe berries, grapefruit, and dank pine.
Palate: The palate is a mix of candied orange peels, lemongrass, honeydew melon, ripe peaches, grapefruit, and just a hint of resinous, sticky pine needles.
Finish: The finish is dry, sweet, and has just a hint of citrus and pine to make you want to crack open another one.
Bottom Line:
The best thing about Firestone Walker (besides the juicy, hazy, well-balanced flavor) is the fact that you can find this banger almost anywhere beer is sold.
The makers of Sloop Juice Bomb want you to know that this isn’t a New England-style IPA. This well-balanced, juicy, hazy beer made with a healthy malt backbone as well as flaked oats, flaked wheat, and a smattering of aromatic, flavorful hops is a “Northeastern IPA”.
Tasting Notes:
Nose: There’s a lot of citrus on this beer’s nose with tangerine, grapefruit, and lemon zest taking center stage. There’s also mango, guava, pineapple, and dank pine.
Palate: A decent caramel, bready malt backbone makes way for a mixture of mango, tangerine, caramelized pineapple, grapefruit, orange juice, and resinous pine needles.
Finish: It all ends with a crisp, sweet, tropical fruit-laden finish with very little hop bitterness.
Bottom Line:
This beer lives up to its name. It’s a hazy, sweet, tropical fruit-filled juice bomb you’ll go back to again and again.
Fair State Party Forward is the type of beer you’ll want to bring to a…well, a party. This surprisingly crushable, 6% ABV hazy IPA is brewed simply with wheat, oats, and Citra hops. The result is a soft, tropical fruit-filled IPA that will make you want to get your party on.
Tasting Notes:
Nose: Breathing in the nose, you’ll be greeted with aromas of pineapple, peaches, tangerine, grapefruit, fresh-cut grass, and dank pine needles.
Palate: The palate begins with a backbone of bready malts and weaves into tangerine, lemon, grapefruit, peach, pineapple, and herbal, earthy, piney hops.
Finish: The finish is dry, sweet, and lightly spicy. It leaves you craving more.
Bottom Line:
As hazy IPAs go, this is an interesting take on the style. It’s drier and spicier than some of the others on the market, but still fruity, juicy, and memorable.
Colorado’s Weldwerks is well-known for its adventurous beers, especially its popular Juicy Bits hazy IPA. The brewery’s flagship IPA is brewed with high-protein malts as well as Mosaic, Citra, and El Dorado hops. It’s known for its soft, tropical fruit, and citrus-driven flavor profile.
Tasting Notes:
Nose: A bold nose of mango, pineapple, cantaloupe, tangerine, lemongrass, and herbal, spicy hops makes for a very inviting start to this beer.
Palate: Sipping it reveals a soft, juicy beer with a ton of freshly squeezed orange juice, ripe pineapple, peach, honeydew melon, and spicy, dank, resinous pine.
Finish: The finish is filled with tropical fruit sweetness that’s tempered with gentle, piney hop bitterness.
Bottom Line:
This is a very well-balanced hazy IPA. It has all the fruity, sweet characteristics of the style, but has enough spicy, piney, hop bitterness to not be overwhelming.
6. Threes Logical Conclusion
Threes
ABV: 7%
Average Price: $18 for a four-pack of 16-ounce cans
If you’ve never tried Threes Brewing Logical Conclusion, what are you waiting for? The brewery’s flagship IPA is brewed with 2-row malts, American malted wheat, and American wheat flakes. It’s hopped with Mosaic, Citra, and Simcoe hops.
Tasting Notes:
Nose: On the nose, you’ll find notes of sweet wheat, ripe peaches, tangerine peel, caramelized pineapple, grapefruit, and dank pine.
Palate: Drinking it brings forth notes of candied orange peels, ripe peaches, pineapple, tangerine, and herbal, resinous, spicy pine needles.
Finish: The finish is dry, memorable, and filled with citrus peels and dank pine.
Bottom Line:
The heavy dose of wheat and mix of hops give this beer a soft, pillowy, juicy mouthfeel, and well-balanced aromas and hop flavors.
Solace Brewing considers Partly Cloudy to be its juiciest IPA to date. And that sounds great to us. This double dry-hopped New England-style IPA gets its complex aromas and flavor profile from the use of El Dorado and Citra hops.
Tasting Notes:
Nose: Complex aromas of bready malts, ripe pineapple, tangerine, grapefruit, mango, and resinous pine greet you before your first sip.
Palate: There’s more of the same on the palate in the best way possible. It’s sublimely juicy and hazy, There are notes of grapefruit, caramelized pineapple, bubblegum, tangerine, guava, and spicy, prickly pine.
Finish: The finish a sweet, dry, and surprisingly well-balanced.
Bottom Line:
If you’re looking for an epic juicy IPA that still manages to be balanced between sweetness and hop bitterness, this is the beer for you.
As we mentioned earlier, The Alchemist Heady Topper is the OG hazy IPA. Today, it’s still one of the most popular, thanks to its balanced profile featuring British malts as well as Simcoe, Apollo, Centennial, Columbus, and Amarillo hops.
Tasting Notes:
Nose: A lot is going on with this beer’s nose. There are aromas of zesty grapefruit, apricot, guava, mango, lime peels, wet grass, and spicy pine needles.
Palate: On the palate, you’ll find notes of orchard fruits, lemon zest, peaches, pineapple, passion fruit, tangerine, and prickly piney hops.
Finish: The finish is a nice mix of citrus sweetness and sticky, prickly pine needles. It’s a very memorable finish.
Bottom Line:
This is the first New England-style IPA ever created. If you’re trying hazy IPAs, you have to start with this one.
Look at any list of highly-rated hazy IPAs and you’ll see a handful of Treehouse IPAs. If you’re going to try one, we suggest starting with its award-winning Treehouse Julius. This 6.8% ABV hazy IPA is well-known for its fresh-squeezed juice-like flavors including pineapple, orange, and mango.
Tasting Notes:
Nose: This beer’s nose is exactly like you hope it would be. There’s a ton of mango, pineapple, peach, guava, tangerine, and lime. It’s zesty, and fruity, and draws you in.
Palate: This pillowy soft, juicy beer is filled with flavors like fresh squeezed orange juice, mango, caramelized pineapple, peach, and just a hint of prickly pine.
Finish: The last few sips are sweet, juicy, hoppy, with little bitterness. Overall, a very balanced beer.
Bottom Line:
There’s a reason Treehouse Julius is regarded as one of the best hazy IPA gateway beers. It’s juicy, sweet, hoppy, and perfectly balanced.
Adorned by a roaring dinosaur, this iconic brew is a double IPA that gets its hop aroma and flavor exclusively from the use of Citra hops. The result is an award-winning citrus-forward, juicy, complex IPA that you’ll go back to again and again.
Tasting Notes:
Nose: Fragrant aromas of tangerine, lemon peel, fresh squeezed orange juice, mango, guava, passionfruit, and pine are prevalent on this beer’s nose.
Palate: Gritty texture, low carbonation, late chew as it leaves an oily coating behind despite drinking like water. Bready malts make way for grapefruit, fresh-squeezed orange juice, tangerine, mango, peach, guava, apricot, and dank pine.
Finish: The finish is citrus-filled, and sweet, and ends with a lightly bitter, stinging kick of piney hops.
Bottom Line:
Sweet, juicy, fruity, with a slightly prickly, piney finish, there’s a reason this well-balanced hazy IPA is one of the highest rated of all time.
The Substance is Bissell Brother’s flagship IPA. It’s brewed with Crystal malt as well as Maine-grown 2-row malt, oats, and wheat. It’s loaded with hop aroma and flavor including Apollo, Centennial, Chinook, Falconer’s Flight, and Simcoe hops.
Tasting Notes:
Nose: Elegant aromas of wet grass, pineapple, candied orange peel, mango, peach, and dank pine make for an inviting nose.
Palate: The palate is a symphony of tangerine, caramelized pineapple, lemongrass, mango, honeydew melon, guava, and lightly sticky, dank pine.
Finish: The finish is filled with fresh citrus juice, and sticky, dank, lightly bitter pine needles.
Bottom Line:
If you only try one hazy IPA, make it Bissell Brother’s The Substance. It might not have the same acclaim that some of the other hazies on this list have, but it absolutely should.
With live television, you never know what’s going to happen, but this year’s Emmy Awards were relatively tame compared to other infamous award show moments that don’t need to be mentioned. But there was one moment where the collective gasp of the audience caused the Emmy producers to re-evaluate the method when it comes to cutting winners off.
John Oliver accepted the Emmy for Scripted Variety Series, and his heartwarming speech included a nod to his pup. “We had the most fantastic dog. She was at my wedding. She got us through a pandemic. She was with us through two pregnancies,” Oliver began, before the swelling music started to overpower him, and we learned what happened to the dog. “Perfect choice of music! We had to say goodbye to her,” he said, much to the audience’s surprise. “I feel like Sarah McLachlan right now — she was an amazing dog,” he joked.
Executive producer Jesse Collins did not know how to handle the situation, “I was like, ‘Oh, take the music down!’ You’re just trying to make a call. And then John Oliver’s dog pops up!” He told Variety.
Collins has since offered an apology to Oliver and his deceased pup. “I apologize to John and his family for playing the music — and the dog,” Collins told TheWrap. “We turned it off at his request and turned it back on when he said he wanted to be played off.” They were able to censor his F-bomb, though.
We can assume that the pup in question is Hoagie, Oliver’s golden lab mix that he had for over a decade. Now, she’s enjoying hoagies in dog heaven, where she will remain interrupted for eternity.
The Carolina Panthers are making a major change under center. After Bryce Young had his latest poor performance during the team’s 26-3 loss to the Los Angeles Chargers on Sunday, Panthers coach Dave Canales announced that the team would bench the No. 1 overall pick in the 2023 NFL Draft and put veteran journeyman Andy Dalton under center going forward.
“I watched the film, I had a thought in mind, we all talked and I had to make the decision that was best for the team,” Canales said, per David Newton of ESPN. “I certainly take it personal. This is about building a culture, this is about building a football team that plays to a certain style, and that’s my main focus. And above all, it’s to help the Panthers to win. So that’s what the decision was about.”
The decision apparently came out of left field, as multiple reports indicate that Young was “very shocked” by his move to the bench. The 2021 Heisman Trophy winner out of the University of Alabama, Young has had about as bad of a start to life in the NFL as you could imagine, as he had a brutal rookie season and hasn’t shown signs of taking a step forward during his second year in the league — if anything, the concerns about his lack of size and arm strength that followed him into the league seem to be even bigger problems during his sophomore campaign.
So far in his career, the Panthers are 2-16 when Young starts a game, while he’s completed 59.3 percent of his passes with 11 touchdowns to 13 interceptions — he has not thrown for a touchdown this year, although he has found the end zone once on the ground. Carolina made it a point to acquire Young in the 2023 NFL Draft, as they made a major move from No. 9 to No. 1 to select him over Houston Texans signal caller CJ Stroud. The team gave up standout wide receiver D.J. Moore and a bevy of draft capital, with the Bears using the No. 1 overall pick in 2024 to select another former Heisman winner, Caleb Williams out of USC.
Comedian, writer, actor, and Baby Reindeer creator Richard Gadd had a hell of fine Emmys night. After the Netflix series won two Creative Arts Emmys, the series picked up awards for Best Limited Or Anthology Series as well as the corresponding categories for Best Supporting Actress (Jessica Gunning), Best Lead Actor (Gadd), and Best Writing (Gadd). The series also scored acting nominations for Nava Mau and Tom Goodman-Hill. Overall, it’s clear that the TV Academy loves what’s happening in Gadd’s head (as disturbing as Episode 4 was to witness), and the Netflix audience was already ahead of them.
Baby Reindeer briefly ascended to the list of Top 10 English Language series (before Bridgerton‘s third season shook up the whole chart), and viewers would not be opposed to hearing good news about a second season. So, is there a chance? Nope. Gadd spoke with Indiewire after the awards ceremony and declared that this will remain a limited series because he believes that the ending can’t be beat:
“No, I don’t think so. I was I’m proud of that ending. I fought real hard for that ending. I really wanted ‘Baby Reindeer’ to end in the way that it did. I really fought for that and I think it couldn’t have ended better. There’s a full circularity to season one which I love. And so I think some things are best left. And I think there’s so much love for it. I just think leaving it there on the platform as a kind of artistic gem for people to enjoy, for people to discover, I think that’s absolutely fine by me.”
Creatively speaking, Gadd has moved onto his next project, HBO and BBC Scotland’s Lions, which he created and wrote but will star other actors. As he declared during one of his Emmy speeches, “Follow your heart, and the rest will fall into place,” and apparently, his heart told him, “No more Baby Reindeer.” So there.
Not that you would ever need a good excuse to see a horror movie, but it’s almost time. October is, historically, the best time of year to brace that Fall chill and head to a pitch black room with a couple dozen other strangers and get spooked so bad you don’t even regret spending $31 on a novelty beverage. And while there are some new horror movies coming out, some recent classics are also getting another go.
A24’s Eerie Series will bring its creepiest films back to Regal Cinemas next month for a limited engagement. Each week, a new A24 horror film will screen, and tickets for each film will be $8.
The series begins on October 1st with Yorgos Lanthimos’ The Killing Of A Sacred Deer. The chilling 2017 movie stars Colin Farrell and Nicole Kidman as a couple who form a strange bond with a troubled teen played Barry Keoghan, who begins to affect the family in disturbing ways. He’s good at that archetype!
Then, on October 8th, the 2017 film A Ghost Story starring Casey Affleck and Rooney Mara will return to theaters, followed by 2017’s It Comes At Night starring Joel Edgerton on October 15th. Then, on October 22nd, Nic Cage’s 2023 surreal comedy/dramaDream Scenario will hit screens. It’s not really horror, but it will give you nightmares in its own way.
The series will wrap up on October 29th with fan-favorite Hereditary starring Toni Collete and directed by Ari Aster. The 2018 film follows Collete as Annie, a grieving mother who struggles to keep her family together in the wake of tragedy. They have not announced a decapitated head popcorn bucket, but they might be able to make it in time if we ask now!
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