You Must Remember This: Charles Manson's Hollywood - Karina Longworth's podcast on the hidden history of Hollywood (previously, previously) takes an an in depth look at the darker side of the 60s. [more inside]
The hilariously absurd technobabble of CSI Cyber, incoherent techno-paranoid diaper and last best hope of the CSI franchise.
The day Chris Kyle died - an account of the fateful gun range encounter between the subject of the film "American Sniper" and fellow veteran Eddie Ray Routh. Routh has received a life sentence for killing Kyle and freind Chad Littlefield, with a jury finding his claims of PTSD to be "an excuse".
Nerdist talks to Sam Raimi about fruit, his career in retail sales, how he got started making movies, the links between comedy and horror, the Evil Dead TV show and of course why Spider-Man 3 was "awful".
Nightmare in Maryville - The Kansas City Star investigates the backlash against the victims family after rape charges were brought (and dropped) against local atheletes. The pattern of victim blaming and local indiference have brought comparisons to the Steubenville, Ohio case (previously) and anger on the internet. Meanwhile the Grand Jury investigation into Steubenville has brought it's first charges against an adult involved with the cover-up.
He was methodical, he rode the highways, and he preyed on teenage girls. Girls who'd run away. Girls no one would miss. In the summer of 1985, the author was such a girl. One night on I-95, she hitched a ride from a stranger and endured the most terrifying moments of her life. Now, years later, she returns to the scenes of her fugitive youth looking for clues to that terror—and the girls who lost their lives to it - The Truck Stop Killer
"What is a cult film? A cult film is one that has a passionate following, but does not appeal to everyone. James Bond movies are not cult films, but chainsaw movies are. Just because a film has become a cult movie does not automatically guarantee quality. Some are very bad; others are very, very good. Some make an awful lot of money at the box office; others make no money at all. Some are considered quality films; others are exploitation movies. One thing cult movies do have in common is that they are all genre films - for example gangster films or westerns. They also have a tendency to slosh over from one genre into another, so that a science fiction film might also be a detective movie, or vice versa. They share common themes as well, themes that are found in all drama: love, murder and greed." - of the British TV film slots accompanied by an introduction perhaps the most celebrated is Moviedrome, running between 1988 and 2000 and presented first by Repo Man director Alex Cox and then film critic Mark Cousins. [more inside]
In need of a regular dose of audio short fiction, whether it's horror, crime, or pulp fantasy? Welcome to the District of Wonders, a collection of podcasts spun off from the award winning StarShipSofa (previously, previosly).
Informant, former wiseguy and goodfella Henry Hill (website, Wikipedia) has been made dead by illness. He was not a schnook.
Everything you need to know about Ed Brubaker and Sean Philips, the best writer artist team currently working in comics, and their particular brand of noirish crime and noirish supercrime. With their latest project, Fatal, they add a new ingredient to the mix and bring us noirish Lovecraftian crime.
Last month How Did This Get Made (previously) held a live panel discussion of Superman III, a movie that started as a bizarre pitch involving everyone from Brainiac to Supergirl and Mr. Mxyzptlk, and ended up as a Richard Pryor vehicle. However for some truly crazy stories you may want to skip ahead to part II, where they are joined by Jack O'Halloran - Non from Superman I and II, boxer and son of the head of Murder, Inc. - who talks at length about his life, the movies, and choking Christopher Reeve.
"Bob Shuter, suburban vigilante. Driven by rage to wage a one-man war on the underworld of Kent, Bob Shuter is... The Reprisalizer."
"You're going nowhere, son. Just you, me ad the walls. So wipe that bloody grin off before it's shot off, and don't slouch. You toe rag. You bin. Pay attention when I break you. And break you I will, boy. You're in my manor, now." Buck up! It's Terry Finch's THE REPRISALIZER! Follow Bob Shuter, whose mission of reprisal against his brother's killers, their families, associates, progeny and property takes him across the desolate wasteland of 70s Britain, primarily Kent AKA FINCHLAND. Finch, writer of The Reprisalizer and DRAW!, the cowboy whose name means death, is soon to be the subject of a major motion picture from Matthew Holness, creator of Garth Marenghi's Darkplace.
Cocaine - how it's made, how it moves, and who might be cutting it with a deadly cattle-deworming drug, a follow up to the mystery of the tainted cocaine.
China Miéville has won his third Arthur C Clarke award for his crime/weird fiction novel The City and The City - making him the first person to win the prize three times. Somewhat emotional video of him accepting the prize, where he thanks one special crime reader in particular, his mum, who passed away before it's publication. 10 Questions about China Miéville. An A-Z of China Miéville - 1, 2. An extract from his next novel, Kraken. A Bas Lag Wiki. A discussion of the best genre crossovers. An out of season Christmas tale.
The first four issues of Stray Bullets set the world on fire when they came out. Paper burns, you see, and a comic book as inflammatory as Stray Bullets just had to be burned. The religious right burned them. The Godless left burned them. The people in the middle felt left out and burned them too. Only a few copies survived and are probably worth millions by now. Inaccessible to the common man, the wonders of the digital universe have finally arrived to allow you—the average Joe—to see what the fuss was all about.
Editor Marty Halpern looks back at the career of George Alec Effinger (part 1, part 2, part 3), a prolific author best known for his work set in the Budayeen, a walled city in a future Islamic state, teeming with gangsters, hustlers and transsexual prostitutes, many of them habitual users of plug in personality modules. The noirish tone and exotic technology of the Marîd Audran books (When Gravity Fails, A Fire In The Sun, The Exile Kiss) made Effinger one of the leading lights in the cyberpunk movie, and spawned a videogame - a rare attempt at a graphical adventure from Infocom - and an RPG setting. Sadly Effinger faded from prominence after that, and he suffered from a number of health and financial setbacks before passing away in 2002. His work has had somewhat of a resurgence in popularity of late, with the Marîd Audran books coming back into print in 2007, a long with a collection containing The Wolves of Memory, Effinger's personal favourite amongst his novels.
The Punisher MAX #60 hits comics stores this week, marking the end of Garth Ennis's run on the series. His earlier Punisher work on the series put the character back on track after some disastrous wrong turns, but it was the Marvel MAX series that striped the Vietnam vet turned vigilante's war on crime of all extraneous elements and turned it into something dark and brutal. The evocative covers of Tim Bradstreet (also leaving the series) matched the interior darkness, with Ennis toning down his humor to let the Frank Castle become a monomaniacal psychopath in a corrupt world. Adversaries included the resourceful and violent Barracuda, a kind of anti-Punisher based on the song Stagger Lee. It's not over for the Punisher - screenwriter Gregg Hurwitz and artist Laurence Campbell are taking over the series, and Ennis will be returning to the character with a miniseries in the lighter tone of his Marvel Knights work or The Punisher Kills The Marvel Universe.
The Losers Cover Gallery showcases the bold design sense and unique art style of UK comics artist Jock, who also produced much of the interior art for the VERTIGO series. Losely based on a WWII comic of the same name it became a fast paced action caper with a political edge under writer Andy Diggle, and the covers reflect both the themes and the cinematic style of the comic.