Winnie’s Weekly Wonders: Time to Binge Watch Halloween Movies

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This week, I have some exciting news to share—I’ve officially released The Pumpkin and the Mouse Jinn under my other writer name, Wendy Spurlin. The story has been a labor of love and a long time coming! It blends whimsy, adventure, and a touch of magic. I’ve mentioned previously that this tale that centers around a grumpy pumpkin and a tricky mouse jinn. It’s a story about the consequences of wishes and never being happy. I’m absolutely in love with the mouse, so there’s gotta be another book for him.

Besides that, my annual Halloween movie binge started a few weeks ago with the first 3 Halloween movies, although I’m only talking about the first 2. I don’t have to tell you that the first two Halloween movies (1978 and 1981) are pretty much a continuous story, creating a seamless narrative that feels like one extended film. Halloween (1978), directed by John Carpenter, introduces Michael Myers, who escapes from a mental institution and returns to his hometown of Haddonfield to stalk and kill babysitters, including Laurie Strode (Jamie Lee Curtis). And, of course, the movie ends with Michael being shot by Dr. Loomis (Donald Pleasence) and disappearing after falling from a balcony. Then in Halloween II (1981), it picks up immediately where the first movie leaves off, continuing the same night of terror. Laurie is taken to the hospital, where Michael relentlessly pursues her. Meanwhile, Dr. Loomis remains on Michael’s trail, determined to stop him for good. The second film expands on the story by revealing Laurie’s connection to Michael as his sister. Together, the two films follow a single narrative arc, with Halloween II feeling like the second act of the horror that began in the first film.

These 2 movies are so frequently watched that it seems like a waste of time to redescribe what I’ve seen so many times. Anyway, there’s rich with thematic meaning in the movies as I delve into my love of evil in pop culture. No, they’re not just teen slasher movies as we like to call them.

1. The Nature of Evil

In the first Halloween movie, Michael Myers is portrayed as the embodiment of pure evil. Dr. Loomis describes him as “purely and simply evil,” emphasizing that Michael is more than just a disturbed individual—he is a force of unstoppable, inexplicable malevolence. His lack of motive or reason for his killings makes him more terrifying, suggesting that evil can strike anywhere, without warning, and without a clear cause. Michael’s blank mask further enhances this idea, symbolizing the facelessness and anonymity of evil. He becomes less of a person and more of a supernatural, relentless force, representing the primal fear of the unknown and uncontrollable darkness lurking in society.

2. Survival and Innocence

Laurie Strode (Jamie Lee Curtis) represents innocence and survival. As the “final girl,” she’s the lone character who faces off against Michael and manages to survive, thanks to her resourcefulness, intelligence, and strong will. Her character can be seen as a symbol of purity and resilience in the face of chaos and violence.

Throughout the film, there’s a contrast between the carefree, hedonistic teenagers who fall victim to Michael and Laurie, whose sense of responsibility and vigilance ultimately save her. This theme plays into traditional horror tropes, where characters who engage in “reckless” behavior are often punished, while those who are more careful and virtuous survive.

3. The Impact of Trauma

In Halloween II (1981), the theme of trauma and its long-lasting effects is explored. The film picks up immediately after the first, following Laurie as she is hospitalized after her terrifying ordeal. Michael, now revealed to be her brother, relentlessly hunts her down again, linking the idea of family ties to deeper, personal trauma. Laurie’s journey in the second movie deals not only with physical survival but also the emotional toll of encountering such evil.

4. Fear of Suburbia’s Vulnerability

Both films emphasize the vulnerability of suburban life, shattering the notion that small towns are safe havens. Michael brings terror to the quiet streets of Haddonfield, proving that no place is immune to violence or evil. The setting of a seemingly idyllic, quiet suburban neighborhood juxtaposed with brutal murders reflects societal anxieties about the fragility of safety and normalcy, particularly in a time when suburban America was seen as an idealized retreat from urban dangers.

5. The Unstoppable Force

The films also tap into the fear of an unstoppable threat. Michael Myers survives being shot, stabbed, and injured, yet keeps coming. This persistence mirrors the broader theme of evil as an uncontainable force that can’t be easily destroyed or understood. The ending of Halloween (1978), where Michael disappears after being shot multiple times, leaves the audience with the unsettling idea that evil may never truly be vanquished.

The first two Halloween movies delve into themes of pure evil, survival, trauma, and the vulnerability of everyday life. Michael Myers represents an unstoppable, faceless force of terror, while Laurie Strode symbolizes innocence and resilience in the face of that evil. These elements, coupled with the backdrop of small-town America, create a lasting sense of dread and anxiety, leaving audiences to confront the idea that danger can lurk anywhere, at any time.

That’s all for this week’s wonders. More Halloween movies yet to come. What are your favorites?

Winnie’s Weekly Wonders: Zombieland and Shaun of the Dead…A Tale of Two Zombie Comedies

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Yes, it’s been another month instead of a week. I’m trying. Anyway, a few weeks ago, I posted a remembrance to Shaun of the Dead on Instagram, and a week ago I watched Zombieland with my nephew (his first viewing), so I thought it fitting to write about both these movies I love so much!

Zombie comedies, or “zom-coms,” have carved out a unique niche in the horror genre, blending the thrills of the undead with humor that ranges from slapstick to dark satire. Just so happens that both movies are two of the most iconic films in this subgenre are Zombieland and Shaun of the Dead. They approach the zombie apocalypse from different angles, offering distinct flavors of comedy and horror.

American Wit vs British Satire

The obvious differences between Zombieland and Shaun of the Dead is their approach to humor, rooted in their respective American and British origins.

Zombieland, directed by Ruben Fleischer, leans heavily on American wit and over-the-top antics. The humor is loud and in-your-face, with a focus on physical comedy and quick, sarcastic dialogue. The film embraces the absurdity of the zombie apocalypse, with memorable scenes like the “Zombie Kill of the Week” and the Jesse Eisenberg’s obsession with survival rules and his general fears. I love this film for its fast-pace and action-oriented comedy.

Shaun of the Dead, directed by Edgar Wright, showcases British satire and dry humor. The film’s comedy is more understated, relying on situational irony, deadpan delivery, and clever wordplay. Shaun’s mundane life is hilarious in the middle of the chaos of the zombie outbreak, especially his being obliviousness to the surrounding danger.

Archetypes vs. Everymen

Another key difference lies in the characters and how they reflect their respective films’ tones.

Zombieland features exaggerated archetype characters. Columbus (Jesse Eisenberg) is the neurotic, rule-following survivor; Tallahassee (Woody Harrelson) is the gun-toting, zombie-killing cowboy; Wichita (Emma Stone) is the clever, independent con artist; and Little Rock (Abigail Breslin) is the tough, resourceful teenager. Each character is distinct and larger-than-life, contributing to the film’s high-energy vibe. Their personalities drive much of the humor, particularly in how they interact with each other and navigate the post-apocalyptic world.

On the other hand, Shaun of the Dead presents characters who are more relatable and grounded. Shaun (Simon Pegg) and his best friend Ed (Nick Frost) are average, unremarkable men caught up in extraordinary circumstances. Shaun’s journey is one of reluctant heroism, as he’s forced to step up and take charge in a situation that’s far beyond his usual scope of experience. The supporting characters, including Shaun’s girlfriend Liz (Kate Ashfield) and his mother Barbara (Penelope Wilton), add to the film’s focus on personal relationships and the mundane struggles of everyday life. Shaun of the Dead feels less like an action movie and more like a slice-of-life comedy that just happens to feature zombies and lots of blood and guts.

Road Trip vs Survival at Home

The settings of the two films are completely different considering one is on the road as I mentioned earlier and one is in a local town.

Zombieland follows a road trip, with the characters constantly on the move as they search for safety and Twinkies in a world overrun by zombies. They encounter a series of adventures with unique challenges and opportunities for humor. The film is fast-paced, and the journey is a key element of the story, emphasizing the thrill of the open road in the middle of a zombie apocalypse.

In contrast, Shaun of the Dead is more contained, with much of the action taking place in Shaun’s home, the local pub, and the streets of suburban London. The film’s focus is on the internal growth of its characters, particularly Shaun. As they make their way through the zombie horde and try to survive, life’s little dramas persist.

Action-Packed vs. Subtly Satirical

Finally, the overall tone of each film reflects their distinct approaches to the zom-com genre.

Zombieland is action-packed and fun, with a crazy entertaining tone. The film’s emphasis on rule-breaking, zombie-killing, and high-stakes adventures creates a sense of exhilaration that engages viewers from start to finish. It’s a film that invites you to sit on the edge of your seat and enjoy the ride.

On the other hand, Shaun of the Dead balances its humor with moments of genuine emotion and social commentary. The film’s satirical tone invites viewers to reflect on the absurdities of modern life, particularly the monotony and routine that can make even a zombie apocalypse seem like just another day. Characters face genuine loss and personal growth, making the humor more poignant and the horror more impactful.

Each film offers a unique take on the undead apocalypse. While Zombieland dazzles with its fast-paced action and larger-than-life characters, Shaun of the Dead charms with its subtle satire and relatability. They show that there’s more than one way to survive—and laugh through—a zombie apocalypse. Both films are must-watches, so introduce them to the younger generations because they are certainly timeless.

Winnie’s Weekly Wonders: Crazy Murderous Donuts

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A week of editing and book formatting means I needed a huge break with crazy murderous donuts. I knew I had to watch Attack of the Killer Donuts when I encountered it in the Horror section on Peacock. Then I was sure it was a must watch when I found it had a 3.8 rating on IMDB. I really live for movies like this! Unfortunately, a lot of the poorly rated horror movies don’t deliver, but this one did!

Attack of the Killer Donuts embraces its ridiculous premise with gusto, delivering a blend of comedy and horror that’s as entertaining as it is absurd. Sure—this isn’t high cinema. But if you’re in the mood for a B-movie that revels in its own silliness, you’ve found a gem. The acting is cheesy but passable, and there’s a surprisingly strong female lead who acts better than the rest. What will she think, reminiscing about being in this film 20 years from now?

While some may find the effects and CGI poorly done, I loved the donuts, especially the way they bounced around from victim to victim. Then again, I’m a seasoned B-movie viewer and a bit forgiving, considering I’ve seen WAY WORSE!

In the realm of comedy horror, the humor is unapologetically campy, as it should be. You just gotta sit back and embrace the absurdity of killer donuts with rainbow sprinkles.

This wonderfully ridiculous film kept me engaged and entertained from start to finish. If only the 1-star reviewers could enjoy movies like this for what they are, so bad they’re awesome!

That’s all I got for you this time. Too busy this week with paid work and a checklist I’m writing on cleaning up a manuscript with lots of spaces and inconsistent punctuation. Yeah, again, too much of the technical creates a need for the absurd.

Winnie’s Weekly Wonders: Artistic Creations and TV Obsessions

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It’s been a week filled with artistic inspiration and thrilling TV marathons.

New Art Pieces

Ghouly Haunted Collage: I threw together a spooky haunted collage that kinda captures the eerie essence of the supernatural. I had the hardest time finding pieces for this, but it combines various elements to create a chilling yet captivating scene, right? Quick is not always good. But I had a fantastic time putting it together.

New Abstract Painting: Alongside the haunted collage, I’ve also completed a new painting. It’s another Hilma af Klint inspired piece. I love the color combo on this one. It was difficult to complete at the end, the large circles not coming together quite right. All-in-all, I love it.

TV Show Rewatch: Dexter

In addition to my artistic ventures, I’ve been rewatching the TV show Dexter, and let me tell you—I’m as hooked as ever! This morning I got up and heard the theme song playing over and over in my head. The intricate plot, the complex characters, and the dark humor make it an unforgettable experience every time. Michael C. Hall’s portrayal of Dexter Morgan is nothing short of brilliant, and the suspense keeps me on the edge of my seat. If you haven’t seen it yet, where have you been? It’s the perfect blend of crime, drama, and dark comedy.

Which of the crazy killers Dexter encountered were your favorites? Mine were the Ice Truck Killer and Hannah McKay. Here’s a starter list of the majors.

The Ice Truck Killer (Rudy Cooper/Brian Moser): Dexter’s biological brother, who taunts Dexter with crime scenes that hint at Dexter’s own past.

The Skinner (George King): A serial killer who tortures and skins his victims alive.

The Trinity Killer (Arthur Mitchell): A seemingly normal family man who has been committing a cycle of three murders at a time for decades.

The Barrel Girl Gang: A group of men who kidnap, rape, and kill women, storing their bodies in barrels. Dexter teams up with Lumen Pierce to take them down.

The Doomsday Killer (Travis Marshall): A delusional killer who believes he is enacting the Book of Revelation’s apocalyptic prophecies.

Hannah McKay: A former accomplice in a series of murders and Dexter’s love interest, who later becomes a killer herself.

Or another killer because I left off the Bay Harbor Butcher and some of the minor ones he encountered along the way were way COOL! There are certain episodes that stick with you.

This week has reminded me of the joy and fulfillment that come from balancing creative work with personal enjoyment. I hope you enjoy the new pieces I’ve shared and feel inspired.

Until next time…

Winnie’s Weekly Wonders: Time Machine back to 1986 with Class of Nuke ‘Em High

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Not much artwork to brag about this week. It was a week of catching up on marketing activities and editing other people’s work. Not always the most fun, but something that must be done.

Class of Nuke ‘Em High (1986) Review

I watched a few horror movies while posting on social media. Puppet Master, one of my favorite horror movies, was one of them. Considering the title above and the picture to the right, the main feature was Class of Nuke ‘Em High. Wasn’t my first time watching the movie, but it had been many years since I’d seen it back when it was first released.

If you’re a fan of 1980s horror comedies, it’s a cult classic that delivers a delightful blend of absurdity and nostalgia. My favorite students in the movie is a reminder of the the weird shit I used to wear in high school.

The cheesy FX is delightfully low-budget and campy, adding to the film’s charm. From grotesque mutations to exaggerated explosions, the special effects perfectly capture the outrageous spirit of 80s B-movies. The movie oozes with an 80s vibe—from the neon colors and wild fashion to the punk rock soundtrack. It’s a time capsule that transports you back to my era of carefree fun and unapologetic camp. Despite its horror label, it leans heavily into comedy, especially with the bad boy/girl characters. There are plenty of laugh-out-loud moments, often stemming from the absurd situations and the characters’ over-the-top reactions.

While the acting contributes to the film’s campy appeal, some viewers might find it lacking. But in the realm of Troma films, the less-than-stellar acting is almost a feature, not a bug. For a movie with a radioactive premise, I expected a bit more gore. The film delivers some gruesome scenes, but it’s relatively tame compared to other entries in the genre.

Overall, “Class of Nuke ‘Em High” is a fun, nostalgic ride that captures the essence of 80s horror comedies. If you enjoy cheesy effects, a vibrant 80s setting, and a healthy dose of absurd humor, this film is a must-watch. Just grab some popcorn and prepare for a radioactive good time!

Rating: 4 out of 5