I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx

TODAY IN NETWORK AWESOME MAGAZINE


by Susan Cohen
Oct. 25, 2014

You shouldn’t read this essay if you haven’t seen the ending of Sleepaway Camp, because you can’t talk about Sleepaway Camp without talking about its ending. In a lot of ways, the movie as a whole is pretty formulaic, taking advantage of all the horror tropes: Horny teens unleash their hormones at a summer camp. Someone gets bullied, and someone gets revenge on his or her behalf. All the most sexually active or aggressive characters, who also happen to be the bullies, are brutally murdered.

None of those things contributed to why Sleepaway Camp so notorious within horror-purist circles. But the movie isn’t popular because it’s any good. It’s popular because the last two minutes of the film are so bat-shit crazy...

Susan Cohen decided to leave her career in journalism to go back to school — for journalism. She's still not sure if she made a mistake. Visit susanjcohen.com to learn more about her. 


by Zack Kotzer
Oct. 23, 2014
“My dear Moebius,” wrote Federico Fellini in a fan letter to the poignant comic artist, “Everything that you do pleases me; even your name pleases me” (1). Fellini goes on to praise Jean “Moebius” Giraud’s abilities as a creator, reminisce of his joyous first encounter with Metal Hurlant (which Giraud helped to found, and which would become known in English as Heavy Metal), and suggests Giraud try his hand at film (though he does not directly suggest they collaborate on it). “I would never call upon you because you are too complete, your visionary strength is too formidable. What would there be left for me to do?” 

Moebius would never direct a film himself (the closest being a collaboration with Fantastic Planet helm René Laloux, which was entitled Time Masters). Still, his presence in film, if not all incarnations of genre, is important, if not irreplaceable. Directly, he influenced...

Zack Kotzer is a writer, editor, ghoul and ex-carnie living in his hometown of Toronto. As of now he has contributed to the Torontoist, The Onion AV Club, the SPACE Channel, Sharp Magazine, Dork Shelf and is the associate editor and Toronto head of Steel Bananas. Right now Zack is looking to see what it takes to start a print magazine because he is as dedicated as he is naive. Is that what deluded means? No wait never mind, don't answer that. @KingFranknstein

by Brian Correia
Oct. 18, 2014
For years, if people were talking Cronenberg, they were talking “body horror.” They were talking gore, they were talking dread, and they were talking mutation. Fair enough: he essentially invented the genre. That’s horror as in “oh, the horror!” not as in, like, Nightmare on Elm St. Those slasher films might get a couple cheap scares out of you but, nine times out of ten, they will not horrify you. It would seem that Cronenberg takes actually horrifying-as-in-horrifying his viewers pretty seriously. I'm still haunted on a regular basis by mental images of The Fly's inside-out monkey, The Brood's natal terrors, or James Woods' Betamaxed torso in Videodrome. In Cronenberg's case, though, all that horror is, without exception, in the service of a powerful message. And it's done with – panache is too slight a word – it is done masterfully...
Brian Correia is a budding computer scientist and aspiring writer from Boston, Massachusetts who couldn't decide which hip-hop lyric to put in his byline. The top three, in no particular order, were as follows: “cooler than a cucumber in a bowl of hot sauce,” “spiced out Calvin Coolidge loungin' with six duelers,” and “I got techniques drippin' out my buttcheeks.” He is on Twitter (@brianmcorreia) and Tumblr (brianmcorreia.tumblr.com) like the rest of the kids.

by A Wolfe
Oct. 16, 2014
When producer Albert R. Broccoli bought the rights to John Wyndham’s popular sci-fi novel Day of the Triffids in 1957, he thought this would be the film to launch his career into outer space, but he didn’t count on hiring a screenwriter who always said he wasn’t a screenwriter—sad-sap horror writer Jimmy Sangster—and the project fell into ruins, leaving Broccoli to get by on his little side project, James Bond. It wasn’t until ’62 that the Steve Sekely-directed plant-monster film we know and love went to public. And, strangely enough, those triffids bear a striking resemblance to broccoli…
A Wolfe is a writer and director in Los Angeles. awolfeswolfworld.wordpress.com

by Thomas Michalski
Oct. 15, 2014
Early on in the Seinfeld episode “The Tape”, Kramer tells Jerry about a friend of his who is becoming a minimalist and is giving away all of his possessions. “Is that the guy who likes fat women?” interjects George, to which Jerry quips, “Doesn’t the fat fetish conflict with the minimalism?” It’s a throwaway joke, a short detour before getting down to the business of the plot, but it encapsulates how pop culture understands minimalism: as space rather than substance, as emptiness only occasionally interrupted by the simplest of forms. But while that perception certainly applies to certain manifestations of minimalism, it’s far from the whole picture. 
Thomas Michalski is a writer and radio host from Milwaukee, Wisconsin. You can keep up with his comings and goings over at http://www.voodooinspector.com/