Paul Brian McCoy is the Editor-in-Chief of Psycho Drive-In. His first novel, The Unraveling: Damaged Inc. Book One is available at Amazon US & UK, along with his collection of short stories, Coffee, Sex, & Creation (US & UK). He recently contributed the 1989 chapter to The American Comic Book Chronicles: The 1980s (US & UK). He also kicked off Comics Bulletin Books with Mondo Marvel Volumes One (US & UK) and Two (US & UK) and PDI Press with Marvel at the Movies: 1977-1998 (US & UK), Marvel at the Movies: Marvel Studios (US & UK), and Spoiler Warning: Hannibal Season 1 - An Unauthorized Critical Guide (US & UK). Paul is also unnaturally preoccupied with zombie films and sci-fi television. He can be found babbling on Twitter at @PBMcCoy.
When I was growing up Sundays were all about Gulliver's Travels, Doctor Doolittle, and other fantastic tales. Maleficent would fit nicely alongside them.
The popularity of the walking dead has done nothing but grow since the initial 1968 release of George A. Romero’s seminal Night of the Living Dead, with zombies infiltrating nearly every level of our pop culture
I honestly don’t think there’s another show running currently with this approach to scripting and it’s one of the reasons I love Gimple’s run on The Walking Dead.
From 2005 on Romero has restricted himself to making zombie films, expanding on the universe he created back in 1968 to lessening impact each new go-around.
In 1974 Texas filmmaker Tobe Hooper drew inspiration from America's preeminent serial killer, Ed Gein & gave birth to a new American Nightmare, Leatherface.
As Season Five of The Walking Dead kicks off, Gimple gets the band back together and drives home the simple fact that Carol is a badass and that Rick was wrong.
There are very few film series out there about which you can say every single installment is a must-see, but Raimi, and now Alvarez, have done just that with Evil Dead.
Season Four is kind of a game-changer, moving Adventure Time into more complex emotional territory as well as opening up more intriguing narrative opportunities.