I really enjoyed Innocence and I'm looking forward to this, which seems to be an inversion of the first film, maybe? Innocence was barely released in the U.S. and is very obscure here, unjustly.

I take exception to the whole first paragraph, actually. These films are hugely popular and rewatched frequently, mainly by those who grew up with them. Maybe the premise would make more sense if it were positioned from the POV of critics dismissing them, rather than the general public, which simply isn't true.

Yeah, if you're designing album graphics, I think you're going to give a lot of thought to the font choice. Artists are geeky that way. (I am not a graphic designer, but several of my friends are.)

Deep cut, but I like it!

If you just see them as novels and pretend the adaptations never happened, I don't think you'd even compare one to the other, they're so different.

It took me forever to finally read Frankenstein (just a couple years ago - though I hadn't made the attempt since I was young). Dracula I've loved since high school and read multiple times. I think Dracula is more accessible because it's pulpier. Frankenstein reads more like a work of classic literature - so I can…

Pretty much (and Penny Dreadful's great). The difference is that Universal owns the rights to the iconic Frankenstein monster makeup (not that they'd necessarily use it again), the Wolf Man character (not just any werewolf - Larry effin' Talbot), and the Creature from the Black Lagoon.

It's true, Bram Stoker only got the idea of pitting Van Helsing against Dracula in his novel "Dracula" after he watched the Abbott and Costello movie. Not sure what's so confusing about that.

Yes, and Frankenstein Meets the Wolf Man, too. Really, there already has been a "shared universe," and it was done back in the 40's, beating the MCU by a long shot.

I don't feel like there's been a decent selection of classic movies on Netflix for YEARS. I'm eyeing the new streaming service that's coming out from Turner Classic Movies and Criterion; that has potential.

That and Roger Corman's The Terror with Jack Nicholson.

Years ago I was standing in line to get my NOTLD DVD signed by George Romero and the guy in front of me had the awful John Russo re-edit. I wanted to boot him out of line. But Romero just signed it and didn't say anything, charming man that he was.

Government shutdowns happen, so the show starts with a recognizable aspect of government dysfunction. The aliens work to keep us shut down and manipate from there. What you're talking about didn't bother me at all and seemed a natural point to satirize, but that's fine.

That's interesting - I had no idea they had such ambitious plans. A Hollywood one would have worked (and maybe worked better).

On the other hand, having seen the moment in question, this is an image I will never be able to get out of my brain. Never.

I thought the political statement was very clear - that spin machines and political gamesmanship roadblock actually getting things done. The whole arc of the season was the government ground to a halt as part of the aliens' plan, with a smokescreen of extreme political rhetoric coming from both sides as politicians…

I really enjoyed BrainDead - particularly the opening musical recaps, and Winstead's performance - but I'm cool with it ending. They told a complete story.

Maybe they hired Roger Corman to direct and they're doing the whole thing this weekend.

Seriously…The Storyteller holds up very well and would be a perfect fit for Netflix.

I live in Madison and have seen Ggoolldd a few times. Love them. They put on a great show and their available tunes are all fantastic. I was surprised to see AV Club coverage, though.