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    Genre legend Tom Holland (Child’s Play, Fright Night) wrote and directed a web series for FEARNET called Tom Holland’s Twisted Tales. Now the series is getting the DVD treatment. We spoke with Tom about what people can expect on the DVD.

    Was it always the plan to release a DVD? Originally, Twisted Tales was just meant to be a FEARNET show.

    Well, they were going to try to get Walmart to release them, and it worked! Walmart took it, which, as you know, is the only major market left for DVDs. So I’m thrilled about that, but there was no guarantee. It worked out very well. The one who deserves the credit is Mark Ward at Image. It is a huge distribution. It gives it a chance to get out there.

    Right. I have to imagine that the people who find it on the shelf at Walmart are not necessarily avid viewers of FEARNET.

    Exactly. You’re going to get a whole new group of people who will become aware of it, who don’t watch FEARNET.

    What kind of extras did you put on the disc to really make it “pop?”

    We had Brian Smith and Heather Wixson - they do everybody’s behind-the-scenes - they came in and did the behind-the-scenes as we were shooting. So there is a huge amount of material there. There is a terrific amount of stuff for every episode. There is a whole separate DVD of behind-the-scenes material - I think nearly an hour.

    Are you thinking about doing another season of Twisted Tales?

    I don’t know. I took four Tales that I didn’t have time or money to film, and I wrote them up. They are called “Tom Holland’s Untold Tales” and they are available on Kindle Singles. So you can read read them on your Kindle.

    One of the things I learned is that you have to give these kinds of things a definite length to sell these down stream, like for television. If I had it to do again, they would all be either half-hours or hours. [FEARNET] told me to make them any length I wanted. At that moment in time, there was the thinking that, over the internet, shorter would be better. I did one, “Fred and His GPS” which is only about eight and a half minutes. What I found is that if you are doing ten minutes or under, what you basically have is a monologue. It isn’t interesting enough, dramatically. I think now that the perfect form is half-hour, which is about twenty-two to twenty-four minutes when you throw in commercials. So if I did it again, I would go with half-hours or hours, but I wouldn’t do anything less than half-hours. When you go out there on the international market, they are TV people, and all they think of are series with definite time lengths.

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    the Romantic Disease

    Artist Anna Dumitriu isn't happy about the public conception of bacteria, and the way that we've all been conditioned to consider bacteria to be a dirty word, so to speak. The truth is that many of those same microorganisms we've come to fear also help us out, and oftentimes even exist within all of us, and her unique brand of art tackles this idea head on, intent on showing people that many strains of the microbes we fear are in fact essential for the normal functioning of our bodies.

    As we spotted over on the Smithsonian website, Dumitriu has actually found a way to inject strands of disease-causing microbes into her artwork (don't worry, she kills them off first), infusing them into quilts and even clothing. The uniques pieces are currently on display at the West London exhibition space Watermans, and she's dubbed the series 'The Romantic Disease,' which has a large focus on tuberculosis - which was, in fact, dubbed 'the romantic disease,' and was originally viewed as a representation of spiritual purity and wealth.

    The Romantic Disease

    In addition to ancient medical artifacts, which were once used to treat diseases like tuberculosis, her space at the exhibition center is filled out with everything from a dress colored with dyes made from walnut husks, which were used as early tuberculosis treatments, to a collection of small felt lungs, which were actually injected with the microorganism that causes the disease. Another piece (above), features a chair covered in black fabric, meant to convey the idea that every surface we look at and touch is covered with microscopic bacteria that we cannot see.

    romantic disease

    "It makes microbiology accessible, for so many people, at many different levels," Dumitriu says of her art, "which is great, because that's really what I set out to do in the first place."

    "It makes microbiology accessible, for so many people, at many different levels," she says, "which is great, because that's really what I set out to do in the first place."

    Read more:
    Give the gift of Smithsonian magazine for only $12!
    Follow us: @SmithsonianMag on Twitter

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    Created a few years back by designer Lasse Klein, the “Alien Abduction Lamp” has become quite a cult favorite among collectors, and for good reason: not only is it just about the coolest UFO gadget out there, it's also a quality art piece.
    The alien craft is constructed primarily from metal, with a perspex “tractor beam” capturing an unfortunate bovine victim from its astro-turf base. The ship's antenna doubles as the on/off switch, and when activated the lamp gives off a steady, pulsing glow... and we're going to assume the tiny crew won't move up from cattle and try to probe you in your sleep instead.
    The original 2009 run of two thousand pieces (which includes the artist's laser-engraved signature on the bottom of the UFO and a certificate poster) is a bit hard to come by these days, but it's currently available from Australian gadget site The Funky Company.
    Here's another funky lamp to chase away the shadows... and replace them with Lovecraftian nightmares!

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    If you haven't yet seen The Devil's Rock, a WWII-based horror film that marked the feature debut for New Zealand director and Weta Workshop special effects artist Paul Campion, you've missed a dark, gruesome and intense tale that feels like it's torn straight from the pages of the classic horror comics... although it's actually based in part on historic events, along with some chilling occult lore. Here's the trailer:
    I was introduced to Campion recently (by Bane of Yoto author Josh Viola), and I found out he's got tons more amazing horror projects in the pipe – most notably a feature adaptation of Brian Keene's acclaimed horror novel Dark Hollow. Naturally, I had to learn more about that, as well as Paul's amazing short films, and he graciously offered us the scoop.
    FEARNET: For those who haven't yet seen The Devil's Rock, can you explain the genesis of that project?
    Paul_CampionCAMPION: It all happened very quickly. I was in Guernsey in the  Channel Islands for a screening of my short film Eel Girl, and happened to visit one of the real WW2 German fortifications there, and thought that that would be a great contained setting for a horror film. Also on the same trip, I was asked by the local newspaper if I knew anything about Guernsey's history of witchcraft and werewolves, which of course piqued my interest and led to a bit of research, and finding out about the “Bad Books” – genuine books of black magic from the Channel Islands. 
    At the same time I'd been getting frustrated with trying to get several other feature films financed, and was trying to come up with an idea for a film that could be shot in a single location with just a couple of actors, and that I could maybe take a gamble on and finance myself, and I came up with the idea of setting it in WW2 with the Allied commando, the German and the shape-shifting demon, all taking place inside the bunker. 
    I pitched it to a few people including Richard Taylor at Weta Workshop in New Zealand, then talked to my bank about re-mortgaging my house to finance it. A week later I'd greenlit the project, and Paul Finch and I started writing the script. The New Zealand Film Commission eventually came onboard with some extra financing, and within six months we'd finished shooting. It doesn't normally happen that fast!
    There have been tales about the alleged occult practices of the Nazis, but Devil's Rock may be the most historically-founded film based on those accounts. What inspired you to tell that story?
    It was all based around the German occupation of the Channel islands, and the Islands' history of black magic and witchcraft. I started doing research and discovered that during one period in history more witches were burnt at the stake there than in any other part of the British Isles, and that the Bad Books actually exist – they're locked away in vaults and libraries there, one dating back to 1644.  
    Then I started researching the German occupation of the Channel Islands, and the huge concrete fortifications there, as well as the Allied commando raids on the islands and the history of the SBS (Special Boat Service), who used commando kayaks to carry out reconnaissance, sabotage and distraction raids. Of course Hitler's obsession with the occult is well documented, and together Paul Finch and myself put all those elements together. The idea all the way through was that we wanted to keep it as historically accurate as possible – apart from the demon, everything else is based on a certain amount of historical fact.
    How was the film received worldwide? 
    I think it would be fair to say it was mixed – audiences seemed pretty much split 50/50 over it. Either they hated it because there wasn't enough action and it was too slow and talky and had a bit of depth to it, or they loved it for those very same reasons! Looking back at it now, I do agree it's a bit too slow; if I could I'd go back, I'd chop out ten minutes of dialogue and probably shoot some more visuals to cut in under all of Colonel Meyer's exposition, which might have helped give it a bit wider appeal... but when we were making it, I was trying to pull off a “two-people-in-a-room” type film like Hard Candy, which I now know is very difficult to do!
    To me it seemed mis-marketed in the US as a sexy gothic horror film, which might have held it back.
    Yes, that probably didn't help. As an independent filmmaker you don't have any control of how different distributors market your film, and in this case there was some early artwork that was done for the New Zealand release that was used by the US distributor that made it seem more like a sexy Nazi exploitation film, rather than a more thoughtful serious horror film. There was also a tag line “Saw with Swastikas” that came from an early review that got used everywhere, which completely mis-represented the film.
    It seems they totally missed the point there.
    Yes, if you liked Saw, then you probably weren't going to like this... and if you didn't like Saw, you probably missed something you might have enjoyed! In the end, I got so frustrated with criticism of some of the posters I commissioned my own, which much better represents the film I was trying to make.
    Absolutely. You mentioned you've got a sequel in the works... is the screenplay complete?
    We have a full 30-page treatment that we're continuing to fine-tune. 
    Can you give us a hint about the plot?
    It takes place immediately after the first film... I don't want to say too much about it yet, but it's less talky and much faster paced; more soldiers, more demons, more zombies, and a lot more action.
    I'd love to hear more about the status of the Dark Hollow production. How did you come to work on an adaptation of Keene's bestseller? 
    I've been friends with Brian Keene for years now, ever since I tried to option his classic zombie novel The Rising, but someone else beat me to the rights. Then I started working on another zombie film, Voodoo Dawn, written by Paul Finch, but financing on that stalled as it was too big a budget for me as first-time director, and also because there were a lot of similar projects coming out: The Horde, Cockneys vs. Zombies, Tower Block, The Raid and Dredd. Voodoo Dawn is also set in a tower block, so the timing just wasn't right. 
    I knew about Brian Keene's Dark Hollow, and thought that might be an easier lower budget film to get financed, so I went back to Brian and optioned it and started developing it also with Paul Finch. Then Devil's Rock suddenly came out of nowhere, so Dark Hollow and Voodoo Dawn went back on the shelf. I'd learned so much making Devil's Rock, particularly as a writer, and so I pulled out the script for Dark Hollow, re-read the book and started working on the script again and pretty much spent the whole of last year trying to get it financed as a New Zealand/Canadian co-production. We had some great actors attached, and Weta Workshop was going to be doing the creature makeup effects, but then the New Zealand side of the financing stalled, so we're just trying figure out a different way to get that up and into production.
    So many hurdles there...
    It's tough business trying to get films financed! I just read that Dallas Buyers Club took over 20 years to get made, so you've just got to be patient and not give up.
    Since zombies are still a fairly hot commodity right now, I imagine Voodoo Dawn could gain a little traction soon.
    We're just revisiting it now and will be trying to get that made, along with everything else! You need to have a few projects on the boil, as it's impossible to know which one might get financed first and hopefully now that I've got a first feature under my belt I'm a bit more bankable as a director.
    You also mentioned working on an adaptation of Keene's Kill Whitey. Is that still on the table?
    Kill Whitey was a project that Brian let me enter into the Make My Horror Movie competition in New Zealand, where you could win NZ$200K to make a horror movie. We didn't win, but out of that we're now trying to get it made independently as a micro-budget and totally over-the-top grindhouse/exploitation film... if you know the story, you'll understand exactly what type of film it could be.
    Your short films have received a lot of positive attention over the years, and you mentioned you're working on a couple of new ones. I'm really interested in Project Nightstalker, based on Peter Watts' "Vampire Domestication" essay, which is pretty amazing in itself.
    That was another project I tried to get financed through the New Zealand Commission's Premiere shorts fund, where they select six projects a year to fund with a budget of NZD$90K each. The project got shortlisted in 2012 and longlisted in 2013, but frustratingly still didn't make the final selection. 
    Did you work closely with Watts in development? I gather he's quite a colorful character.
    I've only talked with Peter via email, but he's been fully supportive of how we adapted his  essay. It's based very closely on his original talk, and Peter had a lot of great input in the script. We have a full length animatic/pre-vis of the whole film, but it's going to be tricky to get it made now without that money from the NZ FIlm Commission as it's too expensive to self finance, but we might try raising some money through Kickstarter... although that in itself is a huge amount of work. 
    Any other shorts in the works?
    I've got one called The Naughty List, based loosely on Brian Keene's story "The Siqquism who Stole Christmas." That's more likely a Kickstarter candidate, and if we can get that financed and made then hopefully it might help toward getting Dark Hollow off the ground.

    Many thanks to Mr. Campion for these excellent updates... be sure to check out his official site for more background on his many projects. But first we'll play you out with two of his awesome short films!

    Eel Girl (2008):


    Night of the Hell Hamsters (2006):



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    Kieran Gormley

    It's a pretty awesome thing when you can confidently say that you love your job, and Kieran Gormley is a dude that most definitely loves getting up in the morning and heading off to work. He's the meat manager of Washington's Asian grocery store Uwajimaya, Inc., and it's what Kieran does with the meat that he manages that makes his art, and his place of work, so special.

    Kieran Gormley

    Described as the 'meat master,' Kieran spices up the grocery store by turning piles of raw meat into incredible creations, using the uncooked grub as a sort of pseudo modeling clay. Most awesome of all is that the store allows Kieran to display his creations at the meat counter for all to see, giving customers the unique experience of taking home portions of dinosaurs, spiders and even iconic pop-culture icons like Homer Simpson andFrankenstein's lovely bride.

    Kieran Gormley

    Kieran shows off his meat sculptures over on the Tumblr blog Epic Grinds, which is often updated with new additions. Check out some of our favorites below and be sure to head over to the blog to see many more!

    Kieran Gormley

    Kieran Gormley

    Kieran Gormley

    Kieran Gormley

    Kieran Gormley

    Kieran Gormley

    Derek Nance doesn't make sculptures out of raw meat... he eats it!

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    The mighty Scumdogs of GWAR are hungry again, and you know what that means... it's time for another round of meat, metal and mayhem better known as the annual GWAR-B-Q, now celebrating its fifth year.
    The band has just confirmed that the festivities will begin at 10 am Saturday, August 16, once again at Hadad's Lake Water Park in Richmond, Virginia. The event will feature two stages this year, and the lineup will be announced soon at the official GWAR-B-Q website.
    “This truly auspicious event is going to far surpass all other GWAR-B-Qs in terms of bodies consumed on our never-ending altars of gluttony,” declared GWAR's typically tactful front-beast and Holliston co-star Oderus Urungus. “Plus there will be more places to go to the bathroom than ever before.”
    Oderus and company made headlines just last month when they symbolically decapitated Australia's Prime Minister Tony Abbott during a recent show... we've got a clip of that too!

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    Way back in 1996, Oslo, Norway's blackened thrash supergroup Nocturnal Breed was sired by some key players in Scandinavian extreme metal – including members of legendary symphonic metal unit Dimmu Borgir – as well as a rogue's gallery of talented guest performers. The band has been off the international radar for the past seven years following the release of their fourth studio album, 2007's Fields of Rot. 
    This year they've finally resurfaced to continue the grand tradition, bringing in an impressive guest lineup for their latest release Napalm Nights– including Nocturno Culto of Darkthrone (whose last album The Underground Resistance was one of last year's standout metal records) as well as members of Satyricon, Aeternus and Gehenna. Even two of the band's veteran guitarists, I. Maztor and  A.E. Rattlehead (a.k.a. Atle Glomstad) have rejoined the fold for this project, and the result is blazing hot and mega-heavy, showcasing a wide spectrum of style, tone and technique that spans multiple decades.
    Apparently refreshed by the lengthy hiatus, the band has made some effective mods to their potent blend of vintage thrash, rowdy hard rock and caustic black/death metal for Napalm Nights, the most significant being a more modern production style and a (slight) touch more emphasis on melody. Thankfully this approach doesn't steal from their aggressively gritty, sleazy tone, which for me remains one of the band's strengths. They hammer that point home with one of their most impressive tracks to date: the ballsy, hard-rocking and diabolical opener “The Devil Swept the Ruins.”
    “Speedkrieg” casts an even darker shadow, setting the tone for the album's horrific themes of wartime devastation and destruction with WWII-era audio samples and a decidedly martial tone, particularly in frontman S.A. Destroyer's echoing vocal delivery, which often channels Motörhead's Lemmy Klimeister – a similarity which becomes even more apparent on tracks like “The Bitch of Buchenwald.” The speediest, most aggressive old-school thrash elements come to the forefront in the neck-snapping “Thrashiac” and the demonic, flesh-ripping screeches of “Dawn Campaign... Flamethrower Ridge.”
    Moodier horror-infused tracks are scattered throughout the record as well, with the most evil examples including the snarling, droning mid-tempo “Cursed Beyond Recognition,” the hooky but savage “Dragging the Priests” (which reminds me quite a bit of latter-day Satyricon), and the incredibly creepy “Under the Whip,” given added menace by S.A.'s most sinister vocals, ranging from gritty, distorted rasps to glass-shattering demon wails. The team expands the scale of the production with the epic title track – an evolving beast which clocks in at a brain-crushing twelve minutes – and the moody, expansive “Krigshisser (D.N.K.)” which closes the record on a suitably apocalyptic note.
    Photo: Karen Toftera
    It's tough to pull off a balance of pure, head-banging fun with totally evil, rage-fueled mayhem, all the while weaving in a loose running theme describing the horrors of war... but for the most part, Nocturnal Breed have reached that tricky equilibrium in Napalm Nights, resulting on one of the band's most memorable releases and a triumphant return to form. It's available now from Agonia Records, so go get some!

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    New genre television is always something to be celebrated, and I have been waiting for the premiere of Showtime's Penny Dreadful since it was announced over a year ago. The show, starring Josh Hartnett and Eva Green, premieres in May, but we have an exclusive first look at the new teaser, set to premiere on the network this Sunday.

    Official Synopsis: In PENNY DREADFUL, some of literature’s most famously terrifying characters – including Dr. Frankenstein, Dorian Gray and iconic figures from the novel Dracula, all brilliantly reimagined in a whole new light – have become embroiled in Victorian London. The series is a frightening psychosexual thriller created, written and executive produced by of three-time Oscar® nominee John Logan and executive produced by Logan's Desert Wolf Productions, along with Oscar winner Sam Mendes (American Beauty, Skyfall) and Pippa Harris (Revolutionary Road, Call The Midwife), both of Neal Street. Of the eight episodes, the first two were directed by Juan Antonio Bayona, who helmed The Orphanage and the acclaimed film, The Impossible starring Naomi Watts in her Oscar-nominated performance.  PENNY DREADFUL stars Josh Hartnett (Black Hawk Down), Timothy Dalton (The Living Daylights, License to Kill) and Eva Green (Casino Royale). Reeve Carney (Spider-Man: Turn Off the Dark), Rory Kinnear (Skyfall), Billie Piper (Doctor Who, Secret Diary of a Call Girl), Danny Sapani (The Bill) and Harry Treadaway (The Lone Ranger) also star.

    Penny Dreadful premieres on Showtime on May 11th at 10pm.

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    New comic book Wednesday has come and gone. The dust at your local comic shop has settled. An eerie silence descends as you finish reading your last superhero book of the week. Now it's time for something a little more sinister. Welcome to Bagged and Boarded: comic reviews of the sick, spooky, twisted and terrifying!

    Hellboy: The First 20 Years

    Saturday March 22nd marks a very special day in comics. Hellboy Day. It's crazy to think that the comic about the big red lug and his paranormal friends has been going strong for two decades. But time marches on, and Hellboy: The First 20 Years is a lush and wonderful commemoration of the comic. Mike Mignola's work has spawned a whole world of mythos, amazing characters, and wonderful design, and this book is proof of it. The book is filled with Mignola's best illustrations over the past twenty years, never-before-seen artwork, and a wonderful introduction.

    Bag it or board it up? I don't hide my love for all things Hellboy. But I will admit that this is an item for fans of Mignola's artwork and collectors alone. You won't find any stories in here, you won't find daring and weird adventure. But you'll find a masterfully crafted book that's been given a lot of attention and care. If you really like Mignola's work, this one's an obvious "buy".

    The Maxx: Maxximized No. 5

    The Maxx is back and better than ever. These classic indie comics, originally one of the forerunners of the underground scene, are finally seeing a high-res revival with The Maxx: Maxximized. In issue number five, The Maxx falls asleep after eating sweets and watching cartoons, and enters into a whimsical, albeit monstrous, world of rhymes, creatures, and terror. This issue, famous for inviting another illustrator in to do the dream sequence, looks crisp and clean in this reissue.

    Bag it or board it up? It's nice to check in every once in a while with these Maxx reissues. The colors are clean, the reworking stays true to form, and it's so fun to revisit these twisted tales. Something's not quite right about these comics. They're of a different time, and they all have that early nineties "weird for weird's sake" attitude to them. If you want to take a trip down memory lane, or if you're into Alice in Wonderland-esque stories, you should definitely check this issue out. And just look at that cover! Gives me goosebumps!

    The Witcher No. 1

    By now 'The Witcher' has moved from novels to video games, and onto comics. The titular Witcher of this story is a man possessed of magical powers who hunts monsters for hire as he roams the countryside. When he meets up with an amiable hunter stalked by his once-wife (now-vampire), the two set off into the woods to get away from her sorrowful gaze. But when they encounter a graveyard hag, a spirit of the woods, and a nasty forest maze, they begin to question if venturing into the woods was the right move after all.

    Bag it or board it up? I'll admit, I'm usually pretty biased against video game adaptations in comics. They're usually half-handed, lazy, and just regurgitate the same old tropes you pressed "A" through in the game version. But this comic, lushly illustrated by Joe Querio and with a satisfying script by Paul Tobin, sets the bar much higher. The story is engaging, the atmosphere and world feels lived in and highly detailed, and it's even a little spooky. Even if you're not familiar with the video games you should read this comic.

    B.P.R.D. Hell on Earth No. 117

    Things are beginning to reach a fever pitch in New York City. Manhattan, like the rest of the world, is half-destroyed by monsters. There are gargantuan monsters who stomp through the streets, and tiny ones that clatter all around. All of this is due to the Zinco Corporation, and a magical entity known as The Black Flame. Now two strike forces have infiltrated Manhattan, and this issue is all about the beginning of a big, bad, final showdown. No more stalking around, no more waiting, this is it.

    Bag it or board it up? Of course one of the best issues of B.P.R.D. to come out this year would fall a day short of Hellboy Day. This issue is so full of action, weird creatures, struggle, and paranormal activity that you'd be a fool to let it pass you bye. Check this issue out, even if you've never read another copy of a Mike Mignola comic before. This is, simply put, a must read.

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    Pepsi prank

    Advances in technology have taken pranks to incredible new levels, as we saw when one prankster used his smart phone to convince people that ghosts are indeed real. The hi-tech hijinks continued when a Russian water tricked an unsuspecting diner into thinking a cockroach was crawling on her hand, and now Pepsi has gotten in on the fun with perhaps the most epic prank we've ever seen.

    As we spotted over on The London Evening Standard, Pepsi earlier this week installed Augmented Reality technology at a central London bus shelter, which they used to unleash giant monsters on the city. How is that even possible, you ask? Well, the technology mapped the frightening CG graphics directly over top of a live video feed, which was displayed on the side of the bus shelter. The unsuspecting commuters of course thought the feed was merely a window that they were looking through.

    The clever trick was all about giving people unbelievable thrills... and boy did it ever.

    Check out the incredible prank below, which you've gotta see to believe!

    Who knew that waiting for a bus could be so scary? Check out another awesome bus stop prank, involving our good pal Chucky!

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    Vernon is a small town in the Florida panhandle. Currently home to less than 800 residents, and threatened with destruction due to highway expansion, Vernon has always been an impoverished town. In the late 1950s and early 1960s, the residents of Vernon found a way around that.

    They started dismembering themselves in order to collect from insurance companies.

    Exactly how the trend began, or with who, seems to be lost to history, but during this time period, nearly 50 people lost limbs and collected insurance payouts. Over two-thirds of the total insurance claims in the United States for loss of limb came from Vernon, which soon became known as Nub City. Just some of the insurance claims filed during this time included a man who sawed off his hand at work; a man who shot himself in the foot while "protecting" his chickens; a man who shot his hand while defending himself from a hawk; and a man who lost two limbs in shooting and tractor accidents. One man shot himself in the foot trying to shoot a squirrel, a mere 12 hours after he took out an insurance policy.

    Not a single person was ever convicted of insurance fraud, though goodness knows the insurance companies tried. Juries had a hard time believing that someone would disfigure themselves just to collect money.

    The dismemberment trend died off in the early 1960s due to increased scrutiny and insurance companies refusing to offer policies to Vernon residents. But that's not quite the end of the story. Documentarian Errol Morris came to Vernon in the early 1980s, intent on making a documentary called Nub City. Allegedly, Morris received death threats, which caused him to shift focus to the eccentric - but full-limbed - people living there at the time. The new documentary was titled Vernon, Florida and was released in 1982.

    The legend of Nub City and its residents are all but forgotten. To the best of my knowledge, none of the dismembered people from this time period are still alive. It remains a strange, fascinating tale of how far people will go to survive.

    For more "weird Florida" stories, check out this haunted house for sale; the final days of the Miracle Strip Amusement Park; or Disney World's secret, abandoned theme parks.

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    We are always on the lookout for nasty nibblies here at FEARNET. The latest creepy confection to come across our radar is from Not Martha. The site has a history of providing brilliantly dark delicacies and these spider cakes are no exception.  They are sure to serve as the perfect snack for a Halloween party or any occasion that calls for a touch of the macabre.

    The actual body of the spider is easy enough to make, however, Not Martha provides instructions for attaching the spider legs to store bought cupcakes if you are pressed for time. Regardless of whether you make your own spider body or purchase at a bakery, the end result is totally awesome and surely worth your while.

    If you do opt to make your own cakes, the recipe includes a filling that serves as spider guts, so these spider cakes are sure to equally delight and disgust your guests. The legs are made of the Japanese snack Pocky, so the entire concoction is 100% edible.


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    At the European Space Agency in the Netherlands, there's a special test chamber known as the Large European Acoustic Facility (LEAF) which measures the amount of damage that can be safely sustained by satellites and other spacecraft during a rocket liftoff. 
    Of course, there's only one way to replicate that level of noise. See those big white speaker cones on the walls? Those are designed to create a wall of sound so massive that, according to ESA engineers, they could kill any human exposed to them.
    Gizmodo recently ran a story about the gigantic LEAF facility, which engineers call “the most powerful sound system in Europe.” In a highly controlled environment, the speakers are injected with nitrogen to generate noise levels of 154 decibels – nearly equal to a ton of exploding TNT. The levels emitted in the chamber are so dangerously high that multiple safety measures are in place to prevent the system from activating when the doors are open.
    Meanwhile, NASA has some pretty amazing plans of their own... there's a new telescope in the works that could be the key to discovering alien life!

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    sea snake

    We've talked about some pretty incredible snakes here on FEARNET over the years, from snakes that fly to snakes that moonlight as massage therapists. While this next one doesn't have the ability to soar like a bird, nor would I want it anywhere near a massage parlor, it's nevertheless armed with a pretty incredible super power, allowing it to survive without water for extended periods of time. Beat that, Superman!

    Discovery reports that scientists recently discovered a new species of sea snake dubbed Hydrophis platurus (above), which literally becomes dehydrated for several months, before reconstituting itself after heavy rainfall. The yellow-bellied snakes live in the salty waters of the eastern Pacific Ocean, and since they're unable to drink saltwater, they instead wait for freshwater to accumulate on the surface of the ocean, coming to the surface after heavy rainfalls to lap it up - and once again become properly hydrated.

    Not surprisingly, these incredibly unique snakes are in danger of extinction in some areas, where prolonged periods of drought push them well past their survival point. "We cannot do anything about this except to enact measures to combat climatic changes attributable to human enhancement (such as when we burn fossil fuels)," said Harvey Lillywhite, lead author of the study that revealed these findings.

    We're pulling for you, sea snakes, because you're pretty damn impressive!

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    Grimm Episode 316
    “The Show Must Go On”
    Written By: Marc Gaffen & Kyle McVey
    Directed By: Paul A. Kaufman
    Original Airdate: 21 March 2014

    In This Episode…

    We open on a carnival. Max, an alcoholic performer is fighting with his girlfriend Genevieve, also a performer. She wants to be done with the carnival life; he says they can’t afford to. He stumbles onto the midway and two giggly girls, front row of tonight’s show, see him and beg to know the secrets of the show. He tries to get away from them, but they throw themselves at him, offer him booze, and coerce him into their car. Back at the girls’ house, they dance and drink - then they want to know how he does his “trick.” (While it isn’t shown in the cold open, it is very clear that his “trick” is woging on command, under the auspices of “magic.”) They fawn all over him, one of them tries to take off his pants, and they beg to know his trick. Before the date rape can get underway, Max woges and reveals a very angry blutbad face. The girls’ screams echo into the night.

    Nick and Hank discover the girls were at the Carnival Metamorphosia last night, so off they go. They are directed to carnival owner Hedig, who is starting his show, so Nick and Hank sit in. The show consists of Hedig revealing three otherwise normal people, but when he cracks his whip, they each, in turn, woge into their respective wesen forms. Max is the grand finale. He is brought out in a cage, whipped several times, woges, and escapes his cage by using brute force to bend the bars. He rushes into the audience, and Hedig uses his pistol to stop the animal before he can harm the spectators. After the show, the guys go with Hedig to get a list of carnies in his employ. Genevieve goes to Max, worried about what happened with the girls last night. He doesn’t remember.

    As is usual, Nick and Hank tell Monroe and Rosalee about the carnival. This is a sad fact in their world: wesen being exploited for entertainment. Because it is being portrayed as a magic trick, the council lets them slide, but wesen are encouraged to intervene. The bigger worry is umkippen - when the wesen side takes control. So while Hank and Nick do their cop thing, Monroe and Rosalee pay the carnival a visit. Rosalee is mistaken as a performer there to audition, and is whisked away, leaving Monroe concerned. Max and Genevieve had it out the night before, and she cut her leg on some glass, so Hedig won’t let her perform. Rosalee’s “audition” consists of nothing more than a woge and a spin. She is hired.

    Genevieve is in charge of getting Rosalee prepared for the night’s show, but she is less than warm. Genevieve says Rosalee looks like a nice girl - and this is no place for a nice girl. She is depressed and defeated, and admits to being more afraid for Max than for herself. Rosalee changes for the show, and Monroe pops his head in, determined to get her to leave. “It’s worse than we thought.” She insists on going on, so Monroe calls Nick. “We might be in over our heads here.”

    Max, meanwhile, is deteriorating. He is having a hard time controlling his blutbad, and refuses to go on with Rosalee. Hedig starts the show anyway. When he gets to Rosalee, she freeze with sudden stage fright. Max can no longer contain himself and woges, pulling down the curtain around his cage. Hedig rolls with it, and Max roars into the audience. But this time, when Hedig fires his cap gun at him, Max doesn’t roll over and play dead. He starts rampaging through the audience, who quickly realize this is not part of the show and vacate the tent. When Max heads for Rosalee, Monroe woges to defend her honor. Rosalee separates them, reminding Monroe that Max is sick. Max goes human again, having no idea what happened while he was shifted.

    Hedig, who sees the tides are shifting, runs into the funhouse (naturally) to hide from his angry performers. They catch up with him in the hall of mirrors, and Hedig tries to defend himself. The performers don’t want to hear it and the dragon wesen shifts and burns him alive. All that the cops find is a charred corpse. As far as Renard is concerned, that is justice and the case is closed.

    Meanwhile, in the Swiss Alps, Adalind and Meisner are still hiding from Victor. The come to the place where Sebastian first dropped them off, with the intention of stealing one of the cars. Meisner is shocked to find Sebastian, badly beaten, in the backseat. A verrat sneaks up on him - but suddenly, he is aiming his gun at his own head. He pulls the trigger and drops, revealing Adalind, off in the distance, returning to human form. Sebastian insists the trio get out of here and leave him to take care of Victor and the rest of his guards. They drive off, and Meisner calls Renard. He has travel out of Zurich arranged for Adalind and the baby. Meisner is needed in Europe. When Victor and his men respond to the sound of gunfire, they are surprised to see Sebastian in the back of one of the cars - with a gun. He shoots the verrat, but when Victor comes up, he is out of bullets. Sebastian is dead.

    Also: Rosalee asks Juliette to be her maid of honor; Monroe asks Nick to be his best man. They are both honored, but Nick starts having stress dreams about standing up next to Monroe, in a room full of wesen, and sees it end in much bloodshed and beheadings.

    Dig It or Bury It?

    I love carnival settings. They are always creepy, a heady mix of elaborate costumes, sketchy workers, the transient nature, clowns, junk food, and neon lights. Grimm did not disappoint in its portrayal of a carnival. I also liked the format of tonight’s episode. The procedural aspects of the episode were barely a footnote; the focus was on the more “human” aspect of exploitation. I liked that Rosalee had more to do in tonight’s episode than just be the slightly nerdy shopkeep. 

    Fun fact: Sam Witwer, who played Max in tonight’s episode, is probably best known for his role as a vampire in the American version of Being Human.


    When Grimm returns on April 4th, Nick’s mom is back - and she has brought Adalind and her baby with her.

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    Hannibal Episode 204
    Written By: Scott Nimerfro and Bryan Fuller
    Directed By: David Semel
    Original Airdate: 21 March 2014

    In This Episode…

    Beverly visits Will with more crime scene photos; this time of The Muralist, James Gray, in the mural. There were no signs of a struggle, and The Muralist would have worked alone, which means that the person who sewed him into his work had to understand him well enough to find his “studio” and have a feel for his artwork. He again points Beverly towards Hannibal and suggests she look for “clever details.” Beverly will look for the details, but not for Hannibal. She heads back to the lab and starts looking over The Muralist’s corpse with Hannibal. He lets slip an intriguingly specific clue that could not have been a mistake: to get to the truth behind appearances, one must get under the skin to understand the true pathology.

    Chilton and Will have a very odd relationship now. Chilton is overtly aggressive towards Will, but Will uses that to his advantage. “Either I’m a different breed of psychopath, delusional, or right about Hannibal. Aren’t you curious to know which?” Chilton wants to test him. Will agrees as long as he no longer shares details about him with Hannibal. “I am under your exclusive care.” Chilton wants to give Will a narco-analytic test, basically shoot him up with truth serum. While he is prepped, Will asks about removing memories from people’s brains, and if Hannibal has the knowledge to do so. It would require “unorthodox” methods (i.e. lobotomy) and yes, Hannibal could do it. The sodium pentathol takes effect and Will slips into a sort of spasmodic coma-like state. He remembers. Chilton and his questions fade into the background as Will remembers sitting in Hannibal’s office, being asked to draw a clock. But this time, Hannibal is injecting him with something. The clock becomes misshapen, and Hannibal’s face slides around until he looks like a Picasso. When Chilton brings Will back into the real world, he excitedly tells Chilton that Hannibal was inducing Will’s seizures, using his encephalitis as a catalyst. When Hannibal comes to the hospital, Chilton explains that Will is at a delicate place in therapy, and that he may not suffer from any one disorder - and he mentions that Will’s seizures may have been induced. Hannibal carefully admits that he has used light stimulation, a common enough treatment. The fact that Will was suffering from encephalitis at the time, causing the seizures, was pure “coincidence.” Chilton thinks it was strategic and flat-out suggests that Hannibal has been driving Will all along. “You are not the only doctor accused of pushing a client to kill. We have to stick together.” Cue the dramatic sting of organ music!

    Murder never stops, and Jack’s newest case is one of a man, found in a field, his body turned into a makeshift apiary. He is covered in honeycomb and bees. He was purposely repurposed to be a human apiary: his brain and eyes were removed to make room for the hive. The victim, Duncan, had a very high white blood cell count. He had no home, no money, no family. Duncan’s killer, a hippy-dippy herbalist named Katherine, has a new “victim” on her table, an elderly man with severe arthritis. She treats him with a combination of bee stings and acupuncture. Then she lobotomizes him. A little girl finds this victim in the park - only he is not dead. He is swollen and lumpy from allergic reactions to multiple bee stings - and his eyeballs have been removed. But he is still standing. The bee stings were used to cover up needle marks. This strikes something in Beverly, and she examines The Muralist. She sees that his stitches are hiding stitches. Remembering what Hannibal told her, she opens up the stitches and reaches deep into the abdominal cavity. The killer took The Muralist’s kidney.

    Beverly takes this new info to Will, who is distracted by the fact that she let Hannibal examine the body with her. “Stay away from Hannibal Lecter,” he warns. But Beverly is starting to turn to Will’s side. “If Hannibal is The Ripper… what is he doing with his trophies?” Will flashes back to one of his first meetings with Hannibal, breakfast at the motel before one of their first case. He shudders. “He’s eating them.”

    Jack and his backup pay Katherine a visit to tell her that her patients are dead. (Well, one is as good as dead.) She doesn’t seem particularly concerned; in fact, she admits, without any provocation, that Holloram dying in a meadow with a headful of bees seemed much nicer that the alternatives. “Did you try the honey?” Jack plays along, says no, and Katherine agrees. “It seemed too morbid.” Katherine believes she helped these men. Holloran she brought to the meadow to die in peace. “I didn’t kill him, I quieted his mind so he could die in peace.” So that’s that. Easiest case Hannibal has ever had.

    Meanwhile, Bella’s health has taken a turn for the worse. She is unhappy that she let Jack talk her into chemo; all it is doing is extending the length of her increasingly painful life. During her visits with Hannibal, she not-so-subtly comes to realization that, in case like this, suicide is not a shameful choice. So she returns to Hannibal, needing help to enter his office. She has taken all of her morphine, then come there to die - without telling Jack. Hannibal sees it as denying Jack the chance to say goodbye; Bella sees this as merciful: “I denied him a painful goodbye, and allowed myself a peaceful one.” She slips away, goes limp. Hannibal simply stares at her. After a long minute, he takes out an antique coin, one that Bella gave him as a gift, and flips it. He gets some meds from his cabinet and revives Bella, who is distraught to find herself still alive.

    At the hospital, Bella is in bad shape. Jack is at her side lovingly - and Hannibal is there, too, to apologize for not being able to do what she asked of him. He sets the coin down on one of her IVs. She uses every ounce of strength to smack Hannibal across the face. Wheezing, she commands him to get out.

    After her visit with Will, Beverly returns to the office, looking for Jack. Jimmy tells him he had an emergency with Bella, and went to meet Hannibal at the hospital. Beverly takes this as a sign, and sneaks into Hannibal’s house, poking around. Behind a locked door, she finds a second kitchen, with another fridge, and a vacuum-sealed package of strange-looking meat. “Gotcha,” she murmurs and removes it. In the dark, she spills a glass with some liquid in it, and sees the drops roll across the floorboards - and drip into the basement. There is something downstairs.

    Beverly creeps into the basement. Something makes her freeze and turn on the light. Hannibal is standing behind her. He makes a move for her; she goes for her gun. We pull out, seeing only the lonely facade of the house - as we hear a gunshott.

    Dig It or Bury It?

    Damn you, cliffhanger. What did Beverly see? I have to imagine that Hannibal killed her. We know Hannibal makes it to the end of the season as a free man - remember that wicked fight he has with Jack in the first episode. I can’t see a situation where Hannibal would allow Beverly to live.

    Finally, we get a hint at Chilton’s dark side. He is going to be a wonderful, evil compliment to Hannibal. 

    I am trying to decide if Hannibal’s revival of Bella was pure cruelty or just a game. The coin flip suggests that he was playing a game, a cold, callous game, but the fact that he knows that Bella wants to die (for very good reason) and yet he plays his little game anyway suggests intense cruelty.

    Also, Will seems to be a lot more lively tonight. In the previous episodes, Will was depressed, borderline catatonic. Tonight he seems to have some fight in him. Perhaps he is just now fully recuperating from his encephalitis; maybe he is encouraged that Beverly seems to be believing him. But he had a fight in him that we have not seen this season.

    I miss Winston. I think it would do Will some good to get a visit from his puppies.

    Chef’s Special

    Takiawase is a course of vegetables served with meat, fish or tofu. The ingredients are simmered separately.


    Will discovers that his orderly at the hospital is the one who killed the bailiff and the judge. He wants him to kill Hannibal Lecter. I suspect that this orderly might be all in Will’s mind.

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    pregnant huntsman spider

    With an average legspan of around 10 to 12 inches, Huntsman spiders are some of the largest of all arachnids, and they're mostly found in tropical regions like the African rainforest. So you can imagine one UK woman's surprise when last week her home was invaded by one, which found itself incredibly far from its natural habitat.

    The Daily Star reports that Nora Serrat recently spent two weeks on vacation in the Cameroon rainforest, unknowingly returning home from the trip with a particularly frightening new piece of luggage. A massive Huntsman spider snuck into her backpack and hitched a ride all the way to the UK, where it soon emerged, eager to explore its new home. "It jumped out of the sleeping mat," said Serrat, "but we captured it with a carton box."

    Most horrifying of all is that the giant spider was pregnant, carrying around a huge egg sac that contained 400 little spider babies. Yes, that is indeed an egg sac it's sitting on, not a makeup remover pad. Thankfully, no births occured in Serrat's home, and the Huntman was safely captured and will be returned to the rainforest.

    For more giant spider fun, learn all about the Goliath bird-eater, which is so massive that it literally consumes birds!

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    Japan Fear Mountain

    Picture above is Mount Osore, located on a remote peninsula in Japan. Mount Osore is a volcano that hasn't erupted since 1787, and popular mythology will have you believe that the volcanic wasteland actually marks the entrance to Hell, with its name literally translating to Mount Fear (aka Fear Mountain).

    Bubbling sulphur pits, noxious fumes and howling winds no doubt are responsible for the area being considered a conduit to another world, and Mount Osore has become an incredibly sacred place, where many visit in an attempt to make contact with the dead.

    But perhaps the strangest thing about the so-called Fear Mountain are the highly unique mushrooms that grow there, which exist nowhere else in the world...

    Skull Mushroom

    As you can see, these 'Skull Mushrooms' most definitely live up to their name, with the caps of them resembling the shape of a human skull, both on the front and back. 'Big Skull Mushrooms' measure up to 12.5" tall, with the 'Princess Skull' variety measuring a little bit smaller. There's also a 'Devil Skull' variation, which is an orange-reddish color.

    As we spotted over on Radiant Hour, unusually large numbers of these mushrooms sprang up in the wake of 2011's Tohoku earthquake and tsunami, which caused over 15,000 deaths. A similar skull mushroom bloom occured after a deadly earthquake in 1923, which has led many to believe that the strange mushrooms are literally grown from death. Not surprisingly, they're often used for spiritual rituals, and they're thought to possess medicinal properties.

    Check out the 'bleeding tooth mushroom,' which also earns its name!

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    If you're planning on going out for sushi this week, you might think twice after reading this unsettling but apparently true story: it seems a South Carolina man was shopping at his local Costco on March 14th when he saw something horrifying inside a package of wild Pacific cod: 
    That creepy pink thing is a full-grown parasitic worm called a nematode, which happened to be alive and wriggling.
    The shopper, Binh Nguyen of Spartanburg, S.C., posted a video of the parasite to his Facebook page– along with a warning to friends to be extra careful when making their seafood purchases – and it soon went viral (over 300,000 shares as of this writing), attracting the attention of local news station WSPA 7. The station's watchdog program brought the story to the attention of Costo executives, who responded by saying that nematodes are actually fairly common in ground fish like cod, and that the inspection process (which is now under review) doesn't always detect the parasites. 
    The health risk to humans is said to be very low, as long as the fish is cooked thoroughly... but whether they're poached, fried or baked, I'm not sure I'll be developing a taste for parasites any time soon.
    If you're thinking big, there's a worm in Australia that can grow up to ten feet long... that's a lot of worm steaks!

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    Considering they're the best-known cryptids in history, the humanoids known variously as Sasquatch, Bigfoot, Yeti, the Abominable Snowman and so forth don't get much respect in modern cinema. While thousands of hours of film and video have been dedicated to these elusive man-beasts, there's something about the big dude that makes it nearly impossible for filmmakers to take him seriously, or even tell a semi-competent story about him. It's certainly not for a lack of trying; there have been nearly a hundred Bigfoot and Yeti movies released since the '50s. Old-fashioned giant monster romps, found-footage and slasher entries, feel-good family dramas, romantic comedies... even porno flicks. So why are nearly all of them so damn goofy?
    Don't get me wrong, I really enjoy these insane interpretations; in fact, the crazier they get, the more I dig 'em. So to honor this dubious cinematic legacy, here are two dozen of the all-time nuttiest Bigfoot & Yeti flicks ever!
    Abominable (2006)
    Probably one of the most “respectable” entries on this list (which is a pretty dubious distinction) thanks to the appearance of genre icons Lance Henriksen (Aliens) and Jeffrey Combs (Re-Animator), as well as a very good man-in-suit monster (enhanced by creepy animatronics) which often looks like a really pissed-off hobo.
    Ape Canyon (2002) 
    One of many tales to exploit the kinky potential of Bigfoot's interspecies sexual needs (currently an extremely popular trend in erotic fiction), this sleazy, cheap shot-on-video entry is probably a bit too rapey for most tastes, but an amazingly weird spectacle nonetheless.
    Bigfoot (1970) 
    Another “Bigfoot digs the chicks” entry, this exploitation junker pits the randy beast against a gang of equally sex-crazed bikers who challenge the monster's claim to their buxom girlfriends. Dumb, but fun, and the ladies are extremely cute; you gotta admit the big guy has pretty good taste.
    Bigfoot (2012)
    A typical Syfy monster quickie, this one's also produced by The Asylum – so smoke 'em if you got 'em, if you know what I mean. From the ridiculously huge title beast (he looks totally Kong-sized at one point) to the always disturbing presence of Danny Bonaduce, all bets are off on retaining your sanity.
    Bigfoot: The Lost Coast Tapes (2012) 
    It's not the only Bigfoot entry in the found-footage subgenre, but Lost Coast Tapes is one of the more watchable of the bunch, taking advantage of the “dude, did you see that?” potential of Sasquatch sightings. Creepy stuff!
    Bigfoot's Wild Weekend (2012) 
    Apparently Bigfoot really likes him some boobies, as he spends lots of time ogling naked babes in this silly softcore romp – which seems to be setting up a much naughtier scenario, but never actually delivers. That may be for the best.
    Curse of Bigfoot (1958/1976) 
    The dual dates for this outrageously bad title refer to its original release as a mummy movie titled Teenagers Battle the Thing, spliced with some oddball “educational” footage and a "new" papier-mache monster in an attempt to cash in on the mid-'70s Bigfoot craze. It totally didn't help.
    Dear God No!  (2011) 
    This sleazeball fusion of bikers, Nazis and nuns (yup, they're covering all retro-grindhouse bases here) also slides into '70s backwoods monster territory, resulting in one of the more entertaining and extreme titles on this list. Big fun, if you know what you're getting into.
    Demonwarp (1988) 
    This backwoods slasher flick features a Sasquatch-type monster – which may be an alien – and there are also some zombies, lots of nudity, and George Kennedy. That's all I could figure out. Notable as an early script from FX guru John Carl Buechler (who was originally slated to direct), it's impossible to decipher, but at least it's not boring.
    Drawing Flies (1996) 
    Ever wondered what Clerks would be like set in Bigfoot country? Well, this is your big chance. Sadly, it's pretty forgettable, aside from early appearances by Kevin Smith's stable of actors – including Smith himself in an early “Silent Bob” incarnation.
    Half Human (1958) 
    The Japanese monster movie Jû jin yuki otoko (from Toho Studios, the creators ofGodzilla) was re-cut by its US distributor, who then added footage featuring horror legend John Carradine (cashing one of his many quick paychecks). The result makes zero sense, but it's got a pretty cool kaiju-style Yeti.
    The Legend of Boggy Creek (1972)
    While it's best known for its chilling trailer, this pseudo-documentary from B-movie auteur Charles Pierce (The Town That Dreaded Sundown) about Arkansas' legendary “Fouke Monster” is an amateurish exercise, but it's got that awesome '70s drive-in feel you just can't duplicate. Pierce's 1985 sequel, Boggy Creek II, was trashed on Mystery Science Theater 3000 (and deserved it), and the story was loosely revisited in 2010... but I'll stick with the original.
    Legend of the Sandsquatch (2010) 
    Apart from the dumb-ass title (probably decided between bong hits), this is a semi-entertaining spin on the legend, transposed to a desert setting, with emphasis on the “missing link” aspect. Sadly, the monster reveal is quite underwhelming: it's basically a sand-encrusted naked guy.
    Little Bigfoot (1997) 
    Another family-friendly entry in the subgenre, this is also one of the worst Bigfoot movies I've ever seen, coming dangerously close to the glorious awfulness of Troll 2, but wrapped up in a flimsy environmental message and embarrassing attempts at tugging the heartstrings (I did feel a tug, but it wasn't my heart). There's a sequel. It sucks even harder.
    Man Beast (1956) 
    Hokey but actually a lot of fun, this early outing from notorious low-budget auteur Jerry Warren (Teenage Zombies) leans too heavily on nature footage and clunky dialog scenes, but the tribe of savage Yetis are fairly creepy, and the main plot twist is surprisingly effective.
    Night of the Demon (1980) 
    Not to be confused with Night of the Demons (the one with Linnea Quigley and the lipstick), this no-budget splatterfest throws in black magic, a slasher body count and tons of cheesy gore (including a guy's thingie getting ripped off), and makes absolutely no sense... but it's still a damn good time.
    Night of the Howling Beast (1975) 
    Who better to face off against a Yeti than a werewolf – specifically Spanish horror icon Paul Naschy, in his famed role as the lycanthropic Waldemar Daninsky? Yup, it's as fun as it sounds, and this ludicrous flick throws just about everything at the screen to keep you entertained.
    Nightbeasts (2010) 
    Obscure but worth seeking out, this Sasquatch tale draws more from Native American lore for its premise... but that's not to say it takes the subject too seriously. Instead, it goes for fast and fun entertainment, with a good turn from Gremlins star Zach Galligan and a cameo by Troma's Lloyd Kaufman.
    Sasquatch (2002) 
    Before the bigger-budget Abominable, Lance Henriksen faced off against another hirsute humanoid in this direct-to-video offering (originally titled The Untold). It's cheap but fun, featuring cool monster point-of-view shots inspired by Predator, but the horribly choppy editing might try your patience.
    Shriek of the Mutilated (1974) 
    This gloriously awful mishmash of Bigfoot cash-in, cannibal exploitation and  body-count flick is sheer lunacy. The plot has something to do with an anthropology professor and his students tracking a Yeti in New York... and before you comment about the Yeti legend being native to Nepal, I don't think the filmmakers actually gave two shits about that.
    Snowbeast (1977) 
    This hokey monster flick scared the hell out of me when I was a kid, and while it doesn't quite do the trick today, it's still packed with enough soapy TV-movie fun to please '70s horror buffs. It was remade in 2011 for Syfy, but I'm going with the original for the nostalgia factor (and yummy Yvette Mimieux in ski pants).
    Stomp! Shout! Scream! (2005) 
    One of the few films to reference the “Skunk Ape” legend of the Everglades, this one tosses the monster into a parody of the rock 'n' roll teen beach-party genre. An excellent selection of garage-band tracks keeps the joint stomping, shouting and screaming. Not quite as good as Psycho Beach Party, but lots of fun nevertheless.
    The Wildman of the Navidad (2009) 
    Another deliberately retro-styled throwback to '70s horror, this Texas-based production totally nails the gritty look and feel (all the way down to its “based on a true story” tag), but also excels as a taut and fast-paced thriller, playing the material completely straight. Highly recommended.
    Yeti: A Love Story (2006) 
    If you're wondering why there aren't more Troma titles on this list, I'd say this one's outrageous enough to take up the slack. It's groundbreaking in its own unique way, as it's probably the only Yeti-themed gay sex film ever made... but again, this is Troma we're talking about, so don't expect any bold social subtext here.
    Believe it or not, this list represents just a tiny fraction of the bizarre Bigfoot and Yeti movies out there... so if you don't see one of your favorite titles, be sure to add it in the comments!

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