We’re just a couple weeks into Pokémon TCG Pocket’s life out in the wild and the devs behind the hit mobile card game adaptation have already teased some big upcoming plans. Those include new booster packs before the end of the year, the arrival of trading in 2025, and other new features that are still in development.
Stranger Things and Ghostbusters: Afterlife / Frozen Empire actor Finn Wolfhard recently made his feature directorial debut with a horror comedy called Hell of a Summer, which he directed alongside Billy Bryk, who also appeared in Ghostbusters: Afterlife. JoBlo’s own Chris Bumbray had the chance to watch the movie at the Toronto International Film Festival last year and gave it a 5/10 review than can be read at THIS LINK. Hell of a Summer has secured a U.S. distribution deal with NEON, and will receive a theatrical release sometime in 2025 – and earlier this week, we learned that Wolfhard and Bryk have already lined up their second genre project, as they’re writing a remake of the 1999 horror comedy Idle Hands, which they might end up directing as well. The Ghostbusters franchise’s Jason Reitman is on board to produce the film. But what does original Idle Hands star Devon Sawa think of this announcement? He took to social media to let us know.
Sawa wrote on X, “I mean if anyone’s gonna do it, better be them two fine lads (Wolfhard and Bryk). Good luck fellas.” He added, “My 10 year old: “Awesome!! Finn Wolfhard from the coolest show Stranger Things is making a new movie called Idle Hands!!” Me: “I was in Idle Hands!! I’m the original Anton!!” “Sure, dad. Whatever you say. Can I have a snack?”“
Directed by Rodman Flender – who also directed Leprechaun 2 and happens to be the uncle of Dune star Timothée Chalamet – from a screenplay by Terri Hughes and Ron Milbauer, the original Idle Hands has the following synopsis: When slacker teen Anton Tobias has his right hand possessed by a demonic force, he finds that his life gets a lot more interesting. While Anton himself is an amiable guy, his hand proves to be an appendage of death, killing his two best buddies, Pnub and Mick, who return to life as wisecracking zombies. In addition to murdering those closest to him, Anton’s evil hand significantly hinders his chances with lovely neighbor Molly.
Sawa was joined in the cast by Seth Green, Elden Henson, Jessica Alba, Vivica A. Fox, Jack Noseworthy, Steve Van Wormer, Fred Willard, Connie Ray, Katie Wright, Kelly Monaco, Sean Whalen, Nick Sadler, Randy Oglesby, Timothy Stack, Mindy Sterling, Joey Slotnick, Tom DeLonge, and Kyle Gass, with Christopher Hart as The Hand. There’s also a special appearance by the band The Offspring.
Earlier this year, Sawa (who appeared on every season of the Chucky TV series) suggested that there should be a Chucky / Idle Hands crossover. He told Collider, “I would love to see something like Chucky battle the hand, running wild in a little house, like a hand and Chucky chasing it with a knife. That would be the ultimate battle.” It doesn’t seem like we’ll ever see that battle, but we do have more Idle Hands action to look forward to know.
Reitman is producing the Idle Hands remake with Jennifer Todd and Suzanne Todd, under their Team Todd banner. Reitman’s Ghostbusters collaborator (and Frozen Empire director) Gil Keenan is also a producer on the project. Maia Eyre is overseeing for Sony.
Would you like to see Devon Sawa show up in the Idle Hands remake? Let us know by leaving a comment below.
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With all these musical biopics being released, many are questioning how many of these life stories can be told in a more refreshing way without falling into the traps that Walk Hard: The Dewey Cox Story parodied. Well, Robbie Williams and the creatives behind Better Man have attempted a slightly different approach. The film inspired by Williams’ life has him being portrayed by a CGI chimpanzee. Our own Chris Bumbray loved the movie at TIFF, saying in his review, “The craziest thing about Better Man isn’t the fact that Robbie Williams is presented as a CGI chimpanzee but rather that this risky conceit works quite well. […] While I went into Better Man with a raised eyebrow, wary of the chimpanzee aspect, to my delight, it worked wonderfully. As far as big-screen biopics go, this is a pretty deliriously entertaining one, and I had a blast watching it. It’s definitely one to keep an eye out for.”
Paramount has now released the trailer for Better Man coupled with a featurette. The official synopsis reads, “Better Man is based on the true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams, one of the greatest entertainers of all time. Under the visionary direction of Michael Gracey (The Greatest Showman), the film is uniquely told from Robbie’s perspective, capturing his signature wit and indomitable spirit. It follows Robbie’s journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist – all the while confronting the challenges that stratospheric fame and success can bring.”
The film stars Robbie Williams, Jonno Davies, Steve Pemberton, Damon Herriman, Raechelle Banno, Alison Steadman, Kate Mulvaney, Frazer Hadfield, Tom Budge and Anthony Hayes.
Michael Gracey directs from a screenplay he wrote with Simon Gleeson and Oliver Cole. The movie is produced by Paul Currie, Michael Gracey, Coco Xiaolu Ma, Jules Daly and Craig McMahon. And the executive producers on board include Zhe Chen, Robbie Williams, Markus Barmettler, Philip Lee, Li-Wei Chu, Michael Loney, Thorsten Schumacher,Lars Sylvest, Mark Williams, Gregory Jankilevitsch, Klaudia Smieja, David Ravel, Domenic Benvenuto, Gianni Benvenuto, Zoran Stojkovic, Faris Dedic, David Conley, Daniel Fluri, Adrian Grabe, Andres Kernen and Dean Hood.
The film will swing into select theaters on December 25 and then go nationwide on January 17, 2025.
The post Robbie Williams subverts the usual music biopic with a chimpanzee taking his place in the new trailer for Better Man appeared first on JoBlo.
The Ben Affleck/Charlize Theron Christmas action film is coming home…just not in time for Christmas. Blu-ray.com is reporting that Reindeer Games, the final theatrical film by John Frankenheimer, is getting a new 4K Blu-ray release from Kino Lorber. The Santa-centric Casino robbery film stars Ben Affleck, Gary Sinise, Charlize Theron, Isaac Hayes, and Ron Jeremy. However, the holiday-themed film is due to hit retailers just after the holidays on January 14.
The description reads,
“Just released from prison, all Rudy Duncan (Ben Affleck) wants is to start a new life with Ashley (Charlize Theron), the girl of his dreams, whom he met through pen pal letters in prison. But between them and happiness stands her crazy brother, Gabriel (Gary Sinise), and his motley crue of deadly criminals who think Rudy has some inside information about a casino where he once had a job — a casino Gabriel and his short-fused posse plan to take down.”
Special Features and Technical Specs:
DISC ONE – 4K BLU-RAY
DISC TWO – BLU-RAY
As panned as this movie is, Reindeer Games would still make a spot on our past Best Christmas Action Movies list, saying, “This is one of those movies that’s kinda good and kinda not good but still belongs on your Christmas watch list. […] This movie starts with that Yuletide spirit by panning across several dead Santas. So, it is not exactly the movie you want to watch with your kids on Christmas Eve before reading them the night before Christmas, but, as with some of the other films on this list, Reindeer Games is one of those Christmas movies you watch early in December to get you in the Christmas mood.”
The post The Ben Affleck Christmas actioner, Reindeer Games, will get a new 4K Blu-ray release just after the holidays appeared first on JoBlo.
Nearly 35 years have passed since writer/director Richard Stanley sent his sci-fi horror cult classic Hardware out into the world. Now, the folks at the Australian company Umbrella Entertainment have revealed that they’re getting an early start on celebrating the film’s anniversary by giving it a 4K collector’s edition release – and this release includes a copy of the script for the unmade sequel! Copies of the 4K collector’s edition set can be purchased at THIS LINK.
Starring Dylan McDermott and Stacey Travis, with a cameo by Lemmy and a vocal performance by Iggy Pop, Hardware has the following synopsis: In the barren, radioactive wastelands of the future lies the discarded remains of a Mark 13 cyborg, an advanced military killing machine. When purchased as scrap by Space Trooper Mo as a gift for his sculptress girlfriend, the dismembered remains begin to reconstruct themselves. The fully restored exterminator embarks on a relentless killing spree, with Mo’s girlfriend as its prime target.
Here’s the information on the Umbrella Entertainment release: Umbrella Entertainment presents Hardware fully uncut and uncensored in 4K HDR. Remastered by Umbrella, this release has been supervised by director Richard Stanley (Dust Devil, Color Out of Space). Hardware is a fever dream of gore, sex, sweat, grease and sand delivered as a warning from a nihilistic future. Stylishly melding hard rock, industrial horror and cyberpunk dystopia, Stanley’s cult classic is a pulse-pounding journey into the dangers of unchecked technology and the resilience of the human spirit against mechanical terror. Hardware also features a full-throttle soundtrack including Ministry and Public Image Ltd. and appearances from music stalwarts Iggy Pop, Lemmy from Motorhead and Fields of The Nephilim’s Carl McCoy.
The 4K collector’s edition has the following special features: – NEW! HDR 4K remaster by Umbrella Entertainment – NEW! Audio Commentary with Director Richard Stanley – Audio commentary Director Richard Stanley and Producer Paul Trijbits – No Flesh Shall Be Spared: The Making of Hardware – NEW! Interview with Producer Stephen Wooley – NEW! Hardware: Richard Stanley’s Bitter Message of Hope and Grief, A Video Essay by Bryn Tilly – NEW! Original Storyboard Featurette – Deleted and Extended Scenes – Richard Stanley on Hardware 2 – Hardware Promo Videos with Iggy Pop and Lemmy – Original Hardware Promo Video – Rites of Passage, 1983 Short Film – Incidents in an Expanding Universe, 1985 Short Film – The Voice of the Moon, 1990 Documentary – The Sea of Perdition, 2006 Short Film – Trailer Plus, it comes with – Exclusive T-shirt designed by Hollow Bones Studios (220GSM AS Colour Classic) – A 150+ page hardback book with never before seen behind the scenes, experiences and art from director Richard Stanley – A 100+ page softback book of the unreleased Hardware 2: Ground Zero script – Custom designed rigid case, slipcase and books using pre-production artwork and posters – 8 artcards – A3 reversible poster – Limited Edition Numbered release
Umbrella Entertainment is also offering a 4K and Blu-ray set that doesn’t have the T-shirt, book, script, or artcards. That edition of Hardware goes for $100AUD less than the collector’s edition and can be purchased HERE. If you want the book, script, and artcards, but don’t care about a T-shirt, a shirt-less edition is also an option.
Are you a fan of Hardware, and will you be buying the 4K from Umbrella Entertainment? Let us know by leaving a comment below.
The post Hardware: Richard Stanley’s sci-fi horror film gets a 4K collector’s edition release that includes the script for the unmade sequel appeared first on JoBlo.
PLOT: When Santa Claus (J.K. Simmons) is kidnapped from the North Pole on the day before Christmas, his head of security, Callum Drift (Dwayne Johnson), must team with an untrustworthy tracker (Chris Evans) to find him and save both Christmas and the world!
REVIEW: Red One is the very definition of a streaming movie. While it’s getting a theatrical release, it seems tailor-made as a movie meant to please the algorithm and audiences looking for an easily digestible family action film they can break up in pieces. Despite running only two hours, it’s striking similar in structure to Dwayne Johnson’s Netflix hit, Red Notice, in that it’s little more than a series of generic action set pieces strung together and designed as “world-building” in the hopes, I suppose, that this will turn out to be a perennial hit for Prime Video. It hits theatres this week, but I wouldn’t be a bit surprised to see it surface on streaming before the Holiday season kicks into high gear.
Really, that’s probably where a movie like this belongs, as in a theatrical setting it feels like a surprisingly tough sit, with it anchored around some “buddy” chemistry which never really surfaces. Here, Johnson’s upstanding Callum Drift is partnered with Chris Evans’s scheming Jack O’Malley, with us supposed to be charmed by the fact that they start out at each other’s throats in classic buddy movie tradition. However, those pairings are lightning in a bottle, with Johnson and Evans doing the same wannabe Tango & Cash pairing we’ve seen fall flat too many times. I get it – when it works (such as in Deadpool & Wolverine), it’s golden, but Johnson and Evans are playing too close to type here without ever really poking fun at themselves. It’s a formula Johnson’s done again and again, but has it ever really worked?
Red One plunges us into the middle of a high-tech North Pole, where Santa Claus is a jacked J.K. Simmons, who has a security network that puts the Pentagon to shame. Johnson’s Drift is his number one guy, but he’s just resigned, as he’s despondent over how much the naughty list has grown over the years. Of course, when Santa is taken, he teams up with Lucy Liu’s head of MORA (Mythological Oversight and Restoration Authority) to find ol’ St Nick.
Director Jake Kasdan is an old hand at movies like this, having directed The Rock in two Jumanji movies, and Red One is done very much in the same style. We’re supposed to find it hilarious that Johnson is basically an ELF, and a pal of Santa’s, with many jokes directed at how imposing and scary a guy he is – but is Johnson really that anymore? We always see him play these kinds of super-imposing, soft-hearted heroes, making his casting feel like old hat.
Evans isn’t that much more effective as Jack O’Malley, who’s supposed to be such a degenerate that the movie opens with him literally stealing candy from a baby. Yet, the movie also gives him an estranged son to care about, and who wants to bet that by the time the credits roll, this former member of the “naughty” list will have a change of heart?
One thing about Red One is that it plays like a Marvel movie without the superheroes, with heavy doses of CG creatures and a villain no one will really care about, with Kiernan Shipka’s witch, Grýla, never allowed to become too threatening. Like other streaming movies, it feels like an algorithm threw together Jumanji, Marvel, and Christmas, spitting out the idea for this, with the script by Chris Morgan (one of the Fast Saga’s masterminds) utterly generic.
Indeed, there’s pretty much nothing anyone does in Red One that hasn’t been done a lot better elsewhere. Heck, if you want to see a really badass Christmas action flick, look no further than Violent Night. Red One is really only worthwhile if you’re desperate for some inoffensive entertainment for the kids, but otherwise this is just a big old lump of coal.
The post Red One Review: Another misfire from The Rock? appeared first on JoBlo.
In space, no one can hear you scream. But in the news, everybody can hear your gripes. As he gears up for the release of another sequel in Gladiator II, Ridley Scott is opening up about not only how he got sidestepped for Aliens but also his take on the rest that followed, including his own.
Speaking with Deadline, Ridley Scott remembered being told by James Cameron just how the Alien franchise would be moving forward – and how that all changed when he himself stepped aside. Remember, Scott maintains that he wasn’t even offered the chance to direct Aliens despite 1979’s Alien being a smash at the box office. “Jim told me, ‘Listen, I can’t get it as frightening because you’ve just shown the beast enough that it’s no longer fresh. But it works, still.’ He said, ‘I’m going to go military.’ That’s what Jim said. I said, ‘Gotcha.’ Jim’s was a very good sequel. Three and four became more and more difficult. As it unrolled, I thought, oh God, they’re f*cking it up. And then from that, honestly, I said okay, that’s done.”
But Ridley Scott would of course return to the Alien franchise for 2012’s Prometheus, which brought Ridley Scott back to the Alien franchise after more than 30 years and three other directors. On this stage, Scott stated, “Years later, I saw this bloody film that they keep playing every night somewhere on the globe, on all the platforms. There’s life in the best, yet. That’s why I sat down with the great writer [Damon] Lindelof, and we reconstructed a resurrection of the era, with Prometheus, and how it evolved from Alien. But we were asleep at the wheel. My advisors, who frankly no longer are with me, were asleep at the wheel, certainly. And I partly blame myself, except I was busy making other films. And so it was let go and it shouldn’t have been…”
As for being busy, Ridley Scott is absolutely guilty of this, helming nine movies since Prometheus, one of which was yet another Alien movie, 2017’s Covenant (a film he thinks deserves a sequel more than this year’s Romulus). But Scott has also been tied up in his latest sequel, Gladiator II, which turned out better than a lot of us expected and demonstrates that Scott can be perfectly capable of helming a sequel to one of his greatest films.
Outside of James Cameron’s Aliens, what do you think stands as the best Alien sequel?
The post Ridley Scott gets candid about James Cameron’s Aliens, why Prometheus failed appeared first on JoBlo.
In magical realist families, reality flickers. For as long as I can remember, certain relatives carried a frenetic charge, punctuating the usual banalities of the conversations of family get-togethers with warnings and premonitions or news from beyond. Our dead weren’t elsewhere (up above, down below, or wherever their corporal forms lay), but all around us, all the time – the spider that lives on your windowsill, the butterfly that lands on your hand, the angelic form sitting on your aunt’s sofa you’re told not to crowd. All symbols become manifest as the boundaries are blurred between living and dead, past and present and real and imagined – signifying the work of collective processing spanning generations.
Of course, much before magical realism was canonised in artistic forms, cultures the world over have always been involved in their own mythmaking in this way. But the language of magical realism was at first popularised as a literary genre to process the conflict-torn Latin America of the 1940s – by looking ahead to two upcoming examples, Andrea Arnold’s England-set Bird and Rungano Nyoni’s Zambia-set On Becoming A Guinea Fowl, it’s now clear that magical realism in art has since taken flight and gone global.
The magic realist framework offers up an alternate system of reality that maps onto our existing one without displacing it – it treats magic as part of everyday life, accepted without question by its characters.
Gabriel Garcia Marquez – the Colombian writer inarguably the most synonymous with the genre – believed that it was the gaze of the coloniser which makes the reality of the colonised unbelievable or fantastical. This genre, then, along with platforming marginalised perspectives, also challenges status quo ideas around knowledge.
Magic realism’s merits as a folkloric – and political – tool are often undersung or misunderstood as fantasy; but in blending the real with the magical, films like Bird and On Becoming A Guinea Fowl defamiliarise the everyday and render the extraordinary possible, inviting their characters (and their audiences) to view their world through a different lens.
In doing so, magical realism’s unique value is its ability to hold up a mirror to our world, urging us to question what we accept as real. In a contemporary cultural terrain where politics and media serve us uncertain truths all the time, magical realism gestures towards the very real dangers of tacit acceptance and asks us to look again.
The first time we see Franz Rogawlski as Bird, it feels like a dream. It’s early morning when Bailey (played by superb first-time actor Nykiya Adams) awakes in a field in Kent, having hidden there after a teenage vigilante act gone awry. It’s bucolic if not for the power lines flanking the edges. Bird is warm; Bailey is shaken. She is distrustful of people in general and, particularly of odd strangers like Bird enjoying the simple pleasure of the morning light. Bailey pulls out her phone to film Bird ostensibly for her safety, but it’s almost as if the recording will somehow corroborate the existence of the preternatural figure moving towards her.
Bailey lives with her single dad Bug (Barry Keoghan), in a colourfully worn-down squat, where his preoccupations sideline Bailey as she tries to gain a safe foothold of her own in an adult world, forced in between her father’s new fiancée or her mum’s (Jasmine Jobson) violently misogynist boyfriend.
There’s a lot of change afoot for them throughout: whether it’s Bailey getting her first period and experimenting with eyeliner, or even Bug’s attempt to harness the intoxicating powers of a poisonous (and expensive) toad he’s acquired. Bird, for his part, is looking for his estranged father. Bird takes her under his wing, so to speak, although the reciprocity between them speaks to a common understanding of what it feels like to grow and change, while alone and unseen.
Amongst Arnold’s oeuvre, the film bears many of the same touchstones of the social-realist milieus in which we usually find her characters. But here in Bird, the film’s ideas around belonging and identity take on a different form as Arnold turns to magical realism for the first time. In an intense third-act moment of protection, Bird transforms into something resembling his namesake. It’s a beautiful and messy turn that leaps out of the naturalism we’ve seen up until that moment; besides the injection of just-alright CGI, the heightened flutter of un-reality allows us to experience a profundity of feeling otherwise difficult to grasp through realism alone.
From one bird to another, On Becoming A Guinea Fowl also jumps the partition of realism to arrive at its own emotional truth. Shula (Susan Chardy) is home for her Uncle’s funeral, joining the group of women tasked with funeral preparations alongside their expected performance of ritualised grief and mourning. The scars of sexual abuse at the hands of the newly deceased begin to chafe, and Shula’s growing understanding compels her to find her voice so that the same pattern doesn’t repeat itself. Alas, it’s easier said than done given the (in this case, generational) impasse around complicit silence.
The guinea fowl is useful to all the animals in the animal kingdom, we learn, as it rings the alarm to signal danger for everyone. As Shula chips away at the cultural mores that have led to the burden of secrecy, the film’s triumphant final moments show Shula transformed – sounding the hopeful death knell for repressed collective trauma and its concomitant grief.
Both Bird and On Becoming A Guinea Fowl present an emotional overflow that can’t be addressed head-on, and in each instance, magical realism does the legwork to help us weather and process what feels unspeakable. The genre seeks to wedge a door open in accepted ‘rationality’, emphasising instead the validity and universal value found in individual or cultural memory and experience.
There was a time on X (Twitter) last year when I was briefly obsessed with a now-defunct Magical Realism bot that spit out a fresh logline every four hours: “At the stroke of midnight a giant tiger rises from the Mediterranean sea.” “An ancient Roman girl appears on a New York subway station platform, and laughs.” Considering our culture’s vexed relationship with truth, is it any surprise that we’re ever more drawn to a genre that combines reality with a little bit of magic? Magical realism can offer laughter, healing and new modes of knowing in a confounding world; to recite a well-worn Emily Dickinson quote in the 11th hour: ‘Hope is the thing with feathers.
The post The transportive beauty of modern magical realism appeared first on Little White Lies.
It’s been more than three years since Tom Welling first revealed that he and Michael Rosenbaum were working on a potential animated follow-up to Smallville. Fans were excited by the idea, but unfortunately, the project seems to be stalled as it’s waiting on a very crucial approval from Warner Bros.
“The honest answer is we have not been able to get Warner Bros. to give us the thumbs-up. We need their permission,” Welling told TVLine. “We haven’t even gotten a response!” The actor admitted that the Smallville animated series is “more of a fan-driven idea” that likely wouldn’t be a “financial windfall” for the studio. “We all like each other, we all like working together, and if we could do it, it’d be fun,” he said. “But Warner Bros. — and I’m not hating on them — they just haven’t gotten back to us. It’s not a priority for them. It’s like a not-returning-phone-calls thing.“
The idea was to get as much of the original cast back together as possible, including Smallville co-creators Alfred Gough and Miles Millar. I imagine Allison Mack wouldn’t have been asked back.
Michael Rosenbaum shared his own update earlier this year, although he was a little more positive that it could happen. “All I could share is that it’s a great idea. We have Al [Gough] and Miles [Millar], the creators of Smallville backing us up. When it’s the right time, we’d like to go and do this; pitch to Warner Bros. It has to be the right time, and right now is not the right time,” Rosenbaum said. “When the time’s right, I think it’s something that’s a no brainer, unless they have other ideas. We’d like to do it — the whole cast would like to do it. They would voice their own character from the show, and we have a concept of what the show is.“
Smallville ran for ten seasons and told the coming-of-age adventures of Clark Kent in his hometown as he discovers his abilities and fights to keep his friends and family safe.
Would you still like to see a Smallville animated series?
The post Tom Welling has an update on the Smallville animated series and it’s not good appeared first on JoBlo.
Will Forte is one of my favourite comic actors, but he may only have 19 years left to live. At least, that’s if you believe what a pissed-off spirit said through an Ouija board. While appearing on Rachel Dratch’s Woo Woo podcast, Forte flashed back to when he was a teenager and asked the Ouija board how he was going to die. The spirit answered that he was going to be stabbed to death at 73. Very specific.
The prediction happened when Forte was a teenager and had visited a girl he was interested in. The girl was friends with a “self-proclaimed witch” who brought over the Ouija board. “I would ask questions of this Ouija board that nobody else would know the answers to, and it would get the answers correct. And so I was pretty blown away,” Forte said. “I was thinking, like, is there a way that my hands are moving it because I know the answer? … I was trying not to push it all, but it was pretty nuts — like my grandma’s middle name, that kind of stuff.“
The witch had warned him that some spirits were “kind of aggressive and violent,” so they had to be careful. Forte promptly ignored the advice. “I would be putting the spirit down, trying to get him really angry. I’m sure I told him he had a small penis or something like that,” he said. “But, like, it really did get kind of kind of scary. I found out that I was going to die at at the age of 73 by stabbing. I’ve got 19 years left.“
Forte added that he doesn’t really believe it but admitted that from “time to time,” he starts to wonder if “when I’m 72, when I’m nearing the end, do I, like, start looking into Kevlar, full body Kevlar suits?“
I didn’t mess around with Ouija much when I was younger, but I recall one instance at a friend’s birthday party when we brought it out in the middle of the night. We were supposed to be asleep so we were being as quiet as possible, but then the board started shaking and moving across the floor by itself. We freaked out, and my friend’s parents came running in. Turns out there was a minor earthquake that night, but holy hell, try telling a bunch of seven year olds that.
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