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  • Crossing Over: “SEX HOUSE”, The Onion’s Demented Deconstruction of Reality TV

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    Welcome, FANGORIA Readers, to CROSSING OVER, our newest column that highlights the films, series and content out there outside of horror that is fashioned towards or pays tribute to our beloved genre. By shining a light onto these projects, FANGORIA hopes to open a world of entertainment perfect for fright fans that lies just beyond the borders of the horror community. So without further ado…

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  • Exclusive Still: Season Two of “FROM DUSK TILL DAWN: THE SERIES”

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    After a successful first season run on the El Rey Network, FROM DUSK TILL DAWN: THE SERIES has seen its popularity surge as of late with the full run’s bow on DVD/Blu-ray and Netflix. And while the addition of the likes of Esai Morales, Jeff Fahey, Briana Evigan and Danny Trejo to the cast has built substantial buzz for FROM DUSK TILL DAWN: THE SERIES’ return on August 25th, El Rey Network has provided FANGORIA with a new exclusive still from the second season, which premieres it’s first episode this Saturday at the ATX Television Festival! Read on for more…

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  • Q&A: Dermot Mulroney talks “INSIDIOUS: CHAPTER 3”

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    While Patrick Wilson and Rose Byrne will be sitting out the next chapter of the INSIDIOUS franchise, Lin Shaye isn’t the only performer with a pedigree taking a trip into the Further this time around. Heading the Brenner family in Leigh Whannell’s directorial debut is seasoned actor Dermot Mulroney, who fright fans may recognize from his turns in ZODIAC, THE GREY, STOKER and THE RAMBLER. Offering a sensitive yet protective turn in the fright franchise, FANGORIA recently spoke to Mulroney about returning to the horror genre, real life claustrophobia and tripping over cables in the dark…

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  • Return of the Dragon: Bryan Fuller, Martha De Laurentiis & Steven Lightfoot on “HANNIBAL”, Part One!

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    With Bryan Fuller taking his shot at editing FANGORIA #343, the wait for HANNIBAL to return has become an even more difficult endeavor for fright fans. However, Fuller was able to sneak FANGORIA onto the set of HANNIBAL last month, and we were able to catch up with the brilliant cast of the surreal series. Next up was a massive chat with Fuller himself, as well as producers Martha De Laurentiis and Steven Lightfoot, who dished out some salacious secrets about HANNIBAL’s third season…

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  • “MADMAN” (Blu-ray Review)

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    Out of all the indie gems that came out of the slasher movement of the ‘80s, there are few that are as purely entertaining as MADMAN. Directed by Joe Giannone, MADMAN captures the spirit of old school summer camp urban legends, presenting the perfect amount of cheese alongside an impressive amount of technical craftsmanship as well. And despite it’s obscurity among the horror audience at large, the cult of MADMAN has grown over the decades since its initial release, many of whom have championed the film fervently as something much more substantial than its initial aesthetics may suggest.

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  • Stanley Film Festival ’15: The Plight of the Audience Picture

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    “There’s nothing good at the movies anymore.” It’s a sentence that I’ve heard so much, and that film fans have grown so accustomed to, that it almost pains me to type it here. But nonetheless, it’s a statement many in the genre believe, and it’s perhaps the reason more and more people are turning to TV, VOD, Streaming Services and piracy for their entertainment fix. After all, the price of moviegoing goes up as big budget fodder, or in horror’s case, micro-budget jump scare fare fills the auditoriums, and art houses try to host the most buzzworthy independent titles just to keep a roof on their head.

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  • Stream to Scream: “DEAD SNOW 2: RED VS. DEAD”

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    While generally well-received, financially successful and, at the very least, having earned the notoriety of “that nazi zombie movie” among contemporary horror fans (over the likes of OUTPOST and SHOCKWAVES), DEAD SNOW has been a rather divisive movie among horror audiences. Some fright fans took Tommy Wirkola’s Scandinavian scare fare in stride, praising the fun approach to the material and splattery action that would cement it as a modern midnight movie. Others, however, were less impressed; whether it be using the “harbinger” trope or aping too much of Sam Raimi’s EVIL DEAD aesthetics, harder critics donned it too derivative for its own good. Thus when a sequel was announced, the response was a surprising balance between cheers and apprehension, even if the time since its premiere had garnered DEAD SNOW 2: RED VS. DEAD a mounting sense of goodwill.

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