There’s a certain kind of disbelief that hits you when the headlines don’t even sound real.
Tonight, that disbelief is coming out of Brentwood, Los Angeles, where police are investigating what authorities have described as an “apparent homicide” after two people were found dead inside a home owned by director/actor Rob Reiner. The Los Angeles Fire Department responded to a medical-aid request shortly after 3:30 p.m. on Sunday, December 14, 2025, and found a 78-year-old man and a 68-year-old woman deceased. LAPD’s Robbery-Homicide Division is investigating.
Multiple outlets are reporting those two people were Rob Reiner and his wife, Michele Singer Reiner but it’s important to say this carefully: early reporting indicates authorities had not immediately confirmed identities publicly while the investigation was unfolding.
And then comes the part that feels especially cruel: the internet trying to write the ending before the investigators do. Yes, there are already swirling claims and finger-pointing. What we actually know right now is far simpler and far more responsible: a family member has been questioned, the case is active, and key details are still being nailed down.
Because whatever your politics are, whatever your takes are, this is not the kind of “final chapter” someone like Rob Reiner deserves.
Reiner wasn’t just “a director.” He’s one of those rare Hollywood figures whose resume basically doubles as a cultural memory bank: This Is Spinal Tap, Stand By Me, The Princess Bride, When Harry Met Sally…, Misery, A Few Good Men, The American President.. movies that didn’t just entertain people, they became part of people. And before all of that, he was “Meathead” on All in the Family, a character so iconic it practically became shorthand for an era.
He was also a loud public voice, especially in modern politics, one of Hollywood’s most outspoken critics of Donald Trump, using his platform the way some people use a megaphone in a storm: not subtly, not quietly, but consistently.
So this is where I’m at tonight: shocked, sad, and honestly a little angry at how fast a human life gets turned into a “developing story,” like we’re all supposed to refresh our screens and place bets.
If you grew up with his films, if you loved his work, if you laughed at what he made, if you quoted it, if you wore it into your own personality like a borrowed jacket… maybe the best thing we can do right now is hold off on the rumor mill, let the facts land when they’re ready, and remember the actual legacy: the decades of stories that made us feel something.
Picture it: November 1984.. Ronald Reagan just won re-election handily.. the nation was fearing a beat in the woods but raising the flag in patriotism… The chill is in the air. Christmas gifts are getting scooped up at those 1980s malls where the speakers are blasting 1980s music at a volume that feels illegal now. And right there, near the food court, near the arcade, you catch a glimpse of the movie times. Because maybe… just maybe… in the middle of the hustle, you’ll buy yourself a break. A breather. One big-screen, Hollywood-ish escape.
In Cressona PA you see Prince and Purple rain.. but there is another one..
Silent Night, Deadly Night.
How bad could it be?
You show up, ready for a cheesy seasonal slasher… and you find out you stand no chance. The movie’s getting pulled. Not “it’s selling out.” Not “we don’t have your showtime.” Pulled, as in: some theaters won’t run it, and the distributor starts backing away like it touched a hot stove.
Because in 1984, people stood their moral ground… and this was a national argument.
What makes it funny (in a dark way) is that today we live in an era where Christmas horror is practically its own aisle. We’ve got full-on gore carnivals, movies that treat the holidays like an excuse to paint the walls. Even Terrifier 3 was out here reminding everyone that December can be a bloodbath if a filmmaker wants it to be.
So in 2025, Silent Night, Deadly Night almost looks… gentle. Like a troublemaker from a different generation.
But in 1984? People didn’t see it as quaint. They saw it as a threat.
When “Killer Santa” hit daytime TV
A big part of this firestorm wasn’t even the movie itself but it was in big part, the marketing.
TriStar ran TV spots that mashed up holiday cheer with the image of a Santa figure doing what Santa is not supposed to do—breaking in, weapon in hand, violence implied. And the big mistake? Those ads didn’t just run late at night for adults. They landed in daytime slots, when kids were watching.
THIS was the ad that ill-fated the film:
That’s the part people forget now: the outrage wasn’t abstract. It was parents seeing the commercial in the middle of normal life and concerned their child saw Santa with an axe.
And then it became organized really fast.
Variety reported protests in Milwaukee from a group calling itself Citizens Against Movie Madness, led by local mothers. The protests spread—New York, the Bronx, Brooklyn—signs and chants and that old-school civic energy that feels almost extinct today. The leader was Kathleen Eberhardt, then 32.
Stations reacted too. According to reporting summarized in Vulture’s deep dive on the controversy, at least some TV outlets moved the commercials to late-night, and others yanked them altogether.
Then the cultural heavyweight moment hit: Siskel and Ebert went after the movie hard on TV, and Gene Siskel aimed directly at the people behind it, calling the profits “blood money.”
Suddenly, the controversy wasn’t a local protest story. It was national, loud, and embarrassing for a “respectable” distributor.
We were even led to believe that a that a Lewisburg woman saw a TV spot for the movie during ‘afternoon cartoon hours.’ She didn’t recall the station.. sounds like an automatic urban legend to me.
In 1980 a movie called CHRISTMAS EVIL featured an ax wielding Santa.. No outrage. But that is because the advertising campaign just was not there like it was for Silent Night Deadly Night..
The other brutal truth: it started dropping at the box office
Now here’s the other piece that matters, and it’s less romantic than the protest narrative:
But it was also facing a huge problem: It was released the SAME WEEKEND as NIGHTMARE ON ELM STREET, a movie that was more widely accepted and not protested. It was just a child predator with knife fingers. Not Santa.
TriStar publicly started wobbling right around then, talking about whether it would even be “commercially viable” to keep rolling it out.
And once a studio starts speaking in that careful corporate language, you can feel the exit coming.
The pullback was real enough that the Associated Press was describing it bluntly: TriStar was dropping the film from U.S. distribution after protests and poor early earnings.
And one of the protest organizers, Kathleen Eberhardt with Citizens Against Movie Madness, celebrated the decision with the kind of quote that sounds like it belongs in a time capsule: “Wow. I think it’s great.”
The irony: pulling it probably helped create the legend
Here’s what I love about this story, even if the movie itself is… let’s be honest… not exactly Oscar bait.
In 1984, people talked about it like it was the end of civilization. We already had Jason slashing through forests
In 2025, it’s basically a campfire tale about a moral panic—an artifact from a time when Santa still had a kind of cultural protection around him, like you could get grounded just for disrespecting the concept.
And the greatest irony? By pulling it, they may have cemented it.
Because there’s a difference between a throwaway slasher and a forbidden slasher.
If TriStar had just let it play, it might’ve come and gone like a hundred other low-budget horror flicks. But once it became “the movie they tried to stop,” it picked up that outlaw aura. People love a thing more when someone tells them they shouldn’t have it.
And that’s exactly what happened over time.
The film grew into a cult item, spawned sequels, and eventually inspired a remake in 2012 (titled Silent Night) and the newest 2025 incarnation..
So 40 years after the chaos of the citizens against movie madness … angry moms … TV ads during cartoons (it that really even happened), SILENT NIGHT DEADLY NIGHT has become an annual Christmas much watch.. not because it is a great movie. But because it is just that bad.
Steven Spielberg is reportedly making a new movie, and if the rumors are true, it’s going to rock the world of UFO enthusiasts — or at least get their hopes way up. Of course, a lot of that could simply be marketing hype mixed with existential wish-casting. But if there’s anyone who could stir that kind of anticipation, it’s Spielberg. After all, this is the man behind Close Encounters of the Third Kind and E.T. the Extra-Terrestrial — films that didn’t just entertain people, but quietly rewired how an entire generation thinks about alien contact.
The recent UK Telegraph article describing the project leans heavily into a familiar narrative within UFO culture. One story that always resurfaces is the alleged White House screening of E.T. for Ronald Reagan. Supposedly, when the film ended, Reagan stood up and said — maybe joking, maybe not — that there were people in the room who knew that everything they had just watched was true. Whether that moment actually happened exactly as described almost doesn’t matter anymore. It’s become part of the mythology.
The new Spielberg film itself is still wrapped in secrecy, but one detail from the article jumped out at me — and I had completely forgotten this — a significant portion of it was filmed in New Jersey. That immediately brings to mind the so-called New Jersey drone sightings that dominated headlines just a year ago and then vanished entirely. Not even below the fold — just gone. But if you talk to people in New Jersey, you’ll hear that the drones never really stopped. They’re reportedly still seen regularly. They’ve just become so common that no one talks about them anymore. Like planes in the sky.
That’s part of what makes this Telegraph article so fun, and what makes this Spielberg project so intriguing. There’s even a rumor floating around — clearly conspiracy-theory territory — that a real alien might “star” in the movie. Obviously, that’s not happening. For one thing, it would probably violate every Screen Actors Guild rule imaginable, not to mention require the creation of an entirely new galactic union chapter. Unless, of course, the alien is playing itself. Or themselves. Or itself. The grammar alone would be a nightmare.
THE TELEGRAPH MOCKS:
Tinfoil hat wearers have reacted with characteristic calmness and sagacity to the news that Spielberg is returning to his sci-fi roots with his new production, filming of which was completed in the summer. It is said to have had several working titles, including The Dish and Non-View, but is now reported to be called Disclosure.
The new name, if it is correct, would provide “evidence” for the conspiracists that Spielberg knows more than he is letting on – “disclosure” being a key term for the alien truthers. They hold that the American authorities have secret information about UFOs and extraterrestrial life and want it to be publicly revealed, in a process they term “disclosure”.
Chris Ramsay, a Montreal-based magician who has a YouTube channel devoted to UFO theories, went viral with a tweet in which he most clearly set out the conspiracists’ thinking about Spielberg’s new film. Like any good conspiracy theorist, he described his thesis as something “that’s so crazy it just might be brilliant”.
Still, the idea is entertaining. And beneath the humor is a more interesting possibility: that Spielberg, over decades of filmmaking, may have become acquainted with enough people in enough rooms to suspect that something is going on. That maybe Reagan wasn’t joking. That maybe E.T. wasn’t just a children’s movie, but a soft disclosure story told in the safest way possible.
Regardless of what ultimately comes of this new film — whenever it’s released, and whatever it ends up being called — the anticipation is already enormous. The marketing machine seems primed, the speculation is growing, and expectations are high. We have little doubt the movie will be good. And even if it isn’t…
Christmas time is here again. The annual ritual of spending cash you really don’t have. Society expects it!! Get that card out!
Like you, I’m out there right now wandering the stores, scrolling the apps, perusing the malls that still exist and matching the prices up with the Amazon option. I get panicky this time of year because I haven’t purchased much yet. I check my bank account (you do it too), and I realize there just isn’t much time left until the big day … food, medicine? Or Christmas gifts. What do you spend on in December?
https://www.youtube.com/watch?v=U9TByT3QlWc
Every year I try to be one of those organized people who gets things done early.. knock a few gifts out in November, finish up the first week of December. Because we all know what happens if you don’t: the Panic Purchases begin.
We’ve all been there. You see nervous husbands frozen in the appliance aisle. You see kids staring at some sad-looking afghan blanket, trying to convince themselves, “Yeah, Mom would probably like that.”
Let’s be honest: most of us already have enough stuff. We don’t really need much of anything on Christmas. But we’ve been programmed for decades to think we have to buy, buy, buy.
So go buy. Be a part of something.. 🙂
As you get older, it actually becomes more fulfilling to buy something for someone else that genuinely makes them smile. The only problem is that we still wait too long to start looking for that “special” thing. So we end up right back in that blender aisle, trying to justify why someone in life might really want to circular-saw their fruits and vegetables into mush all year long.
That’s a different story for a different post. We have digressed too long.
Toy Ad Nostalgia: The Real Christmas Catalog
One of my favorite things about this time of year isn’t the new stuff… it’s the old stuff. Specifically: old Christmas ads. Especially toy ads.
We all feel those toy ads, right?
For me and many, the sweet spot is the late ’80s and early ’90s. That’s when my childhood was starting to age out of toys, but not quite yet. Right before everything shifted into “I just want money” mode. You may be prompted into the inebriation of nostalgia from the 70s, maybe the 50s.. Maybe even the 2010s! Any way you slice it, the same effects on the mind and body occur.
Those were the years when the toy spreads in the Sunday paper or the department store flyers looked absolutely magical:
He-Man figures lined up like plastic warriors
Teenage Mutant Ninja Turtles in all their neon glory
The Nintendo Entertainment System taking over living rooms one cartridge at a time
I remember one of the greatest Christmases of my entire life like it was yesterday. I got:
A Super Mario game for Nintendo
A Batman game for Nintendo
A red bean bag
A blue bean bag
The colors matched Mario. That was it. That was the list. And somehow, that simple combination still stands out in my mind as the Best Christmas Ever™.
Before that, when I was younger, I remember getting Tonka toys—real metal, heavy, practically indestructible. That was also the year Christmas collided with a stomach bug. I spent part of that magical morning sick, but here’s the thing: even with that, the memories still come back warm. A little queasy, but warm.
Old Ads, Old Prices, New Reality
So here’s what I want to do with this post:
I’ve got a couple of old Christmas toy ads I want to share with you. Take a good look at the prices in those ads. The toys, the games, the “big” items.
Below each ad, we’ll break down a few of those prices and talk about what they’d roughly translate to in today’s money. How much would that Nintendo, that action figure set, or that Tonka truck actually cost now if you adjusted it for inflation?
Because back then, a toy that cost $19.99 felt like a big deal. Now we blink at $49.99 like, “Eh, that’s just what stuff costs.”
We used a typical inflation calculator to see what the Nintendo was.. $237 in today’s money. and even in today’s dollars that would be VERY affordable compared to the high priced almost $1000 dollar gaming consoles of today’s gaming market. And you ca n OWN a game then, BATMAN, for 40 bucks.. That would be $96 today. So yes.. we are being taken advantage of in today’s gaming market, right?
But just stop and appreciate that 1990s. That was the year I got the bean bags, BATMAN, and MARIO 3.. life changing childhood moment.
A year before the greatest Christmas ever I most likely before the $3.99 BATMAN action figures.. My parents got me BATMAN and the JOKER and BOB THE GOON. They spent $15 bucks on those, and in today’s money about $11 each. But yet in 2025, action figures in stores are 20 bucks or more… Again, are we being used by corporations?
Kids drooled over the SEGA by 89 as Nintendo faced competition.. It was pricer at $189
So now we are talking bigger money.. that is almost $500 in today’s cash. We are getting closer to the Playstation or xBox..
Ad for the heck of it in 1986 when you may have craved a Wuzzle at the Schuylkill Mall.
$1.99 then! Not even $6 bucks now .. Great deal. I am sure if they were existent today they would be $20 on sale. And if you kept it in a box, you could sell in on eBay TODAY for $99 bucks (according to sell prices), which by the way was $33 bucks in 1986. Reverse.. deflation.. See how that worked?
So money talked.. Money was spent. Bills long paid, or ignored.. We have moved on.
What make it all so special in the past?
Maybe it wasn’t the price. Maybe it was the bean bags. They meant more than anything else..
Over the past couple of days, we’ve seen a flurry of seismic activity—Alaska had its shake-up recently, and just yesterday, Japan experienced a sizable quake along with a reported tsunami. Thankfully, it wasn’t a devastating event on the scale of 2011, but it’s still worth noting that it happened.
Now, a lot of news sites have latched onto this development. Some headlines are talking about a “megaquake warning” from Japanese meteorological agencies suggesting the possibility of an 8.0 or above quake. While it’s true there is an official advisory, the key detail is that this scenario has about a 1% probability. That’s a real number—more than zero, sure—but it’s far from a guaranteed event.
In other words, yes, the advisory is out there, and it’s wise for people in the affected areas of Japan to be prepared, but it’s not a cause for global panic. We’ve got a bit of a “shaky” global moment right now—there have been some solar flares and the usual swirl of comet rumors and end-of-year jitters—but the actual science says: be aware, not alarmed.
So, straight from the Japan Meteorological Agency: this advisory is a precaution, not a prediction. We’ll keep an eye on it, and hopefully that 1% will slip right back down to zero. After all, we’ve had enough surprises in 2025!
In a year packed with big shiny titles like Wicked: For Good and all the usual awards bait, Zach Cregger’s WEAPONS quietly kept doing its thing… and now it just muscled its way into the Golden Globes conversation. The film landed two #GoldenGlobes nominations:
Cinematic & Box Office Achievement
Best Supporting Performance in a Motion Picture – Amy Madigan (Aunt Gladys)
Not bad at all.
Amy Madigan has been creeping up on every horror fan’s radar this year as a full-on horror icon, and now the Globes have stamped that in ink. She even said she was “incredibly moved” to be recognized for Aunt Gladys and for the film’s box office nod – calling it a testament to Zach Cregger’s vision and the whole team that built this terrifying character.
Will it actually win? Who knows. But the fact that this twisted, grief-soaked horror movie about missing kids and one nightmare aunt is standing next to the “serious” films is unbelievable. Even if it walks away empty-handed, WEAPONS and Aunt Gladys are getting the attention they deserve.
Zac Brown just found himself in the middle of a very 2025 kind of controversy. His new Love & Fear show at the Las Vegas Sphere opens with fire-and-brimstone visuals, a descent-into-Hell sequence, and Brown onstage in imagery some viewers swear looks “demonic” or “satanic.”
Country fans shocked and stunned..
It is reported that the whole thing is meant to be a personal, cinematic journey through the darker and lighter corners of his life, but clips started circulating online with people calling it a “satanic ritual” before the first weekend was even over. Brown has said the show is about pain, redemption, and resilience, but the internet heard “Hell visuals” and ran with it.
The backdrop to all of this is the Sphere itself, which is basically a giant sci-fi eyeball dropped next to the Strip. It’s a 366-foot-tall, 516-foot-wide dome covered in LEDs on the outside and lined with a 16K-resolution wraparound screen and 160,000 speakers on the inside, built specifically to melt people’s senses with immersive art and sound. It can turn into a moon, an eyeball, a planet, a lava ball—whatever the artist wants—and inside, the screen stretches over and around the audience so the visuals feel less like “stage background” and more like being dropped into a movie.
Once the Zac Brown clips hit social media, reactions split instantly. Some country fans thought it was the coolest thing he’s ever done, praising the high-concept story and calling it his most ambitious project. Others, especially folks looking at it through a religious lens, saw the Hellscapes, angels, and cosmic chaos and declared it proof that mainstream concerts have gone fully “demonic.” At the same time, the controversy has done what controversy always does: boosted curiosity, headlines, and—by all early accounts—ticket demand for the Love & Fear dates.
This is still the Zac Brown Band we’re talking about—the same crew with songs like “Sic ’Em on a Chicken” in their catalog. So picture it: people online saying there’s a portal to Hell open in Las Vegas while thousands of fans inside the Sphere are singing along to a band best known for chicken, toes in the water, and island drinks. That’s the irony of modern outrage culture in one scene, golks convinced they’re witnessing a satanic ceremony..
Five Nights at Freddy’s Part 2 might not be a Christmas movie, but it’s absolutely the anti-Christmas movie for anyone trying to dodge holiday fluff right now.
And dodge it they did. The fanbase showed up hard and the movie unseated Zootopia 2, pulling in around $63 million domestic and over $100 million worldwide on opening. That’s a lot more than many people expected it to do heading into the post-Thanksgiving, pre-Christmas window. This movie is hot right now in that weird in-between space where people are kind of done with turkeys but not quite ready for carols.
Domestically, that’s the second-biggest horror opening of the year for Blumhouse–Atomic Monster, after The Conjuring: Last Rites at $84 million. Yesterday’s numbers were solid too, with a drop of about 33%, which is actually better than the 39% drop the first Five Nights at Freddy’s movie took. It’s always an open question whether a film like this can keep that kind of momentum going, but at least for this weekend, it has absolutely blown past a lot of expectations—and even outpaced its own predecessor.
So, Merry Christmas to Blumhouse and the whole gang at Freddy Fazbear’s.
If holiday joy isn’t your thing this year, there’s always a killer animatronic waiting for you in the dark.
Let’s talk about Rockin’ Richie. If you were one of the folks who followed him on TikTok, you know who I mean. And if not, let me fill you in a bit. Rockin’ Richie wasn’t some guy who set out to be an influencer. He ended up in that role because he was dealing with stage 4 colon cancer and decided to share his journey, his choices, and his struggles with the world. And yeah, a lot of people followed along.
There was controversy wit this social media feed.. Richie talked about alternative treatments.. stuff that wasn’t the usual medical route. He was trying a mix of diet changes, water cleanses, and homeopathic approaches that didn’t have the backing of mainstream medicine. And when he talked about putting GoFundMe money into a trust fund for his daughter, some people got really suspicious. They started accusing him of faking the whole thing just to get money, which was tough to watch unfold.
But here’s the thing, Richie was a real person going through a brutal journey. And yes, it was his body, his choice. He decided to fight cancer his way, even if a lot of people, including doctors and nurses, might have wished he’d gone a more traditional route.
We all sort of went on that experimental path with him by watching his updates. He even did a Livestream a couple of months ago where he went to a doctor in real time, hoping to hear good news that his tumor had shrunk from these alternative treatments. Instead, he got the devastating news that the tumor had grown. It was heartbreaking for everyone watching, but Richie stuck to his chosen path.
On that note, there is also some commentary on us as people who followed him. He wanted to eventually come up with his own book and YouTube channel to talk about how he beat cancer. The doctors of course told him he wouldn’t, and he didn’t. But in the common threads on social media many people who supported him continued supporting his desire to do alternative treatments, which in hindsight perhaps was a seemingly rotten thing to do. He just needed medicine but instead many in his fan base, loyal to the end, was encouraging him to avoid that. Just because it’s social media, doesn’t mean it’s all fake…
Maybe some people think that was foolish, and maybe others respect it as his personal choice. Either way, he fought his fight the way he wanted to, in the end.
Now he’s at peace.. whatever peace means, wherever we go after this life. And I bet deep down, even the people who disagreed with his treatment goals were probably rooting for him, because cancer is something we all wish we could see beaten for good.
So, may Rockin’ Richie rest in peace. We might not all agree on the path he took, but we can respect that he chose to share his journey and fought as hard as he could.
People always say Blair Witch kicked things off, and sure, it definitely lit the fuse. But before that, we had Faces of Death being passed around like contraband in the ’90s. For better or worse, that was the “original” shared footage.. VHS tapes traded among teenagers who half-assumed it was all staged. Little did we realize there was some real footage mixed in with the fake.
Disturbing when you think about it, right?
Now we’ve moved from VHS to online, and the style has followed. Man Finds Tape is coming to theaters and digital platforms from Magnet Releasing and stars William Magnuson as Lucas, the operator of a YouTube channel called “Man Finds Tape.” The movie basically examines the way we share this stuff as a society, and how we consume found footage, viral clips, and disturbing imagery… it wraps that idea in an eerie mystery told through different formats.
And honestly, that’s our real life now. We’re constantly finding things, posting them, and watching social media platforms race to either boost them or pull them down. As this is written, just last night in Harrisburg, Pennsylvania, a bus ran over a person, and yes, there was footage online, on a pretty big social site. The victim was thankfully blurred out, but the comments underneath were less than appealing, to put it mildly. So it’s not just “man finds tape” anymore; it’s everyone live-streaming horrors in real time.
When something awful happens, our instinct now is to search. We look up the footage, the location, the angles, the aftermath. We want to know everything. I’m not sure what that says about us, but it’s definitely something horror is starting to chew on.
Peter Hall told Fangoria there are a lot of rabbit holes on the internet, and they wanted to tell a story about someone exploring one of those viral rabbit holes. Paul Gandersman pointed out that for a long time, if you saw bizarre footage, you needed proof that it was real. Now it’s flipped: people automatically assume it’s fake, and you have to prove that it actually happened.
With AI and all the new tools out there, that tracks. We’re much less willing to accept anything at face value. Show September 11th footage to some kids today with no context, and the first reaction might honestly be, “Is that AI?”
The film itself sounds pretty interesting. The filmmakers said they worked from a fairly tight script, but there was room for improvisation. They gave the actors permission to find new dialogue or fresh moments in a scene, as long as what they were doing stayed within the structure of the movie. That’s actually pretty cool.. improv in a found-footage style can make the performances feel more natural, and it can open doors to character beats you’d never get in a locked-down script.
The movie also leans heavily into religion. The filmmakers grew up around Catholicism, with some Judaism mixed in, and there’s a character who plays a reverend who actually grew up in an evangelical community in real life. That kind of background colors the whole atmosphere of the film and religious imagery mixed with found footage and internet horror is fertile ground.
From the trailer alone, some of the imagery looks like it might be difficult for certain viewers. It leans into that “too real” feeling, where the production value is working against your comfort level by mimicking reality a little too closely. Viewer discretion is obviously advised. But it’s always interesting when horror goes beyond jump scares and actually comments on culture itself.
We have said before: horror is at its best when it digs deep into the moment we’re living in—our politics, our tech, our habits, and holds up a warped mirror. It lets the monster tell us something about ourselves.
So in Man Finds Tape, who’s the monster? Whatever’s lurking on the recordings… or the people who keep hitting play?
