William Williams in Repeat Performance (1947)

Joan Leslie and Richard Basehart

Repeat Performance (1947) is unusual among film noirs. First, it blends elements of fantasy (namely time travel) with film noir. Second, among its characters is William Williams (played by Richard Basehart in his movie debut), a coded homosexual who is distinct in that he is portrayed somewhat sympathetically at a time when many coded homosexuals were portrayed as villains. 

Repeat Performance (1947) opens with actress Sheila Page (Joan Leslie), standing over the body of her dead husband, Barney (Louis Hayward). She flees to a party where she asks her friend William Williams for help. William suggests that they visit theatrical producer John Friday (Tom Conway) to seek his advice. As Sheila and William are going up to John's apartment, she suddenly finds herself thrown back in time to exactly a year ago, from New Year's Eve 1946 to New Year's Eve 1945. She then finds herself living 1946 again and seeking to change things for the better.

Repeat Performance (1947) was based on the 1942 novel of the same name by William O'Farrell. The novel differs a great deal from the book. In the book it is actor Barney Page who strangles to death his costar Fern Costello and is then forced to live the past year over. In the movie, Barney is a playwright and  he is killed by his wife Sheila Page. As to Sheila, in the book she is an alcoholic who committed suicide. William Williams is also dramatically different in the book. He is a mildly insane cross-dressing poet who goes by the name "William and Mary." For the movie, he remains a poet who apparently has some mental disorder, but he was changed from a crossdresser to a coded homosexual. For those unfamiliar, with queer coding, it is assigning traits stereotypically assumed to be queer to a character without coming out and saying that they character was queer. 

In Repeat Performance (1947), Williams Williams is Sheila's friend and close confidant. When she realizes she has killed Barney, it is to William she goes for help. Along with theatrical producer and friend John Friday, he is one of two people to whom Sheila confides that she believes she has jumped backwards in time. Overall, William is portrayed very sympathetically. He has a good deal of with and seems bemused by most situations. William is sensitive to the needs of others, so it is little wonder that Sheila confides in him. He is fiercely loyal to his friends, and stands by Shelia throughout the movie.  William is also a bit eccentric, and even claims to be "quite mad." In truth, as a poet who lives for his art, it might be more accurate to say that the is just little out of touch with the harsh realities of life. To wit, William has no difficulty accepting that Sheila travelled back in time or that Destiny may just guide people's lives. Despite his empathy for others, William may also be a bad judge of character in some cases.  He makes the mistake of accepting the patronage of Mrs. Eloise Shaw (Natalie Schafer), a rich woman who supports young male artists, presumably in expectation that she will get something in return. 

While William is largely portrayed sympathetically, to some degree William Williams conforms to a trope quite common from the Thirties well into the Seventies, where by homosexuality was related to mental illness. He tells Sheila very early in the film that he is "quite mad." Of course, here it must be kept in mind that homosexuality itself was considered a mental disorder in 1940s. It would even be included in the Diagnostic and Statistical Manual of Mental Disorders as a sociopathic personality disturbance when it was first published in 1952.  By the standards of the 1940s, William would have been considered mad simply because he was gay.

As it is, despite Willliam's claim to be "quite mad," he often seems to be the most reasonable person in Repeat Performance. While he is eventually committed to an insane asylum in the film, the circumstances under which this is done seem suspect to me. First, we are told that "it was Mrs. Shaw's fault" that William was committed. Earlier in the film, when Mrs. Shaw offers a concert tour to a pianist, she comments how some young talents she had "inspired" have been "ungrateful" while looking directly at William. It seems possible that Mrs. Shaw got William committed merely out of spite and that, despite William's claims, he really isn't crazy at all. Quite simply, as a homosexual (and possibly a poet as well), he was a victim of the times. 

While William may or may not be mad, in the end he is portrayed much more sympathetically than other coded homosexuals in movies from the Golden Age of Hollywood, to the point that it can be argued that he was one of the heroes of Repeat Performance (1947). His portrayal is certainly much more positive than that of other coded homosexuals in films from the era, from Joel Cairo in The Maltese Falcon (1941) to Waldo Lydecker in Laura (1944) to Brandon Shaw and Philip Morgan in Rope (1951).  Even given the movies plays with the trope of homosexuals and mental illness, the portrayal of William Williams in the film was a small step forward for the portrayal of gay men in American films. 

Sixty Years Ago Today "Paint It, Black" by The Rolling Stones Hit No. 1 in the US

It was sixty years ago on this date that "Paint It, Black" by The Rolling Stones hit no. 1 on the BillboardHot 100. It is certainly one of the all-time most popular Rolling Stones songs and it has been my favourite Rolling Stones song since childhood. I already did a somewhat in-depth post on the song years ago, so I won't repeat myself, but I would like to discuss something that wasn't really relevant at the time I made the original post.

Ever since I was a kid, I knew that "Paint It, Black" was about death. To be more precise, it is about someone whose love has died. While I loved the song, for most of my life I really couldn't identify with it. All of that changed on August 30, 2018. Immediately following Vanessa's death, I listened to "Paint It, Black" by The Rolling Stones, as well as "I Don't Believe in Love" by Queensrÿche, "Gone Away" by The Offspring, and "Don't Go" by Matthew Sweet, on repeat. Quite simply, given the song is about loss and grief, I could identify with it in a way I had never been able to before in my life. Beyond the fact that it is an immensely listenable song, I have to think the fact that it is about loss and grief is the reason it has remained so popular. Quite simply, anyone who has gone through extreme grief can identify with the song.

Here's the official lyric video for "Paint It, Black" by The Rolling Stones. I have to point out that they have one error with regards to the lyrics. The line is not "Don't wanna see the sun/Flyin' high in the sky," but rather "I wanna see the sun/Blotted out from the sky," which IMHO has a much darker connotation.

Godspeed James Handy

James Handy, who appeared in such films as Arachnophobia (1990) and The Rocketeer (1991), was murdered by the son of his girlfriend on June 3 at the age of 81.

James Handy was born in New York City on March 19, 1945. He began his acting career in the late 1970s. He made his television debut in two guest appearances on the soap opera Ryan's Hope. He made his movie debut in Taps in 1981. In the Eighties, he guest starred on such shows as Search for Tomorrow; CBS Schoolbreak Special; ABC Afternoon Specials; Spenser: For Hire; Our Family Honor; Cagney & Lacey; Popeye Doyle; Matlock; Stingray; Wiseguy; Hard Time on Planet Earth; Mancuso, FBI; Midnight Caller; and Equal Justice. He appeared in the mini-series Doubletake and A Dangerous Life.He appeared in the movies The Verdict (1982), Brighton Beach Murders (1986), Burglar (1987), Jake's M.O. (1987), Bird (1988), K-9 (1989), and Arachnophobia (1990).

In the Nineties, he appeared on the TV shows Equal Justice; Reasonable Doubts; The Young Riders; Quantum Leap; The Commish; The Fifth Corner; Angel Street; Wings; Civil Wars; Murder, She Wrote; The Young Indiana Jones Chronicles; Silk Stalkings; L.A. Law; Picket Fences; NYPD Blue; Under One Roof; Beverly Hills, 90120; Melrose Place; The X-Files; Walker, Texas Ranger; The Pretender; Promised Land; EZ Street; Law & Order; Early Edition; Dellaventura; Prey; Profiler; To Have and To Hold; ER; L.A. Doctors; Third Watch; and Gideon's Crossing. He appeared in the movies The Rocketeer (1991), Point of No Return (1993), Guarding Tess (1994), Rave Review (1994), Jumanji (1995), Murder in Mind (1997), Gang Related (1997), Every Dog Has His Day (1998), Deterrence (1999), and Unbreakable (2000).

In the Naughts, James Handy guest starred on the shows U.C.: Undercover; The West Wing; Becker; The Practice; Breaking News; Without a Trace; MDs; The Dead Zone; Crossing Jordan; E-Ring; Cold Case; Commander-in-Chief; Alias; The Closer; Smith; Raising the Bar; The Lynch Pin; Criminal Minds; Castle; and The Young and the Restless. He appeared in the movies 15 Minutes (2001), The Donor (2001), The Trip (2002), Ash Wednesday (2002), Rounds (2008), The Waiter (2010), and Lifted (2010).

In the Teens, James Handy appeared on the shows Touch; Vegas; CSI: NY; Rizzoli & Isles; Mulaney; Documentary Now!; and NCIS: Los Angeles. He appeared in the movies Logan (2017), Thru: The Hereafter Remains Unknown (2017), and Suburbicon (2017). In the 2020s, he appeared in the movies Senior Entourage (2021), Street to Table (2022), and Top Gun: Maverick (2022). 

James Handy played a wide variety of roles, some of which were only on screen for mere moments. He played everything from priests to law enforcement officers to politicians. He was an FBI agent in The Rocketeer, the sarcastic county coroner Milt Briggs in Arachnophobia, and CIA director Arthur Devlin on the TV show Alias. Even when he was on screen briefly, James Handy made an impression. He was a fine actor who leaves behind a career filled with solid performances. 

Scroll Break: Instagram's Annoying New Feature

The past few years I have found myself complaining more and more about Instagram. Last night I observed something that gives me even more to complain about the platform. After only scrolling through four to five posts last night, the feed paused and there was this message reading, "Time for a break?  Pause for a moment and considering taking a break. Load more posts." If you click on "load more posts," it does exactly that.

Now I have to say if this message appeared after one had spent a straight half hour on the app, I wouldn't have too much of a problem with it. There are probably people who spend a half hour or more straight on the app and may well feel fatigued after doing so. The problem is that the message is appearing after only scrolling through a few posts and less than five minutes. For people like me who don't spend a whole lot of time scrolling through their feed, it can be annoying. 

To make matters worse, at the same time that I noticed the "Scroll break" message, I also noticed that my feed was slowing down after scrolling for a while and once or twice even froze. I have to think this is related to the "Scroll break" message, which makes things even more frustrating. Indeed, it can test my patience when dealing with Instagram.

I honestly hope this is only a test being rolled out to a few users and not a feature that Instagram has decided to make permanent. If it is test, I hope Instagram realizes it is a bad idea and does away with it. If it is a permanent feature, I hope they give users a way to turn it off. I also hope they fix the feed so it isn't lagging and even freezing up. 

As it is, this is just one more thing that makes me want to spend much less time on Instagram. The only reason I am still there is that I do manage accounts not my own and I have a lot of friends there. As it is, it seems to me that Meta almost has a death wish when it comes to Instagram, given the various things they have done to ruin the experience for many of us: an overemphasis on Reels; no longer saving posts to one's phone's gallery; removing the option to filter searches by "most recent;" altering the algorithm so that one's posts get far, far fewer views than in the past; changing the grid profile previews from squares to oblong rectangles that aggressively crop one's photos; and limiting hashtags on posts to a mere five. Honestly, if I didn't have friends on Instagram and didn't manage other accounts, I would just give up on it entirely.

Instagram used to be one of my favourite social media services. I posted up to two or three photos to it a day and posted to it every day. Now a whole week can go without me making one post. And far too often these days I have to scroll and scroll and scroll just to see posts from my friends, which makes the "Scroll Break" feature even more frustrating. Honestly, Instagram should just ditch every single change they have made to the app since around 2017 and just revert the app back to the way it used to be. Honestly, I would probably start using it more often.

The Late Great Anthony Head

Anthony Head, best known for playing Rupert "Ripper" Giles on the classic TV series Buffy the Vampire Slayer, died on June 1, 2026 at the age of 72. The cause was complications from pneumonia. He also starred in the shows Little Britain, Merlin, and Ted Lasso. With Sharon Maugham, he appeared in a series of commercials for Nescafé Gold Blend coffee from 1987 to 1993.

Anthony Head was born on February 20, 1954, in London. His father was documentary filmmaker Stewart Head and his mother was actress Helen Shingler. His older brother is actor and singer Murray Head. Antony Head attended the London Academy of Dramatic Art and Music. Among his earliest roles was in a production of Godspell. He made his television debut in a guest appearance on the TV series Enemy at the Door. He made his movie debut in Lady Chatterley's Lover in 1981. In the late Seventies, he guest starred on the shows Lillie, Accident, Jackanory Playhouse, The Mallens, Secret Army, and Love in a Cold Climate.

In the Eighties, he gained a good deal of visibility in a series of commercials for Nescafé Gold Blend coffee in the UK and Taster's Choice coffee in the United States. He and Sarah Maugham played a man and a woman who developed a romance over coffee. He guest stared on the shows Crown Court, Bergerac, BBC2 Playhouse, Celebrity Playhouse, C.A.T.S. Eye, Howard's Way, Boon, Pulaski, Rockliffe's Babies, The Comic Strip Presents, Les Girls, and Hard Cases. He appeared in the movies Lady Chatterley's Love (1981), A Prayer for the Dying (1987), and The Zero Option (1988).

In the Nineties, Anthony Head had a recurring role on the short-lived American series VR.5. It was in 1997, that he began his run as Rupert Giles on Buffy the Vampire Slayer. The character proved popular with fans and following the end of Buffy the Vampire Slayer, creator Joss Whedon wanted to do a spinoff series, Ripper, with the BBC, although rights issues prevented him from doing so. During the decade; Anthony Head also guest starred on the shows Woof!; The Detectives; Highlander; NYPD Blue; Ghostbusters of East Finchley; Jonathan Creek; and Two Guys, a Girl, and a Pizza Place.

In the Naughts, Anthony Head continued to appear as Giles on Buffy the Vampire Slayer. He provided a voice for the animated mini-series Doctor Who: Death Comes to Time, Doctor Who: Excelis Decays, Doctor Who; The Infinite Quest,.. He played the Prime Minster on the show Little Britain and Uther Pendragon on Merlin. He was a regular on the shows Manchild and Free Agents and appeared in the mini-series The Invisibles. He guest starred on the shows Spooks, Filmore!, New Tricks, The Story of Tracy Beaker, Monarch of the Glen (on which he appeared in four episodes for himself), M.I.T.: Murder Investigation Team, My Family, Rose and Maloney, Hotel Babylon, Doctor Who, Sensitive Skin, Sold, and Freezing, He appeared in the movies I'll Be There (2003), Fat Slags (2004), Framing Frankie (2004), Imagine Me & You (2005), Scoop (2006), Sparkle (2007), Sweeny Todd: The Demon Barber of Fleet Street (2007), and Repo!: The Genetic Opera (2008).

In the Teens, Anthony Head continued to appear on Merlin. He reprised his role from the original British series on the short-lived American remake of Free Agents. He starred on the show You, Me & Them. He had a recurring role on the shows Dominion, Still Star-Crossed and Girlfriends. He appeared on the mini-series Dancing on the Edge, Vanity Fair, and The Stranger. He guest starred on the shows NTSF:SD:SUV::; Warehouse 13; Galavant; Guilt; Yonderland; Shadowhunters: The Mortal Instruments; The Split; Jack Ryan; and Robot Chicken. He began appearing on Ted Lasso in 2020. He appeared in the movies The Inbetweeners Movie (2011); The Great Ghost Rescue (2011); Ghost Rider:Spirit of Vengeance (2011); The Iron Lady (2011); Metegol (2013), Percy Jackson, Sea of Monsters (2013), Convenience (2013), The Unbeatables (2013), Death of a Farmer (2014), Flying Home (2014), Despite the Falling Show (2016), The Brother (2016), A Street Cat Named Bob (2016), Feedback (2019), Pinky (2020), and Sideshow (2020).

In the 2020s, Anthony Head continued to play Rupert Mannion on the show Ted Lasso. He starred in the mini-series The Canterville Ghost and a voice on the animated mini-series Adventure Time: Distant Lands. He guest starred on the shows Back, Feel Good, Bridgerton. and Motherland. He appeared in the movies Schools Out Forever (2021), Let the Wrong One In (2021), and Upgraded (2024).

Chances are good that Anthony Head will always be remembered as the prim, proper, serious, but very protective Rupert Giles on Buffy the Vampire Slayer. James Marsters (who played Spike on the show) referred to Anthony Head as the best actor on the show in his tribute to Anthony Head. Of course, Anthony Head played other roles beyond Giles. On Merlin, Anthony Head played a character as far from Giles as one can get, the tyrannical and autocratic Uther Pendragon.  On Free Agents, he played the puckish and sex obsessed Stephen, In the movie The Iron Lady, he played Deputy Prime Minister Geoffrey Howe. He received critical acclaim for his role on Ted Lasso. Anthony Head was an excellent actor capable of playing a wide variety of roles. 

Call Her Savage (1932)

Call Her Savage (1932) is not particularly well-known among the general public today, but the film is notable for several reasons. It was the first movie Clara Bow made following her nervous breakdown in May 1931, which resulted her in taking a break from making movies. It was also the penultimate film she ever made, the last being Hoop-La (1933). Many have credited it with what may be the first portrayal of a gay bar on film.

Call Her Savage (1932) centres on Nasa "Dynamite" Springer, a young heiress from Texas who defies her father. She starts living a life of brawling and partying that sees her go from Chicago to New Orleans to New York City. As might be expected, her life of pleasure and sin eventually takes a toll upon her. 

Call Her Savage (1932) was based on the 1931 novel Call Her Savage by Tiffany Thayer, who was known for his tawdry romance novels. The novel Call Her Savage was apparently quite tawdry, and was summed up by Colonel Jason S. Joy, then head of the Hays Committee as being "...as far wrong as possible" Among other things, the book contained themes of incest, lesbianism, promiscuity, attempted rape, sadism, and syphilis among other things. Even by the standards of the day, the book could be considered racist. 

Clara Bow's contract with producer Sam E. Rork gave her story approval on Call Me Savage, something she had never enjoyed on a film before. She also received a salary of $75,000 and an additional $25,000 if the film's rentals exceeded $800,000. Clara Bow also had to agree to loose weight until she was 118 pounds and then to stay at that weight. She was provided with a masseuse to help with her weight loss. For the role of Nasa Springer, the studio also hired a "voice culture specialist." 

Clara Bow also requested that Fox's Western Avenue studio, which had sat unused for some time, be used for shooting the interior scenes. Clara Bow approved of the hiring of director John Francis Dillon, who had earlier directed the 1930 film adaptation of the play Kismet. Joel McCrea tested as Clara Bow's leading man in the film, but the role ultimately went to Gilbert Roland. 

As to the script, The Hays Committee wanted Fox Film Corporation to remove as much objectionable material as possible,  Despite this, when Jason S. Joy read the first draft, he thought "most of the real flavour of the story" had been taken out of the script. Jason S. Joy and his assistant Lamar Totti then held meetings with producer Sam E. Rork and the Fox studio to find a happy medium between the racy novel and the somewhat bland first draft of the movie's script. Jason S. Joy's successor at the Hays Office, James Wingate, ordered more cuts, in particular to a scene in which Nasa's estranged husband tries to rape her and a sequence involving streetwalking. 

Jason S. Joy had written a letter to censorship boards in New York, Pennsylvania, Virginia, Ohio, Maryland, Kansas, Manitoba, Halifax, New Brunswick, Edmonton, Vancouver, Montreal, and Saskatchewan in which he emphasised the importance of the film as Clara Bow's comeback. The letter more or less fell on deaf ears, as most of the censorship boards demanded cuts anyway. Indeed, the New York Censorship Board outright rejected the film unless specific buts were made. As for the United Kingdom, the British Board of Film Censors out right rejected the movie without giving any specific reason.

Call Her Savage (1932) premiered at the Roxy Theatre in New York City on November 24. 1932. The Los Angeles Times approved of Clara Bow's return to the screen, stating, "It is generally conceded that her acting has improved, having become more restrained, but she is still sufficiently exuberant in her technique to qualify as a natural actress rather than a cultivated one. Her vitality and sincerity unite [in a] likable personality that disarms criticism and wins for her the whole-hearted approval of the masses." The New York Times questioned the film's plausibility, writing, "It is scarcely an offering that can be recommended for its plausibility, but who knows but that there may be a girl somewhere like Nasa Springer. Miss Bow does quite well by the role of this fiery-tempered impulsive Nasa, but whether the flow of incidents makes for satisfactory entertainment is a matter of opinion." Other publications, from Variety to The Film Daily, generally praised Clara Bow.

While critics may have appreciated Clara Bow's return, audiences were not quite as enthusiastic. While Call Her Savage (19320, would make $34,000 in its first week at the Roxy Theatre in New York alone, the film ultimately made only $17,407. 

Even for a Pre-Code film, Call Her Savage (1932) can be somewhat shocking. In addition to the scene in which Nasa Springer's estranged husband, obviously suffering from nurosyphilis, tries to rape her, there is also a cat fight between Nasa Spring and Sunny De Lane (Thelma Todd), a drunk and obvious paedophile who goes after a little girl, the death of an infant due to smoke inhalation, and a scene in which Nasa Springer is obviously streetwalking.

Of course, while it is no longer shocking today, the scene that attracts the most attention today is one that is set in what many believe to be the first gay bar in American film. While in New York City, Jay Randall (Anthony Jowitt) takes Nasa to what he says is one of the seedier places in Greenwich Village. There they see two campy performers dressed in filly maid aprons and wielding feather dusters singing a bawdy song about sailors. There can be no doubt that the two men are gay. Call Her Savage (1932) was released at the tail end of what historian George Chauncey in his 1994 book Gay New York would call "the pansy craze," a period from the late 1920s to the mid-1930s when the LGBTQ+ community was more visible in American society, especially in such large cities as New York, Chicago, and Los Angeles. The Pansy Craze would pretty much end around the same time as the Pre-Code Era, as Roman Catholics in the United States became concerned about perceived immorality in American cinema.

Sadly, Call Her Savage (1931) relies upon tropes regarding Native Americans that would be considered racist by today's standards and were regarded as racist by some even in 1932. Quite simply, much of the blame for Nasa's rebellious nature is placed on the fact that she is half-Native American (and, yes, I realize is a stretch to believe, fair-skilled, red-haired Clara Bow could b part Native...). The film seems to equate untamed emotion and scandalous behaviour with being Native American. Unfortunately, "the savage Indian" trope was common at the time of the release of Call Her Savage (1931) and would persist in films and later TV shows well into the Sixties.

Seen today, Call Her Savage (1931) is an uneven film. It is remarkable for Clara Bow's performance and the very tawdriness of much of its plot certainly makes it entertaining at times. At the same time, the film is certainly episodic and often has dramatic shifts in its tone. The film's attitudes towards Native Americans might make it uncomfortable viewing for some people (as someone is part Native,  that was certainly the case for me). Regardless, it has a place in history as possibly the first film to feature a gay bard and Clara Bow's next to last film. 

The 22nd Anniversary of A Shroud of Thoughts

It was 22 years ago today that I made the "Famous First Post" on A Shroud of Thoughts. From about 2002 to 2006, blogs were a bit of a fad. At the time, I had a lady friend who had a blog and it looked like fun, so I started my own blog. As to the title, in the early to mid-Naughts, titles with words like "thoughts" or 'similar words were in fashion, so I borrowed a phrase from  Lord Byron's Childe Harold's Pilgrimage. I have always regretted it, as it has occurred to me I should have chosen a title more befitting a pop culture blog. Unfortunately, by the time I thought about changing the name, A Shroud of Thoughts already had a following and I worried it might confuse people if I changed the name. Originally, A Shroud of Thoughts was devoted to pop culture in general (I did review current movies and TV shows), but as time went by it evolved into a nostalgia blog. This was not a conscious choice, but simply a case of my interest in the popular culture of the past simply taking over.A Shroud of Thoughts does share its anniversary with some significant movies and TV shows. Mrs. Miniver  premiered on this date in New York City. On this day in 1949, the TV show Cavalcade of Stars debuted on the DuMont Television Network. It would eventually give Jackie Gleason his first hosting job on a TV show. In 1963, The Nutty Professor, directed by and starring Jerry Lewis, was released. Star Trek II: The Wrath of Khan, still my favourite Star Trek movie, came out. Several of my favourite actors were born on this date too, including the lovely Rosalind Russell, Dennis Weaver, Geoffrey Palmer, and Bruce Dern.

Twenty-two years ago I could have never imagined keeping this blog up for 22 years. As it is, I think the blog will be around long after I am gone (or at least until Google deletes it). In many ways, it has become my life's work. 

Each year on A Shroud of Thoughts' anniversary I list what I think are the best posts of the past year. Without further ado, here they are.

"Mi Vida Loca (1993)", August 7, 2025

"Sunset Boulevard (1950) Turns 75", August 16, 2025

"Sweet 15 (1990): A Mexican American Focused Episode of WonderWorks", August 23, 2025

"The 70th Anniversary of The Life and Legend of Wyatt Earp", September 6, 2025

The 50th Anniversary of the TV Series Ellery Queen", September 11, 2025 

"Quatermass and the Pit (1967)", September 20, 2025

"Let's Do the Time Warp Again!: 50 Years of The Rocky Horror Picture Show (1975)", September 26, 2025 

"The 70th Anniversary of the Sitcom The Honeymooners", October 1, 2025

"The Rise and Fall of the Sexy Halloween Costume", October 24, 2025 

"Trick 'r Treat (2007): The Halloween Cult Film That Wouldn't Stay Buried", October 29, 2025

"Phantom of the Paradise (1974): The Cult Horror Rock Musical That Premiered on Halloween",  October 30, 2025

"Hammer Film Productions' The Hound of the Baskervilles (1959)", November 7, 2025

"The House That Dripped Blood (1971)", November 8, 2025 

"Powwow Highway (1989)", November 14, 2025

"In a Lonely Place at 75", November 19, 2025

"Happy 100th Birthday to Dick Van Dyke", December 13, 2025

"80 Years of Christmas in Connecticut", December 17, 2025

"85 Years of Remember the Night (1940)", December 20, 2025

"The 85th Anniversary of Inner Sanctum", January 6, 2026

"The 90th Anniversary of the Radio Show Gang Busters", January 15, 2026

"The 50th Anniversary of Laverne & Shirley", January 27, 2026

"Beauty, Brains..., and a Badge: Get Christie Love!", February 7, 2026

"The Man From U.N.C.L.E.: 'The Mad, Mad Tea Party Affair", March 21, 2026

"William Holden in Stalag 17 (1953)", April 17, 2026

"The Way of the Dragon (1972)", May 30, 2026