Michael Myers Minute

Return to Haddonfield for talk of John Carpenter's Cadillac, Laurie Strode's waddle, Jamie Lee Curtis' teeth, and the JANE introductions of Ross Putman.

At the gates of the sanitarium, #DoctorLoomis tries to make a call, #NurseChambers does strange things with a government vehicle, and #TheShape arrives, wrench at hand.

Nurse Chambers and Doctor Loomis arrive at the Sanitarium gate only to find that patients are wandering around outside. Plus, a little podcast behind-the-scenes talk RE: formatting my notes, visiting filming locations, and getting on a government watchlist.

Nurse Chambers smokes a lot, Dr. Loomis is serious about it, his ex-girlfriend was killed by Michael, Thorazine was the first anti-psychotic, and they haven't gotten to the sanitarium yet.

#DoctorLoomis in two added-for-television scenes, edited in the car to be more likable, as Cassandra figure, and as Ahab chasing his cosmic #whitewhale.

Judy dies, Michael flees, and we meet their parents and really get to know them... or just watch them stand around awkwardly for 30 seconds, never to be seen again. Also, the real Michael Myers?

Judy sings, Michael has toys, and just how many times does Michael stab his sister? And what about the voice inside his head?

Candlesticks, chafing dishes, wrong clocks, transom windows, houses that are bigger on the inside, and the voices in Michael's head. Plus #MyersHouseNC. From psychosexual fury to the shadow of the cameraman, it is Minute 5 of #Halloween

About POV, about the nature of evil, and something about blenders.

Connecting the death of Judy Myers to the assassination of JFK, talking Samhain and the little known prologue with the Celtic boy Enda. And this one actually got a few minutes shorter on the remix.

The tail of end of my conversation with my sisters drifts from the opening credits of #Halloween to our favorite #horrorfilms and what #slasherfilms are all about. (And I fixed up the audio from last year as best I could.)

It's been a year, and I'm working on some other projects and have not come back for Halloween II yet. So, here is the first of several remixes of the early episodes that didn't have great sound quality. My eagerness to jump in outweighed my patience for figuring out a good mixing program. This is a much longer version of Minute 1, with two of my sisters and me talking about the Halloween houses, Solarbabies, Blood Beach, Motel Hell, Rob Zombie's remake and why the original is scary. Plus, we talk about the first few credits--Mustapha Akkad, Donald Pleasence, Jamie Lee Curtis, Nancy Loomis, and PJ Soles--as well as Janet Leigh, the final girl, and what it means to be a slut.

The credits end, the screen goes black, the music fades, and The Shape is captured behind the Elrods' house.

End credits, one final IMDb goof, the Halloween II novelization, the nature of evil, and a part of Michael Myers we weren't supposed to see.

The film proper comes to an end, with looks back into the novelization, into Chaos Comics, into Michael's childhood and ancestry, and a look forward into Halloween II

Alan Sanders of The Wilder Ride is with me again as Michael falls, Loomis can't really see the lawn below, and Laurie magically knows that the boogeyman isn't really dead.

Alan Sanders of The Wilder Ride joins me (sort of) as Loomis arrives just in time to recognize and shoot Michael Myers.

Laurie sends the kids to the MacKenzies, 3 years later in Halloween 2 the dialogue is just slightly different, and outside Loomis' "evil radar" has failed him.

Michael's supressed sexuality, Loomis' madness, and the stupid mistakes that reviewers, writers, filmmakers, and fans make.

Minute 84 takes place entirely in a closet, lights flicker, hangers fall, and a door is broken.

In the novelization, Laurie listens for the Shape's sounds downstairs; in the film, she gets the kids ready to make a run for it; and the bogeyman arrives to foil those plans.

Loomis' evil radar isn't working, Brackett is useless, but oh, is that music setting the mood.

Laurie is in her head in the novelization as she waits for Michael to strike. He strikes, she strikes back. He falls to the floor.

From flying geraniums to flightless astronauts, matching phones to mismatched houses, as a teenage girl's mind is broken when she realizes the phone doesn't work.

Front yards, back yards, duplicate doors, falling down, picking yourself back up, and screaming for help, only to lose your keys. Don't be Laurie Strode if you can help it.

The Shape gets his arm stuck, Laurie can't get out of the Wallace house, and when she does, she goes the wrong way.

In the novelization, the bodies are more damaged, and Laurie fights back a little more, but the film has two iconic visuals inside one minute.

Laurie approaches the master bedroom in the Wallace house, punctuated by some great Carpenter score, and she finds... well, we all know who and what she finds there.

Another slow walk, as Laurie approaches and starts up the stairs in the Wallace house, with some wonderful John Carpenter music scoring the tension.

Nitpicking the whole "filmed in Pasadena" thing, talking about unlikable characters, and Laurie can't seem to find her friends in the Wallace house.

Laurie arrives at the Wallace house, geography is a little screwy, and is Laurie a feminist Final Girl?

Laurie crosses Orange Grove, crosses the Rubicon, crosses the Styx, and I'm talking about lighting, I'm talking about dogs barking, I'm talking about will o' the wisps, about music, about shadows, and about the power of suggestion.

Loomis has located his stolen station wagon and Laurie heads to the Wallace house, and I discuss Carol Clover's take on the Final Girl.

As Laurie checks on the children, Loomis wanders the streets in search of a feeling.

Lynda's struggle ends and I explore the timing and the sounds as Laurie realizes that something is very wrong tonight.

Rotary dial phones, "The Shape Lurks" musical cue, and famous squealing.

The orgin of bedsheet ghosts, some more of the history of trick-or-treating, Bob's a punk, and Michael is Bob.

An extra laundry closet, a dying Bob Simms, Michael Myers pinning people to walls, and if not my last IMDb goof rant, maybe my biggest.

Bob goes to get some beer, leaving Lynda to get comfortable. He arrives in the kitchen and finds some peanuts to go with the beer, and he hears a noise--someone is nearby, but who? Also, this episode is gimmicky as can be. And it might have taken you longer to read this description than to listen to it.  

Post-coital cigarettes are smoked... and that's about all for Minute 64. And, oh, Michael's watching.

Misplaced jack o' lanterns, awkward strip teases, and why I should never record audio books with sex scenes in them.

Tommy mansplains, Laurie lies, and IMDb goofs wrong as usual as Lynda trips.

Making out at the Wallace house, jack o' lantern carving at the Doyle house, and Halloween 2018 is too "slasher".

Michael Myers, Barry White, Lynda and Bob sitting on the couch, K-I-S-S-I-N-G

A scene from the Halloween II novelization sheds new light on Doctor Loomis, and Lynda and Bob bring us to Love's Baby Soft, Pretty Baby, and 70s perversion.

Stefan Hutchinson's "Sam", Joe Blevins' theory on Doctor Loomis as the real bogeyman, projection, pranks, moments of darkness, and looking past the wall.

Alyson Grimm of The Room Minute is with me again to talk Haddonfield palm trees, pervy Doctor Loomis lurking, Cal Worthington and his dog Spot, attorney Edgar Snyder, and the houses of Halloween.

Alyson Grimm of Potent Podables is back to talk corpse juggling, mysterious voices, bell bottoms, The Real Ghostbusters, and Michael Myers' hygiene.

Alyson Grimm is with me to talk who's luckier--Paul or Danny; possession by Celtic boys, "real" fans of the franchise, retcons, and psychosexual fury.

Michael cleans the Wallace living room, Annie gets a phone call from her father about being safe, then proceeds to get into a car with the boogeyman.

This episode is mostly just me obsessing over the geography of the Wallace property, and wondering how Annie ever even found the garage in order to die there.