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Edging Tomorrow: The Boulet Brothers’ Dragula: Titans Ep 3 “Science-Fiction (Horror) Double Feature” Recap

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In space, no one can hear you flush. And since the coven is doing some post-Spooky Season cleaning, it was pronounced “Ovska for Miss Yovska” last week and their swamp was drained. Now, our precious little witch bitches are trading in their muddy stilettos for a pair of space booties and continuing their journey to slay them all and reign supreme. It’s time to see who can best channel their inner Event Horizon fantasy and make Astrud’s Season 4 Xenomorph look so last season. Rita Repulsa, eat your heart out.

The Challenge
While they await the go-ahead from Miss Houston of the Haus of Mission Control, the Titans convene in the Boudoir to discuss last week’s witchy wonders and who’s probably gotten the chop. Everyone agrees that Erika’s Curse of Baldness was more of a blessing for Abhora, who had a great week with their wild spiral lewk. It appears Erika was the unlucky soul who endured a less desirable candy-coated night. Always one to dabble in the dramatic arts, Abhora claims it was hurtful for Erika to be so petty toward her frenemy. Erika insists petty is not in her vocabulary, but as we continue to see with our Uglies this season, prosthetic queen Victoria isn’t the only one with two faces. Once Kendra makes her grand return to the Boudoir – to no one’s surprise – she calls out Astrud and Evah for their alleged duplicitous commentary before last week’s elimination. The great chanteuse Paris Hilton once told us stars are blind, but perhaps these ghouls should pluck a few more eyeballs to keep watch for an attempted backstabbing, or two.

Back at the launch pad, the Boulets appear via satellite to inform their Titans of this week’s challenge: Science-Fiction Horror. They must conceptualize, design, and create a look to fit this theme, and while it can range from terrifying to retro-futuristic, it must reflect their drag above all else. However, before they can prepare for blast-off and figure out a way to strap Koco’s curvy figure into a spacecraft, the Fright Feat awaits.

Fright Feat
While these Titans are technically undead and could probably survive a few minutes with no oxygen and zero gravity, the Boulets would never send their Uglies to explore deep space unprepared. The underworldly explorers enter a dingy hallway shrouded in misty green light in a fun Saw-like segue reminiscent of the cold opens from regular seasons. They meet their hunky alien drill sergeants and come face to face with the Gravitron Vomitorium. Locked inside claustrophobic boxes, they must avoid using their faces as barf bags and endure heavy g-forces while the contraption spins for three minutes. Kendra admits something like this is her worst fear, and after watching the Titans swirl and twirl for a bit, they all seemingly make it out with their stomachs intact. Surprisingly, HoSo admits this to be the worst experience they’ve ever had on the show thus far, which is quite the feat.

The Real HouseUglies of the Underworld
It wouldn’t be Titans without a disproportional amount of interpersonal drama oozing its way through the Boudoir, and this week, the chaos reaches head-spinning levels of melodrama – Andy Cohen, are you watching? Melissa stirs the pot first by exhuming the lone Yovska vote from week one and asks HoSo if they’ll always be out to protect Abhora. HoSo gives a politically correct answer and states that they love Abhora as an artist and would not want to see them go so soon. Girl, you can try and be Switzerland all you want, but as Kendra lovingly puts it, getting “hugged the fuck up” with Astrud during filming is both somewhat unprofessional and hurtful toward Abhora. HoSo uses their idolization of Abhora as an excuse to avoid confronting the problem but isn’t letting such a volatile situation go nuclear as you look the other way just as problematic? Ideally, Abhora will focus on the $100,000 prize and compartmentalize the heartbreak for another time, but this is the agent of chaos we’re talking about.

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Astrud is likewise bothered by the situation despite actively taking part and attempts to hash it out with Abhora. As expected, nothing is solved and everyone – including Abhora’s bestie Evah – is becoming increasingly tormented by this love triangle from Hell.

In a moment that is all things cringe, enlightening, and heartwarming, Evah attempts to sort things through with Abhora despite her frustrations. Melissa sees this as an example of two-faced behavior, but true friends can be compassionate and express their frustrations, no? Abhora is so upset that they stand facing the wall and away from the camera’s gaze. In the end, it seems they realize that anger and resentment are not healthy coping mechanisms. Progress? Stay tuned!

Kendra beckons Melissa to the cauldron to take some shots and spill the tea away from prying eyes. Koco soon joins them, and KoMelDra is back in action, plotting against the Love Triangle Thotties. Koco suggests letting the others be their own undoing, as they should focus on being at the top. They can prance over the corpses of their self-destructive enemies in the finale. It’s here that Melissa also reveals some troubles from home that have been affecting her time on the show, and suddenly her annoyance with the love triangle makes more sense. In an especially cruel brand of spite, her husband left her a week before filming Titans, which has left her at an emotional disadvantage heading into the competition. Kendra and Koco tell her to use the pain as fuel, and she says that’s exactly what she’ll do.

The following day, Kendra and Evah squash their beef from the week prior while Abhora remains unfocused and bothered that no one cares. I feel for you, beaked icon, but ultimately everyone is there to compete for fame and fortune rather than play nice. Some residual drama continues, and Koco calls it back to Blue’s Clues by requesting a handy dandy notebook to keep track of the theatrics. And speaking of theatrics, the Titans give us another silly montage as they make tin foil hats out of Koco’s leftover costume materials. Comedic relief: We love to see it.

Floor Show & Judgment
Our deep space deities, the Boulet Brothers, enter the main stage serving dainty galactic bug. I’d never thought I’d use that word to describe them, but watching them flutter their capes and traipse around the stage in delicate movements is the biggest gag of the episode. I guess evil does have a cutesy side! The duo then introduce guest judges, actor David Dastmalchian – who gives Crispin Glover a run for his oddball money – and their favorite martian, drag superstar Alaska Thunderfuck 5000. A vintage intro that looks like a cross between the video game series Mass Effect and the V/H/S films plays, and the floor show begins.

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Astrud starts it off by serving Ivan Primordial Ooze realness. She’s taken all the eyeballs her fellow competitors need to watch their backs and transformed into a bio-goop beast, slinking around like M3GAN in the apocalypse. Koco follows, commanding the stage like Mega-Man’s horny younger sister. She looks absolutely sickening as she makes love to her oversized blaster cannon. It’s even adorned with a small mirror so that she can take in all her beauty as she rides that retro rocket to completion and decimates her foes. Erika, looking the most horrific she’s ever managed as a neon Day Glo Ghidorah is next. Taking a page from Victoria, she uses heavy prosthetics for the first time, and it works, despite a body suit that’s a bit too frumpy.

Abhora then materializes on stage in a typically polarizing lewk. Governed by a sphere around her head and chained into couture, she bites a pigeon’s head off and gives us angel-eater end-of-the-universe perfection. It’s very final boss of a JRPG, but considering the theme, it’s a bit too out there for most. Kendra seeks to one-up Abhora with a performance that’s simultaneously hilarious and baffling. Looking like a character from the 90s Nickelodeon show Doug, she sports a British accent and screams the following into a Nintendo Switch controller:

“BITCH! Grandmother bitch! What do you want?! I’m out with the girls! I’m going to the Protozoa concert later. Grandmother bitch said it was fine! It’s her fucking money! You know she’s your fucking mother! Bitch! Bitch! Grandmother bitch!”

She then poops out some sort of egg and eats it. I have no idea who/what/where/when/why this happened, but it was certainly a choice. HoSo, ironically, makes things sane again as a cyborg schoolgirl with swordplay skills. Going on two seasons in a row of their usual smorgasbord of the senses visual style is becoming a bit too expected, but as usual, it’s presented in detailed perfection.

Evah, Melissa, and Victoria are left to finish the show. Evah, doing her best Biqtch Puddin’ janitor, is a murderous robo-maid with a deadly mop. She nails the movements and has some great props, but the outfit needed a bit more work to make it stand out. Melissa enters as a glamorous Predator who dazzles the stage in a sparkling bejeweled custom bodysuit. It’s a bit on the nose (this isn’t the Horror Icons challenge), but she looks stunning. And finally, Victoria ends the night with a breathtaking display of grotesque horror. In homage to The Thing, she’s under head-to-toe prosthetics as a gnarly monster with an explosive and spikey chest piece. If Abhora was the final boss of a JRPG, Victoria is that of a Resident Evil game.

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The Boulets are impressed, stating that it’s the best floor show of the season. Melissa and Erika are safe and excused from the stage, and it’s clear Erika is a bit taken aback as she went all-in this time and hoped to be at the top. Astrud is praised for her complex work this week, but the judges were left a bit unimpressed by her hectic performance. Koco is congratulated for bringing her sexy, unique drag to the challenge, but it wasn’t enough to snatch the crown. It’s left to HoSo and Victoria, who each wowed the judges, and since this is a sci-fi horror double feature, both Titans win!

Evah, Abhora, and Kendra remain in the bottom and are appropriately chewed out. Evah is scolded for bringing store-bought items to the main stage, but the Boulets give her another chance and allow her sanctuary. Dracmorda loved Abhora’s look, going so far as to suggest a career in fashion design, but it did not fit the challenge for them. And finally, despite the hilarity of her batshit performance, Kendra was wearing the most basic outfit imaginable. The pair head into the Cauldron to await their fate.

Last Rites
Kendra understands she and Abhora have a similar track record, but defends her position by stating that, once again, it is unclear what Abhora is supposed to be. Abhora finally realizes that she’s trying to stand out a bit too much, sabotaging herself as a result, and everyone expectedly agrees that Abhora will be the one to go. If you thought this moment of self-realization would be left unscathed, you’re in for a shock. Abhora throws all caution to the wind as they curse out everyone in the room for thinking so poorly of them. They burn every bridge imaginable, and even HoSo thinks it may be their time to go.

Each Titan heads up the Staircase of Souls for the second time this season, and the tension is thick. Somewhat surprisingly, “KENDRA” called, and she plunges into darkness. Two Titans down.

Quote of the Episode
“Oh come on. So we’re supposed to compete with Universal Studios?” -Abhora, on special effects wizard Victoria

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Honorable Mention
Koco’s outfits are always skimpy, and sometimes that can be a detriment, but tonight she was the epitome of Koco Caine. The competition is fierce, but Koco is fiercer, and it was fitting to see her at the top despite not being as heavily detailed as some others.

Rating
The triangle of sadness drama is wearing thin, but at least for now, it remains entertaining. Add to this a cosmic floor show for the ages and a bottom two where either one could drop, and episode 3 made for some great TV. (9/10 missed voicemails from Grandmother Bitch)

Alex Warrick is a film lover and gaymer living the Los Angeles fantasy by way of an East Coast attitude. Interested in all things curious and silly, he was fearless until a fateful viewing of Poltergeist at a young age changed everything. That encounter nurtured a morbid fascination with all things horror that continues today. When not engrossed in a movie, show or game he can usually be found on a rollercoaster, at a drag show, or texting his friends about smurfs.

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Is Night Flight Plus Your Next Favorite Streamer?

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As genre fans, we see a lot of streamers vying for our dollars and promising to give us the gory goods. In addition to the usual suspects, we usually get a handful, geared specifically towards genre fans, that pop up every once in a while. While some deliver and stick around, like Shudder, others end up leaving us nothing but fond memories, like Chiller. With streamers like Arrow Video, Midnight Pulp, Screambox, Scream TV, etc., it’s hard to know which apps are worth the time and money anymore. Which is why, after learning about Night Flight Plus at Brooklyn Horror Film Fest, I decided to take this streamer for a test drive. I ran through the library and took notes to help you figure out if this site deserves a slot in your streaming app lineup. Let us dive in.

What Even Is Night Flight Plus?

First things first, Night Flight Plus is not just a horror app. It launched in 2016 and is built around the 1980s USA Network series Night Flight. So, they have episodes of that show and walk a fine line between genre and music documentaries. The site celebrates counterculture. Meaning there is a ton of cool stuff for film and music nerds alike. While a lot of their horror movies can be found on other apps (look right at Shudder and Kanopy), they have a robust animated film section and a ridiculous amount of short films. So, it is setting itself apart from most other streamers simply by having a decent-sized smorgasbord of random cool stuff. I personally have my eye on New York Dolls – Lookin’ Fine On Television if I have time to step outside of the horror space while playing on the app.

What Movies Are Streaming This Month?

This month’s categories of note include: Black Phone 2: Curated by Director Scott Derrickson. Derrickson proves he has a taste and has assembled a lineup which includes Tetsuo: The Iron Man, Opera, a 1988 video profile of John Carpenter, and a handful of documentaries about film and music.  

In keeping with the Black Phone 2 theme, Night Flight Plus also has:  Black Phone 2: Late-Nite Faves 1980-82. This section includes The Boogeyman (1980), Fade to Black, Butcher, Baker, Nightmare Maker, and Dark Night of the Scarecrow. It also has the movie that introduced me to the world of Frank Henenlotter, Basket Case.

However, it’s the Japanese Horror section that pulled me in. Evil Dead Trap, Evil Dead Trap 2: Hideki, Bloody Muscle Body Builder In Hell, Dead Sushi, and Madame O. While some can be found in other corners of the internet, a few are movies that have eluded me for years. So, I will definitely be making time to cross these off my list while I have access to this app.

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But Wait! There’s More!

Night Flight Plus also offers label showcases for companies like Yellow Veil, Severin Films, Blue Underground, and Arrow Video. The eclectic categories also include sections of work directed by Lucio Fulci, Dario Argento, and Antonio Margheriti. I also appreciate the thought to addBlaxploitation, Mob Action and Rough Street Justiceand include Black films off the beaten path. Action fans might want to check out the Bruceploitation Collection, featuring 11 Bruce Lee films at the moment. Overall, the streamer feels like one of those restaurants that dabbles in various kinds of cuisine, and you have to figure out where it excels. 

Because memberships are as low as $6.99 per month (or $59.99 for an annual unlimited access), I think it is worth checking out for a month or two. If things get serious, you can definitely think about making a long-term commitment. To sweeten the deal, Night Flight Plus is available on Roku, Apple TV, iPhone, Android, Amazon Fire TV, Samsung Smart TV, Chromecast, Google Play, and Sony. You can also view their library on a web browser if none of those options work for you.

Night Flight Plus is currently offering seven-day trials for people who want to try it before they buy it. They also allow you to have the service on as many devices as you please, unlike Netflix. So, if you’re looking to get into some fringe, cult, and punk cinema, you might want to give it a whirl. However, if none of these deep cuts and nearly forgotten gems get you excited, then this isn’t the streamer for you.

You can check out Night Flight Plus here.

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Everything We Learned About HBO Max’s ‘It: Welcome to Derry’ at NYCC 2025

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Do you know what time it is? It’s time to float, baby—because Stephen King’s It is returning to our screens! Developed by Andy Muschietti, Barbara Muschietti, and Jason Fuchs, the latter of whom also serves as co-showrunner alongside Brad Caleb Kane, It: Welcome to Derry is a prequel series to 2017’s It and 2019’s It Chapter Two and is set in 1962, 27 years before the events of the first film. Pennywise (played once again by Bill Skarsgård) is back for another child-eating cycle, so you’d better stay out of the sewers, even if you see a shiny red balloon down there. 

Ahead of the series’ HBO and HBO Max premiere on October 26, the cast and creatives behind It: Welcome to Derry took to the Empire Stage at New York Comic Con to tease the horrors in store. If you couldn’t make it, never fear (well, maybe fear a little—you taste so much better when you’re afraid) because we’ve rounded up the highlights right here. 

It: Welcome to Derry Is Based on Mike Hanlon’s Interludes from Stephen King’s Original Novel

If you’re a Constant Reader of Stephen King, you might remember that the 1986 novel It includes a series of five first-person “interludes” documented by Mike Hanlon (played in the films by Chosen Jacobs and Isaiah Mustafa), Derry’s town librarian and unofficial historian. These serve to flesh out the sinister world of Derry, which is a character in and of itself, and to help the reader appreciate just how far back Pennywise’s dark influence over the town goes. As Andy Muschietti put it during the panel, the interludes are “a puzzle that was intentionally unfinished in the book,” one that sparked an idea in the minds of the series’ creators. 

“For me,” he says, “those interludes were kind of a blueprint for a different story, a hidden story, a story that is not told forward but a story that is told backward and has, as a final conclusion, the events in which It became Pennywise.” Why is the story being told backward? You’ll have to see the show to find out. 

Photo taken by Samantha McLaren.

The Story Centers on Mike Hanlon’s Grandfather and His Family

We caught a glimpse of Leroy Hanlon, Mike Hanlon’s grandfather, in 2017’s It, where he was teaching the young boy how to use a bolt pistol to kill sheep. In It: Welcome to Derry, we’ll meet a young Leroy, played by Jovan Adepo, just as he’s moving to Derry with his wife, Charlotte (Taylour Paige), and their son—right in time for a kid to disappear in town. 

Leroy is a “flyboy” in the U.S. Air Force, which was especially meaningful to Adepo, whose own father was a military man. “Getting a chance to play, in some form, a version of who I thought my father was as a child was really exciting for me,” he says. 

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Adepo notes that Leroy is in search of a better life for his family, which he’s probably not going to find in the clown murder capital of America, and teases that the man has a “very unique relationship with fear.” As for his wife, Paige says that Charlotte “has a sacral sense that something is just not right in Derry. 

“It’s frightening to think that you’re losing your mind,” she says. “It’s frightening to feel hysterical, and everyone around you being like ‘oh, we’re good.’”

The 1960s Setting Creates New Opportunities for Anxiety and Fear

Stephen King’s It is split between the late 1950s (for the child portion) and the mid-1980s (for the adult portion). The film adaptations shifted these time periods up to 1989 and 2016, respectively. Since Pennywise’s murderous cycle occurs every 27 years, this means the prequel series is set in 1962, which allowed the creative team to tap into some of the themes and ideas present in King’s 50s setting. 

“What we couldn’t do in the movie in terms of era… we’re doing now,” Andy Muschietti explains. “It’s closer in spirit and also in textures and feel to what the book was.”

“I love doing complex, interconnected, very character-rich shows,” says co-showrunner Brad Caleb Kane. “Setting it in 1962… that was very interesting to me, particularly when you’re dealing with a monster, an interdimensional creature, who uses fear and hatred to divide, and you’re talking about 1962 in America. Well, that’s a very rich and specific area to mine.”

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This period of intense social anxiety and political instability in America would be nothing short of a buffet for Pennywise, for whom fear is flavoring. As King writes, “adults had their own terrors, and their glands could be tapped, opened so that all the chemicals of fear flooded the body and salted the meat.” In that case, our favorite Dancing Clown might want to monitor Its sodium levels. 

“Derry is a microcosm for America,” Kane adds. 

Indigenous Characters Will Play a Major Role in It: Welcome to Derry

It Chapter Two caught some heat in 2019 for its inauthentic inclusion of Native American spiritualism as a plot device. It: Welcome to Derry seems to be making strides to correct that mistake through the character of Rose, played in the series by Kimberly Guerrero. (That’s the same Rose, by the way, who owns Second Hand Rose, the pawn shop glimpsed in It Chapter Two and staffed by King himself in a cameo appearance.)

“The Stephen King universe is a family, but it’s a family that we’ve been left out of,” Guerrero says. “The native story has been there, but we were never able to join you all at the table. We have stories, too—and boy, what a story!”

Guerrero notes that the story of Derry, where something evil lurks in the sewers just out of sight, is one that will feel familiar to Indigenous audiences, saying, “I have never been to a reservation or a Native American community that did not have a place where you do not go. You do not go because you do not know.” But Rose does know, and she’s doing her darndest to protect against It. Her greatest fear is something happening on her watch. 

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“It was such a gift to get to play this Indigenous character that has had all this ancestral knowledge that’s been passed down from generation to generation to generation,” Guerrero enthuses. “Rose knows—my community in this story knows—everything that happened before Derry was Derry. There was a first Loser’s Club, and that Loser’s Club was a group of Indigenous kids.” 

Photo taken by Samantha McLaren.

James Remar Was Thinking about Retirement before Getting the Call

Rose’s story in It: Welcome to Derry is closely connected to that of General Francis Shaw, played by James Remar. The actor, who recently reprised the role of Harry Morgan in Dexter: Resurrection, says he was considering retirement when the opportunity to join the Stephen King universe fell into his lap. 

“I was in the parking lot of a Pavilions grocery store and I was thinking to myself, well, it doesn’t really matter if I don’t work anymore,” Remar recalls. “I got into the car and I got a phone call from my agent, and they said ‘Andy and Barbara Muschietti want to meet you for this undisclosed project, and they’re only meeting one actor.”

“I admired this man since I was a child,” Andy Muschietti explains. “When he said yes, I couldn’t believe it.”

Remar, who brought his own experiences growing up in the 1960s to the table, says his character was saved from Pennywise by Rose when they were kids. They fell in love and had a whirlwind romance as only 9-year-olds who have been terrorized by an ancient evil entity can, though Shaw’s psyche was “shattered” by his encounter with It. Now in charge of strategic air command for the northeastern United States, General Shaw returns to Derry on assignment and reunites with his old flame just as the cycle begins again.

“I feel that my character is drawn back to Derry,” Remar says. “It’s out of my control… I’ve forgotten it in large part, but it’s in the fabric of my being, and I go to Rose.”

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We’ll See a Different Side of the Shining’s Dick Hallorann

Audiences will meet plenty of new characters in It: Welcome to Derry. But one character who is likely very familiar to Stephen King fans is Dick Hallorann, the man who would go on to become head chef at the Overlook Hotel and who would use his “shine” to help save Danny Torrance from the terrifying forces lurking within its halls. Hallorann is a central character in The Shining (played by Scatman Crothers in Stanley Kubrick’s film adaptation, and by Melvin Van Peebles in Mick Garris’ 1977 miniseries) and a tertiary one in Doctor Sleep (portrayed by Carl Lumbly in Mike Flannagan’s adaptation). However, Constant Readers will know that Hallorann also has ties to Derry, where he founded The Black Spot bar, the site of a racially-motivated attack. According to Chris Chalk, the actor bringing this iconic character back to the screen in It: Welcome to Derry, the version of Hallorann we meet in the series is quite different to the older, gentler version we know and love. 

“Dick is in Derry because Dick fucked up,” says Chalk. “Dick thinks all of these people are corny, he doesn’t respect a single one of them, and that’s the journey of Dick. The Dick you know is super nice. Good luck with this Dick!” 

In an exclusive clip played for the NYCC audience, Hallorann—who was a mess cook in the military during his younger years—has a terrifying vision of Pennywise while flying high overhead in a U.S. Air Force plane, seeing the ruin’s of Bob Gray’s circus wagon and dead children suspended in the air in the sewer. 

“You’re going to meet him at a stage where he has a different relationship with his internal self, with his spiritual world,” Chalk adds of Hallorann, “and his biggest fear is himself and losing control.” 

Photo taken by Samantha McLaren.

Pennywise Is Here, but You Won’t See the Iconic Clown Right Away

We’ve been dancing around the Dancing Clown a lot in this article without looking directly at It. Don’t worry, Pennywise stans, It’s definitely part of the series—but you might not see It in Its clown form right away.

“He’s our shark,” says Barbara Muschietti, referencing Jaws’ tactic of teasing viewers with sightings before a sudden and shocking reveal. “We believe wholeheartedly that we can’t allow the audience to get comfortable with It. We had to hide the ball.” 

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“Part of the unpredictability is, ‘When is the clown going to show up?’” adds Andy Muschietti. “I can’t tell you when! But he will… He’s present in other incarnations for a while and then, when you least expect it, there he is.”

It: Welcome to Derry will premiere on HBO and HBO Max October 26th, 2025.

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