If there was one thing that became clear during my conversation with Jess McLeod, it's that their excitement for Teenage Sex and Death at Camp Miasma and Our Effed Up World is completely genuine. There was no rehearsed industry polish and no carefully manufactured answers. What came across instead was someone deeply passionate about the people they work with, the stories they're helping tell, and the growing community of queer filmmakers carving out space on their own terms.

For a lot of viewers, Aaron Dominguez will always be remembered as Oscar Torres from Only Murders in the Building. He brought warmth, charm, and immediate trustworthiness to that role, making him one of the most likable characters in the series. That's exactly why his work in Christopher Piñero's The Prowler feels so refreshing.

Some horror shorts deliver a good scare. Others leave you thinking. Christopher Piñero's The Prowler manages to do both.

I'll get this out of the way early: I had a great time talking with Matt Doherty. As somebody who grew up on The Mighty Ducks films, there is always that weird moment when you sit down with someone whose work was part of your childhood. Sometimes those conversations are fine.

There is a danger when making a documentary about a beloved figure in genre cinema. It is easy to get lost in the accomplishments, the filmography, and the nostalgia. What makes Rubberhead: The Life and Monsters of Steve Johnson stand out is that director Nick Taylor never set out to make a greatest-hits reel. Instead, he wanted to tell the story of the man behind the monsters.

There are action stars, and then there are storytellers who happen to know how to throw a punch. With Son of the Soil, Razaaq Adoti proves he's firmly in the second category. Genre fans will recognize Adoti from films like Resident Evil: Apocalypse, Doom, Black Hawk Down, and Amistad, but his latest project feels different.

As someone who has been following both Alexandra Essoe and Richard Harmon for years, sitting down with them to discuss Pitfall felt a bit surreal. I've been a fan of Essoe ever since Starry Eyes. Watching her career evolve from that breakout performance to projects like Doctor Sleep, Midnight Mass, and The Haunting of Bly Manor has been one of the more rewarding journeys to witness as a horror fan. Every role seems to reveal something new about her range, and her rise within the genre has been more than earned.

One of the first things I told Britt Bankhead and Grace Patterson when we sat down to talk about The Town That Takes was that I was impressed. I've watched enough indie horror over the years to know where budgets usually start showing themselves. Sometimes it's the effects. Sometimes it's the locations. Sometimes it's the action. Somehow, The Town That Takes avoids most of those pitfalls.

One of the most impressive things about Mockbuster isn't the insane six-day dinosaur shoot, the frantic production hurdles, or even the fascinating look behind the curtain at The Asylum. It's Anthony Frith himself. Within minutes of the documentary starting, you feel like you know him.

Getting the chance to sit down with Carla Gugino was one of those moments that reminded me why I love doing this. I've been a fan of hers for years. I cannot tell you how many times I've watched Son in Law. It's one of those movies that somehow never gets old.