You think your home life is screwed up? I can almost promise you that the Gallagher family has you beat in spades. If not, perhaps watching them will help you feel better about your situation. Fiona, Lip, Ian, Debbie, Carl, Liam, and of course Frank are back with Season Six of Shameless, and it’s like they never left. That is the good thing about the series; it always feels like you can pick up right where you left off despite the several-month hiatus. This year is filled plenty of the same antics you are used to seeing by one of my favorite dysfunctional families, including illegal marriages, teenage pregnancy, and criminal mischief. After indulging in Season Six, the only thing you can say is in the words of Steve Howey, “F$8#ing Gallaghers.”
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NCIS continues to be one of the top dramas on television. After 13 years, that’s a hard trick to pull off. With two spinoffs enjoying a pretty nice run, there are nearly 500 episodes of the franchise. The show just received a rare two-year extension and doesn’t appear to be slowing down. The show has seen a lot of changes over the years. Cast members have come and gone, but a strong core has remained for the long haul. More changes are on the horizon. Michael Weatherly leaves after this season. He’s certainly been one of the more beloved members of the original cast. It will be a tough road, but something tells me the show is going to be just fine. If Season 13 is any indication, NCIS is a long way from slowing down.
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I think for the most part we can all agree that the 90’s were not so kind to horror fans.  Sure, you can find a few gems sprinkled throughout the decade, but as a whole the theater was not where you’d find the good stuff.  In the 90’s you’d end up having to go to your local video store to check out the straight-to-video titles and the independent films  that had just been released.  Unless you lived in LA or New York, there were so many titles you’d be missing out on, but the video store brought films like Carnosaur (1993) to your attention.  This was pretty much how I first stumbled upon Bad Moon, while cruising the titles in the horror section and this cool box art called out to me.
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“Put your game face on.”

When you have the highest-rated drama on television, there is a temptation to milk it for all that you can. We’ve seen it happen with both the Law & Order and CSI franchises. The results tend to be mixed, with some capturing and even exceeding the popularity of the original. Others never quite seem to connect and are gone while their mother ship is still on the air. It’s too early to tell if NCIS: New Orleans will fall in the former or latter category. There’s certainly plenty of the tight writing and production value that the NCIS label is known for.
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Charlie “Charlie Mac” McIntyre (Terrence “Terrence J” Jenkins) is a modern lothario (not much call for that world nowadays) with a seamless ability to remain romantically unattached to the many women that he meets and sleeps with. Now before you begin to hate him, let me clarify that he is not callous, and he does have scruples. He does not date anyone that shares a connection to any of his circle of friends in order to preserve their friendship. Despite him respecting that relationship, his friends wish for him to reform his ways and settle down, something he has no intention of ever doing. Believing his actions are emotionally unhealthy, his two best friends Rick and Victor (Donald Faison and Robert Christopher) take it upon themselves to propose a bet: he must commit to one person until Victor‘s wedding, in order to prove that a prolonged period of time with one woman will not fundamentally change his perspective on relationships.  Charlie accepts.
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The Boy Who Cried Werewolf (1973) is an interesting collection piece for fans of horror film. It marks the end of Universal’s long-standing tradition of double-billing B-horror films from the 1930’s onward. That being said, The Boy Who Cried Werewolf and its companion film Sssssss (1973) are the physical evidence of the end of an era. This particular release drops the double- billing tradition, which is rather confusing to me, simply because the Universal Studios distributing system’s historical relevance is worth more to me than the actual film. Outside of the context that I have provided, this film doesn’t have many interesting qualities.
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