The awesome dance routine, of course, really comes from the very end of Radioactive Dreams, directed by the great Albert Pyun. Philip and Marlowe have been trapped in a fallout shelter for the past 15 years, with no entertainment other than classic noir detective stories — hence their names and their determination to be Bogart-esque. They have launch keys to one of the last remaining nuclear missiles, so in addition to the cannibals wanting to eat their uncontaminated bodies, they also have gangsters and "disco mutants" chasing after them. It's not much of a spoiler to say they prevail, and succeed in teaching all the mutants how to dance properly. And of course, this movie has classic 1980s post-apocalyptic mutants, with the punk hair and KISS makeup.

Earlier in our exclusive interview with director John Hillcoat, we discussed exactly what author Cormac McCarthy wanted put back into the film that was originally cut from John Hillcoat's translation. But strangely the writer had no issues with the missing scene from his novel where The Man and The Boy discover a baby being roasted over a fire. We found out just why, from the director...

People are asking why some of the cannibal scenes were cut from the film.

There were some definitely, that I wanted cut. I had to fight to cut them. And I was supported though. Because first of all, I fought like hell to make sure we had shot that stuff, and I got my way. Then I realized it didn't work, it was total overkill. It just made it redundant and didn't have any impact. Because once you go through the road game and the house, the cannibal house, you know about cannibalism. And the trees is the new element. Whereas if you go back to that, it's like going back to the start of the film again.

What was the reasoning for cutting the baby over the fire scene?

It also it all works in the book because it's in your head, when you visualize some of this stuff it just becomes too much. And it was overkill. Luckily, Cormac himself, he really understands how film works as a medium, how different it is. He didn't miss anything from the book other than four lines of dialogue... Just those four lines. Nothing else. He didn't miss any of it, he didn't even bring up the baby. He said, 'Oh, that's irrelevant.'

What did you think when you saw the first trailer for the film?

Well I was a little disappointed. I thought it was a little misleading. I would never put stock footage that isn't part of the film in something, like the trailer. But I also understand, from their point of view, what they were trying to do, which is give people context. Because their point was that most people haven't read the book that will come and see the movie. And in the film it's a very subtle, gradual thing that befalls [humanity], but it's never fully explained. So what they said is, that in when you have 30 seconds or a minute, this was their way of putting it into context for people. But it didn't work, they have a much better trailer now.

How do you walk the line of bleakness and hope that was in the book. It was a pretty bleak in some points, the book.

I never really saw it like that, for one. The heart and soul, the reason this book is now the most translated of modern time, apparently, is because of this love story between father and son. If it was just about that other stuff it wouldn't have struck that kind of chord. That's if you focus on the background scenery. I'm a little defensive about that. But sure, it's a projection of everyone's worst fear. The apocalypse has been around as an idea since ancient times.

It's very simple, it's humanity's worst fear. What is it? It's us dying, the world dying. And we saw what happened with the dinosaurs, so we don't want to join them, and that's understandable. But then I think, also, every individual has their own personal apocalypse, where your time comes. We're mortal beings, we have to check out. So I think in many ways it's just a projection of our fears. And it goes through different periods. In the 50s they were really freaked out about nuclear threats, so you had the mutant monsters that came out of radiation. A brilliant masterpiece of all apocalypse films is Dr. Strangelove. But again that came out of the whole nuclear situation, the Cold War. And you can see in ancient times, and the biblical apocalypse.

But that's also why it's not really about bleakness, it's about fear. And actually there's a morality tale about this. We see a man that we project on to, and we can see that his choices, under pressure, we see how he can, understandably, lose his humanity. And it's actually the boy that gives him back that humanity. So I'm with Cormac when he said that his was a book about human goodness and kindness.

Where do you think we are now with post-apocalyptic movies? What do you think the trend is now?

Well I mean the focus tends to be on the big event, so much so that there's no human dimension. I think that's all valid, I like to see spectacle, we all enjoy that. I like roller coaster rides, although I'm actually having trouble with them as I get older. But, there is thrills and adventure in The Road, but the focus as I say is more about this human experience. And really more, I love films where, what I love speaking in scifi, like I saw 2001 when I was 9 years old and I'll never forget I actually felt like I went into outer space - like I really felt like I was transported into this other world. And the more I watch films, the films that I love are those where you feel like you've gone to another place and that's what I love about scifi. When it's just a CGI fantasy or like a video game, that's when I kind of tune out of it. I don't feel like kind of, being transported.

So that's you comparing The Road to those other post-apocalyptic films coming out. Because we know the difference. But even when I was at the Book of Eli panel at Comic Con, people were asking, 'So how's this different from The Road?'

[Eyes widen] Well, ok, the big difference is also what we've tried to do is, well what I always try to do with genre, is find and make it fresh again, like something we've never seen. And ironically what we've never seen before is the real thing. And so that's why we shot at Mount St. Helens, the mountain blew up.

The Lost World (1925)

There have been many movie adaptations of Arthur Conan Doyle's 1912 novel, but for our money, the original is still the best, thanks to some pretty amazing stop-motion animation showing dinosaurs trashing London. The groundbreaking special effects, by Willis O'Brien, gave rise to later classics like the original King Kong — and O'Brien trained Ray Harryhausen. This is also the only Lost World adaptation that Conan Doyle seems to have approved of personally. The whole thing is on Youtube, and here's the climax — skip to about 4:58 for the beginning of the dinosaur-rampage awesomeness.

20,000 Leagues Under The Sea

Sure, it's a Disney movie, and it's got Kirk Douglas singing "A Whale Of A Tale." But it also has James Mason's understated, creeptastic performance as Captain Nemo, full of subtle menace. And the special effects still look pretty breathtaking, even 55 years later. Most of all, it captures the wonder and boundless curiosity of Verne's book.

Fahrenheit 451

The original film version of Ray Bradbury's book-burning classic is a vivid, lurid masterpiece — I saw it as a kid, and it still sticks in my mind. But what did Bradbury think? He wrote, in the introduction to one edition of the novel:

And what do I think of the film?

I have heard those cries in the past of outraged authors whose books have just been gang-raped by a studio.

Such is not the case, luckily, with me.

I think that Truffaut has captured the soul and essence of the book. He has been careful and subtle in his shadings and motions. He has escaped making a technological James Bond film, and made, instead, the love story of, not a man and a woman, but a man and a library, a man and a book. An incredible love story indeed in this day when libraries, once more, are burning across the world.

I am very grateful.

Clockwork Orange

According to Wikipedia (although it's not sourced), original novelist Anthony Burgess felt Stanley Kubrick's film was brilliant — but almost too brilliant for our own safety. Whether Burgess really said that, he'll get no argument from the hordes of people who've loved this uncompromising, brutal look at hooligans and social control in a dystopian future. It's Kubrick at the top of his game, honoring and transforming the source material. (Note: We considered including 2001 as well, but since the book was written after the movie, we decided against.)

Blade Runner

Yes, this film takes some liberties with Philip K. Dick's "Do Androids Dream Of Electric Sheep?" But it's also one of the best reflections of Dick's constant paranoia and flood-of-weirdness storytelling methods. And of course, Dick himself wrote an ecstatic letter praising this film's vision and his belief that it would re-energize science fiction altogether.

1984 (1984)

It was almost required that this year would see a movie based on the famous George Orwell novel. Thank goodness this one didn't commit the thought crime of bastardizing Orwell's story of a totalitarian society that controls its subjects with constant surveillance and "newspeak." It's worth tracking the director's cut DVD which restores Michael Radford's original bleak color pallette and the original orchestral score (with no Eurythmics.)

Bram Stoker's Dracula

Of all the Dracula films throughout the years, Francis Ford Coppola's version came closest to capturing the original novel's darkness, with Gary Oldman making for a captivating Dracula. The whole affair drips with sensuality, thanks to some incredibly beautiful designs. (Screencaps from DVDBeaver.)

Handmaid's Tale

This was a troubled production, in which the original director dropped out and screenwriter Harold Pinter washed his hands of the thing. That meant that original novelist Margaret Atwood, among others, stepped in to revise the screenplay. Despite the problems, the resulting film preserves the key themes of Atwood's novel, about a fundamentalist culture in which many women are infertile and the few fertile women are given to high-ranking couples to give birth to their heirs. More importantly, it's a harrowing, weird epic.

Lord Of The Rings

Peter Jackson takes some liberties with J.R.R. Tolkien's epic three-volume novel, but nobody would deny that the resulting movie trilogy really is epic, and really does convey just why so many of us fell in love with these books in the first place. The full-length DVD versions of all three movies will take you the better part of a day to watch, but it's an absorbing story and never loses the feeling of great events taking place.

Call Of Cthulhu

This 2005 silent movie comes the closest of all the many H.P. Lovecraft adaptations of doing a straight-up recreation of Lovecraft's world. The campiness and cheekiness are kept to a minimum, and in their place, you see only the pure majesty of Cthulhu. The Old Ones are, the Old Ones were, the Old Ones shall be, indeed.

Children Of Men

We debated whether to include this one, since it makes such a radical alteration to the book's storyline — in the book, it's men, not women, who are infertile. But this, and several other drastic changes from P.D. James' book, don't detract from the fact that director Alfonso Cuarón crafts a pretty gripping film in its own right, which preserves the dystopian feel and obsession with reproduction from the book. And the film's use of long, single-shot sequences in which huge events feel like they're happening all around you, makes it hard to forget afterwards. Here's a video about the making of the film, including those amazing long takes. And apparently, James herself was happy with it.

A Scanner Darkly

Philip K. Dick has probably had more of his books adapted to films than any other SF author — but Richard Linklater's film version of his undercover narc tripfest does the best possible job of giving you an audiovisual tour of Dick's universe. Watching this film, you feel as though you begin to understand what it might have been like to be Philip K. Dick — which is terrifying in itself.

Sometimes, you just need an escape from the relentlessness of the Thanksgiving celebrations, and Hollywood has been there for you — at least, some years. Certainly, in recent years, there have always been a couple of oddball films coming out for T-Day — but in previous years, it was hit and miss. Here's the complete list of Thanksgiving counterprogramming of the past 25 years, including some stuff that's not science fiction but is in some sense genre film.

All movie titles link to IMDB or Box Office Mojo pages containing release dates:

1984

Supergirl A movie guaranteed to make you give thanks that you're never going to see it again — and a strong contender for the worst superhero film of all time. What I want to know is, what sort of guy sees his buddy blown thirty feet across the parking lot, and then decides to try and attack Supergirl using a switchblade?

1985

Rocky IV The good news is, it would inspire you to go get in shape after eating all that turkey and stuffing, thanks to one of the most classic training montages ever:

1986

Star Trek IV: The Voyage Home The most fun of the original cast movies, this probably would have been a good one to escape to with your family. Although the famous "Shatner underwater" scene might have proved distressing.

Solarbabies I'm convinced there's something very broken about this post-apocalyptic rollerblading film, but at least on the surface it looks very wholesome. Except for the part where the woman with the huge shoulderpads says, "Lock it down and disembowel it."

1988

Cocoon: The Return I'm not sure anybody should have to deal with Steve Gutenberg on a full stomach.

1989

Back to the Future 2 Given that Marty McFly's mom gets bizarre breast implants and becomes Biff Tannen's bitch, this is definitely a good film for a family outing.

1990

Predator 2 The underrated cop drama/Predator attack movie starring Danny Glover... it's really not as bad as you remember.

Robot Jox This, on the other hand... giant mecha gladiators, fighting it out with chainsaw crotches and other armaments... this is what family is all about.

1992

The Crying Game Terrorists, thugs, and the great transgender panic of 1992. I bet you took your mom to see this one.

1994

Junior Pregnant Arnold Schwarzenegger, watching sentimental movies and crying a lot, will help you understand your own family. Really.

1995

Casino It's an underrated Scorsese classic, full of brutality and weirdness. Perfect Thanksgiving fare.

Nick of Time I may be the only person who saw this movie in the theater. Johnny Depp has 90 minutes to kill someone or other, or else Christopher Walken will kill someone or other. Mostly worth it to watch Depp and Walken overacting in a shopping mall. And for Walken saying, "I'll make you a sauce for that black Irish cocksucker's meat." I'm happy this and the Scorsese film were the main choices for Thanksgiving 1995.

1997

Alien Resurrection The whole time you're with your family, you can imagine you're actually hanging out with lesbian android Winona. Or you can just daydream about what this movie could have been if they'd filmed Joss Whedon's screenplay.

1998

Very Bad Things A sex worker gets killed at a bachelor party — and then things turn ugly. Probably just like your family gatherings. It does star Jon "Iron Man" Favreau, and it's directed by Peter "Hancock" Berg.

1999

End of Days Satan and Thanksgiving — and Arnie! They fit together perfectly! Satan is looking for his Bride... so it's about family and relationships and stuff.

2000

Unbreakable A horrific act of mass murder brings to light a guy who can find the rapists and creeps in our midst. It's light family entertainment — but it does deal with some real questions about the power of story. So yeah, probably a good one to get out of the house for.

Quills This, on the other hand — the Marquis De Sade! In full effect! I'm betting many of you dragged your entire family to see this.

2001

Black Knight Martin Lawrence gets zapped back to the Middle Ages, and presumably, goes medieval on their asses. Enough to make your entire family commit mass suicide, Heavens Gate-style.

The Devil's Backbone An early Guillermo Del Toro classic, and more proof that horror owns Thanksgiving. Your family doesn't deserve this movie.

2002

Solaris You could watch Steven Soderbergh's trippy-ass remake of Tarkovsky's classic while you're already wigged out on tryptophan. Why not?

Wes Craven Presents: They Or you could have seen this gem — they're coming for you!

2003

Timeline "Your father is in the 14th. century." Hey, maybe he can hang out with Martin Lawrence there!

2006

The Fountain And speaking of trippy movies when you're already stoned on tryptophan... at least your entire family will each have different opinions about what happened in this film.

Tenacious D in: The Pick of Destiny Jack Black! Rocking out! It's bound to make more sense than The Fountain.

2007

Hitman A video game adaptation about a guy who kills people and thwarts some vague conspiracy thing. Probably the purest example of counterprogramming ever.

The Mist Given the shocking, ultra-secret ending, this is an... interesting choice for a family occasion. If you don't want to be spoiled, don't watch this clip:

2008

Transporter 3 It's a threequel starring Jason Statham. How can it be bad?

Twilight You probably have at least one family member who's as creepy as Edward. So it's good to get some perspective.

2009

The Road And then we're up to this year's crop... this whole movie is as depressing as The Mist's ending. But at least it does have a genuinely pro-family message.

Ninja Assassin This is the film we'll probably actually be watching on T-day. Ninjas! Wachowskis! James McTeigue! Out-and-out mayhem!

Additional reporting by Mary Ratliff.

The Road, which opens today, is based on a bleak novel by Cormac McCarthy where a man and his son travel through a world destroyed by a vaguely-explained apocalypse that has covered the planet in a cloud that blocks the sunlight and kills all plant life. Brutal and horrific, it is a story difficult to adapt to film - especially a holiday film. And indeed, the movie has a troubled history for this very reason. Plagued by endless edits, its release was delayed an entire year: Rumor had it that nobody could figure out how to market the damned thing because it was just too grim.

Whatever that editorial tinkering did, it didn't tone down the grimness. The man known only as Papa, played with ragged intensity by Viggo Mortenson, has lost everything - his beautiful country home, his wife (Charlize Theron), and civilization itself. All he has left is his young son. Most of the movie is preoccupied with the awful, starvation-laced journey the two of them take, through dying forests and cannibal ranches, to the southern coast. They're looking for something better than certain death, trying to keep hope alive.

At the heart of every brilliant road movie are finely-drawn characters. The plot arc may be harnessed to their journey, but only as a way to express how the characters' relationships with the world change as they travel. Great road movies like Thelma and Louise or even Wizard of Oz use landscapes and pitstops to foreground human relationships. And that's where The Road falls flat.

Part of the problem with the father/son relationship in this movie is, to be fair, the actor who plays the boy (Kodi Smit-McPhee). Whiny and cutsey by turns, he looks like he belongs in a remake of Home Alone - not in a barren post-apocalypse eating bugs. More than that, though, the father's love for his boy is simply too exalted, too idealized, to be realistic or even interesting. At one point Papa and the boy share dinner with an old man by the side of the road, and Papa confesses to the man that the boy "is God" to him. The bloated symbolism in this comment masks a basic meaninglessness - the boy is holy, their family relationship is holy, and that drains all the essential human complexity from both of them.

It's fascinating to see the world become an empty vessel, but all The Road pours back into it are hollow truisms. Family is good. Sons are good. Fathers are protectors. There is even a dreadful product-placement scene where man and boy, on the verge of total starvation, find a giant cache of flagrantly branded food items in a bomb shelter. Here we learn that Vitamin Water is good. Cheetos are good. Jack Daniels is good. What's truly grim about this movie isn't imagining the fall of civilization, but instead imagining what would happen if everything in our society evaporated except for families and advertising.

We need desperately to have characters we can relate to in this world where most people have degenerated into cannibalism or worse. And yet there are very few moments in the film where we actually see any kind of realistic ambiguity or subtle characterization. There is one intriguing moment when Papa and boy are robbed while Papa is hunting for food and the boy is sleeping. When they find the robber, Papa forces him to strip and steals all his possessions - just as he did to them. Though Papa wants to teach his boy to be a "good person," we see that circumstances are forcing him to slide into desperate, unforgivable evil. This is also the only time when the boy acts like the preteen he is, violently disagreeing with what his father has done.

To succeed, The Road needed more scenes like this, where its characters break out of the dull molds of Papa Saint and Boy Angel. We needed to know more about why the man knows so much about anatomy and medicine (was he a doctor?), and what motivates him and his son beyond a nearly religious fervor to survive. And why, if they are journeying to the coast to find a better place to live, does the man never attempt to connect with non-dangerous people? The movie gives us a few possible answers to these questions (maybe Papa has gone crazy over the loss of his wife; maybe there are no non-dangerous people) but they are sloppily vague and leave our characters ill-defined throughout the film.

I don't want to make it seem like the problem with the movie is that the characters are minimalistic. There is an elegance to the idea that the need to survive pares everyone down to their most basic selves. But that's not what's going on in The Road. We're not getting minimalism so much as simplistic sentimentality. We learn that children are beautiful, perfect creatures; families are good; and evil is as easily-recognized as cannibalism. Papa and his son remain one-note throughout The Road; instead of developing, they wander from a blandly dismal scenario into a blandly mawkish one.

As I said earlier, the one consistently breathtaking aspect of this film is the landscape where it is set. Father and son walk through grey, empty spaces full of ashy buildings, abandoned trucks, and greenery reduced to sticks. We've seen post-apocalyptic cities done well before, but The Road's true visual genius lies in its majestic substantiation of total environmental collapse. One way the movie is different from the book is that we're fairly sure that the apocalypse was caused by a meteor crashing to Earth (Papa says there was a rumble) - and it's tossed up enough dust to shut out the sunlight. We witness what would happen to Earth's ecosystem without sunlight. Vegetation has become tinder, animals have wasted away, and the only food left is in cans or on the bodies of surviving humans.

What this also means (weirdly) is this stately art movie is echoing the disaster scenario from blow-em-up apocalypse flick 2012. Given the cliched smarminess at the heart of The Road, however, the comparison is all too apt.

Careful — there are massive spoilers in the video. The Road is out November 25th.

We sat down with Hillcoat and talked about the end of the world, and translating a film into a movie. The director shared with us the only issue McCarthy had with his film, which Hillcoat promptly changed...

io9: How did you deal with what to cut and what to leave in The Road?

JH: Cormac himself, he really understands how film works as a medium, how different it is. He didn't miss anything from the book other than four lines of dialogue. And this is where it's very telling as to what the real story is. Because those four lines of dialogue, which we did shoot and put back in, is when the boy says, "What would you do if I died?" And the father says, '"I'd want to die too, so you could be with me - so I could be with you."

Which is a beautiful thing to say, and that's in the movie. But that's what his interest was always - the focus of these central characters going through this journey. And the more cannibal stuff, it just becomes a different movie.

So that was what he wanted put back into the movie?

Just those four lines. Nothing else. He didn't miss any of it... It's been great, because he could see the more you focus on that other stuff [post apocalyptic doom, explosions and cannibalism] the more unbalanced it becomes, and it becomes something else.

The Road will be out November 25th.

I have to confess, it's very hard for me to watch horror movies. It's not that I don't enjoy the occasional scare, and it's not that I'm worried about ghosts and monsters following home (although I will confess to a mild fear of zombies). No, it's just that when the body count starts rising, I start feeling, well, sad. I don't come out of the theater pumping with adrenaline; I'm too distracted thinking about the people who died and the loved ones they've left behind.

The plots of several pieces of horror are discussed below, so be warned there may be spoilers.

The movie that really hit this home for me is not a science fiction movie, but Wes Craven's Scream. In the movie's opening sequence, Drew Barrymore is terrorized by a knife-wielding serial killer one night while she's home alone. As the killer is chasing her down, her parents pull up in the driveway. For a brief moment, it looks like she's saved, but in the next shot, we see the parents, happy from a pleasant evening out, and their daughter pulled down by the killer before she has the chance to cry out for help.

How horrible. It's a suspenseful moment to be sure, but one that evokes horror more than terror. Horrifying that she was so close to salvation only to meet a brutal end, and horrifying that her parents will find their daughter mutilated on their lawn and spend the rest of their lives wondering what would have happened if they have come home just a little sooner. It's a scene tinged with more tragedy than terror.

Horror is a genre that picks and pokes at our deepest anxieties. It's a reminder that we live in an unstable world, and that no matter how careful or good we are, we could at any time be struck with death, disfigurement, or madness. A lot of horror movies appeal to our limbic systems, to that part of our brain that wonders what lurks in the shadows and triggers a happy release of hormone every time someone shouts "Boo!" And there is undeniably an artistry to that, to the sort of jumps and thrills so frightening that, weeks later, you're still checking under the bed for demons from Hell. But often the horror that still lingers for years afterwards are the ones that play on the less primal — but still very human — fears of losing the ones you love and being left alone in the world.

When Heartbreak Drives the Horror

Horror protagonists don't always make the best choices. They insult powerful witches, run up the stairs when they should run out the door, and try to capture the man-eating alien instead of killing it. And when Louis Creed buries his son Gage in the Micmac burial ground in Stephen King's Pet Sematary, we know it's a bad idea. He knows it's a bad idea. But he so desperately hopes that he can repair his wounded family that he is willing to make a terrible and utterly wrong decision. And when Gage comes back only to murder his mother, Louis too easily manages to talk himself into burying his wife in the same graveyard.

It should be a forehead-slapping moment, but it's depressingly relatable. That Gage comes back as an undead monster is pretty horrifying (he did make our list of scariest characters in film), but what's more horrifying is what grief can drive Louis to do. His grief is so potent, so unbearable that he's willing to make monsters out of his loved ones in the hope that seeing them again will mend his heart.

It's an idea that harkens back to WW Jacobs' "The Monkey's Paw," that famed exercise in truly depressing horror. After the Whites receive a wish-granting monkey paw, they wish for money, only to lose their son in an accident and receive compensation for his death. In that moment, they understand the nature of the monkey paw: it grants wishes, but in a perverse way. Still, the husband defers to his wife's terrible, maddening grief and wishes their son back to life. But, like Louis Creed, Mr. White must make his son dead again — knowing what comes back couldn't possibly be right — doubling his guilt and grief.

There are reasons why stories like "The Monkey's Paw" endure, and why its ideas find its way into so many other works of horror. They force us to access our fears of losing those closest to us, asking us how far we would go to keep them with us. Perhaps the most frightening thing about these stories that many of us will face terrible grief in our lives — and perhaps even guilt at the deaths of our loved ones — and we could be capable of making the same terrible decisions as the people in these stories, even if we don't get the opportunity to act on them.

When Losing Someone Makes Things That Much Worse

Even when grief and loss aren't the focus of a horror story, a moment of terrible loss can have more impact than even the most terrifying monster. 28 Days Later adds a frightening bit of realism to the zombie apocalypse, but it never forgets that the fear of losing your life is little match for the sadness that comes in a world suffused with death. When Jim discovers that his parents committed suicide in the face of violent death (leaving a note begging him not to wake from his coma), it's a bright spot of pain in a movie already filled with terror. But when our merry band of survivors becomes something of a family, with Frank playing the wise and protective father, the apocalypse seems survivable, almost manageable. Then Frank becomes infected with the Rage virus, and it's not just another zombie movie death. It puts a lump in your throat and reminds you that the zombie outbreak isn't all fun and killing the Infected — it's actually horribly sad.

This threat of loss adds dimension to other horror movies as well. Take The Ring, a film already terrifying in its J-horror weirdness. That The Ring turns a VHS cassette into an object of terror is incredibly impressive, but it's when Rachel's son Aidan watches the tape that the clock really starts ticking. Faced with the death of her son, Rachel must not only save herself, but survive long enough to keep Samara from killing her son as well. It adds a deeper, driving motivation to an already scary movie.

Joss Whedon is perhaps the master of this particular brand of horror. Though the series was filled with man-eating monsters, death in Buffy the Vampire Slayer is often random, senseless, and poignant. Few moments in the show stand out as clearly as Joyce's death from an aneurysm, or Tara's from a stray bullet. The central theme in Buffy is that family and friends make life grand, even when your life is filled with mayhem and violence. In such a world, few things are as horrifying as losing part of your family, and such deaths always left the characters unbalanced, even psychotic with grief. Even the show's most calculated death, Angelus' slaying of Jenny Calendar, is designed to maximize heartbreak. It's not enough that Angelus kills her; he also has to place her in Giles' bed with a trail of roses leading up to it, in a mockery of romantic seduction. And that heartache, far more than fear, drives Giles to hate and try to destroy Angelus.

When Your Loved One Turns Monstrous

This is a staple of vampire and zombie movies, when you find you must destroy the creature wearing your loved one's face. Buffy tried this in the very first episode, turning Willow and Xander's friend Jesse bloodsucker and forcing Xander to kill him an episode later. It's not the strongest instance of this particular trope (I'm not sure if Jesse is even mentioned later in the series), but it's a solid introduction to the horrible nature of vampires. Zombie movies are stronger in this regard. Even Shaun of the Dead, a movie mostly devoted to the funny side of the undead, goes suddenly tearjerker when we learn Shaun's mother has been bitten by a zombie. This bit of sadness is then compounded by the ensuing debate over shooting Shaun's dead mother in the head. Even though everyone knows it has to happen, Shaun can't bring himself to let it happen, and even the normally logical Liz argues against it. And when his mother inevitably rises from the dead, Shaun is the one who must shoot her body, a shockingly tearful moment from the zombie romantic comedy.

It's another work from Stephen King, The Shining, that offers a more realistic view on why this concept is so horrifying. Jack Torrance is a man so driven to drink that he gives his soul over to the hotel for alcohol. In the movie, it's played more as slasher horror, with Jack Nicholson gleefully hunting down his wife and child, but it's a grim reminder that the people we love could become the people we fear, or that we ourselves might be capable of inflicting terrible harms on our loved ones.

When Hope Is Your Worst Enemy

Few genres are as relentlessly obsessed with death as post-apocalyptic fiction. In Cormac McCarthy's The Road, death abounds; most of the world is dead, bands of rapists and murderers prowl the road, and the protagonist's wife has killed herself. The protagonist is not concerned for his own survival — he's already dying — but for his son's. He's confronted with the wrenching knowledge that he might have to kill his son to save him from an even worse fate. But he hopes for something better, hopes that he will find good people with whom his son could make a future. The whole book is a dirge for civilization, but the father's hope might only leave his son open to future horrors — and tragically, the father dies without knowing his son will fall in with good people after all.

In The Walking Dead, zombies are less agents of fear than they are death incarnate, and the comic often plays on themes of hope and how we cope with loss. Hope is tragic as much as it is necessary for survival. A farmer keeps his undead family in a barn by his house, hoping there will someday be a cure. The survivors hope to rebuild some semblance of civilization, but lose some of their number every time they think they've found peace. And as brutal and horrible as death is for the ones who die, the grief of the survivors is far more powerful and frightening.

The Fear of Dying Alone

It's telling that the very first episode of The Twilight Zone , "Where Is Everybody?" deals with loneliness, and the human need for companionship. It's a theme that inspired one of the more unnerving episodes of Star Trek: The Next Generation. In "Remember Me," Dr. Crusher sees the her son and everyone else aboard the Enterprise disappear, until she's the only one left (of course, it turns out that she's the one who has actually disappeared, in this case into a static warp bubble). The episode has a Twilight Zone quality to it, but it's especially bleak that Crusher is at the center of it. Here is a woman who has already lost a husband to the hazards of Starfleet, whose closest friends routinely put their own lives in danger, and whose son is joining the very military organization that took her husband. "Remember Me" is, more than anything, a metaphor for the very real possibility that she could end up alone. Even Garfield, of all things, played with this idea in its surprisingly depressing 1989 Halloween run, where the orange fat cat wakes to a future where his house is abandoned and he never exists.

Even the episode of The Twilight Zone that was most optimistic about the apocalypse, "Time Enough at Last," deals with loneliness. After a nuclear attack wipes out everyone around him, Burgess Meredith is about to commit suicide until he realizes there's a library full of books to keep him company. It's only when he breaks his glasses that he feels truly alone, and that loneliness is more frightening than anything that goes bump in the night.

(Thanks to Graeme for suggesting "Remember Me").

The Road leads you to post-apocalyptic Hell on Nov. 25. [Yahoo! Movies]

Inception:

Michael Caine spills the beans about what part he plays in Christopher Nolan's first post-The Dark Knight` project:

I play a professor who's teaching a guy science. It's Leonardo diCaprio. He's going off to do a science project and he speaks to me before he goes.

But it sounds like he's only in the film for a few brief moments.[Empire Online]

Venom:

Spider-Man 4 director Sam Raimi, not surprisingly, has no clue whether this spin-off will take place in the same "universe" as his movies. (The same universe as in the same continuity — I'm fairly sure the laws of physics will apply, more or less, in both films.) [MTV]

Star Trek 2:

Writers Roberto Orci and Alex Kurtzman give another vague interview. This time around, they hint that there will be more exposure for characters other than Kirk and Spock in movie #2:

Kurtzman: For sure. In a sequel, you have even more of that burden, because the first movie is about introducing characters, but the second movie is about digging deeper into them. So you've got to make sure your story is giving everyone a moment… More than a moment. An arc.

Orci: We've always thought of the bridge crew as a family, so it's not just, "What are we gonna find for them?" It's part of the DNA of doing Star Trek right, I think - to make sure all the characters represent a significant part of the family.

[IGN via TrekWeb]

The Road:

Here's the final poster for this apocalptic funfest. [Cinemablend]

2012:

This new Adam Lambert music video seems to include some scenes from what must be the end of this movie, showing John Cusack and company emerging from storage containers unharmed. [Cinemablend]

Twilight:

Jackson Rathbone says Jasper Cullen's Civil War flashbacks in Eclipse don't take up quite as much time as they do in the book, but it's nice to see Jasper when he was still a bad dude. Also, as in the book, Jasper's the only one who knows how to combat the vampire army being raised by Victoria (Bryce Dallas Howard). [MTV]

Also, director Chris Weitz says New Moon will follow the book's storyline, so we won't see that much of Edward. (Nooo!):

We didn't want to shoehorn him into the story. I did alter the visuals of the story in the sense that in the book, Kristen [Stewart]'s character has aural hallucinations — she hears his voice — and we've built in a very beautiful subtle effect so that we see him as well. But those are brief, if impactful, moments. A lot of the film is sustained by her loss and Taylor [Lautner]'s character bringing her back to life.

[IGN]

Lost:

Emilie de Ravin will be in every episode of season six, and we'll find out what happened to her. And we'll be seeing a different version of Claire — one that's more Rousseau-ish. As for the real Rousseau, we won't be seeing her in the final season — the producers asked Mira Furlan to return for the final season, but she turned them down due to a prior commitment. [EW]

Also, episode six is called "Sundown" and probably revolves around Sun and/or Jin. The show seems to be copying season one's pattern of character-centric episodes, but probably that will change with episode seven — unless we're really getting a Charlie-centric outing. [SpoilersLost]

Fringe:

We may not have seen the last of Charlie, since his duplicate in the alternate world is still running around. The show got rid of him because the producers wanted to get out of the FBI offices and more underground. And by the same token, we may not be seeing that much of new FBI character Special Agent Jessup (Meghan Markle) in the upcoming episodes — she's available if the show wants her, but she may not turn up that often, by the sound of things. We'll be getting to know our core characters more. Also, we may meet Olivia's evil stepfather this season. [EW]

Supernatural:

You won't have to wait much longer for the big showdown. Sam and Dean fight Lucifer in episode 10, and two characters die! [EW]

FlashForward:

Three sneak peeks from tonight's episode, "Gimme Some Truth":

Stargate Universe:

Just how angry is Sgt. Ronald Greer? Let Jamil Walker Smith explain:

And here's a sneak peek from Friday's new episode, "Light."

Sanctuary:

And a clip from tomorrow night's new episode, "Eulogy." Put those two episode titles together, you've got a Funkadelic song title.

Smallville:

In the episode called "Disciple," Steve Bacic will play The Dark Archer (bwa ha ha ha) who's Green Arrow's mentor and teaches him everything there is to know about archery. And darkness. Fans are speculating this is the same character as Merlyn The Archer from the comics. Also, Emilie Ullerup will play Cat Grant, and she appears in episode six, "Crossfire," the episode that also introduces Speedy. [ComicBookMovie and ComicBookMovie]

Heroes:

Here's the official description of episode 4x08, "Shadowboxing":

Claire is determined to get to the bottom of the attacks; H.R.G. realizes he may be the source of Claire's troubles; Peter's new ability is the perfect fit for his job; Sylar's battle at gaining full control of Matt's body escalates.

[SpoilerTV]

Additional reporting by Alexis Brown.

You kind of have to love Def-Con 4, despite the silly title (Def-Con 4 is not when we launch nuclear missiles!) for moments like this one, where the grungy Paul Giamatti lookalike has very definite nipple preferences, even after the fall of civilization:

And this one. Check out the evil teen overlord's crazy corrugated metal vest!

Zombieland:

A second "green band" trailer showcases the zany, madcap zombie-killing fun in this movie, out Oct. 2.

Jennifer's Body:

A new TV spot focusses on the relationship between Megan Fox and Amanda Seyfried:

The Road:

A scathing review in the New York Post drops a few spoilers:

Mortensen, who shows his bare buttocks in two scenes and has an endless death scene, does his best with a largely one-dimensional role and Charlize Theron turns up in a few flashbacks as his late wife. Robert Duvall drops a few aphorisms in his two scenes as a 90-year-old wanderer and if you blink — or, more likely nod off — you'll miss Guy Pearce.

[NY Post]

Hancock 2:

Director Peter Berg tells us what to expect from this sequel:

We're looking at exploring their relationship prior to when we first met them and seeing a bit of what happened as a prequel. I think we danced around the concept of an origins and we settled on something that is very substantive. That will part of the sequel.

[MTV]

Lost:

More filming of scenes at Los Angeles airport — Ryan at Hawaii Weblog pieces together a few different sources to create a picture of the scene being filmed. Kate is at the airport, handcuffed in the custody of the Marshall. And then somehow she gets away from him and gets her handcuffs off. She runs down the stairs and says "Hey" to Hurley. And then she jumps the line at the taxi stand, causing Neil aka "Frogurt" to scream at her for stealing his cab. As her cab speeds away, the Marshall emerges from the terminal with a head injury. He runs up to airport personnel showing them Kate's picture and telling them to keep an eye open for her — then he sees the cab and runs after it. Meanwhile, Jack heads for the passport station, but changes his mind at the last minute and turns back. Also, Dr. Arzt was there, and rumor has it Claire (Emilie de Ravin) was on set as well. [Hawaii Weblog]

Here's a better look at the season six poster, showcasing all the old characters who will be coming back. [Doc Arzt]

Plus some new (ish) promo pics of Juliet and Hurley. [Lyly Ford]

Fringe:

The over-arching theme of season two is, "Your past is always about to catch up with you," Roberto Orci tells Sci Fi Magazine. And Leonard Nimoy will be in at least three episodes, but may do more. Nina Sharp will play a bigger role in season two, and we'll realize she knows a lot more about "the condition of the show" than we've been privy to so far.

Olivia will be having a crisis, and start questioning whether she should even be investigating these weird phenomena, after the terrible things she's discovered. The fact that Olivia may be developing superpowers is going to contribute to her ambivalence about which side she's on in the war. We'll also see more of Olivia's sister and niece. [Sci Fi Magazine via Fringe Television]

The studio sent out some screeners for the season two premiere, and they included a mysterious piece of paper which appeared to be a communication between two different parties: "TARGET TERMINATED IN FATAL CAR CRASH. MEETING PREVENTED. REQUEST EXTRACTION. NEGATIVE. MISSION FAILURE. MEETING OCCURRED. TARGET STILL ALIVE. REQUEST NEW ORDERS. INTEROGATE TARGET. THEN KILL HER." [Sci Fi Wire]

Orci also says we're going to see a crowd of Observers coming up in the seasons eighth episode:

You're gonna see more than one - this is an exclusive! You are going to see many Observers. [It's] going to tell you a lot about The Observers. You're going to find out their role in the world, what they're named after, and their connection to some of these characters.

And he says the fourth, eighth and 12th episodes will each provide more answers to die hard viewers. [TV Guide Magazine]

And a couple new promos:

FlashForward:

Here are some stills from episode 2, "White To Play," plus a few publicity shots of Simon and Olivia. [FlashForward.PL and FlashForward.PL]

And in that episode, Mark and Demetri head to Utah to track down a suspect who may be connected with the flashforwards. Meanwhile, Mark's wife Olivia runs into the man from her flashforward — the man that future Olivia was having an affair with. And Mark and Olivia's daughter, Charlie, is having difficulty coming to terms with her own flash-forward. [FlashForward.PL]

Also, Gabrielle Union plays Zoey, the fiancee of John Cho's character, Demetri. And she says we get to see her flashforward, and it's very life-affirming. [IESB]

Supernatural:

Here's the official description for episode 5x04, "The End" — and I'm guessing this is the one where we see the world of 2014 and Sarah Palin is president:

TWO DEAN WINCHESTERS? - Sam (Jared Padalecki) tells Dean (Jensen Ackles) he wants to rejoin Dean in the battle of the Apocalypse, but Dean tells Sam that they are better off apart. Later, Dean awakens five years in the future in an abandoned city and is attacked by humans who have been infected with a demonic virus that turns humans into Zombies. Zachariah (guest star Kurt Fuller) appears to Dean and explains that this is the world that exists as a result of Dean saying no to helping the angels fight Lucifer. Dean meets up with Future Dean, who tells him that the virus is the Devil's endgame for destroying mankind.

It's written by Ben "The Tick" Edlund, so you know it'll be weird. [SPNSite]

Smallville:

Promo pics from the second episode, "Metallo," show more of Clark's crazy black trenchcoat and Brian Austin Green's glowy chest thing. [OSCK]

And here's the official description of that episode:

After being struck by a truck, John Corben (guest star Brian Austin Green) wakes up alone in an abandoned apartment as a man-machine with a Kryptonite heart. Corben realizes he now has superhuman strength and sets out to exact revenge on the Red-Blue Blur, who he perceives to be an irresponsible vigilante. Against Clark's (Tom Welling) wishes, Lois (Erica Durance) involves herself in the Red-Blue Blur's investigation, and winds up getting kidnapped by Corben.

[KryptonSite]

And a press release for season nine:

After the events of last season, Clark takes on the mantle of protector of Metropolis, trading in his familiar red-and-blue for black-and-gray, sticking to the city's shadows and rooftops to become a solitary sentry simply known as "the Blur." While Clark wrestles with his identity, feeling forced to choose between his Kryptonian heritage and human past, he'll encounter even more powerful enemies and allies from across the DC Universe. This season will feature new and past nemeses, including Metallo (Brian Austin Green, "Terminator: Sarah Connor Chronicles"), the man with the Kryptonite heart; Roulette, a sexy mastermind; the return of Toyman; and the always-treacherous Zod (Callum Blue) as a young Major and leader of an invading alien army, who befriends fellow Kryptonian Clark just as his venomous side is beginning to emerge. This season will also feature an appearance by DC Comics' first all-star team of superheroes, the Justice Society of America, in an episode penned by renowned comic book writer Geoff Johns, who returns to the show after writing last year's fan favorite episode, "Legion."...

The season nine premiere takes place three weeks after Clark and Doomsday's epic battle. Obsessed with becoming the hero the world needs, Clark is now literally leaving his mark on Metropolis – having fully embraced his Kryptonian side in order to finish training with his father Jor-El, Clark has started wearing the iconic "S"-shield on his chest, and spreads the symbol around the city in an effort to give its people hope.

Whereas Clark is working alone, Chloe feels driven to reunite the disbanded Justice League. Her biggest challenge is Oliver Queen, who'd rather lose himself in underground fight clubs and drunken one-night stands. Oliver's friends will hatch a plan to bring him back from the edge. Reconnecting with the hero inside of him, Oliver will return with a renewed purpose, even searching out an apprentice in Mia Dearden, DC comics' teenaged sidekick "Speedy."

Clark and Oliver will find themselves caught up in a love triangle with Lois, as both men's passions begin to burn brightly for her. Returning from her trip through time, Lois starts experiencing nightmarish visions of the future. Could they come true? If so, one not-so-troubling image is playing itself over and over in her head – Lois and Clark locked in a romantic, erotic embrace. Meanwhile, Clark continues to be conflicted over his own feelings for Lois. As the sparks fly, Lois and Clark's relationship will deepen, leading to their first true kiss, and possibly something more.

Meanwhile, Clark and Chloe's relationship is starting to become strained. No longer content just being Clark's sidekick, Chloe uses Watchtower's powerful computers to spin her own web of influence and intrigue, manipulating people like chess pieces in the name of the greater good. But when Chloe begins to believe the ends justify the means, it sends her on a collision course with her friend and ally Clark.

When it comes to master manipulators, Tess Mercer has emerged as the rightful heir to Lex Luthor's legacy. Always inscrutable, Tess has her hands full this season with an army of Kryptonians, newly arrived from the lost city of Kandor and led by the infamous Zod. However, this incarnation of Zod is younger than the one we remember – he has yet to grow into the power-mad psychopathic dictator, General Zod. Season nine's Zod may only be a Major, but he's already a cunning strategist and charismatic leader who knows how to inspire his troops. But behind his magnetism and those piercing eyes, Zod is still very dangerous. When Zod and Clark eventually meet, Clark recognizes that if he can befriend his fellow Kryptonian, he might be able to influence Zod away from becoming an evil, twisted tyrant. While it's true this Major Zod has certain vulnerabilities, it may only take a handful of betrayals to turn him into Clark's deadly arch-nemesis.

[SpoilerTV]

Stargate Universe:

Robert Carlyle talks his character, Dr. Nicholas Rush, and explains why he found Rush such a compelling character to play. [Wired via SciFiScoop]

And in another interview, the show's cast talks about their fascination with science fiction and their feelings about stepping into an established universe. (Including some clips). [SyFy via Stargate-SG1-Solutions]

A new review of the pilot includes a fairly detailed synopsis:

General O'Neil (Richard Dean Anderson) and Dr. Rush recruit Eli Wallace to join the Stargate program when he solves an Ancient mathematical equation that was embedded in an online video game. They embark to the newly established Icarus base via the U.S.S. George Hammond (as Commanded by Amanda Tapping's Col. Carter), the latest in the Daedalus class ships. Wallace is given a crash course on the Stargate with some help from video recording by Michael Shank's Dr. Daniel Jackson! The ship arrives several light years from Earth at a planet with unique elemental properties needed to activate the gate (dismissing the theory that Icarus base was on the moon, sorry folks) and Wallace and Dr. Rush prepare to initiate the 9th Chevron. The base comes under attack from unknown forces (it is implied that the attackers are the Lucian Alliance, villains established late in the SG-1 series). The gate is activated and the base was to be evacuated back to Earth, but at the last moment Rush and Wallace figure out how to use the 9th Chevron (through some trial and error) and the evacuation happens just in the nick of time! The survivors find themselves onboard the Ancient Ship known as the Destiny, which was charged with traveling to the far reaches of the Universe. The ship was following another ship that traveled ahead to create and seed Stargates to new worlds for exploration. Using the Ancient Communication stones (established in SG-1) Dr. Rush is able to communicate back to Earth to let them know of the current situation. The more pressing problem is that the Destiny is falling apart and is in need of repair. Supplies are low and there is no way to change the ship's course. Now Rush and the crew are along for the ride into worlds unknown. In order to fix the air purification system, a team is dispatched through the gate to search for limestone. But time is short as the ship will jump back into Faster Than Light Travel after a certain amount of time.

[Comics Online]

So just how sexy will this new cast be? Behold a bevy of promo pics, most of which I'm pretty sure are new. [SpoilerTV]

True Blood:

Eric will keep trying to get under Sookie's skin in season three, says Alan Ball. And here's what else to expect next year:

We'll meet the Vampire King of Mississippi, Russell Edgington. And we'll encounter werewolves for the first time in the flesh; we've heard about them, but we'll meet them. I'm very excited about the character of Debbie Pelt. She's bad news... Debbie Pelt is the ex-girlfriend of a guy who's helping Sookie try to find Bill, and she is just hard ass, white trash bitch on wheels. She's so much fun. But there are other great characters, too. Everybody is struggling with identity in season three – What am I? Who am I? What is my life? Is it what I want it to be? How do I make it what I want it to be? What are my real values? And some people are like, "Am I human? I always thought I was, but maybe I was wrong." In one particular case, its like, "Yes, honey, you were wrong."

[TV Squad]

Eastwick:

Here's the official synopsis for episode two, "Reaping And Sewing":

As Eastwick prepares for its annual fall HarvestFest, Joanna, Kat and Roxie's lives continue to take a turn for the strange. Distracted by distressing psychic visions of her new neighbor, Jamie, Roxie struggles to protect Mia from harassment by her ex-boyfriend, Gus (Christian Alexander). As Kat gains the courage to end her own toxic relationship - her marriage to Raymond — he's back in their home to recuperate from being struck by lightning. And while Joanna worries that Will's romantic attentions are only due to her hypnotic power, she and Penny embark on a perilous mission to uncover Darryl Van Horne's true identity. Joanna finds Milton Philmont (Martin Mull), a retired Gazette reporter who years ago wrote about the death of a man named Sebastian Hart - a man who looks uncannily like a young Darryl Van Horne. Armed with an old photo of Hart with three beautiful women, she and Penny seek answers from the eccentric and reclusive Eleanor Rougement (Cybil Shepherd)

[SpoilerTV]

And here are some pics from that episode. [Eastwick Fans]

And here's a sneak peek from the pilot:

Additional reporting by Alexis Brown.

The Dog from A Boy And His Dog

This movie, based on a story by Harlan Ellison, contains a heartwarming relationship between 18-year-old Vic (Don Johnson) and his telepathic, super-intelligent dog Blood. It's just like Peabody the time-traveling professor dog in those cartoons — except that Blood helps Vic find women to rape and food to eat. At the end of the movie, Vic has to choose between the love of a (not terribly) nice woman and keeping Blood from starving — and a shot of meat roasting while Blood talks about how the woman didn't have such great taste gives you a hint of what Vic chooses.

Wall-E

Okay sure, you expect robots to survive the death of the planet — it's what robots do. But you might not expect there to be only one robot left on an otherwise desolate world — and for it to be a cute trash-compacting bot that befriends a cockroach and is obsessed with Barbra Streisand. Admit it — you didn't see that one coming.

Pets, generally

Check out this amazing clip from Exterminators: After The Year 3000, the film with the best title ever. Scroll forward to around 1:00 in — the cute kid in the convoy fleeing from the evil punk-rockers has his pet hamster with him! It's the amazing post-apocalyptic survival hamster. A lion survives in Twelve Monkeys. There's also a lion, as well as Kevin Costner's mule, in The Postman. And the tough post-apocalyptic hunter Harry in the movie Hard Knuckle has a little rat dog in his front pocket, sort of like a post-apocalyptic purse dog. (See awesome picture at the link.) Why is there always a lovable pet after a disaster has wiped out most of humanity?

Kids, generally.

As random dissheveled guy points out in this clip from the upcoming The Road, you don't really expect to see kids surviving a disaster that kills most of the adults. And yet, lots of them do somehow. Including the kid narrator in Mad Max, the gang of children in Mad Max: Beyond Thunderdome, Newt in Aliens, and Ed in Cowboy Bebop. Thanks to Madeline Ashby and JungleMonkey on Twitter for suggesting this one!

The mall girls in Night Of The Comet

The deadly radiation from the red comet passing over the Earth wipes out everybody — except for Sam and Regina, two valley girls, who just want to have fun. And go shopping, at the mall, even if it's full of zombies. (It's a well known fact that zombies love shopping malls.) Thanks to Misty S. and S.J. Edwards for suggesting this film!

The Book Of Dave by Will Self

Dave is an obnoxious, mentally ill cab driver in London, who scribbles in his notebook about the rules for surviving London traffic and his hatred of his ex-wife, who's keeping him from having custody of his son. He buries his book, and 500 years later, it's dug up after a flood destroys everything. And it becomes the foundation of a whole new misogynistic religion based on this crazy guy's ramblings. There have been plenty of other stories about bits of cultural flotsam surviving after everything else is gone — Mickey Mouse does it quite often — but this may be the weirdest.

Dinosaurs in Yor, The Hunter From The Future

You have to admit, you didn't expect dinosaurs to survive after the human race was all but wiped out, did you? Just like Planet of the Apes, Yor features a weird primitive world that appears to be the past at first, but which turns out to be our distant future. And somehow the dinosaurs have bounced back, maybe thanks to the radiation. They were only taking a siesta! There's also an android army, which makes a bit more sense.

Amazons in Warriors Of The Apocalypse

Nobody ever expects Amazon warriors to survive a global genocide. And even if you did, you wouldn't expect them to be amazons with eye-lasers, who get into an eye-laser-battle with some other dudes. Another runner up is the 1982 movie SHE, in which a giant in a tutu, a mummy in sunglasses, a Samurai, and bondage freaks all survive the end of the world.

Bob McKenzie in The Mutants of 2051 A.D., as featured in Strange Brew

Okay, so maybe you expected dinosaurs, purse dogs and Valley Girls to survive a planetary die-off. But Bob McKenzie? The co-host of Great White North, that recurring sketch on SCTV, eh? You really really didn't expect him to be the last human still alive. Check out his amazing technique for dealing with a post-apocalyptic mutant who's really not friendly. Thanks to Jeff Sparkman for suggesting this one! Another somewhat unlikely "last man" is Yorick in Y: The Last Man, who's just sort of a slacker escape artist — but he survives the disaster that kills all other men because he eats monkey poop.

Nuns

Nuns often seem to survive the death of humanity — maybe it's their religious faith, maybe it's the fact that they're sequestered from contagion and zombie outbreaks. Most awesomely, Donald G. Jackson's fantastic movie Rollerblade features a world where rollerblading nuns (with Nazi-esque emblems on their uniforms) keep the world safe from evil mutants — while rollerblading. (And they also use a switchblade to heal all wounds, causing a glowy smiley face to appear.) There are also some nuns holding out against the evil dolls-head-loving bikers in Survival Zone. And of course, who can forget Michelle Yeoh as a lone nun after the fall of civilization in Babylon A.D.? I'm sure Yeoh still has nightmares about it.

Thanks to S.J. Edwards, Madeline Ashby, Rory aka Cthul-who, Glamtasm, Jeff Sparkman, Luis Alberto Urrea and anyone else who helped.

October 9th
Zombieland
Any movie that is used as an excuse by Woody Harrelson to attack paparazzi has to have something going for it, but director Ruben Fleischer's movie - which he calls a road movie, and likens to Midnight Run - has more going for it than just that, including Little Miss Sunshine's Abigail Breslin as one of the last humans alive.

October 16th
The Road
Delayed a year from its original release date, John Hillcoat's adaptation of Cormac McCarthy's Oprah-endorsed tale of a man and his son struggling to survive in a post-apocalyptic world finally gets a release, allowing audiences their chance to see Viggo Mortensen frown through what may just be the feel-bad movie of the year. Of course, in terms of "long-awaited adaptations of classic books," it's up against...

Where The Wild Things Are
...Dave Eggers and Spike Jonze's already-controversial (Why doesn't the bedroom turn into the forest? Why is there a subplot about the mom's divorce?) take on the wonderful Maurice Sendak book of our collective youth. We're as skeptical about the changes as many, but we have to admit: The trailer alone made us catch our breath, and we're hoping for the best.

October 23rd
Astro Boy
You'll believe a cartoon robot boy can fly as Summit's long-coming CGI version of Osamu Tezuka's classic manga and anime character reaches screens. We're hoping it's a hit if only because we'd really, really like to see them tackle Pluto as a sequel...

Cirque du Freak: The Vampire's Assistant
Get your fill of Carnie action in this version of Darren Shan's young adult novel, as John C. Reilly plays a vampire, Salma Hayek a bearded lady, 30Rock's Jane Krakowski a woman who can regenerate her limbs, and Chris Massoglia as the poor kid who ends up wrapped up in it all to save the life of his best friend.

October 30th
Gentlemen Broncos
Okay, so "from the director of Napoleon Dynamite" may seem like a bad thing in these weary hipster days, but no-one can deny the lure of Flight of The Conchords' Jermaine Clement as a washed-up writer who steals a kid's sci-fi contest idea and uses it to resurrect his career. Jared Hess, all is forgiven.

With September already underway, we're a little late in providing this guide, but try not to hold it too far against us. We've split everything up month-by-month, to help you fill your calendar without too much worry - Just click on the links below.

September
October
November
December

In these clips, it appears that the allegorical feeling of "The Road" is going to include a strong undercurrent of Christian-style spirituality. At one point, the father talks about how his child is "God" to him; at another, the kid prays his thanks for a bag of cheetos. We never really know what's caused the apocalypse in this movie, so throwing in a little random Christianity makes sense. Basically the film is vague enough that you can build your own allegory - maybe the apocalypse was caused by God; maybe it was caused by redneck cannibals. You watch these clips and decide.

"The Road" hits theaters later this month.

"I Don't Want to Just Survive"

"You Never Killed A Man"

"He's a God"

"Thank You For All This Stuff"

"Bad Guys"

Surrogates

Below are the first official TV spots for Surrogates:

Dollhouse

When the season premieres, the Dollhouse is still reeling from Alpha's attack, and the idea that he's still out there and has access to Dollhouse technology is very present in everyone's minds. The administration will be trying to balance finding Alpha with the daily business of the Dollhouse.

Sierra is still, um, servicing clients, and the first time we see her during the season, she will be coming back from an engagement. Then we will see her a couple of episodes later, when she will have a moment with Victor that hints at their continuing relationship. Dichen Lachman, who plays Sierra, says we'll see more stories focusing on her this season.

Meanwhile, as you'd expect, newly promoted security chief Boyd will be making sure that the Dollhouse functions smoothly, that the Actives are kept safe, and that the handlers have enough information to protect them. [Sci Fi Wire]

The Road

The first reviews of the film adaptation of Cormac McCarthy's The Road are emerging, including one from Variety and another from The Hollywood Reporter. Both reviews discuss the film's heavy emphasis on flashbacks, the departure of Charlize Theron's character, and the central relationship between the father and son. As the father and son try to reach the warmer south where life may still be possible, the film's horrors are kept in the background, except for one scene where they find a house with a dozen naked, writhing men and women missing some limbs — stock for cannibals.

Supernatural

Here's the official description for the season's third episode, "Free to Be You and Me:"

Not sure he trusts himself anymore, Sam (Jared Padalecki) decides to give up hunting, but a late-night visitor (guest star Adrianne Palicki) won't let him off the hook that easily. Dean (Jensen Ackles), intent on stopping the Apocalypse, continues hunting on his own and teams up with Castiel (Misha Collins) to find the Archangel Raphael, as Castiel believes Raphael knows God's location.

[SPNsite]

Zombieland

A reader at /Film caught a screener of the film. He enjoyed the film overall, and his review only contained one particular spoiler: towards the end, Emma Stone's character Wichita and Abigail Breslin's character Little Rock end up calling for help from the top of an amusement park ride, after being far more capable than the male characters for the earlier portion of the movie. [/Film]

Pandorum

A few creepy new images from the space-horror thriller:

More at the links. [Fantasy.fr and UGO]

And here is a foreign one-sheet:

[Sci Fi Scoop]

The Green Hornet

Seth Rogen gets a few more guest stars, in the form of Tom Wilkinson (who played the memory-wiping doctor in Eternal Sunshine of the Spotless Mind) and David Harbour (who played Bond villain Gregg Beam in Quantum of Solace). [IGN]

Fringe

The eighth episode will feature a character named Christine Hollis, an attractive and feisty art student. [Spoiler TV]

Heroes

Elisabeth Rohm, who played prosecutor Serena Southerlyn on Law & Order, will play a character named Lauren Gilmore in the eighth episode. [Zap2it]

And here is the Season 4 sneak peek from the Season 3 Blu Ray set:

[Spoiler TV]

Smallville

Here's the official description for the Season Nine premiere, "Savior:"

Clark (Tom Welling) tells Jor-El he's ready to start his training, but Jor-El sends him back to Metropolis to cut ties with Lois before he can begin. Chloe (Allison Mack) is shocked when Lois (Erica Durance) suddenly reappears after having been missing for weeks, but Lois has no recollection of vanishing into thin air with the Legion ring. While investigating a monorail crash, Lois meets John Corben (guest star Brian Austin Green), a new reporter at The Daily Planet, with a negative attitude toward the Red-Blue Blur. Chloe begs Clark to use the Legion ring to go back in time to save Jimmy, but he refuses, driving a wedge into their friendship. Meanwhile, Oliver (Justin Hartley) continues down a dark road, and Zod (Callum Blue) arrives at the Luthor mansion.

[KryptonSite]

Warehouse 13

It looks like the Warehouse is going nuclear in next week's episode "Breakdown:"

[Movieweb]

Eureka

There's a lot of fur coming up in the season's 17th episode, "Have an Ice Day:"

[Pizquita]

FlashForward

The eighth episode will apparently feature a game of Texas Hold 'Em. [Spoiler TV]

Eastwick

The producers are looking for a Bradley Whitford or Jon Stewart type for Max, a recurring role as a charming, intelligent, and witty journalist who has come to Eastwick to steal Joanna's heart, and may end up being a love interest as well. [Spoiler TV]

The casting slides for Max depict a scene in which Max catches Joanna in a bar talking to herself, willing a glass of beer to move. Her mocks her for a bit, and she tells him that she is trying to recreate an experience she had. Max tries to prod details of the experience out of her, but she's pretty mum on the subject. He advises her that, if she wants to replicate the experience, she should try to replicate the feelings she had leading up to it, like Bill Murray in Groundhog Day. [Spoiler TV]

Another journalistic position has been filled, with Martin Mull cast as Milton, a retired reporter who's got dirt on the devilish Daryl Van Home.

[Spoiler TV]

And here are three new posters of the witchy women:

[Eastwick Fans]

Vampire Diaries

CW has released the official description for the third episode "Friday Night Bites:"

Elena (Nina Dobrev) tries to ignore Bonnie's (Katerina Graham) warnings about the disturbing vibes she got from Stefan (Paul Wesley). Tyler (Michael Trevino) tries to embarrass Stefan by throwing a football at him, but Stefan effortlessly catches and passes the ball back, impressing everyone with his skill. Mr. Tanner (guest star Benjamin Ayres) reluctantly lets Stefan join the football team. Elena invites Stefan and Bonnie to dinner, hoping that the two will bond, but the evening is disrupted by the unexpected and unwelcome arrival of Damon (Ian Somerhalder) and Caroline (Candice Accola). Finally, the town is shocked by an act of violence.

[VampireSite.net]

In the sixth episode, we'll meet Alaric, who may become a regular character. Alaric is Mystic Falls' hot new history teacher. His charming, nerdy qualities will win over the the girls, but he has a dark, malicious side, and when his deadly agenda is revealed, all hell will break loose. [Spoiler TV]

And here are promo images from the second episode, "Night of the Comet:"

[Spoiler TV]

And still more from the third episode:

[VampireSite.net]

Additional reporting by Alexis Brown and Charlie Jane Anders.