YES! Weekly — October 15, 2025 by YES! Weekly

NIGHT TERRORS

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Publisher CHARLES A. WOMACK III publisher@yesweekly.com

EDITORIAL

Editor CHANEL R. DAVIS chanel@yesweekly.com

YES! Writers JOHN BATCHELOR MARK BURGER KATEI CRANFORD LYNN FELDER JIM LONGWORTH IAN MCDOWELL

PRODUCTION

Senior Designer ALEX FARMER designer@yesweekly.com

Designer SHANE HART artdirector@yesweekly.com

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Marketing ANGELA COX angela@yesweekly.com

Promotion NATALIE GARCIA

DISTRIBUTION JANICE GANTT ANDREW WOMACK

We at YES! Weekly realize that the interest of our readers goes well beyond the boundaries of the Piedmont Triad. Therefore we are dedicated to informing and entertaining with thought-provoking, debate-spurring, in-depth investigative news stories and features of local, national and international scope, and opinion grounded in reason, as well as providing the most comprehensive entertainment and arts coverage in the

From the opening shot of a bloody beheading, it’s clear that DEATHSTALKER is hardly going to be an intellectual enterprise, and indeed it isn’t.

4 ‘Tis the season for all things scary, and in that spirit Winston-Salem’s a/perture cinema invites devotees of scare fare to “ CELEBRA/TE SPOOKY SEASON” with a month-long series of big-screen shockers that will be screened at the cinema, 311 W. Fourth St., Winston-Salem.

4 The Little Theatre of Winston-Salem production, “MURDER ON THE 518,” at 7 p.m. Oct. 24, 2 p.m. and 7 p.m. Oct. 25, and 2 p.m. Oct. 26, at the Milton Rhodes Center for the Arts, 251 N. Spruce St., Winston-Salem.

7 Cocktails, mixed drinks, wines, and artisan beers constitute the primary attraction. This is a bar, albeit a (VINTAGE) SOFA BAR, after all.

8 Longtime journalists and documentarians Chad Nance and Carissa Joines are fine-tuning their first scripted feature film, NIGHT TERRORS: Blood Date on Trade Street

10 Too often, we forget that large corporations are comprised of individuals who work day in and day out to serve their customers and their community. That’s how it is with Blue Cross Blue Shield of North Carolina and people like CHERYL PARQUET.

11 Calling all you fellow music lovers, Halloween enthusiasts, and horror fiends: SPOOKY SEASON is formally in session!

12 The TREATMENT OF A UNCG STUDENT and her boyfriend by campus police officers has brought condemnation from the university chapter of the NAACP.

At a/perture cinema, things deﬁnitely go bump in the night

‘Tis the season for all things scary, and in that spirit

Winston-Salem’s a/perture cinema invites devotees of scare fare to “celebra/te spooky season” with a month-long series of big-screen shockers that will be screened at the cinema, 311 W. Fourth St., WinstonSalem. For advance tickets or more information, visit https:// aperturecinema.com/ﬁlm-series/horrordecades/

This Saturday at 7 p.m., the doors of 1986’s semi-satirical chiller House (rated R) open for both laughs and scares, as novelist William Katt contends with both writer’s block and his traumatic memories of Vietnam when he inherits his late aunt’s haunted mansion, where all hell (literally) breaks loose, with George Wendt, Richard Moll, and Kay Lenz rounding out the cast. On Oct. 23 at 8 p.m., Wes Craven’s original 1984 classic A Nightmare on Elm Street (rated R) stirs up a heady brew of horror and suspense, with Robert Englund making his ﬁrst appearance as Freddy Krueger, the quintessential big-screen boogeyman, replete with razor-sharp talons and a wicked witticism for every kill. John Saxon, Ronee Blakley, Heather Langenkamp, and Johnny Depp (in his feature debut) also star.

The new 4K restoration of Satoshi Kon’s 1997 feature debut, the award-winning anime fantasy Perfect Blue, will be screened Oct. 25 at 8 p.m. and Oct. 26 at 7 p.m. Junko Iwao provides the voice of the principal character, a pop singer named Mima whose aspirations of an acting career are hampered by an obsessed fan and a spectral presence from her past, both of which push her to the brink of insanity. The series concludes with one of the landmarks of the genre: The Exorcist: The Version You’ve Never Seen Before (rated R), Oct. 29 at 8:15 p.m. and Oct. 30 at 8 p.m. Nearly 30 years after its initial 1973 release, director William Friedkin revis-

ited — and re-edited — the film to include footage and e ects not seen in the original theatrical version, much to the pleasure of Oscar-winning screenwriter William Peter Blatty (who also produced the film), who always felt the missing scenes deepened the impact of the film. It’s the version he always wanted audiences to see.

“The selection of films was determined by trying to cover a few di erent decades, kinds, and countries of horror films,” explained Jake Laystrom, a/perture cinema curator. “A Nightmare on Elm Street and The Exorcist are, of course, studio classics that we all love to revisit this time of year, and House is an arthouse classic that demands a theatrical experience. We had such a great turnout and response to our ‘Studio Ghibli Festival’ in August, so I was also trying to keep an eye out for any additional opportunities to o er anime selections. Perfect Blue was at the top of my list anyway, and as I was finalizing this program, a restoration was announced, so there was no way we could pass this one up.”

“When it comes to my personal taste in horror, I love being scared but I don’t like being grossed out — so Jake’s selections perfectly walk the line for me!” said Leigh Dyer, a/prture cinema executive director. “Everyone can ﬁnd something that matches their own ‘scare tolerance’ on this list.”

“We have done a lot of Halloween horror programming in the past, but took

Murder Most Fun

BY MARK BURGER

The Little Theatre of Winston-Salem (LTWS) will present its fall Youth Production, “Murder on the 518,” at 7 p.m. Oct. 24, 2 p.m. and 7 p.m. Oct. 25, and 2 p.m. Oct. 26, at the Milton Rhodes Center for the Arts, 251 N. Spruce St., Winston-Salem. Tickets are $14 and are available by calling 336-725-4001 or visiting https://www.ltofws.org/.

a bit of an o year in 2024 due to all the changes that were happening at a/perture at this time,” Laystrom said. “A lot of our audience has been vocal about wanting to see more horror at a/perture, so we wanted to make sure we o ered a varied selection this year. The programming ﬁts into a lot of what we’ve been doing this year in trying to cover as many of our audience members as possible while staying true to our mission.”

Incorporating special events and series alongside regular releases is a key component of a/perture cinema, Laystrom said. “‘Mixing things up’ is vital to our goal as a non-profit, independent cinema,” he explained. “The programming is what helps add character to theaters like a/perture, and sets us apart from any multiplex impersonally playing ‘classics’ without any context or much thought. Having programs like this allows our audience to take a journey, either revisiting favorites or finding something new they may not have watched otherwise. Instead of scrolling through endless screening options, you can come and have a communal experience with a curated selection from film lovers. There’s a reason that horror has been the most consistent genre in theatrical moviegoing for decades — it’s made to be experienced together!”

For more information, call 336-7228148 or visit the o cial a/perture cinema website: https://aperturecinema.com/. !

See MARK BURGER’s reviews of current movies.

In the tradition of Agatha Christie, but with an irreverent and lighthearted bent, “Murder on the 518” follows a weary group of travelers on the Westbound 518 as one passenger, then another, drops dead right before their eyes — just as the train is halted by a canyon rockslide. The surviving passengers and workers are forced to work together to ferret out the killer before he or she strikes again … but things aren’t necessarily what they seem, and some passengers aren’t who they seem, either.

“The LTWS Youth Production of ‘Murder on the 518’ has been an absolute thrill to direct,” said helmer Anna LaVenture. “This cast has brought incredible energy, creativity, and humor to every rehearsal. Their bold choices and quick instincts have turned this mystery into a hilarious, fast-paced adventure. I’m continually amazed by how much heart and talent these young performers bring to the stage!”

The ensemble cast includes Tessa Anderson, Annabelle Babb, Eden Bailey, Ken Burton, Ava Cline, Gigi Davis, Maddie Dover, Timothy King, Asher Lisi, Blayklee Muuss, Sarah “Rex” Nance, Aliya Perry, Andrea Rogers, Izzy Stoddard, Luke Taylor, Eli Warf, Emma Warf, Callie Watson, and Genevieve Waugh. The show runs approximately one hour and 20 minutes and is appropriate for ages 8 and older.

For more information, visit the o cial LTWS website: https://www. ltofws.org/ !

See MARK BURGER’s reviews of current movies.

Mark Burger

Contributor

[WEEKLY ARTS ROUNDUP]

WHEN SUNLIGHT MEETS SONG:

WINSTON-SALEM SYMPHONY CHORUS BRINGS MUSIC OF LIGHT AND RENEWAL TO CENTENARY UNITED METHODIST CHURCH

BY BRIAN FRENCH AND GRACIE PIERCE-TAYLOR

As the late-October sun dips lower in the sky, the stainedglass windows of Centenary United Methodist Church will cast a shifting glow across the sanctuary. Into this radiant backdrop, the Winston-Salem Symphony Chorus will present “Illuminare” — its annual feature concert — on Sunday, Oct. 26, at 5 p.m.

The program pairs two works by celebrated contemporary American choral composers: “LUX: The Dawn From On High” by Dan Forrest and “Illuminare” by Elaine Hagenberg. Each is a ﬁvemovement meditation on themes of light, goodness, and healing, set to both sacred and secular texts in Latin and English.

“Both composers on the program are two of the most recognized names in choral music on the national and international stage today,” said Symphony Chorus Director, Dr. Chris Gilliam. “The message of both pieces, while generally sacred, more broadly represent a Universal respect for, and an awareness of, the beauty in all living things — particularly the aspects of creation that heralds light transcending the darkness, truth triumphing over deceit, and which values creation over destruction.”

The chorus will be joined by professional instrumentalists from the Winston-Salem Symphony, with the soaring sanctuary providing what Gilliam calls “a healing balm for audience members in just over one hour of inspiring, uplifting music that will nurture us onward and forward in uncertain, unsettling times.”

Two soloists from within the chorus — soprano Luscinda Dickey and tenor Isaac Fulk — will be featured in the Forrest work, adding further intimacy and

artistry to the evening.

The Winston-Salem Symphony Chorus has deep roots in the Triad’s musical history. Tracing its lineage back to the 1940s, the group began as three separate ensembles before merging into the Singers’ Guild in 1960. After years of collaboration with the WinstonSalem Symphony, the chorus formally became the Symphony Chorale in 1971, later adopting its current name in 2018. Over the decades, it has performed cornerstones of the choral-symphonic repertoire, from Beethoven’s Ninth Symphony to Verdi’s “Requiem,” as well as annual performances of Handel’s “Messiah.”

Made up of auditioned volunteer singers, many of whom are also professionally trained, the Symphony Chorus is known for both its large-scale collaborations and its more intimate concerts like this one.

At the helm since 2018, Gilliam balances his leadership of the Symphony Chorus with roles as Director of Choral Activities at Wake Forest University, artistic director of the Winston-Salem Choral Artists, and Director of Music at Highland Presbyterian Church. His vision for this program, he said, is simple yet profound: to o er light in sound.

With “Illuminare,” audiences can expect an evening where music, text, and setting intertwine — illuminating not only a sanctuary but also the spirit. !

PHOTO COURTESY OF J FARLEY PHOTOGRAPHY

[WEEKLY SUDOKU] [KING CROSSWORD]

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“Poppycock!” 76 “Sounds likely to me”

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115 Cross paths 116 Soup ﬂavor enhancer, for short

Chow Down with John Batchelor at Vintage Sofa Bar

BY JOHN BATCHELOR

This is a unique concept. Not surprising, since it comes from the imagination of Tony Stevens, whose work I have been admiring for decades. (He was chef-proprietor of Grappa Grille in Greensboro and High Point.)

Weather permitting, the space is open to the street, with seating outside as well as indoors. Big garage-style doors can close it o as needed. Stools surround the interior U-shaped bar, but sofas and plush chairs populate the rest of the space, many ﬂanking co ee tables or the like. The result is an informal ambiance that facilitates conversation and socialization.

Cocktails, mixed drinks, wines, and artisan beers constitute the primary attraction. This is a bar, albeit a sofa bar, after all. Wine o erings are well chosen and reasonably priced. (I especially liked the Smashberry Red Blend of cabernet, merlot, syrah, grenache, and lagrien.) Cocktails that my party sampled proved pleasurable as well. The Inca Bloom is rum-based; the Spring Fling blends vodka, cranberry juice, and prosecco. The menu, posted on a chalkboard, changes seasonally. It lists tapas-style choices plus pizzas, all prepared from scratch. Most of the time, you place a food order at the bar, then pick it up at the pass station in the rear when your announcement buzzer goes o . Depending on sta ng, a server may deliver to your table.

Unindicted co-conspirator Jerry is adventurous. He ordered Fried Bologna Sliders. Absent his inﬂuence, I would probably have passed these up. That would have been a mistake. The meat is close to an inch thick, and it’s really good bologna, on yeasty rolls. A small assembly of pickled carrot and beet slices plus arugula lends a bit of balance.

The Steak Empanadas are enclosed in crisp crust, which generates excellent ﬂavor in its own right. The meat ﬁlling is hearty, augmented with salsa verde on the side. A clear winner.

Grandma’s BBQ Meat Balls are rolled in southern-style, tomato-based barbecue sauce, slightly on the sweet side, which complements the solid meat

ﬂavor. An herb crema mellows things out, while a side of pickled pepper slices intensiﬁes the bite. Toasted pita wedges are provided to soak up some of the barbecue sauce.

French Onion Dip is based on cream cheese, blended with soft-cooked onions. This comes with potato chips, and they are really good potato chips. (I am appalled by how many varieties of awful potato chips are out there!) A little arugula, plus pickled baby tomatoes, alongside chilled cucumbers, sliced lengthwise, provide a bit of side vegetable serving.

The brisket used in Burnt Ends Brisket Quesadilla is smoked in-house. The result is deeply ﬂavorful, augmented with a bit of slaw, encased in a crisp crust. A jalapeno pepper, a little arugula, a slice of pickled carrot, plus a pickled red pepper rest alongside.

Pizzas are constructed on a thin, crisp crust. Mozzarella, Arugula, and Basil is a white pizza, the greens blending into the warm, soft cheese. The thing that struck me about the Pepperoni Flatbread is the quality of the pepperoni itself — solid meat ﬂavor without the overpowering saltiness that so often undermines enjoyment for me. And these are big slices!

A few words to help you navigate this place — there is no sign on the building that says “Vintage Sofa Bar,” and the only street numbers visible show di erent digits than the address for this restaurant. Hint — it’s the wood-faced building on the corner. And you can park out back. The website was erratic while I was researching for this column. Sometimes it just showed a blank screen. It may or may not be functional when you look. But just go in person. This is a place that ﬁts into the category I have

described as just easy to enjoy. !

JOHN BATCHELOR has been writing about eating and drinking since 1981. Over a thousand of his articles have been published. He is also author of two travel/cookbooks: Chefs of the Coast: Restaurants and Recipes from the North Carolina Coast, and Chefs of the Mountains: Restaurants and Recipes from Western North Carolina. Contact him at john.e.batchelor@gmail.com or see his blog, johnbatchelordiningandtravel.blogspot.

WANNA go?

Vintage Sofa Bar 1001 Burke St. Winston-Salem 27101 336-905-9008, vintagesofabar.com facebook.com/pages/Vintage-Sofa-Bar

Hours: 3 p.m.-midnight Tuesday-Wednesday, 3 p.m.-1 a.m. Thursday-Saturday, 1 p.m.-12 a.m. Sunday Small Plates: $8-$12, Pizzas: $10-$12 Most recent visit: October 8

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Inca Bloom Arugula, Basil Pizza Meatballs Pepperoni Pizza

spread Night Terrors: Triad ﬁlmmakers bring Blood Date to Trade Street

Longtime journalists and docu-

mentarians Chad Nance and Carissa Joines are finetuning their first scripted feature film, Night Terrors: Blood Date on Trade Street. In post-production and scheduled for the American Film Market in November, it reflects writer/director Nance’s love of horror movies shown on the USA Network in the 1990s.

“I was a Fangoria kid,” he said, referencing the horror movie magazine that debuted in 1979, “and a fan from the moment my mother bought me a set of the Crestwood House monster books. After I picked up Alan Ormsby’s ‘Movie Monsters’ at a Scholastic school book fair, I made my ﬁrst Frankenstein head out of a paper lunch sack. I’ve never looked back.”

“In the 1980s, two movie theaters were a bike ride away from my house, while taping ﬁlms from HBO and The Movie Channel was an obsession. My favorite directors are John Carpenter and Mel Brooks. Night Terrors might have been inevitable.”

He readily acknowledges that horror and comedy are very commercial genres.

“You must be responsible to your cast, crew, investors, and business partners. To honor their contributions, you have to make work that can be marketed and seen, not just follow personal obsessions and passions.”

As its title indicates, Night Terrors: Blood Date on Trade Street is two ﬁlms in one. Night Terrors is a ﬁctional TV show in which hosts Carrie and Larry (Erinn Dearth and Alex Stone) are showing Blood Date on Trade Street, an American remake of the artsier Vapyrer der Leger Med Piges Foleser.

In the ﬁlm-within-the-ﬁlm, heroine Stacy (Elise Kimble), a sarcastic young woman obsessed with the real-life Lawson Family Massacre of 1929, goes on a blind date with Drake (Daniel Becker),

who resembles a man in a 96-year-old photo of the murdered family.

“We knew we wanted to do something in the horror/comedy space, and it had to be a film we could shoot in Winston-Salem,” said producer/art director Joines, who is Nance’s professional and domestic partner. “The Night Terrors TV show framing device came first, and when we landed on the idea of a blind date with a vampire, that led us to set the bulk of the film on Trade Street.”

This is not the first full-length horror film Nance has scripted. “In January of 2025, we were thinking about another script titled Bruh, but realized we needed a lower-budget project as a first-time narrative feature. So, I was watching clips on my iPad for inspiration when I came across USA Network’s movie show from the 90s, Up All Night, hosted by Rhonda Shear and Gilbert Godfrey. Once I created the Night Terrors movie show, it needed a movie to screen.”

Joines thanked the Triad community for responding enthusiastically to their crowdfunding campaign.

“Chad and I put up the rest of the money needed to pay cast and crew, and cover the production budget. We also did not take payment for any of the work we did, including writing the script; producers’ fees while in pre-production; production and post-production fees for

the director, assistant director, production designer, editor, graphic design, sound design; and a host of other tasks that we took on ourselves. We were able to have our score created by our son Isaac Joines, who is studying ﬁlm composing at UNCG, and have other original songs provided by some of the amazing musicians who work out of Winston-Salem.”

Nance also stressed the importance of local talent.

“Much of the crew is currently attending UNCSA or are alumni. The ﬁlm is proof of their skills and work ethic. What folks may never know is that this cast and crew shot 26 pages and had a sit-down dinner together the night we shot our scenes in Finnigan’s Wake. That was just one of the miracles they pulled o . Our ﬁlm workers in this region are just the best.”

Joines and Nance are proud of getting on-screen value for their money.

“This was possible because of the community. Restaurants like Toasted and The Porch provided meals for us,” said Joines. “The locations we used were super-supportive, and we represented them as the actual places in the ﬁlm to show how grateful we are. We had extras show up to support us in Finn’s and the Bamboo Lounge, even though it meant sitting at a table doing the same things until well after midnight.”

Nance praised the hard work of their cast, which includes not only leads Kimble, Becker, and framing hosts Dearth and Stone, but also Thao Nguyen and Evynn Rose Grignon.

“You can throw a stick almost anywhere in Winston-Salem and hit a talented actor. Because of UNCSA and the very vibrant live theater scene, our bench is ridiculously deep with acting talent. I could cast any ﬁlm of any genre here in around 12 hours and ﬁnd exactly what the project needs.”

He found Trade Street ideal for location work.

“For practical and creative reasons, we knew first that we wanted to shoot in the bars there, particularly the Silver Moon. A personal reason is that the 600 block of Trade is one of my favorite things about living in Winston-Salem. The practical reason was knowing folks who own businesses there. Indie filmmakers don’t have a lot of cash, so they first need to evaluate what they have as personal assets, particularly relationships.”

One of the first locations he had in mind was the Silver Moon. “I’ve been drinking there for over 20 years, and there’s no way I could make a film set in Winston-Salem and not include her legendary dive bar. Other scenes are specifically written to be at Finnigan’s Wake and nowhere else. From there,

Ian McDowell

Contributor

Silvermoon Saloon

From left to right, Carissa Joines, Edie Joines, Chad Nance, Isaac Joines, Audrey Joines, Andrew McLean

PHOTO BY JENNY LAWRENCE

we bounced to the Bamboo Lounge, where red lights and green walls o er the perfect backdrop as the story moves toward its dark ending.”

Graveyard scenes and Charlie Lawson dream sequences were shot in Stokes County.

“I knew that Charlie Lawson would show up somehow. Having spent several Christmases at my grandma’s in

walking distance from the Lawson farm, I had real sense memories to ﬁre my imagination about what that day may have been like. And, the Lawson narrative ﬁt nicely into the themes where I wanted to give a wink to true crime fans, considering some of the journalism I was known for previously.”

That journalism includes the murders committed by the man who called

himself Pazuzu Algarad, which Nance covered for Camel City Dispatch, and as story consultant and narrator of the VICE Media documentary The Devil You Know

“One of the reasons we’re moving into narrative and comedy is that our work before has been to cover so much sadness and trauma. Being a journalist can mean holding the stories, horrors, and

injustices of other folks’ realities. Part of me feels all ﬁlled up with that, and I’m ready to just help people laugh, cry, or scream while telling them a story.” !

IAN MCDOWELL is an award-winning author and journalist whose book I Ain’t Resisting: the City of Greensboro and the Killing of Marcus Smith was published in September of 2023 by Scuppernong Editions.

Daniel Becker

Daniel Becker & Thao Nguyen

tunes Tunes and Terror: A horror ﬁend’s pairing for the season

Calling all you fellow music

lovers, Halloween enthusiasts, and horror ﬁends: spooky season is formally in session!

Area theaters are screening classic frights, Rocky Horror is ruling the stages, and somewhere in Guilford Hills, Jerrod Smith (Instant Regrets) is likely toiling away on his semi-annual Halloween album of songs inspired by horror movies. Eleven albums deep at this point (Smith added “Hallogeddon ‘24” to the roster since my “Season of Halloween Soundtrack” feature in 2022), the albums continue — in tandem with the horrors they reference — aging like ﬁne wine.

As demonic figures and dystopian themes feel less like fiction with each passing day, the little pleasures in life — music, art, mayhem, and gore — keep life above ground with living. So, like any fine wine deserves a pairing, here’s a rundown of horror songs and the films they reference, currently screening around the Triad this Halloween season.

Golden Ticket Cinemas Ale House in Greensboro is hosting their “Killer Rewind Series” through October, with the ultimate showdown “Freddy VS Jason” screening Oct. 29-31.

Jason Vorhees and Freddy Kruger are kings of the slashers, so it’s no surprise to ﬁnd references to both on Smith’s ﬁrst 2011 installment, “The Halloween III EP,” that includes the ultimate momma’s boy anthem “Kill for Your Mother.”

Vorhees has gotten the star treatment on a few albums over the years: “Jerrod And Schmoodle Review Every Friday the 13th in 1 minute and 6 seconds” (from 2014’s “Halloweens”) is fairly straightforward, while “Always Stick Together,” (o 2015’s “Halloween the 13th part Texas Hellraiser: Puppetmasters of the Corn on Elm Street”) o ers more generally applicable advice. “...always stick together.”

“Sweater of Your Mother” (2018’s “HAL-9000-O-WEEN.vmd”) delves into origin stories and cannon; meanwhile,

“Friday The 13th In 3-D” (2019’s “V.M.D. HALLOWEEN IN 7-D”) serves up an earworm jumpcut outlining the gimmicks in Friday the 13th: Part III. “…in 3-D…”

The Regal Grande in Friendly Center is also getting into the spirit with the “31 Screams on Screen” series, featuring a di erent classic horror movie nightly in October, culminating with the polarizing “Halloween III: Season of the Witch” on Halloween night proper. Smith’s “Halloween III” is actually the song that started it all — a favorite amongst his punk-metal duo days in Dick Wolf and the title reference for that 2011 ﬁrst installment. “...tell me where was Michael Myers…”

Walking back, the Grande will show Rosemary’s Baby on Oct. 30 (pair it with “Rosemary’s Baby Shower” from 2017’s “My Bloody Halloween Valentine”). Meanwhile, “Monsters” from 2018’s “HAL-9000-O-WEEN.vmd” o ers a general (and timely) pairing to accompany the “Monster Mash” week featuring classic Universal Monster ﬂicks each night Oct. 22-28.

“...but the evil creatures using laws they’ve written / to scare us, confuse us, control us, abuse us / devolve our lives, water down and dilute us / they are the monsters that no one can see.”

Most immediately: family comes ﬁrst

Freddy, Hey Freddy… Let’s kill, not be comedians.”

And it seems a/perture agrees: they’ll screen the ﬁrst Nightmare on Elm Street, wherein Kruger is far less of a jokester, on Oct. 23.

But “House” is up next on Oct. 18. And the 1977 Japanese domestic girlgang feverdream gets an empowering roll call treatment in “Girls of House” (on 2016’s “Halloween of the Living Dead).

“…the house needs unwed girls to feed / the house needs unwed girls to bleed / girls don’t need a man to live/don’t need a man…”

In Greensboro, the “Nightmare O Elm Street Series” has returned to the Carolina Theatre and will unleash a di erent sort of house-centric mayhem with “Reanimator” on Oct. 21.

this weekend at the Grande with “Heredity” screening on Oct. 17 (check out “Hereditary Incantations”, the opening track from “V.M.D. HALLOWEEN IN 7-D”), and be sure to queue up “Y.M.S.C.I.H.” (from the same album) for The Exorcist on Oct. 18.

“The power of Christ compels me to tell you that,” if the acronymed title seems perplexing: recall the line from the TV edit where Pazuzu (through the processed Regan) tells Father Karras his “mother sews socks in Hell” and it should make more sense.

The Exorcist actually gets two treatments on two di erent records, so it ﬁts that the Triad can look forward to two screenings, with a/perture showing “The Version You’ve Never Seen” on Oct. 29, as part of its own “Horror through the decades” series. [Fun fact: I actually saw this version during its initial 2000 run at the Terrace in Greensboro. RIP.]

While Smith considers “The Exorcist and Indiana Jones” (from 2016’s “Halloween of the Living Dead”) more of a “stupid rant that sounded funny when I had a fever;” he doesn’t shy from extolling opinions “Jokes and Jokes” from that ﬁrst “Halloween III EP” skewers slapstick slashers: calling out Chucky and Freddy in the mix.

“...Jokes. And. Jokes. Spaghetti. Hey

The sweet lil poppunk banger, “Miskatonic Medical Massacre” (“Halloween the 13th part Texas Hellraiser: Puppetmasters of the Corn on Elm Street”), muses the perils of lost-love and a warning for tenancy. “When a guy like Herbert West wants to move into your home / you should check his past employment history / before he moves into your home / Because he’s got this green gel that looks like glow stik juice / and you know it’s bringing BODIES BACK TO LIFE, WOAH OH OH!”

As a follow-up: there’s also “The Resonator,” (“HALLOWEEN IN 7-D”), based around other ﬁlms from the expanded Lovecraftian Miskatonic universe — the twangy rock’n’roll delight is one of my absolute favorites. “...Turn on the resonator / Fire up the resonator / We’re taking hits from beyond…”

Heading to the stage: “Evil Dead: The Musical,” returns to the Camel City Playhouse Oct. 23-Nov. 2. While “Angry Molesting Trees” (2014’s “Halloweens”) o ers a driving titular punk hook and sage advice: “...never read the Necronomicon out loud, you fools…”. Happy Halloween, horror ﬁends. What horrors will await this year? Who knows. But with ﬁne wine — perhaps a deep red or “Profondo Rosso” (from “Halloweens”) and Argento movies to match, we’re prepared. Salude! !

KATEI CRANFORD is a Triad music nerd who enjoys spotlighting artists and events.

Katei Cranford

Contributor

UNCG police criticized for recent arrest

The treatment of a UNCG student and her boyfriend by campus police o cers has brought condemnation from the university chapter of the NAACP.

The parking violation that led to the forcible arrests of Quinten Thomas and Alisia Rea began at around 10:47 p.m. on Monday, Oct. 6. The public incident report states the arrests occurred after “UNCG Police conducted a tra c stop on an illegally parked vehicle,” but contains no description of interactions between o cers and arrestees.

According to a statement posted to the Instagram of the UNCG chapter of the NAACP, “Thomas’s car was parked on Glenwood Avenue, a street that UNCG Police had previously said he was allowed to be parked at for a 15-minute duration. After dropping Rea o , Thomas returned to ﬁnd 2 UNCG Police o cers standing at his car.”

After describing Rea as attempting “to leave the situation,” the statement alleged that O cer Cristian Ortiz applied “aggressive force” to her, and called for

“a full and transparent investigation . . . to ensure accountability and prevent similar occurrences.”

According to Diana Lawrence, UNCG Vice Chancellor for Strategic Communications, Thomas was charged with Resist, Delay or Obstruct; Stop on Highway; and Revoked Driver’s License, and received a warning not to trespass on UNCG property for six months. Rea was charged with Resist, Delay or Obstruct, and Assault on a Public O cial.

Some details of the incident can be seen in Rea’s cellphone video, which

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begins with the o cer yelling “Get out of the f**king car!” while attempting to pull Thomas from the vehicle.

Thomas repeatedly shouts for the ofﬁcers to step back and allow him to exit.

O cer Rebecca Galicia tells Rea, “You can record,” but orders her to “back up.”

“Why is he touching him?” yells Rea. “This is a tra c stop right now,” answers Galicia. The exchange continues with Ortiz ordering Thomas out of the vehicle and Thomas saying that he will comply after the o cers step back.

“Get out of the f**king car right now,” repeats Ortiz. “I do not feel safe with you guys hovering over me right now,” replies Thomas. O cer Braxton Hiatt then joins the scene. “You’re about to get tased!” says Hiatt.

“What did I do?” shouts Thomas as he is pulled from his vehicle and handcu ed.

“He’s done nothing wrong!” shouts Rea.

“Move back now or you’re going to be [inaudible],” says Hiatt to Rea.

“Stop yelling,” says Galacia. “This was a tra c stop.”

“For what?” asks Rea.

“Because this is a turning lane,” says Galicia.

“He was dropping me o ,” says Rea. “People park here several times. Why are you all throwing him around?” yells Rea.

“He needs to comply,” says Galicia. “We gave him a chance to get out. I’m not arguing this with you. Back o .”

“Did you read him his rights?” asks Rea.

“You watch too much TV,” says Hiatt. “You need to mind your business.”

According to MirandaWarning.org, police are only required to inform suspects of their Miranda rights once they are in custody and being interrogated.

“Hey, what’s your name?” shouts Ortiz at Rea. “I need your name, ‘cause you’re interfering with this.”

Rea notices Hiatt entering Thomas’s vehicle. “What are you searching his car for?”

“We’re ﬁnding his keys because we’re going to tow it,” says Hiatt.

“I’ll drive the car back,” says Rea. “No!” says Hiatt. “It’s getting towed.”

“For what?” asks Rea.

“It’s parked in a turning lane!” says Hiatt.

“I need your name,” says Ortiz.

“You don’t need anything from me!” says Rea.

Ortiz and Hiatt converse. “I need your name because you’re going to jail, too,” says Ortiz. “You’re gonna be next,” says Hiatt.

Ortiz repeatedly asks, “Do you want to go to jail, too?” Rea repeatedly asks for his badge number.

“We don’t have badge numbers,” says Ortiz. “Give me your name. You want to go to jail, too? Okay, you’re going to jail, then.”

According to the UNCG administration, campus police do not have badge numbers.

Ian McDowell

Contributor

Alisia Rea being pinned to the ground by o cers.

The YouTube video “Greensboro Police O cers racial proﬁling and using excessive force again at UNC Greensboro 2025!!”, taken by someone standing a dozen yards from the altercation, shows Rea’s arrest.

It begins with Ortiz, Hiatt, and Galicia following Rea as she walks away from them. Ortiz grabs her from behind and shoves her towards a low brick wall. “Get o of me,” shouts Rea as the other two o cers assist Ortiz in bringing her to the pavement.

Ortiz and Hiatt sprawl on top of her, pressing her face down, while Galicia grabs her legs. A fourth o cer, unnamed in arrest documents, arrives and joins the others in physically restraining Rea, while she repeatedly screams.

The angle and distance do not a ord a view of how Galicia handles Rea’s legs, but the UNCG NAACP statement alleges that the o cer “bent her legs in a way that almost broke them.” The statement also alleges that Ortiz placed Rea in a chokehold. Due to a bystander blocking the view, Ortiz’s hands and arms are not visible when Rea screams, “Get your hands o my neck!” While Rea has been charged with Assault on

a Public O cial, she cannot be seen striking or kicking at the o cers. The video concludes with her being forcibly handcu ed.

In a statement released to the media, Vice-Chancellor Lawrence wrote:

“Because this matter involves ongoing legal proceedings, the University cannot comment on the speciﬁcs of the case or the actions of law enforcement.”

On his Facebook page, Senator Michael Garrett, who represents Guilford County, called for “an immediate, thorough, and transparent investigation” into the actions of Ortiz, Hiatt, and Galicia.

“I write to you today not just as an elected o cial, but as a parent who understands the weight that sits on the chest of every Black mother and father in our community, the su ocating fear that a routine encounter with law enforcement could become a funeral instead of a homecoming.” !

Court-Approved Legal Notice

If you maintained a place of business or charitable organization within the one-mile evacuation zone of the Winston Weaver facility on January 31, 2022, and sustained economic and/or nuisance-related damages caused by the fire and evacuation, excluding personal injury, a class action lawsuit may affect your rights.

A Court has authorized this notice. This is not a solicitation from a lawyer.

A class action lawsuit known as Thomas et al. v. Winston Weaver Co. Inc., Case Nos. 22 CVS 929, and 22 CVS 683 is pending in the General Court of Justice, Superior Court Division, in the State of North Carolina, Forsyth County against Winston Weaver Co., Inc. (“Defendant”) arising out of an evacuation as a result of a fire. The lawsuit alleges damages resulting from Defendant’s negligence, negligence per se, gross negligence, private nuisance, and/or public nuisance which proximately caused the fire and subsequent evacuation. Defendant denies the legal claims in the lawsuit and the Court has not decided who is right or wrong. However, if you are a member of the class, your legal rights are affected, and you have a choice to make now.

Who is part of the Class? You are a member of the class if you maintained a place of business or charitable organization within the one-mile evacuation zone of the Winston Weaver facility on January 31, 2022, and sustained economic and/or nuisance-related damages caused by the fire and evacuation, excluding damages arising from personal injury.

Recently, notice was provided because a Settlement was reached for “natural persons” (individual people) in the Class. That Settlement did not include businesses or charitable organizations.

What are my options? If you are a class member, you must choose whether or not to stay in the class. If you stay in the class, you will be notified later if money or other benefits become available and you are eligible. You will be bound by all orders and judgments of the Court, whether favorable or not, and you will not be able to sue the Defendant for the legal claims at issue in this lawsuit. If you want to stay in the class, you do not have to do anything now. To exclude yourself from the class, you must mail a written request for exclusion, postmarked by November 17, 2025. The Long Form Notice, available at the website, has more information on how to request to be excluded. If you exclude yourself, you cannot get any money or benefits for your businesses or charitable organization from this lawsuit if they become available, but you will not be bound by any orders or judgments in this lawsuit.

The Trial. Plaintiffs will have to prove their legal claims at a trial. The trial has been scheduled for January 21, 2026. There is no guarantee that the Plaintiffs will win, or that they will get any money for the class. Class Counsel will present the case for Plaintiffs and the class, and lawyers for Defendant will present on their behalf. You or your lawyer may attend the trial at your own expense, but you do not have to. If Class Counsel gets money or benefits for the class, they may ask the Court for an award of attorneys’ fees and expenses. If granted by the Court, their fees and expenses will be deducted from any money obtained for the class or paid separately by the Defendant.

This notice is a summary. Learn more at www.WinstonWeaverClassAction.com, or call toll-free 1-877-960-3108.

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Quinton Thomas being pulled from his vehicle.

CARBORRO

CAT’S CRADLE

300 E Main St | 919.967.9053

www.catscradle.com

Oct 15: 2hollis

Oct 15: Destroyer, Jennifer Castle

Oct 15: The Runarounds, William Wild

Oct 16: Sam Burchﬁeld & The Scoun-

drels, Phillip Bowen

Oct 16: The Criticals, New Translations

Oct 17: Sugar Snap Peas, Husbandos, Nicole Tester

Oct 17: Winyah, Tobacco Road

Oct 18: Cafune, crushed

Oct 18: Inﬁnity Song, The Burney Sisters

Oct 19: The Legendary Pink Dots

CHARLOTTE

BOJANGLES COLISEUM

2700 E Independence Blvd | 704.372.3600

www.boplex.com

Oct 17: The Cult

Oct 19: Crowder, Passion Music, Louie Giglio, Kari Kobe Carnes & Cody Carnes

Oct 23: DOECHII

Oct 24: Aly & AJ

THE FILLMORE

1000 NC Music Factory Blvd | 704.916.8970

www.livenation.com

Oct 17: Colony House

Oct 18: Gigi Perez

Oct 21: Ruston Kelly

Oct 21: Saint Motel

Oct 22: Cannibal Corpse

PNC MUSIC PAVILION

707 Pavilion Blvd | 704.549.1292

www.livenation.com

Oct 18: Tedeschi Trucks Band

Oct 24: The B-52s & Devo

DURHAM

CAROLINA THEATRE

309 W Morgan St | 919.560.3030 www.carolinatheatre.org

Oct 15: Eric Johnson

Oct 18: Big Bang Boom

Oct 19: Noah Reid

Oct 25: Brian Culbertson

Oct 26: Big Bad Voodoo Daddy

DPAC

123 Vivian St | 919.680.2787

www.dpacnc.com

Oct 15: Kamala Harris

Oct 16-17: Stardew Valley Symphony of Seasons

Oct 18: Steve Martin & Martin Short

Oct 21: Diana Ross

Oct 22: Twilight in Concert

Oct 24: Bassem Youssef

ELKIN

REEVES THEATER

129 W Main St | 336.258.8240 www.reevestheater.com

Oct 17: BeauSoleil avec Michael Doucet

GREENSBORO

CHAR BAR NO. 7

3724 Lawndale Dr. | 336.545.5555

www.charbar7.com

Oct 16: The Good Watts

Oct 23: Daniel Love COMEDY

1126 S Holden Rd | 336.333.1034

www.thecomedyzone.com

Oct 17-18: Michael Blackson

Oct 22: Scott Seiss

Oct 23: Cactus Tate

www.ﬂatirongso.com

Oct 15: Finding Emo

Oct 16: Ric Robertson

Oct 17: Chain with Treasure Pains

Oct 18: Ray Bonneville

Oct 19: Ben Sollee

Oct 20: Robbie Fulks GARAGE TAVERN

5211 A West Market St | 336.763.2020 www.facebook.com/GarageTavernGreensboro

Oct 17: Wristband Band

Oct 18: Cory Luetjen, Traveling Blues Band HANGAR 1819 1819 Spring Garden St | 336.579.6480 www.hangar1819.com

Oct 15: What Lies Below

Oct 16: Texas Hippie Coalition Oct 18: Sofaygo

Oct 19: 200 Stab Wounds w/ Ingrown, No Cure, Bastardane Oct 23: Rio Da Yung OG ft. Ayo Lek

Oct 18: Men Can Cook

Oct 23: In This Moment: Black Mass Tour RODY’S TAVERN

Oct 15: Jim Mayberry

Oct 17: Alek Ottaway Duo

Oct 22: Julia Golden

Oct 24: Tony Andrews

Oct 29: Taylor Mason

[SALOME’S STARS]

Week of October 20, 2025

[ARIES (March 21 to April 19) Caution dominates the Sheep’s monetary aspect this week. Rams and Ewes might want to shear their big spending plans until a more favorable ﬁnancial picture begins to emerge by week’s end.

[TAURUS (April 20 to May 20) Thrift counts both at home and at work. So, you might want to rethink major purchases or investments. Also, be wary of a so-called revelation about a previous business decision.

[GEMINI (May 21 to June 20) Both household budgets and workplace accounts might beneﬁt from some judicious trimming of unnecessary expenses. Meanwhile, a business partnership could lead to an unexpected challenge.

[CANCER (June 21 to July 22) A previously overlooked opportunity could reemerge with a new travel-related matter. Check this out carefully to see if it’s what you really want before you decide one way or another.

[LEO (July 23 to August 22) This could be the start of a new career-changing phase, so start marking down your many accomplishments for those who need to know how much you have to o er. Good luck!

[VIRGO (August 23 to September 22) It’s not too early for the sometimes procrastinating VIRGO to start making some longdistance travel plans. The sooner you decide where to go, when to go and how to go, the better.

[LIBRA (September 23 to October 22) Financial matters once again ﬁgure in any major action you might take regarding career,

travel or other endeavors. You’ll want a ready reserve to help you back up your moves.

[SCORPIO (October 23 to November 21) Trying to resolve a problem in a personal relationship could be more di cult than you’d expected. Look into the possibility that someone might be interfering for their own reasons.

[SAGITTARIUS (November 22 to December 21) A workplace project you once rejected might be more attractive because of changes that you feel you can now work with. The weekend is especially favorable to family matters.

[CAPRICORN (December 22 to January 19) This is a good week for the gregarious Goat to enjoy being with the people you care for. You might even want to show o the creative kitchen skills you’re so adept at.

[AQUARIUS (January 20 to February 18) A colleague might think your attitude is patronizing, or even outright insulting. True, but this might be their problem. Still, you might want to take some reassuring steps anyway.

[PISCES (February 19 to March 20) It’s a good time to jettison old concepts about a family matter that you might have been holding on to. This will help make room for a new and more enlightened way of dealing with it.

[BORN THIS WEEK: You like to analyze a puzzling situation before you try to resolve it. This makes you excel at getting things done the right way.