Dorm of the Dead (2006)

Directed by Donald Farmer [Other horror films: Cannibal Hookers (1987), Demon Queen (1987), Scream Dream (1989), Vampire Cop (1990), Invasion of the Scream Queens (1992), Savage Vengance (1993), Red Lips (1995), Red Lips II (1996), An Erotic Vampire in Paris (2002), Body Shop (2002), Red Lips: Eat the Living (2005), Chainsaw Cheerleaders (2008), Hi-8 (Horror Independent 8) (2013, segment ‘Thicker than Water’), Shark Exorcist (2015), Grindsploitation (2016, segment ‘Dirty Cop: Simon Says!’), Cannibal Cop (2017), Hooker with a Hacksaw (2017), Trashsploitation (2018, segments ‘Hooker with a Hacksaw’ & ‘Vampire Cop’), Visit to the Grave (2018), Cannibal Hookers (2019)]

This movie is terrible in ways that few movies can compete with. It’s low-budget, sure, but the story is quite poor, the acting is laughable, and the amateurish nature of the film is overbearing. Even so, giving this one a second watch, I have to admit that it does possess just enough charm to ensure the movie’s not a complete waste (though make no mistake, it’s a close call).

No one in the cast does great, or even good (though certainly, some of the young women who get topless are rather scrumptious). However, I did derive some enjoyment from the main performances of Ciara Richards and Adrianna Eder. Both Richards and Eder are attractive in their own way, but I think Eder is the winner. Regardless, neither gives a great performance, but again, they bring some amusement to the film.

Jacky Hall, though, who played a bitchy Southern bully (she was born in Arkansas, and it shows) is the surprise star. Her performance is almost as terrible as the script (and that’s a hell of an accomplishment), and she brings some quotable lines to the forefront (‘Sit and spin, bitches’). Only two others are worth mentioning, including the science professor who had a vial of real Haitian zombie blood (Christopher Slade) and Kimberly L. Cole (‘Oh my God, is that a mouse? Oh, I think it’s a gerbil. Gerbils are so cute…’), who had a short, yet memorable, little scene.

By no means would I want to give off the impression that Dorm of the Dead is all sunshine and daisies, as some of this movie is really painful. The first ten minutes or so are focused purely on pointless characters who are all eventually killed by zombies. There’s a lesbian scene thrown in, so you get a bit more nudity, but neither of the women are at all important. After some credits, we’re gifted with what might be one of the worst scenes in cinematic history that I regret having watched (six, perhaps seven minutes of a guy telling a girl sexual innuendos and her being completely oblivious, only to be attacked by zombies at the end).

Also, the music here is terrible. It’s just random generic hard rock, none of it noteworthy in any way. As for the zombies? One randomly did a backflip early on, which didn’t much endear me to them. The effects, too, were poor, but given what had to be a very low budget, I’m guessing they did what they could. Also, while I’m grateful the movie ended (more than can be known), it was a very sudden conclusion.

The director of this movie, Donald Farmer, is somewhat a known quantity. Truth be told, I’ve not actually seen any of his movies beside this one (am I a lucky guy or what?), but I don’t think this was necessarily terrible. The script was, as I said, pretty atrocious – I really didn’t like the route this one took (one of the main characters got zombie blood poured down her throat, and is slowly beginning to crave human flesh, and eventually goes on a uber-scary rampage), which is probably the biggest issue I had with this one.

The thing is, as poor as many aspects of Dorm of the Dead are, the really terrible performances had me laughing, and while that by no means makes the movie a good one, having seen this one twice now, I admit that I could see myself giving this even another view in the future, for whatever that’s worth.


This film was discussed on Fight Evil’s podcast, so if interested, listen to Chucky (@ChuckyFE) and I talk this one over.

The Mist (2007)

Directed by Frank Darabont [Other horror films: Buried Alive (1990), Nightshift Collection (1994, segment ‘The Woman in the Room’)]

Very much a modern-day classic of the genre, The Mist is a very solidly-made film with little in it too objectionable. You have a pretty good and, at times, claustrophobic story, a great cast with memorable characters, and enough monstery goodness to keep everyone happy, along with showing the dangers of religion, which is always a good touch.

There’s a lot of actors and actresses here I liked, such as William Sadler (The Shawshank Redemption), Marcia Gay Harden, Jeffrey DeMunn (Storm of the Century), Toby Jones (from an episode of Doctor Who and Berberian Sound Studio), Andre Braugher (of the emotional crime/fantasy flick Frequency from 2000), Thomas Jane, Frances Sternhagen, Robert C. Treveiler, and Buck Taylor.

Of these names, DeMunn, Jones, and Harden were perhaps the best in the film. DeMunn has always been a consistently fun actor, while Jones is another individual I like in pretty much anything I see him in. Harden isn’t a name I know, but she does a great job playing the dangerous Mrs. Carmody, a religious nutbag, in the film. I hated every second she was babbling on-screen, so her performance was on point.

The CGI was a little spotty at times, but honestly, it didn’t bother me here near as much as one might think. The special effects in general were pretty solid, and the creature design was great too (hard to choose a favorite, but the tall, tentacled one, along with the spiders, who dominated in the pharmacy scene, would be my top two picks).

A lot of the hate that I see coming to this film deals with the end, and I don’t personally get it. Is the end darker? Sure, but the situation was dark also, and there’s nothing about the conclusion that I dislike at all. I think it’s a perfectly acceptable ending, perfectly realistic, and I applaud a more mainstream horror film going out the way this one did.

Tackling the dangers of religion was a nice touch also. In a situation like this, people like Mrs. Carmody need to be shut up as soon as possible, or otherwise you have an illogical mob out for blood because they’ve been duped into believing in an unverifiable deity. Her character was utterly despicable, and I’m glad that Ollie took care of her the way he did. In many ways, what’s scarier in The Mist than the creatures is the religious mumbo-jumbo, which unfortunately isn’t something modern-day Americans are immune from.

The Mist pretty much hits the right spots. I’ve not read the novella this movie was based off of, but for a Stephen King adaptation, The Mist is damn solid. Like I said, the cast is great, with a lot of familiar faces, the story is quite tense, and there’s a lot going for this flick.


This is one of the films discussed on Fight Evil’s podcast. If interested, listen to Chucky (@ChuckyFE) and I talk this one over below.

End of the Line (2007)

Directed by Maurice Devereaux [Other horror films: Blood Symbol (1992), Lady of the Lake (1998), Maléfices (1998), Slashers (2001)]

I saw this flick many years ago when the Chiller channel was still a thing, and got a rather large kick out of it. Flash-forward five years, if not longer, and the film still stands out strong, despite the somewhat low-budget feel and unknown actors and actresses.

For what they were, most of these performances were decent. Main characters played by Ilona Elkin and Nicolas Wright do well together, and have decent chemistry. Emily Shelton was both cute and highly effective with weaponry, so she’s a keeper. Nina Fillis did well with her conflicted role, Neil Napier was decent, though I sort of wished he did a bit more, and Robin Wilcock was great as a scummy, religious, would-be rapist.

What really makes End of the Line transcend budgetary concerns is the frightening realism of the plot. Religion is still very much prevalent in the USA, and the idea of an insane religious cult with significant membership deciding to go on a killing spree to ‘save souls’ is not outside the realm of possibility. Religious beliefs on their own are questionable enough, but when religious beliefs hit this level of fundamentalism, it’s damned dangerous.

The cult, named Voice of Eternal Hope, is damn terrifying, as all these seemingly clean-cut men and women, not to mention indoctrinated children, brandish daggers in the shape of the cross in order to massacre those who don’t share the same faith (or even those in the same cult who’ve lost faith in the mission) mercilessly, singing hymns and smiling while doing so, are definitely creepy. Because of their insane bloodlust, there’s some decent gore in the film, and while that’s not really the focus or most interesting thing about End of the Line, it certainly does help on occasion.

Related, there are some very solid scares in the film. Some are are bit much, but I will admit that the first few scares in the film really got to me, and definitely helped set up a creepy and somewhat ominous feel to End of the Line.

Pretty much from beginning to end, the movie moves at an acceptably quick pace. There are some questionable dialogue pieces toward the beginning, and a few things aren’t necessarily made clear (especially regarding the reality of the ongoing situation, and whether or not the muffins alluded to were directly related to anything), but some of the confusion and uncertainty only makes sense in such a chaotic scenario.

End of the Line is a very acceptable movie, and there’s a lot going for it that allows it to stand out of the crowd of post-2005 low-budget horror flicks, many of which are decent, but a far larger number of which are around average to far below average. End of the Line isn’t by any means an amazing movie, but it does stand up to my rather appreciative memory of it, and I certainly recommend it to fans of slashers or films revolving around insane cults.


This is one of the films reviewed on Fight Evil’s podcast, so if interested, listen to Chucky (@ChuckyFE) and I discuss this one.

Insidious (2010)

Directed by James Wan [Other horror films: Stygian (2000), Saw (2004), Dead Silence (2007), The Conjuring (2013), Insidious: Chapter 2 (2013), The Conjuring 2 (2016)]

Well, at least there were some super scary jump scares, so I guess the movie’s not all a waste, right?

As it is, this is a film I had little interest in for quite some time, which is partially why it took nine years after it was released for me to actually watch it, and the sad thing is, even with that in mind, I still found the movie rather disappointing.

It’s not as though Insidious is an overly horrible film, though – I can certainly see why mainstream audiences might be enthralled by it. As for fans of the horror genre, though, I guess that I failed to see what’s so impressive about it. Jump scare after jump scare with ‘scary’ music to make the jump scares scarier and OMG another jump scare help me I’m scared

Obviously, this movie hit the right spots for some people, and I’ll certainly say that elements are pretty solid (such as the subtler approach to horror in a few scenes), and the plot itself is decently interesting. Even the end, when Patrick Wilson’s character goes into The Further, I was fine with it. I sort of liked the almost A Nightmare on Elm Street vibe of the Red-faced demon’s chamber, what with him sharpening his claws to Tiny Tim’s dulcet tones.

I saw (and I suspect it’s the same for most) the twist behind Wilson’s character a mile away, and the ending just didn’t impress me whatsoever. It felt so damn Hollywood, and didn’t do anything to at all to help end the film on a more positive note.

The principle cast is all fine. Patrick Wilson (of classics such as Hard Candy and The Conjuring) did pretty solidly, and everyone else, including Rose Byrne, Lin Shaye (who I amazingly still recognized from the 1984 aforementioned classic, A Nightmare on Elm Street, along with the more recent 2003 Dead End), and Barbara Hershey, did well also, though none of the three blew me away. Leigh Whannell (of Saw fame) was nice to see, but the brand of humor he and his cohort Angus Sampson brought to the film didn’t do it for me.

All-in-all, I’m not really surprised that Insidious didn’t impress me. In the past, I’ve heard it compared positively with Paranormal Activity, which is a film I utterly hated. I get how Insidious could impress some people, and obviously if it’s your type of film, by all means, enjoy it. I will admit it had potential with the story. But that ending was Hollywood tripe (and in fact, it’s not altogether removed from what you’d see on Syfy), and while I appreciate portions of the film, this isn’t one I plan on watching again for at least twenty years.


This is one of the films discussed on Fight Evil’s podcast. If interested in hearing Chucky (@ChuckyFE) and I talk this one over, look no further.

El orfanato (2007)

Directed by J.A. Bayona [Other horror films: N/A]

This Spanish flick (better known as The Orphanage) might be a lot better for fans of more emotional ghost stories as opposed to more horror-tinged tales, but it’s still quite well done with some fantastic mystery, an enjoyable back-story, and a memorable (if not potentially anticlimactic) conclusion.

El orfanato’s setting is great, taking place at an old orphanage on the seaside, overlooked by an old, defunct lighthouse. With the ocean constantly rustling and rainstorms no stranger to the area, it sets things up as rather dismal, which helps sustain the tone as the movie goes on.

So, onto a lot of Spanish names that I definitely don’t know.

As the lead, Belen Rueda did well and played a very sympathetic character, and despite the fact that she’s not really been in that many things before this (though she was in a TV series that ran for around five years called Periodistas, so she’s not a no one), she shined pretty much throughout the film. Fernando Cayo was good also, but I wish he was a bit more prevalent to the story than he ended up being. Others that I enjoyed include Geraldine Chapin, Edgar Vivar, Andres Gertudix, and Montserrat Carulla.

What really helped this movie along, because honestly, it’s not really my type of thing, is the mystery behind the disappearance of one of the characters. I like how that’s resolved, and though it took supernatural means for Rueda’s character to come to find out what happened, I was okay with it, as we discover some interesting (and somewhat morbid) things out along the way.

As decent as El orfanato is, it’s not the type of film I really go out of my way for. The conclusion didn’t quite pack the punch I was hoping for, though it was a tad more emotional than one might expect. Still, it’s definitely a well-made movie with an engaging plot, and certainly worth a watch, but if Spanish ghost movies aren’t your cup of tea, you may find this film a bit more average than others.


This was covered on Fight Evil’s podcast, so if you want to hear Chucky (@ChuckyFE) and I discuss this one, go ahead.

Sleepaway Slasher (2020)

Directed by Alexander Birrell [Other horror films: Braincell (2010)], Eugen Bräunig [Other horror films: N/A], Emma Hall-Martin [Other horror films: N/A], Hayley Monek [Other horror films: N/A], Martin Murray [Other horror films: N/A], Michael Newton [Other horror films: N/A], Christina Reilly [Other horror films: N/A], Ben Venturina [Other horror films: N/A] & Kerey Viswanathan [Other horror films: N/A]

So I will admit that this one pleasantly surprised me, at least to an extent. For a lower-budget film, Sleepaway Slasher has a very solid production quality, and more importantly, not to mention impressively, carries a rather interesting plot within.

If I would fault this movie for one thing, it’s the title, which I think partially undermines the film. This isn’t any type of conventional slasher, it’s more like slow-burn of increasing tension which eventually breaks out into mayhem, with no clear-cut protagonists or antagonists. I didn’t know where this movie was going for the first hour, I admit, but once it became clear, I found it pretty impressive.

In fact, it reminded me a bit of a movie from 2015 titled Kantemir, though that film was quite a bit more inconsistent and ended up a bit of a mess. In both, though, people involved in the dramatic arts (for Kantemir, it’s the play-writer and actors, for this one, it’s movie-makers and actors) get lost in their passions and begin and losing their grip on what’s real, possibly with the assistance of supernatural influences. It’s a bit more complicated here, but that’s the best I can do.

Occasionally the film deals with some interesting ideas which lead to the aforementioned increasing tensions, such as an actress getting injured during the making of a short film, but the director keeping the scenes in order to ensure his film’s completion. He gets blasted during a Q&A session after a viewing of his film by another director, but gets backed up by the head of the retreat, causing the angry director to walk out, which leads to an apology that just turns into a giant shouting match.

And what’s more, all of this leads into the events that happen toward the end of the film. At times, I will admit the movie can feel a bit aimless, as though it doesn’t know what direction it wants to go in, and that may well be the case as this film sports nine (and to repeat, nine) credited directors, which is an almost astounding number. Whether or not that plays a part in how the story unfolds, I don’t know, but it certainly could be a contributing factor.

Despite not possessing any big names, I found most of the main performances pretty decent. I do wish we got a little more backstory on Sara Silva’s character, as I was expecting a plot twist thrown in there at some point, but she does a decent job regardless. Both Peter Angelinas and Alana Johnson are great when at odds with each other, their heated argument and immediate aftermath being a favorite part of the film.

I was expected a little more from Conor William Wright (who looked not all too dissimilar to Jason Segel, believe it or not), as he didn’t play quite as big a part in events as I was thinking, and the same could be said for Shawn Thomas Diefenbach, though both performances in question were decent. Kimberley Aria Peterson (who brought with her a Rosario Dawson vibe) was solid as the catalyst to a lot of the tensions, and though she may not have had a big part, I did enjoy Reema Sampat here.

Like I said, this isn’t a slasher in any conventional sense, but there were a few kills thrown in that were decent, the most notable by far being an ax to the chest, which was shot quite well. Otherwise, the special effects are serviceable but not necessarily noteworthy.

This isn’t the easiest film to classify, and as I said, I think the title could potentially mislead and thus disappoint some people. Sleepaway Slasher is a deeper film than a run-of-the-mill modern-day slasher, and I think that works to the film’s credit. To be sure, it can feel a little muddled at times, and the ending probably could have been cleaned up a little, but it’s a lower-budget film I’d definitely revisit, and would recommend to those looking for something different despite not being great.


Stage Fright (2014)

Directed by Jerome Sable [Other horror films: ABCs of Death 2 (2014, segment ‘V is for Vacation’)]

I’ve seen Stage Fright twice now, and while I wish I liked this horror-musical more, I ultimately find it far more generic and disappointing than anything.

The cast is fine. Douglas Smith didn’t get as much characterization as I would have liked, but Allie MacDonald was pretty decent. Meat Loaf was just okay, and Brandon Uranowitz did well with a really terrible character. And don’t get me started on Melanie Leishman’s character, who I hated with a passion.

Only two songs are really worth listening to on repeat, being the opening ‘Where We Belong’ and ‘The Show Must Go On,’ which is disappointing as there was certainly room for more catchy songs throughout the film. I don’t particularly love Repo! The Genetic Opera, but in terms of songs, that blows Stage Fright out of the water.

Related, not many of the kills did that much for me, and in fact, off the top of my head, though I watched this for the second time not that long ago, I’m failing to remember any kills that stuck with me. Maybe in the moment, some of the kills are solid, but this isn’t some new-age slasher classic whatsoever.

A musical-slasher sounds like it would be so fun, and it really could be if handled differently, but as sleek as Stage Fright looks, it doesn’t really deliver near as many catchy songs or bloody deaths as you might hope, and ultimately, while it’s okay for a single watch, I wouldn’t really go back to this one a third time.


As this was covered on Fight Evil’s podcast, you can listen to Chucky (@ChuckyFE) and I discuss it here.

Cooties (2014)

Directed by Jonathan Milott [Other horror films: Becky (2020)] & Cary Murnion [Other horror films: Becky (2020)]

I didn’t go into this one with many expectations, which is probably a positive, as I doubt that Cooties could have surpassed them. For a zombie comedy, Cooties is definitely a competently made film, and it may even be a good movie, but I don’t think it’s particularly great in any way.

The higher-budget production here looks nice, and we’re given a decent amount of mildly interesting characters, but the movie doesn’t really transcend the feel of an average film. Special effects, cinematography, it’s all decent, but at the same time, I really didn’t see much in here that’s likely to be either that memorable or that praise-worthy, mainly because zombie comedies are a tough sub-genre to crack anyway.

One high selling point here is the cast, of course. I never much cared for the star, being Elijah Wood (an actor who I personally haven’t seen in much, but is most well-known for Lord of the Rings), and I could have done entirely without Rainn Wilson’s (The Office) character, and now that I think on it, the characters played by Jack McBrayer, Nasim Pedrad, and Peter Kwong didn’t add much either.

If it weren’t for Alison Pill and Leigh Whannell, this would have been a much harder movie to swallow. I didn’t necessarily love Alison Pill’s character, but she did have much the same attitude her character from The Newsroom possessed, and I generally liked her spunk. Whannell, of course, played Adam in the first Saw movie, and though he’s noticeably older here, his socially awkward, scientifically-detached character is quite a lot of fun. Shout-out to Matt Jones’ (Badger from Breaking Bad) single appearance, which was nice, but the brunt of the enjoyment from performances came from Pill and Whannell.

The comedy here is moderately balanced, but it can really get a bit overboard at times (and many of these times revolve around Wilson’s ridiculous character, who seems right out of a Will Ferrell movie), which didn’t help matters. The gore was pretty solid, and I did like seeing zombie kids get taken down, but some parts were just too silly, and much of the ending itself was sort of suspect.

There’s also not near as much a sense as dread as you’d hope. Virtually none of the main characters die. One seems to have been torn apart, but they pop up at the end of the film, along with another character who had gone missing. I just didn’t get how at least three of the more likely suspects weren’t killed off, just to give us a sense of some type of real danger, but it just never happened.

Cooties isn’t a bad film, but it really should have been better, especially with the budget and solid cast members. I don’t think it really broke ground in the zombie comedy genre, even with zombie kids and teachers kicking their asses, but like I said, it’s still a competent enough film. It’s just not memorable, or really remarkable whatsoever.


Bell Witch Haunting (2004)

Directed by Ric White [Other horror films: Nightmares from the Mind of Poe (2006)]

Before An American Haunting came onto the scene, the low-budget Bell Witch Haunting was released, which covered the same supposed supernatural event. A very low-budget film, Bell Witch Haunting isn’t entirely without merit, but it still really strains your patience, as it clocks in at just over two hours long, which is utterly unacceptable, especially given the content.

I have more than a few problems I have with the movie, and I really struggled to finish this one: among these problems, as I alluded to, is the ridiculously lengthy run-time, as Bell Witch Haunting is two hours and two minutes. If the story here had been perhaps more interesting or better written, that might well be excusable, but with the product we got, I don’t think it was at all necessary.

Another thing that really grated on me – there are little ‘section titles’ that pop up throughout the movie constantly, and none of them did the least bit to make the film better. The ghost of the entity really grated also, as she sounds like a bratty young teen girl. Not really my idea of spooky. Oh, and another thing – while the movie mostly takes the subject matter seriously, there are occasional smatterings of comedic scenes thrown in (including some 1820’s toilet humor), and I thought the movie could have done without that.

The aforementioned entity starts off innocently enough here, pulling sheets off beds, banging on the walls, pinching people when they’re trying to sleep, or telling people embarrassing secret information (like I said before, the voice of this entity is so damn annoying, but it did lead to the somewhat funny line ‘I will not allow this thing to question my character!’), but it gets worse as the movie goes on, with a few deaths and a rather sad scene at the end.

I’ll say this one positive thing about the movie – the death of Doug Moore’s character was pretty depressing. I didn’t care an ounce for most of these characters (partially because the Bell family is so big, it’s so hard to keep up with who’s who – seriously, I think there’s at least six children running around), but seeing the head of the family slowly lose his grip on life, and his final conversation with a long-time friend (played by director Ric White) was rather emotional, all my other issues with the movie aside.

Otherwise, the only other performance I cared for one way or the other was Amber Bland, who played the oldest daughter. She sort of loses prominence at different points throughout the movie, but she is one of the characters paid the most attention to (in fact, her birthday party, almost aborted due to the father’s recent excommunication from the church, was one of the more heartwarming scenes). Daniel Cooper, though, was more on the annoying side, playing an obnoxious, overweight younger brother, who’s catchphrase ‘Aw, ma’ got old after the second time. At least he provided us with one of the few solid scenes, involving quite a few tarantulas.

One thing I’ve neglected to touch much on is the low budget, and I want to be clear on this: yes, Bell Witch Haunting has a very low budget, but that is not at all reflective of my problems with it. Plenty of great low-budget horror movies exist, but they generally don’t have an overlong story that’s often none-to-exciting. Bell Witch Haunting was difficult to trudge through, and I suspect that most people who come across this one will leave with much the same opinion.


Baby Blues (2008)

Directed by Lars Jacobson [Other horror films: N/A] & Amardeep Kaleka [Other horror films: N/A]

Often considered one of the more disturbing horror films made in recent times, Baby Blues is certainly a memorable film. It may not provide the most fun you’ve had while watching a movie, but no one can say that Baby Blues is forgettable.

The story, revolving around a mother who, due to mental issues, goes after her children to kill them, is pretty disturbing. And that’s basically the movie – at around 80 minutes, there’s not a whole lot to it, but don’t let that fool you into thinking the movie’s any less tense.

I don’t know any of the actors from the film, but there wasn’t one that negatively stood out. Colleen Porch did great as the insane mother, and boy, did she ever seem like she utterly lost it. It wasn’t even clear if she realized she was killing her children, or if she thought she was simply ‘punishing’ them. Fantastic performance from her. Ridge Canipe, playing the central character and one of the kids, did a great job for a child performer. Joel Bryant and Gene Whitman also did good jobs, Whitman in particular playing a character I really liked.

There’s certainly some shocking violence in the film which goes beyond just the mother going after her children with a pitchfork. There’s multiple impalements, painful-looking cuts by butcher knife, and plenty of violence, none of it over-the-top, to keep you going. Because much of it is a mother inflicting such pain onto her children, it can be a bit much for some people, but it’s done pretty well.

This is a somewhat controversial film, and I know that there are some that are decidedly against the idea of this movie, and some even who refuse to watch it, calling it ‘tasteless.’ I’m not a mother, nor a parent of any kind, but it’s certainly everyone’s right to refuse to watch something they’ve no interest in. They’re missing out, though, because Baby Blues does a very good job with what they had, being a lower-budget, straight-to-video film, and while the content can be hard to sit through, I definitely recommend it.


And as an extra feature, a friend and I covered this on a podcast I do with Fight Evil, which you can listen to below:

And if you’re wondering, my friend Chucky (you can follow him at @ChuckyFE) is the one doing the introduction. I’m the awkward guy he’s speaking to.