Monday, January 5, 2026
Monday, January, 5th- let’s bring in 2026 with a bang and usher in a Stephen King double feature for the ages- with two of his most spectacularly horrific works woven into iterations for the silver screen to bring forth a night of wintry terror with an undercurrent of addition, isolation and trauma embedded in both tales. 
At 7:30PM, we trek out to the infamous Overlook Hotel, situated in the Rocky Mountains, and check into Room 237 (or 217 depending on the source material) accompanying the Torrance family on a frigid retreat prescribing more than the standard cabin fever.
The infrastructure was built upon bodies, and it’s not finished collecting more souls to trap in its confines of corruption- All work and no play makes Jack a dull boy. Stanley Kubrick’s THE SHINING (1980) dives deep into symbolism, offering a magnitude of different lenses to aid interpretation, drawing from Stephen King’s source material whilst incorporating major elements not found in the original novel, effectively creating his own phantasmagorical universe; the minds of these artists diverge to erect a psychological supernatural voyage treading into themes of addiction, cabin fever, intergenerational abuse, and historical trauma- uncovering the innate evil residing within mankind, powered by the imp of the perverse of both Jungian and Freudian persuasions to fuel this homicidal hotel, carving out a labyrinth of fear for audiences alike. Adorned with a star-studded cast of A-List esteem Jack Nicholson as the instrument of the Overlook and madman himself, along with the tragic counterpart to Mr. Torrance, played with heartbreaking desperation by Shelley Duvall, The Shining captivates viewers in a study on humanity amidst a nightmarish hellscape, chocked with crowd conspiracy theories following its debut. 
Then, at 10(:15)PM, we find ourselves in a near fatal car crash upon snowy Colorado roads with writer Paul Sheldon- only to be rescued by nurse Annie Wilkes and returned to her remote cabin. But this stay turns to loss of sovereignty in captivity as we learn Wilkes is not just a nurse, but an Angel of death murderess hellbent on getting her way- and she’s your biggest fan. 
Directed by the great, late Rob Reiner, adapting King’s story in a most faithful rendition, MISERY (1990) examines the parasocial relationship between celebrities and fandoms, critiquing the prison often forged by such toxic dynamics leading way to psychological torment in another semi-autobiographical strain set to fiction by author Stephen King. Furthermore, Misery specifically targets codependency, infatuation, and escapism through means of media or addiction, fit with a riveting character profile for antagonist Annie Wilkes- a serial killer with a slew of mental illnesses molded by unresolved trauma. Enhancing the reference materials emerge stellar performances by stage actress, Kathy Bates as the overbearing, obsessive captor, and the more naturalistic James Caan as the cynical writer, bearing more than one affliction (and stand-in for King). 
No cover charge and FREE POPCORN with purchase. (In addition to psychological insight accompanied by behind the scenes information and observations by your horror hostess)
A spine-tingling duo awaits us! Viewer beware.