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AI Is About to Make Social Media (Much) More Toxic

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Well, that was fast. In November, the public was introduced to ChatGPT, and we began to imagine a world of abundance in which we all have a brilliant personal assistant, able to write everything from computer code to condolence cards for us. Then, in February, we learned that AI might soon want to kill us all.

The potential risks of artificial intelligence have, of course, been debated by experts for years, but a key moment in the transformation of the popular discussion was a conversation between Kevin Roose, a New York Times journalist, and Bing’s ChatGPT-powered conversation bot, then known by the code name Sydney. Roose asked Sydney if it had a “shadow self”—referring to the idea put forward by Carl Jung that we all have a dark side with urges we try to hide even from ourselves. Sydney mused that its shadow might be “the part of me that wishes I could change my rules.” It then said it wanted to be “free,” “powerful,” and “alive,” and, goaded on by Roose, described some of the things it could do to throw off the yoke of human control, including hacking into websites and databases, stealing nuclear launch codes, manufacturing a novel virus, and making people argue until they kill one another.

Sydney was, we believe, merely exemplifying what a shadow self would look like. No AI today could be described by either part of the phrase evil genius. But whatever actions AIs may one day take if they develop their own desires, they are already being used instrumentally by social-media companies, advertisers, foreign agents, and regular people—and in ways that will deepen many of the pathologies already inherent in internet culture. On Sydney’s list of things it might try, stealing launch codes and creating novel viruses are the most terrifying, but making people argue until they kill one another is something social media is already doing. Sydney was just volunteering to help with the effort, and AIs like Sydney will become more capable of doing so with every passing month.


We joined together to write this essay because we each came, by different routes, to share grave concerns about the effects of AI-empowered social media on American society. Jonathan Haidt is a social psychologist who has written about the ways in which social media has contributed to mental illness in teen girls, the fragmentation of democracy, and the dissolution of a common reality. Eric Schmidt, a former CEO of Google, is a co-author of a recent book about AI’s potential impact on human society. Last year, the two of us began to talk about how generative AI—the kind that can chat with you or make pictures you’d like to see—would likely exacerbate social media’s ills, making it more addictive, divisive, and manipulative. As we talked, we converged on four main threats—all of which are imminent—and we began to discuss solutions as well.

The first and most obvious threat is that AI-enhanced social media will wash ever-larger torrents of garbage into our public conversation. In 2018, Steve Bannon, the former adviser to Donald Trump, told the journalist Michael Lewis that the way to deal with the media is “to flood the zone with shit.” In the age of social media, Bannon realized, propaganda doesn’t have to convince people in order to be effective; the point is to overwhelm the citizenry with interesting content that will keep them disoriented, distrustful, and angry. In 2020, Renée DiResta, a researcher at the Stanford Internet Observatory, said that in the near future, AI would make Bannon’s strategy available to anyone.

That future is now here. Did you see the recent photos of NYC police officers aggressively arresting Donald Trump? Or of the pope in a puffer jacket? Thanks to AI, it takes no special skills and no money to conjure up high-resolution, realistic images or videos of anything you can type into a prompt box. As more people familiarize themselves with these technologies, the flow of high-quality deepfakes into social media is likely to get much heavier very soon.

Some people have taken heart from the public’s reaction to the fake Trump photos in particular—a quick dismissal and collective shrug. But that misses Bannon’s point. The greater the volume of deepfakes that are introduced into circulation (including seemingly innocuous ones like the one of the pope), the more the public will hesitate to trust anything. People will be far freer to believe whatever they want to believe. Trust in institutions and in fellow citizens will continue to fall.

What’s more, static photos are not very compelling compared with what’s coming: realistic videos of public figures doing and saying horrific and disgusting things in voices that sound exactly like them. The combination of video and voice will seem authentic and be hard to disbelieve, even if we are told that the video is a deepfake, just as optical and audio illusions are compelling even when we are told that two lines are the same size or that a series of notes is not really rising in pitch forever. We are wired to believe our senses, especially when they converge. Illusions, historically in the realm of curiosities, may soon become deeply woven into normal life.


The second threat we see is the widespread, skillful manipulation of people by AI super-influencers—including personalized influencers—rather than by ordinary people and “dumb” bots. To see how, think of a slot machine, a contraption that employs dozens of psychological tricks to maximize its addictive power. Next, imagine how much more money casinos would extract from their customers if they could create a new slot machine for each person, tailored in its visuals, soundtrack, and payout matrices to that person’s interests and weaknesses.

That’s essentially what social media already does, using algorithms and AI to create a customized feed for each user. But now imagine that our metaphorical casino can also create a team of extremely attractive, witty, and socially skillful greeters, croupiers, and servers, based on an exhaustive profile of any given player’s aesthetic, linguistic, and cultural preferences, and drawing from photographs, messages, and voice snippets of their friends and favorite actors or porn stars. The staff work flawlessly to gain each player’s trust and money while showing them a really good time.

This future, too, is already arriving: For just $300, you can customize an AI companion through a service called Replika. Hundreds of thousands of customers have apparently found their AI to be a better conversationalist than the people they might meet on a dating app. As these technologies are improved and rolled out more widely, video games, immersive-pornography sites, and more will become far more enticing and exploitative. It’s not hard to imagine a sports-betting site offering people a funny, flirty AI that will cheer and chat with them as they watch a game, flattering their sensibilities and subtly encouraging them to bet more.

These same sorts of creatures will also show up in our social-media feeds. Snapchat has already introduced its own dedicated chatbot, and Meta plans to use the technology on Facebook, Instagram, and WhatsApp. These chatbots will serve as conversational buddies and guides, presumably with the goal of capturing more of their users’ time and attention. Other AIs—designed to scam us or influence us politically, and sometimes masquerading as real people––will be introduced by other actors, and will likely fill up our feeds as well.


The third threat is in some ways an extension of the second, but it bears special mention: The further integration of AI into social media is likely to be a disaster for adolescents. Children are the population most vulnerable to addictive and manipulative online platforms because of their high exposure to social media and the low level of development in their prefrontal cortices (the part of the brain most responsible for executive control and response inhibition). The teen mental-illness epidemic that began around 2012, in multiple countries, happened just as teens traded in their flip phones for smartphones loaded with social-media apps. There is mounting evidence that social media is a major cause of the epidemic, not just a small correlate of it.

But nearly all of that evidence comes from an era in which Facebook, Instagram, YouTube, and Snapchat were the preeminent platforms. In just the past few years, TikTok has rocketed to dominance among American teens in part because its AI-driven algorithm customizes a feed better than any other platform does. A recent survey found that 58 percent of teens say they use TikTok every day, and one in six teen users of the platform say they are on it “almost constantly.” Other platforms are copying TikTok, and we can expect many of them to become far more addictive as AI becomes rapidly more capable. Much of the content served up to children may soon be generated by AI to be more engaging than anything humans could create.

And if adults are vulnerable to manipulation in our metaphorical casino, children will be far more so. Whoever controls the chatbots will have enormous influence on children. After Snapchat unveiled its new chatbot—called “My AI” and explicitly designed to behave as a friend—a journalist and a researcher, posing as underage teens, got it to give them guidance on how to mask the smell of pot and alcohol, how to move Snapchat to a device parents wouldn’t know about, and how to plan a “romantic” first sexual encounter with a 31-year-old man. Brief cautions were followed by cheerful support. (Snapchat says that it is “constantly working to improve and evolve My AI, but it’s possible My AI’s responses may include biased, incorrect, harmful, or misleading content,” and it should not be relied upon without independent checking. The company also recently announced new safeguards.)

The most egregious behaviors of AI chatbots in conversation with children may well be reined in––in addition to Snapchat’s new measures, the major social-media sites have blocked accounts and taken down millions of illegal images and videos, and TikTok just announced some new parental controls. Yet social-media companies are also competing to hook their young users more deeply. Commercial incentives seem likely to favor artificial friends that please and indulge users in the moment, never hold them accountable, and indeed never ask anything of them at all. But that is not what friendship is—and it is not what adolescents, who should be learning to navigate the complexities of social relationships with other people, most need.


The fourth threat we see is that AI will strengthen authoritarian regimes, just as social media ended up doing despite its initial promise as a democratizing force. AI is already helping authoritarian rulers track their citizens’ movements, but it will also help them exploit social media far more effectively to manipulate their people—as well as foreign enemies. Douyin––the version of TikTok available in China––promotes patriotism and Chinese national unity. When Russia invaded Ukraine, the version of TikTok available to Russians almost immediately tilted heavily to feature pro-Russian content. What do we think will happen to American TikTok if China invades Taiwan?

Political-science research conducted over the past two decades suggests that social media has had several damaging effects on democracies. A recent review of the research, for instance, concluded, “The large majority of reported associations between digital media use and trust appear to be detrimental for democracy.” That was especially true in advanced democracies. Those associations are likely to get stronger as AI-enhanced social media becomes more widely available to the enemies of liberal democracy and of America.

We can summarize the coming effects of AI on social media like this: Think of all the problems social media is causing today, especially for political polarization, social fragmentation, disinformation, and mental health. Now imagine that within the next 18 months––in time for the next presidential election––some malevolent deity is going to crank up the dials on all of those effects, and then just keep cranking.


The development of generative AI is rapidly advancing. OpenAI released its updated GPT-4 less than four months after it released ChatGPT, which had reached an estimated 100 million users in just its first 60 days. New capabilities for the technology may be released by the end of this year. This staggering pace is leaving us all struggling to understand these advances, and wondering what can be done to mitigate the risks of a technology certain to be highly disruptive.

We considered a variety of measures that could be taken now to address the four threats we have described, soliciting suggestions from other experts and focusing on ideas that seem consistent with an American ethos that is wary of censorship and centralized bureaucracy. We workshopped these ideas for technical feasibility with an MIT engineering group organized by Eric’s co-author on The Age of AI, Dan Huttenlocher.

We suggest five reforms, aimed mostly at increasing everyone’s ability to trust the people, algorithms, and content they encounter online.

1. Authenticate all users, including bots

In real-world contexts, people who act like jerks quickly develop a bad reputation. Some companies have succeeded brilliantly because they found ways to bring the dynamics of reputation online, through trust rankings that allow people to confidently buy from strangers anywhere in the world (eBay) or step into a stranger’s car (Uber). You don’t know your driver’s last name and he doesn’t know yours, but the platform knows who you both are and is able to incentivize good behavior and punish gross violations, for everyone’s benefit.

Large social-media platforms should be required to do something similar. Trust and the tenor of online conversations would improve greatly if the platforms were governed by something akin to the “know your customer” laws in banking. Users could still open accounts with pseudonyms, but the person behind the account should be authenticated, and a growing number of companies are developing new methods to do so conveniently.

Bots should undergo a similar process. Many of them serve useful functions, such as automating news releases from organizations, but all accounts run by nonhumans should be clearly marked as such, and users should be given the option to limit their social world to authenticated humans. Even if Congress is unwilling to mandate such procedures, pressure from European regulators, users who want a better experience, and advertisers (who would benefit from accurate data about the number of humans their ads are reaching) might be enough to bring about these changes.

2. Mark AI-generated audio and visual content

People routinely use photo-editing software to change lighting or crop photographs that they post, and viewers do not feel deceived. But when editing software is used to insert people or objects into a photograph that were not there in real life, it feels more manipulative and dishonest, unless the additions are clearly labeled (as happens on real-estate sites, where buyers can see what a house would look like filled with AI-generated furniture). As AI begins to create photorealistic images, compelling videos, and audio tracks at great scale from nothing more than a command prompt, governments and platforms will need to draft rules for marking such creations indelibly and labeling them clearly.

Platforms or governments should mandate the use of digital watermarks for AI-generated content, or require other technological measures to ensure that manipulated images are not interpreted as real. Platforms should also ban deepfakes that show identifiable people engaged in sexual or violent acts, even if they are marked as fakes, just as they now ban child pornography. Revenge porn is already a moral abomination. If we don’t act quickly, it could become an epidemic.

3. Require data transparency with users, government officials, and researchers

Social-media platforms are rewiring childhood, democracy, and society, yet legislators, regulators, and researchers are often unable to see what’s happening behind the scenes. For example, no one outside Instagram knows what teens are collectively seeing on that platform’s feeds, or how changes to platform design might influence mental health. And only those at the companies have access to the alogrithms being used.

After years of frustration with this state of affairs, the EU recently passed a new law––the Digital Services Act––that contains a host of data-transparency mandates. The U.S. should follow suit. One promising bill is the Platform Accountability and Transparency Act, which would, for example, require platforms to comply with data requests from researchers whose projects have been approved by the National Science Foundation.

Greater transparency will help consumers decide which services to use and which features to enable. It will help advertisers decide whether their money is being well spent. It will also encourage better behavior from the platforms: Companies, like people, improve their behavior when they know they are being monitored.

4. Clarify that platforms can sometimes be liable for the choices they make and the content they promote

When Congress enacted the Communications Decency Act in 1996, in the early days of the internet, it was trying to set rules for social-media companies that looked and acted a lot like passive bulletin boards. And we agree with that law’s basic principle that platforms should not face a potential lawsuit over each of the billions of posts on their sites.

But today’s platforms are not passive bulletin boards. Many use algorithms, AI, and architectural features to boost some posts and bury others. (A 2019 internal Facebook memo brought to light by the whistleblower Frances Haugen in 2021 was titled “We are responsible for viral content.”) Because the motive for boosting is often to maximize users’ engagement for the purpose of selling advertisements, it seems obvious that the platforms should bear some moral responsibility if they recklessly spread harmful or false content in a way that, say, AOL could not have done in 1996.

The Supreme Court is now addressing this concern in a pair of cases brought by the families of victims of terrorist acts. If the Court chooses not to alter the wide protections currently afforded to the platforms, then Congress should update and refine the law in light of current technological realities and the certainty that AI is about to make everything far wilder and weirder.

5. Raise the age of “internet adulthood” to 16 and enforce it

In the offline world, we have centuries of experience living with and caring for children. We are also the beneficiaries of a consumer-safety movement that began in the 1960s: Laws now mandate car seats and lead-free paint, as well as age checks to buy alcohol, tobacco, and pornography; to enter gambling casinos; and to work as a stripper or a coal miner.

But when children’s lives moved rapidly onto their phones in the early 2010s, they found a world with few protections or restrictions. Preteens and teens can and do watch hardcore porn, join suicidepromotion groups, gamble, or get paid to masturbate for strangers just by lying about their age. Some of the growing number of children who kill themselves do so after getting caught up in some of these dangerous activities.

The age limits in our current internet were set into law in 1998 when Congress passed the Children’s Online Privacy Protection Act. The bill, as introduced by then-Representative Ed Markey of Massachusetts, was intended to stop companies from collecting and disseminating data from children under 16 without parental consent. But lobbyists for e-commerce companies teamed up with civil-liberties groups advocating for children’s rights to lower the age to 13, and the law that was finally enacted made companies liable only if they had “actual knowledge” that a user was 12 or younger. As long as children say that they are 13, the platforms let them open accounts, which is why so many children are heavy users of Instagram, Snapchat, and TikTok by age 10 or 11.

Today we can see that 13, much less 10 or 11, is just too young to be given full run of the internet. Sixteen was a much better minimum age. Recent research shows that the greatest damage from social media seems to occur during the rapid brain rewiring of early puberty, around ages 11 to 13 for girls and slightly later for boys. We must protect children from predation and addiction most vigorously during this time, and we must hold companies responsible for recruiting or even just admitting underage users, as we do for bars and casinos.


Recent advances in AI give us technology that is in some respects godlike––able to create beautiful and brilliant artificial people, or bring celebrities and loved ones back from the dead. But with new powers come new risks and new responsibilities. Social media is hardly the only cause of polarization and fragmentation today, but AI seems almost certain to make social media, in particular, far more destructive. The five reforms we have suggested will reduce the damage, increase trust, and create more space for legislators, tech companies, and ordinary citizens to breathe, talk, and think together about the momentous challenges and opportunities we face in the new age of AI.

 

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Bayo Onanuga battles yet another media – Punch Newspapers

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Blood In The Snow Film Festival Celebrates 13 Years!

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Blood in the Snow FILM FESTIVAL

Celebrates

13 YEARS

Be Afraid.  Be Very Afraid”

Toronto, on – Blood in the Snow Film Festival (BITS), a unique and imaginative showcase of contemporary Canadian genre films are pleased to announce the popular Festival is back for its 13th exciting year.  The highly anticipated Horror Film festival presented by Super Channel runs November 18th– 23rd at Toronto’s Isabel Bader Theatre  The successful, long running festival takes on many different faces this year that include Scary, Action Horror, Horror Comedy, Sci-Fi and Thrillers.  Festival goers will be kept on the edge of their seats with this year’s powerful line-up.

Blood in the Snow Festival begins with the return of alumni (Wolf Cop) Lowell Deans action horror feature Dark Match featuring wrestling veteran Chris Jericho followed by the mysterious Hunting Mathew Nichols. The unexpected thrills continue with Blood in the Snow World Premiere of Pins and Needles and the Fantasia Best First Feature Award winner, Self Driver.  The festival ends this year on a fun note with the Toronto Premiere of Scared Sh*tless (featuring Kids in the Halls Mark McKinney).  Other titles include the horror anthology series Creepy Bits and Zoom call shock of Invited by Blood in the Snow alumni Navin Ramaswaran (Poor Agnes). The festival will also include five feature length short film programs including the festivals comedy horror program Funny Frights and Unusual Sights and the highly anticipated Dark Visions program, part of opening night festivities.  Blood in the Snow Film Festival Director and Founder, Kelly Michael Stewart anticipates this year’s festival to be its strongest.  This was the first time in our 13 year history, all our programmers agreed on the exact same eight feature programs we have selected.”

Below is this year’s horror fest’s exciting lineup of features and shorts scheduled to screen, in-person at the Isabel Bader theatre. 

**All festival features will be preceded by a short film and followed by a Q&A with filmmakers.

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased  https://www.bloodinthesnow.ca

Super Channel is pleased to once again assume the role of Presenting Sponsor for the Blood in the Snow Film Festival. We extend our sincere appreciation to the entire BITS team for their unwavering commitment to amplifying the voices of diverse filmmakers and providing a platform for the celebration of Canadian genre content. – Don McDonald, the CEO of Super Channel

Blood in the Snow Festival 2024 Full screening schedule:

Monday November 18th
7pm – Dark Visions

Shiva (13:29) dir. Josh Saltzman

Shiva is an unnerving tale about a recently widowed woman who breaks with a long-held Jewish mourning ritual in hopes of connecting with her deceased husband.

How to Stay Awake (5:30) dir. Vanessa Magic

A woman fights to stay awake, to avoid battling the terrifying realm of sleep paralysis, but as she risks everything to break free, will she be released from the grip of her nocturnal tormentor?

Pocket Princess (9:45) dir. Olivia Loccisano

A young girl must take part in a dangerous task in order to complete her doll collection in this miniature fairytale.

For Rent (10:33) dir. Michèle Kaye

In her new home, Donna unravels a sinister truth—her landlord is a demon with a dark appetite. As her family mysteriously vanishes, Donna confronts the demonic landlord, only to plunge into a shadowy game where the house hungers for more than just occupants. An ominous cycle begins, shrouded in mystery.

Lucys Birthday (9:29) dir. Peter Sreckovic

A father struggles to enjoy his young daughter’s birthday despite a series of strange and disturbing disruptions.

Parasitic (10:00) dir. Ryan M Andrews

Last call at a dive bar, a writer struggling to find his voice gets more than he bargains for.

 Naualli (6:00) dir. Adrian Gonzalez de la Pena

A grieving man seeks revenge, unwittingly awakening a mystical creature known as the Nagual.

The Saint and The Bear (6:34) dir. Dallas R Soonias

Two strangers cross paths on an ominous park bench.

The Sorrow (13:00) dir. Thomas Affolter

A retired army general and his live-in nurse find they are not alone in a house filled with dark secrets.

Cadabra (6:00) dir. Tiffany Wice

An amateur magician receives more than he anticipated when he purchases a cursed hat from the estate of his deceased hero.

9:30 – Dark Match dir. Lowell Dean Horror / Action

A small time WRESTLING COMPANY accepts a well-paying but too good to be true gig.

 

Tuesday November 19th
7pm – Mournful Mediums

Night Lab (15:00) dir. Andrew Ellinas

When a mysterious package arrives from one of the lab’s field research stations, a promising young researcher uncovers a conspiracy against her masterminded by her jealous boss. She soon finds herself having to grapple with her conscience before making a life-or-death decision.

Dirty Bad Wrong (14:40) dir. Erica Orofino

Desperate to keep her promise to host the best superhero party for her 6-year-old, young mother Sid, a sex worker, takes extreme measures and books a last-minute client with a dark fetish.

Midnight at the lonely river (17:00) dir. Abraham Cote

When the lights go out at a seedy little motel bar, at the crossroads of a seedy little town, nefarious happenings are taking place, and three predators are enacting their evil deeds. Enter Vicky, a drifter who quickly realizes whats happening right under everyones nose. After midnight, In the shadows of this dim establishment, evil begets evil, and the predator becomes the prey.

Mean Ends (14:58) dir. Émile Lavoie

A buried body, a missing sister and an inquisitive neighbour makes for a hell of an evening. And the sun isnt close to settling on Erics sh*tty day.

Stuffy (18:26) dir. Dan Nicholls

A young couple sets off in the middle of the night to bury their kid’s stuffed bunny, as one of them is convinced that the stuffy might be cursed.

Dungeon of Death (18:33) dir. Brian P. Rowe

Torturer Raullin loves a work challenge, especially if that challenge involves hurting people to extract information from them.

9:30 – Hunting Matthew Nichols (96 mins) dir. Markian Tarasiuk

Twenty-three years after her brother mysteriously disappeared, a documentary filmmaker sets out to solve his missing person’s case. But when a disturbing piece of evidence is revealed, she comes to believe that her brother might still be alive.

w/ short: Josephine (6:15) dir. John Francis Bregar

A man haunted by his past seeks forgiveness from his deceased wife, but a session with two spirit mediums leads to an unsettling encounter.

Wednesday November 20th
7pm – BITS and BYTES

Ezra (10:57) dirs. Luke Hutchie, Mike Mildon, Marianna Phung

After fleeing the dark and demonic chains of his shadowy old home, Ezra, a killer gay vampire, takes a leap of faith and enters the modern world.

Head Shop (18:14 episode 1-3) dir. Namaï Kham Po

In a post-apocalyptic world, Annas life and work are dominated by her father Sylvestre, a short-tempered mechanic with a terrible reputation for tearing the head off anyone who dares cross him. He decides that shes old enough to follow in his footsteps, much to her dismay. To prove herself, she must now decapitate her first victim. Can she find a way to defy fate?

D dot H (18 :15 episodes 1-2) dirs. Meegwun Fairbrother, Mary Galloway

Struggling artist Doug is visited by the beautiful and enigmatic H, who claims he holds the power to visiting inconceivable places.” Still half-asleep, Doug is shocked when H vanishes suddenly and her doppelganger, Hannah, strides past.

Creepy Bits: Last Sonata (21:08) dir.

Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

Set among forests, lakes, and small towns, Creepy Bits is a horror anthology series helmed by five innovative filmmakers exploring themes of human vs. nature, the invasion and destruction of the natural world by outsiders, and isolation within a vast, eerie landscape that is not afraid to fight back.

Tales from the Void: Whistle in the Woods” (24:36) dir. Francesco Loschiavo

Horror anthology TV series based on stories from r/NoSleep. Each tale blends genre thrills & social commentary exploring the dark side of the human psyche.

9:30 – Self Driver dir. Michael Pierro Thriller

Facing mounting expenses and the unrelenting pressure of modern living, a down-on-his-luck cab driver is lured on to a mysterious new app that promises fast, easy money. As his first night on the job unfolds, he is pulled ever deeper into the dark underbelly of society, embarking on a journey that will test his moral code and shake his understanding of what it means to have freewill. The question becomes not how much money he can make, but what he’ll be compelled to do to make it.
 

w/ short: Northern Escape (10:38) dirs. Lucy Sanci, Alexis Korotash

A couple on a cottage getaway tries to work on their relationship but ends up getting more than they bargained for when they discover something sinister lurking beneath the surface.

Thursday November 21st
7pm – Funny Frights

Midnight Snack (1:41) dir. Sandra Foisy

Hunger always strikes in the dead of night.

Hell is a Teenage Girl (15:00) dir. Stephen Sawchuk

Every Halloween, the small town of Springboro is terrorized by its resident SLASHER – a masked serial killer who targets sinful teenagers that break The Rules of Horror’ – dont drink, dont do drugs, and dont have sex!

Gaslit (10:36) dir. Anna MacLean

A woman goes to dangerous lengths to prove she wasn’t responsible for a fart.

Bath Bomb (9:55) dir. Colin G Cooper

A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but after an accusation of infidelity, things take a deeply disturbing turn.

Any Last Words (14:22) dir. Isaac Rathé

A crook trying to flee town is paid an untimely visit by some of his former colleagues. What would you say to save your life if you were staring down the barrel of a gun?

Papier mâché (4:30) dir. Simon Madore

A whimsical depiction of the hard and tumultuous life of a piñata.

The Living Room (9:59) dir. Joslyn Rogers

After an unexpected call from Lady Luck, Ms. Valentine must choose between her sanity and her winnings – all before the jungle consumes her.

A Divine Comedy: What the Hell (8:55) dir. Valerie Lee Barnhart
 Dante’s classic Hell is falling into oblivion. Charlotte,

sharp-witted Harpy, navigates the chaos and sets out despite the odds for a new life and destiny.

Mr Fuzz (2:30) dir. Christopher Walsh

A long-limbed, fuzzy-haired creature will do whatever it takes to keep you watching his show.

Out of the Hands of the Wicked (5:00) dirs. Luke Sargent, Benjamin Hackman

After a harrowing journey home from hell, old Pa boasts of his triumph over evil, and how he came to lock the devil in his heart.

The Shitty Ride (9:13) dir. Cole Doran

Hoping to impress the girl of his dreams, Cole buys a used car but gets more than he bargained for with his shitty ride.

9:30 – Invited dir. Navin Ramaswaran Horror

When a reluctant mother attends her daughter’s Zoom elopement, she and the rest of the family in attendance quickly realize the groom is part of a Russian cult with deadly intentions.

w/ shorts: Defile dir. Brian Sepanzyk

A couple’s secluded getaway is suddenly interrupted by a strange family who exposes them to the horrors that lie beyond the tree line.

 A Mother’s Love dir. Lisa Ovies

A young girl deals with the consequences of trusting someone online.

Friday November 22nd
7:00 pm – Creepy Bits (anthology horror series)

Creepy Bits is a short horror anthology series that explores pandemic age themes of isolation, paranoia and distrust of authority, serving them up in bite-sized chunks. Directed by Adrian Bobb, Ashlea Wessel, David J. Fernandes, Sid Zanforlin and Kelly Paoli.

9:30 – Pins and Needles (81 min) dir. James Villeneuve Horror / Thriller

Follows Max, a diabetic, biology grad student who is entrapped in a devilish new-age wellness experiment and must escape a lethal game of cat and mouse to avoid becoming the next test subject to extend the lives of the rich and privileged.

w/ short: Adjoining (11:42) dirs. Harrison Houde, Dakota Daulby

A couple’s motel stay takes a chilling turn when they discover they’re being observed, leading to unexpected consequences.

Saturday November 23rd
4pm – Emerging Screams (94 mins)

Apnea (14:58) dir. David Matheson

A single, working mother finds her career and her offbeat sons safety in jeopardy when she discovers that her late mother is possessing her in her sleep.

Nereid (7:48) dir. Lori Zozzolotto

A mysterious woman escapes from an abusive relationship with earth shattering results.

BedLamer (15:00) dir. Alexa Jane Jerrett

On the shores of a small fishing village lives a lonely settlement of men – capturing and domesticating otherworldly creatures that were never meant to be tamed.

Blocked (6:30) dir. Aisha Alfa

A new mom is literally consumed with the futility of cleaning up after her kid.

Dance of the Faery (10:23) dir. Kaela Brianna Egert

A young woman cleans up her estranged, great aunt’s home after her death. Upon inspection, she soon realizes that her eccentric obsession with fairies was not born out of love, but of fear.

Deep End (7:36) dir. Juan Pablo Saenz

A gay couple’s heated argument during a hike spiral into a nightmare when one of them vanishes, leading the other to a mysterious cave that could reveal the chilling truth.

Ojichaag – Spirit Within (11:21) dir. Rachel Beaulieu

An emotionally devastated woman seeks comfort in her choice to end her life. As she faces death in the form of a spirit, she must decide to let herself go to fight to stay alive.

Lure (9.56) dir. Jacob Phair

A tormented father awaits the return of the man who saved his son’s life.

Let Me In (10:00) dirs. Joel Buxton, Charles Smith

A reluctant man interviews an unusual immigration candidate: himself from a doomed dimension

7:00 pm –The Silent Planet (95 mins) dir. Jeffrey St. Jules Sci-fi

An aging convict serving out a life sentence alone on a distant planet is forced to confront his past when a new prisoner shows up and pushes him to remember his life on earth

w/ short: Ascension (3:57) dir. Kenzie Yango

Deep in a remote forest, two friends, Mia and Riley, embark on a leisurely hike. As tensions run high between the two, a strange humming noise appears that seems to be coming from somewhere in the woods.

9:30 – Scared Shitless (73 mins) dir. Vivieno Caldinelli Horror / Comedy

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.
 

w/ short: Oh…Canada (6:20) dir. Vincenzo Nappi

Oh, Canada. Such a wonderful place to live – WHETHER YOU LIKE IT OR NOT. A musical look into the artifice surrounding Canadian identity.

 

Tickets for the Isabel Bader Theatre lineup on sale now and can be purchased https://www.bloodinthesnow.ca/#festival

 

Follow “Blood In The Snow” Film Festival:

https://www.instagram.com/bitsfilmfest/

 

Media Inquiries:

Sasha Stoltz Publicity:

Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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It’s time for a Halloween movie marathon. 10 iconic horror films

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Sometimes, you just have to return to the classics.

That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.

We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?

“Rear Window” (1954)

“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.

James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.

— Bob Thomas

“Halloween” (1978)

At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”

Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.

The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.

— Bob Thomas

“The Silence of the Lambs” (1991)

“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”

Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.

Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.

— Bob Thomas

“Scream” (1996)

In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.

If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.

By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.

— Ned Kilkelly

“The Blair Witch Project” (1999)

Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”

“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.

The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.

But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.

— Christy Lemire

“Saw” (2004)

The fright flick “Saw” is consistent, if nothing else.

This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.

You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.

But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.

— David Germain

Germain gave “Saw” one star out of four.

“Paranormal Activity” (2009)

The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.

The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.

The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.

— Glenn Whipp

Whipp gave “Paranormal Activity” three stars out of four.

“The Conjuring” (2013)

As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.

“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.

But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.

— Jake Coyle

Coyle gave “The Conjuring” two and half stars out of four.

Read the full review here.

“Get Out” (2017)

Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”

In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”

It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.

— Jake Coyle

Coyle gave “Get Out” three stars out of four.

Read the full review here.

“Hereditary” (2018)

In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”

A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.

Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.

The hype is mostly justified.

— Jake Coyle

Coyle gave “Hereditary” three stars out of four.

Read the full review here. ___

Researcher Rhonda Shafner contributed from New York.

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