Latest news with #Fridaythe13th
Yahoo
2 days ago
- Business
- Yahoo
SHIPLEY DO-NUTS EXTENDS NATIONAL DONUT DAY WITH MONTH OF DELICIOUS FREEBIES
Guests can receive a free glazed donut with any purchase each Friday of 'National Donut Month' HOUSTON, May 28, 2025 /PRNewswire/ -- Texas-based Shipley Do-Nuts, the nation's oldest and largest donut and kolache brand, is celebrating National Donut Day for a whole month of freebie Fridays, kicking off on June 6, with a free glazed donut with any purchase* while supplies last. The fun continues with delicious deals each week: Friday, June 13: There's only one Friday the 13th in 2025, and Shipley is making every dozen a baker's dozen to celebrate lucky 13, or guests can opt for a free glazed donut with any purchase. Friday, June 20: Starting both summer and the weekend on the same Friday is a vibe! To celebrate, Shipley is offering a sweet freebie — a classic Shipley glazed with any purchase. Friday, June 27: Shipley rounds out its "National Donut Month" on the final Friday in June with a free fan-favorite glazed donut with any purchase. To get their free donuts, guests can simply visit their local Shipley shop or order online at or through the loyalty app with code DonutMonth25. Founded in 1936 in Houston, Shipley Do-Nuts is known for its signature glazed donuts, which are hand-cut into a hexagon shape for a lighter, fluffier texture, then carefully glazed to sweet perfection. All Shipley donuts are handmade fresh daily by bakers who start at 3 a.m. each day. "After nearly nine decades of making life delicious, we think donuts deserve more than just one day," said Shipley Do-Nuts Senior Vice President of Marketing Laurie Curtis. "So, we are making summer even sweeter with a National Donut Month full of freebies." Shipley also offers a wide variety of fresh iced, filled and cake donuts, hot and cold brewed coffee and savory kolaches — Shipley's freshly baked take on the Czech classic with fillings like sausage, ham, egg and cheese stuffed inside. For additional information, visit *Each member in parties greater than one must make an additional purchase to receive this offer. ABOUT SHIPLEY DO-NUTS Founded in 1936, Houston-based Shipley Do-Nuts is the nation's largest donut and kolache brand, with more than 375 company-owned and franchised restaurants across 13 states, serving up its famous donuts, coffee and kolaches to generations of guests. Shipley is ranked No. 121 on Entrepreneur magazine's Franchise 500® 2025 list and No. 1 in its category and is No. 147 on Technomic 2024 Top 500. For franchising information, visit Follow Shipley on Instagram and Facebook @ShipleyDonuts, and sign up for Shipley Sweet Rewards at to unlock free donuts, discounted coffee, exclusive merchandise and more. Media Contact: Ashley Lennington, SPM Communications ashleyl@ 214-379-7000 View original content to download multimedia: SOURCE Shipley Do-Nuts Error while retrieving data Sign in to access your portfolio Error while retrieving data
Metro
3 days ago
- Entertainment
- Metro
Friday the 13th is getting a TV series, and this supernatural chiller should too
The Friday the 13th TV series, Crystal Lake, has risen from the depths once more since A24 and Peacock have reportedly begun production after months of doubt. Series creator Brad Caleb Kane recently posted a photo of a Crystal Lake production draft script on Instagram, and not long after, it was announced that Scooby-Doo's Linda Cardellini would be playing Mrs Voorhees. Crystal Lake joins the likes of The Exorcist, Scream, Child's Play, Psycho, and Evil Dead making the leap from the big screen onto our televisions. It's not the only huge horror franchise making its way to TV in the near future, as HBO's Welcome to Derry is set to explore the origins of Stephen King's IT. With various horror films being transformed into TV series which explore their lore, there is one underrated gem that seems perfect to binge-watch on a streaming service. 2001's Thirteen Ghosts. Based on the 1960 film of the same name by William Castle, Thirteen Ghosts begins with ghost hunter Cyrus Kriticos (F. Murray Abraham) and his psychic assistant Dennis Rafkin (Matthew Lillard) trying to capture a spirit – but it kills Cyrus in the process. We then skip to Cyrus' nephew Arthur (Tony Shalhoub), his children Kathy (Shannon Elizabeth) and Bobby (Alec Roberts), and their nanny Maggie (Rah Digga), learning that Arthur has inherited Cyrus' mansion. Dennis, who tracks them to the house, recognises barrier spells on the glass, deducing that 12 angry ghosts of the Black Zodiac have been trapped in the house. Unbeknownst to the family when they enter, the house contains a machine powered by the ghosts, which allows whoever uses it to see the past, present, and future – they later find out it is fueled by the creation of a 13th ghost. Cyrus' estate agent Ben (JR Bourne) accidentally triggers a mechanism that unleashes the ghosts. And with that, chaos ensues. My best friend introduced me to the film during a sleepover when we were both 10 years old, and I instantly became obsessed with the quirky, camp chiller blending heart-pumping jump scares, witty one-liners, and a gripping backstory that hooks you in and keeps you seated. We poured over the DVD extras long after we'd told her mum we'd go to sleep, learning all about the backstories of the weird and terrifying ghosts stalking Cyrus' home. While Thirteen Ghosts doesn't reinvent the haunted house genre – it certainly didn't do well at the box office nor make a splash among critics – Steve Beck's fun, frightening flick has what it takes to grip the hearts of a brand new generation of TV lovers. One common comment from fans of the cult film is that there is a real interest to learn more about the ghosts, which have so far only been elaborated on in the DVD's special features. The feature-length film doesn't give us enough time to understand their lives before the afterlife, what exactly led to their untimely demise or how they were captured by Cyrus. We could have an anthology-style series, with each episode focusing on a different ghost from the Black Zodiac, or cutting between their backstory and the mysteries in the present as Dennis, Arthur, and his family become trapped. The film told us that the ghosts died across history, from the Pilgrims through to modern day, covering everything from serial killers getting their comeuppance to tragic accidents and sinister murders. But delving into them individually could be a perfect way to learn more. It could create settings and character types to suit all types of horror fans, whether you opt for a classic slasher, a true crime thriller, or a gooey creature feature. These ghosts have origin stories that cover several themes still prevalent today, such as The Hammer being a Black man whose wife and children were brutally killed by racists, forcing him to take revenge in his grief. The Angry Princess took her own life as she could never truly be happy with her appearance following a cosmetic surgery gone wrong, and The Pilgrimess was tortured to death on the suspicion that she was a witch. The First Born Son /Billy Michaels, a child accidentally shot in the head with an arrow /Billy Michaels, a child accidentally shot in the head with an arrow The Torso /Jimmy 'The Gambler' Gambino, a gambling addict murdered by a mobster, loosely based on the real-life Cleveland Torso Murders /Jimmy 'The Gambler' Gambino, a gambling addict murdered by a mobster, loosely based on the real-life Cleveland Torso Murders The Bound Woman /Susan LeGrow, a woman murdered by her boyfriend for cheating /Susan LeGrow, a woman murdered by her boyfriend for cheating The Withered Lover /Jean Kriticos, the wife of Arthur, who died in a house fire /Jean Kriticos, the wife of Arthur, who died in a house fire The Torn Prince /Royce Clayton, a high school student who drove off a cliff in a drag racing accident when his brake line was cut /Royce Clayton, a high school student who drove off a cliff in a drag racing accident when his brake line was cut The Angry Princess /Dana Newman, a woman suffering from Body Dysmorphia Disorder, who takes her own life following a cosmetic surgery gone wrong /Dana Newman, a woman suffering from Body Dysmorphia Disorder, who takes her own life following a cosmetic surgery gone wrong The Pilgrimess /Isabella Smith, a woman confined to the stocks to starve to death after being accused of being a witch /Isabella Smith, a woman confined to the stocks to starve to death after being accused of being a witch The Great Child and The Dire Mother /Harold and Margaret Shelbourne, sideshow workers with a tragic backstory. Margaret is suffocated to death by the carnival workers, while Harold is executed after taking revenge /Harold and Margaret Shelbourne, sideshow workers with a tragic backstory. Margaret is suffocated to death by the carnival workers, while Harold is executed after taking revenge The Hammer /George Markley, a man brutally tortured and murdered by racists who also tormented and killed his family /George Markley, a man brutally tortured and murdered by racists who also tormented and killed his family The Jackal /Ryan Kuhn, a terrifying sexual predator who died in a fire at the asylum he was eventually committed to /Ryan Kuhn, a terrifying sexual predator who died in a fire at the asylum he was eventually committed to The Juggernaut/Horace 'The Breaker' Mahoney, a serial killer gunned down by a SWAT team during his eventual capture Racism, violence against women, and impossible beauty standards are themes we can still connect to now, just like we could in the 2000s. Aside from the backstory of the ghosts, the idea of a group trapped in a strange home with supernatural beings they can only see through specialist goggles is a recipe for tense scares and intrigue. Ghostly thrillers in a simple location have proved a hit on streaming services – look at Haunting of Hill House – thanks to the nerve-shredding atmosphere where malevolent spirits invade a space that should feel safe. As well as the mystery of the undead, there is a survival thriller element, with our subjects trying desperately to uncover the purpose of the house – and find out where exactly the 13th Ghost is. Then, there's Cyrus Kriticos himself – the enigmatic villain. More Trending Thirteen Ghosts currently sits at a 19% rating on Rotten Tomatoes, and made a lowly $68 million (£51 million) at the box office, yet it has gained an avid cult following over the years, dubbing it a classic horror film. Film franchises with far less source material have made multiple seasons of television, and yet Thirteen Ghosts has lore stretching through centuries, ready to terrify a new generation. If any horror film deserves to be turned into a TV series, it's the laugh-out-loud yet jump scare-laden Thirteen Ghosts – Netflix, if you're reading, let's make it happen. View More » Thirteen Ghosts is available to rent or buy on Amazon Prime Video, Apple TV+, and the Sky Store Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Donald Trump will soon learn the EU is no pushover MORE: I'm a terrible mum – and proud of it MORE: Viewers have unsettling Final Destination experience after life imitates art in cinema
Yahoo
22-05-2025
- Entertainment
- Yahoo
Time for Scary Movies to Make Us Laugh Again
Final Destination, as a horror franchise, is known for its reliable results. Each of its first five movies begins with someone having a premonition of a terrible disaster (a plane crash, a highway pileup, a roller-coaster accident), persuading a group to avoid it, and then spending the rest of the movie dodging the Grim Reaper, who seeks to collect the souls he lost. Death exists in these films as an amorphous concept; there's no cloaked villain carrying a scythe. Instead, the characters keep finding themselves in implausibly dangerous situations, where a procession of coincidences might lead to them getting squished, impaled, or otherwise maimed. Death is, in many ways, a comforting villain for a slasher series. It's not malevolent like the Freddys and Jasons of the genre; rather, it's goofily irresistible, a fated force that insists on smooshing a meathead in the face with his own gym equipment. It also mirrors the tone of the Final Destination saga, which follows a consistent, if slightly repetitive, formula. Sure, the fourth movie leans on 3-D photography (it was hot at the time), and the fifth reveals itself to be a surprise prequel to the first. The plot beats of the installments are always the same, however: A plucky-if-whiny group of young people comes to the realization that they cannot forever outrun the specter of doom. I learned that Final Destination was returning, after a 14-year break, when I saw a trailer for it at the theater. It showcased one of many set pieces in the film: As a surly tattoo-parlor employee closes up shop, terrible things start to happen—his piercings get caught on a chain that's attached to a spinning fan; flammable cleaning fluid starts to leak everywhere. I felt my fellow theatergoers have the same shudder of recognition that I did. Oh, an inexplicable Rube Goldberg machine of death? This is Final Destination! It must be back! [Read: A movie that has fun with the inevitability of death] Back it certainly is, with Final Destination: Bloodlines. There were reasons to be skeptical of its quality; the co-directors, Zach Lipovsky and Adam B. Stein, for instance, were perhaps previously best known for making a live-action Kim Possible movie for the Disney Channel. Reviving mothballed horror classics—à la the failed Friday the 13th and A Nightmare on Elm Street reboots—is also a practice with a shaky track record. Yet Bloodlines is a total delight; it's also arguably the best of the series because of an added soupçon of self-awareness. The film begins, as usual, with a vision of cataclysm: a Space Needle–esque building that both collapses and explodes. Instead of taking place in the modern day, as is typical of Final Destination films, this disaster happened in 1968—and is later revealed to be a vision that a woman named Iris Campbell had decades prior. In stopping the accident, Iris delayed the deaths of hundreds, who then perished over the decades. When Bloodlines begins, she's lived in seclusion for years, having doomed her descendants by cheating death herself. The living members of the Campbell family, by all accounts, should never have been born—giving the plot an intense timeline for them to deal with, as they come to realize that Iris's actions have now caught up with them. The well-established stakes help the story speed through the most boring part of the Final Destination schematic, where people refuse to believe the supernatural madness befalling them and then grow progressively more convinced of it as the body count rises. Maybe this premise sounds like pseudo-philosophical fiddle-faddle. But what I love most about Final Destination is the absence of heavy, heady themes that have pervaded the horror genre of late: Rarely does a modern scary movie encourage the audience to laugh, or leave behind some especially frightening image that can amuse as much as haunt them. Not so in the Final Destination films, in which people die in the most outlandish fashion and are, at best, afforded a five-second funeral scene; maybe one family member gets a comforting pat on the back. There's a sinful sort of glee in watching all of this unfold, knowing that the same mournful character might be the next one to die. Iris even lays out the exact order in which everyone will go and the sort of hazards to look out for, which means the protagonists second-guess their every step to a Looney Tunes–level extent. [Read: The triumph of a film that flips on us halfway in] Essentially, it's fun to have a horror movie you can cheer during. The packed audience in my theater clapped and applauded as the deaths became gradually more absurd (in particular, I tip my cap to the oldest stuntperson to ever be set on fire on-screen). If Scream revived the slasher in the 1990s with its clever meta storytelling, Final Destination helped bring back the proper amusement park vibe for the genre, jolting the viewers every few minutes with a gory surprise that had them screaming and giggling at the same time. Bloodlines is well plotted and brilliantly grisly, but most important, it knows how to enjoy itself. I'd say that having fun, more than anything, is what people are seeking from the communal cinematic experience. Article originally published at The Atlantic
Atlantic
22-05-2025
- Entertainment
- Atlantic
Time for Scary Movies to Make Us Laugh Again
Final Destination, as a horror franchise, is known for its reliable results. Each of its first five movies begins with someone having a premonition of a terrible disaster (a plane crash, a highway pileup, a roller-coaster accident), persuading a group to avoid it, and then spending the rest of the movie dodging the Grim Reaper, who seeks to collect the souls he lost. Death exists in these films as an amorphous concept; there's no cloaked villain carrying a scythe. Instead, the characters keep finding themselves in implausibly dangerous situations, where a procession of coincidences might lead to them getting squished, impaled, or otherwise maimed. Death is, in many ways, a comforting villain for a slasher series. It's not malevolent like the Freddys and Jasons of the genre; rather, it's goofily irresistible, a fated force that insists on smooshing a meathead in the face with his own gym equipment. It also mirrors the tone of the Final Destination saga, which follows a consistent, if slightly repetitive, formula. Sure, the fourth movie leans on 3-D photography (it was hot at the time), and the fifth reveals itself to be a surprise prequel to the first. The plot beats of the installments are always the same, however: A plucky-if-whiny group of young people comes to the realization that they cannot forever outrun the specter of doom. I learned that Final Destination was returning, after a 14-year break, when I saw a trailer for it at the theater. It showcased one of many set pieces in the film: As a surly tattoo-parlor employee closes up shop, terrible things start to happen—his piercings get caught on a chain that's attached to a spinning fan; flammable cleaning fluid starts to leak everywhere. I felt my fellow theatergoers have the same shudder of recognition that I did. Oh, an inexplicable Rube Goldberg machine of death? This is Final Destination! It must be back! Back it certainly is, with Final Destination: Bloodlines. There were reasons to be skeptical of its quality; the co-directors, Zach Lipovsky and Adam B. Stein, for instance, were perhaps previously best known for making a live-action Kim Possible movie for the Disney Channel. Reviving mothballed horror classics—à la the failed Friday the 13th and A Nightmare on Elm Street reboots—is also a practice with a shaky track record. Yet Bloodlines is a total delight; it's also arguably the best of the series because of an added soupçon of self-awareness. The film begins, as usual, with a vision of cataclysm: a Space Needle–esque building that both collapses and explodes. Instead of taking place in the modern day, as is typical of Final Destination films, this disaster happened in 1968—and is later revealed to be a vision that a woman named Iris Campbell had decades prior. In stopping the accident, Iris delayed the deaths of hundreds, who then perished over the decades. When Bloodlines begins, she's lived in seclusion for years, having doomed her descendants by cheating death herself. The living members of the Campbell family, by all accounts, should never have been born—giving the plot an intense timeline for them to deal with, as they come to realize that Iris's actions have now caught up with them. The well-established stakes help the story speed through the most boring part of the Final Destination schematic, where people refuse to believe the supernatural madness befalling them and then grow progressively more convinced of it as the body count rises. Maybe this premise sounds like pseudo-philosophical fiddle-faddle. But what I love most about Final Destination is the absence of heavy, heady themes that have pervaded the horror genre of late: Rarely does a modern scary movie encourage the audience to laugh, or leave behind some especially frightening image that can amuse as much as haunt them. Not so in the Final Destination films, in which people die in the most outlandish fashion and are, at best, afforded a five-second funeral scene; maybe one family member gets a comforting pat on the back. There's a sinful sort of glee in watching all of this unfold, knowing that the same mournful character might be the next one to die. Iris even lays out the exact order in which everyone will go and the sort of hazards to look out for, which means the protagonists second-guess their every step to a Looney Tunes –level extent. Essentially, it's fun to have a horror movie you can cheer during. The packed audience in my theater clapped and applauded as the deaths became gradually more absurd (in particular, I tip my cap to the oldest stuntperson to ever be set on fire on-screen). If Scream revived the slasher in the 1990s with its clever meta storytelling, Final Destination helped bring back the proper amusement park vibe for the genre, jolting the viewers every few minutes with a gory surprise that had them screaming and giggling at the same time. Bloodlines is well plotted and brilliantly grisly, but most important, it knows how to enjoy itself. I'd say that having fun, more than anything, is what people are seeking from the communal cinematic experience.
Geek Tyrant
19-05-2025
- Entertainment
- Geek Tyrant
FRIDAY THE 13TH: Jason Voorhees Gets an Official Redesign for New Movies, Shows, and Games — GeekTyrant
To celebrate the 45th anniversary of the Friday the 13th franchise, Horror Inc. has unveiled a first look at the redesigned slasher icon, and the update strikes a careful balance between the past and the future. The reveal came via Adweek, alongside some long-awaited insight into what's next for the machete-wielding killer across film, television, and gaming. Rob Barsamian, president of Horror, Inc. said: 'We strive to maintain Jason's original essence, while continuing to move toward the future with a defined look and feel that takes Jason into his next chapter.' That 'next chapter' includes a unified brand initiative called the Jason Universe , an expansive plan that aims to resurrect the franchise in multiple formats. Leading the charge is Crystal Lake , a prequel series set to debut on Peacock. But fans can also expect new movies, immersive experiences, and video games on the horizon. FX legend Greg Nicotero ( The Walking Dead ) was brought in to help reimagine Jason's look, which includes the classic hockey mask and machete is firmly in hand, and while Jason's frame is slightly leaner, he's still every bit the silent stalker who's been haunting Camp Crystal Lake for decades. Sheri Conn, chief marketing officer of Horror, Inc. said in a statement: 'We're listening to fans and actively developing a slate under the Jason Universe banner that spans new movies, gaming, immersive experiences, collectibles and more. 'Our film franchise is one of the most enduring horror properties in cinematic history, and we're actively reimagining what the next chapter—and the slasher genre overall—can become.' The prequel series will explore the early days of Camp Crystal Lake, with Linda Cardellini playing Pamela Voorhees. Whether or not we'll see young Jason's tragic 'death' or a full-on slasher rampage by season's end remains to be seen, but the groundwork is clearly being laid for him to return in full force.
