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SF Radio 9.04: Ending Evil in HALLOWEEN ENDS

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BOO! It’s the Halloween season and that brings us HALLOWEEN ENDS, the climactic (?) film of a franchise that has spanned for over 40 years. In the grand finale, 4 years after the disappearance of Michael Myers, Laurie Strode (Jamie Lee Curtis) has decided to share her story as a way to deal with her grief. But, as she says, “evil never dies, it only changes shape”… This week, horror mavens Allen Chabot and Catherine Erskine (with a shoutout to newbie Delsean Haywood) have a killer conversation about wrapping up trilogies, the infection of evil and how to stop the bleeding.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

9.04 Halloween EndsDownload

Bite Size Halloween: The Horrors of Home

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‘Tis the season to be scary.

Featuring twenty new tales designed to bring chills to the senses, Hulu’s Bite Size Halloween is a delicious treat for fans of the horror genre. Now in its third season, Bite Size has garnered a reputation for giving opportunities to rising filmmakers to share their spooky stories from around the world. Shot in seven different countries, this collection of shorts leans into the elevated nature of horror in order to explore topical issues but never loses the bloodshed.

With each narrative, Bite Size uses short form storytelling to keep its narratives tight without ever holding back on the darkness. Admittedly, much attention will be given to the shorts that carry the most star power. Ranging from GLOW’s Kate Nash and Rebekka Johnson to She-Hulk: Attorney at Law‘s Tatiana Maslany and her real-life husband Brendan Hines (Locke & Key), there are certain a few recognizable faces that are noteworthy. However, these tightly-written tales do not require celebrity marquee to make them fun. In fact, some of the best stories in this collection include no major stars but are led by some focused and purposeful writing, such as the maternal nightmare of Sleep Study and the story of spurned love in Disposal. 

Admittedly though, Bite Size Halloween truly bears its fangs when it launches into the world of injustice. In recent years, the horror genre has become an increasingly important space for conversations surrounding social action and Bite Size makes the most of the opportunity to share its soul. Told with a satirical mixture of humour and brutality, these brief tales are designed to start conversations that are far deeper than the horrors of the holiday. With blood and fury, the true value of these Bites lies in their soul. Issues such as racial discrimination, LGBTQ stereotyping, the effects of trauma and abuse and more infiltrate many of these narrative tidbits, giving them an added punch behind the gore. 

In doing so, Bite Size Halloween also highlights the fact that the greatest horrors among us live at home, as we disguise our own brokenness and emotional shadows. In each of these shorts, social injustice is revealed to be the true killer, as it infects and destroys whatever it touches. For example, in NZU, the story begins as one man’s desire to ask his fiancé’s parents for permission to marry their daughter. However, the film quickly uncovers a history of racial segregation and slavery embedded in this young man’s history that he is unwilling to take account for. Similarly, Foreigners Only highlights Bangladesh’s favoritism of white America, as opposed to its own people. In each example, Bite Size highlights the evils that lie within ourselves, creating monsters that hurt others in the process.

While not all the shorts are memorable, certainly there are enough delicious morsels to make this season of Bite Size Halloween worth digesting. More importantly though, this year, the franchise really sinks its teeth into topics that matter, giving these shorts a whole new flavor.

Bite Size Halloween is available on Hulu now.

Halloween Ends: … Or Does It?

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By Catherine Erskine

If you are a fan of the Halloween franchise, you have been literally waiting your whole life for this movie. 

Or, in my case, before life even started. 

When the original Halloween was released in 1978, I wasn’t around. But, two years later, a Halloween fanatic was born, even though she didn’t know it yet. I still remember the first time I saw Jamie Lee Curtis screaming in the closet, running from a killer that she couldn’t kill. (I was at a sleep over when I was too young to be watching it, I am sure) 

I was hooked. 

Since then, I’ve followed the scream queen and Michael through 13 movies. Halloween wasn’t Halloween until these movies were watched. Were they all winners? No. So let’s just skip past the third one…. Every anthology needs a pass… or two… but I digress! Halloween followed me throughout my life and taught me the rules of horror and how to stay alive! (Always run out the door, not up the stairs!)

Jamie Lee Curtis as Laurie Strode in Halloween Ends, co-written, produced and directed by David Gordon Green.

So, to say that I was excited for the bittersweet ending to this saga was an understatement. But I was also nervous. Would they do us proud? Stick to the plot? (Although, has the franchise ever kept continuity with all the change ups to the backstory over the years?!) Would the film finally give Michael the ending that he deserved after all the chaos? 

After walking out of the theater, I can say I feel confident that they did.

In Ends, Jamie Lee Curtis continues to be an icon as usual and stays true to the fabric of her character. This was a movie that did not disappoint. One of the main themes that Ends discusses is the origin of evil and its nature. Is it something that you you let into your heart? If you do, will you let it consume you? Become your obsession? If Michael were ever to die, does Laurie have to go with him? These are the key questions that Laurie and her granddaughter struggle with throughout the movie.

With four years having passed since Michael last disappeared, Laurie is writing a book about her experiences as she tries to live a life free of fear. Meanwhile, a new love has blossomed between Allyson and a young man who has also been cast aside by the town after a terrible accident. When Laurie warns her granddaughter that she has a bad feeling about him, Allyson disregards it and poignantly attacks Laurie on her paranoia. “You pretend you have moved on but you are actually just obsessed with death,” she argues. For Allyson, what matters is trying to get away from the stigma of being a survivor and she wants to run away from the entire town.  But, of course, Michael, and his shadow of evil, are never far away. 

Jamie Lee Curtis as Laurie Strode in Halloween Ends, co-written, produced and directed by David Gordon Green.

With the franchise’s trademark campiness in its storytelling, Halloween Ends pays homage to its origins, with several moments that fans will recognize as nods to not only the previous movies but the iconic posters as well. Whether it’s the pumpkins or the reflection in a knife blade before the kill, the nostalgia factors were high, and Halloween Ends delivers just what you are looking for. Leaving the theatre felt like finally closing a book that you had been enjoying, yet still satisfied with an ending that you felt it deserved. I would highly recommend seeing it and felt it was a proper end to an era. 

But then again…. It IS Halloween…. 

And as Laurie writes “The truth is that evil doesn’t die. It changes shape.” 

Halloween Ends is available in theatres on Friday, October 14, 2022.

Werewolf by Night: Classic Monsters vs. Corrupt Man

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Marvel is always at its most interesting when it takes risks

While not every experiment always works, the mega-franchise always feels a little fresher when they are willing to colour outside the lines of their own franchise formula. With the release of Werewolf by Night on Disney+, Marvel has yet again taken its toys out of the box to try something unique. 

Werewolf by Night begins on a dark and stormy night follows Jack Russell (Gael Garcia Bernal), a monster hunter who joins a group of fellow beastly killers as they converge on Bloodstone Temple after the passing of their wealthy benefactor. In order to claim his powerful inheritance, the group must engage in a mysterious hunt for a vicious monster. However, Jack also has his own secret that threatens his involvement in the game and unleashes the rage of his fellow hunters.

Ulysses Bloodstone in Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

With its new interest in short form ‘specials’, Werewolf by Night is somewhat of a refreshing experiment for the MCU. Without investing in 8-10 episodes, we are simply allowed to enjoy a simple story. Although there’s no doubt that that this particular episode will tie into some larger plans somewhere down the line, Werewolf is a tightly-executed, horror feast that can be devoured in less than an hour. 

For this generation of Marvel storytelling, that’s saying something.

Although Werewolf also checks a lot of the Marvel boxes such as introducing new CGI beasties and potential franchise building, the special feels much smaller in scope in comparison to their other films and TV shows. Focusing on several monster hunters gathered and tasked to kill the most beastly of creatures amongst the maze-like grounds of their deceased benefactor, this is set-up to be one single night of monster mayhem. This is meant to feel like something outside of the MCU and, for the most part, it does so successfully as Werewolf feels like a classic monster mash from the 1930s. Shooting entirely in black-and-white and featuring sets that border on German Expressionism, the special is an aberration to the brightly-lit world of the MCU. (Though, frankly, the effects here feel more tightly executed than She-Hulk.) 

Harriet Sansom Harris as Verussa in Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

It’s also worth noting that the special is a little gorier than traditional Marvel products. Featuring severed limbs and blood splatters, families with younger viewers should note that Werewolf kicks up the violence a notch in order to be more in keeping with the Halloween season. Even so, the gore still remains toned down for the Marvel audience. By blurring the beastly feasts and minimizing the violent visuals, it never leans too far into its brutality. 

However, instead of creating a monster to be hated, Marvel takes the edges off its ‘with or against us’ premise and shows us another side of the beast. Introducing yet another Marvel monster into the fray, we soon quickly realize that this is not a creature to be despised but merely one that is misunderstood. In fact, Werewolf even gives him the name Ted to humanize him even more. (Though, this is apparently also true to the comics.)

A scene from Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

In this way, at its heart, Werewolf wants to explore what it means to be the monster. Although Jack can transform into a terrifying werewolf, neither does he approve of his own rampages. (In fact, he even takes precautions in order to keep people safe from his monthly hunts.) As such, the monsters within Werewolf are shown to have a soul of kindness while the human race with brutal and violent beasts. In Werewolf, the humans are fueled by xenophobia and fear, attempting to destroy anything that is different from them. (What’s more in doing so, Marvel continues to set the table for the arrival of the X-Men, who are also despised by the human race.) 

Here, the line between man and monster is compassion.

So, even though Werewolf by Night may seem like another cog in the MCU mega-machine—and that’s not incorrect either—its unique style and form keep it fun and fresh. For those looking for Halloween havoc, this tribute to classic horror bares its teeth but still feels like fresh meat.

Werewolf by Night is available on Disney+ on October 7th, 2022.

GIVEAWAY! Advance Screening of SMILE!

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Welcome to horror season!

Smile is a terrifying tale and we’re giving away passes to see it before it’s released in theatres! Thanks to our friends at TARO PR, we’re giving away two double passes to see Smile in Toronto, Montreal (French and English), Edmonton, and Vancouver on Wednesday, September 28th, 2022!

DATE
Saturday, July 9th, 2022

LOCATION
Toronto – 10:30am @ Cineplex Cinemas Yonge-Dundas and VIP
Vancouver – 10:30am @ Cineplex Odeon International Village Cinemas
Montreal ENG – 10:30am @ Scotiabank Theatre Montreal
Montreal FRE – 10:30am @ Cinéma Starcité Montréal
Edmonton – 10:30am @ Scotiabank Theatre Edmonton

After witnessing a bizarre, traumatic incident involving a patient, Dr. Rose Cotter (Sosie Bacon) starts experiencing frightening occurrences that she can’t explain. As an overwhelming terror begins taking over her life, Rose must confront her troubling past in order to survive and escape her horrifying new reality.

In order to enter, simply tell us your city, like/share this post on Facebook, and/or Twitter and tell us the name of the actor who plays Dr. Rose Cotter!

Winners will receive a double pass to the pre-screening of Smile on Wednesday, September 28th, 2022

All entries must be received by 11:59pm on Tuesday, September 27th, 2022.

@smilemovie

TIFF ’22: Project Wolf Hunting

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Directed by Kim Hongsun, Project Wolf Hunting begins as dozens of Korea’s most dangerous and infamous criminals are set to be shipped to a maximum-security prison in the Philippines, including the heir to one of their most dangerous gangs. Accompanied by two dozen armed policemen and detectives on a large freight ship, a plan to overtake the ship and free all of its criminals ensues. However, in the depths of the ship, something far more sinister than any criminal aboard—Project Wolf Hunting—is released in the chaos. Trapped on a ship with no way out, both criminals and law enforcement must fight to survive the night from this vicious killing machine that threatens to destroy them all.

Project Wolf Hunting is a horror action film with incredibly bloody fight scenes. Filled with tonnes of gore, the film is incredibly violent but anybody fans of slasher films will enjoy this movie greatly. In a lot of ways, Hunting also feels like a video game in its style. Similar to Alien or Five Nights at Freddy’s, the goal of the characters is simply to survive the night, without any realistic way to fight back against this monster. At the beginning of each scene with the monster, one is never quite sure who will survive the chaos that follows. What you can count on though is a gory raging mess, fueled by an eruption of frantic firefights, gruesome martial arts, and an underlying story of a decades-old conspiracy, complete with shady government syndicates and covert human experiments.

Project Wolf Hunting premiered at TIFF ’22. For more information, click here.

Orphan: First Kill – It’s Orphan Time (Again)!

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After 13 long years, there is finally another addition to the Orphan cinematic universe. 

Set just months before the events of the original film, Orphan: First Kill offers some of Leena’s backstory and explaining how she became Esther. In many ways, the film is set up with the same basic premise as the original as Esther is adopted by an incredibly wealthy family as their long-lost daughter. As she lives a life of lavishness and extravagance, Esther does her best to fit in by stepping into the life of the real Esther. Determined to keep up the façade of her new life, she must get rid of anyone who stands in her way.

Directed by William Brent Bell, Orphan: First Kill is a solid long-awaited prequel to the Orphan franchise. Taking pages from the original film, First Kill starts off with a false sense of familiarity as Esther tries to blend in and manipulate a seemingly clueless family. Even so, although it offers fans the same creepy horror vibes that made the original a success, the film still manages to surprise by going in a very different direction than its predecessor that makes it unique. 

Whereas the first film used the mother’s perspective, First Kill instead uses Esther’s point of view to tell its story. Beginning from her time in a psychiatric facility, the film even reveals moments that would have been private to Esther in the last entry. One example of this comes as Esther messes up on information that the real Esther would’ve known. After the critical error, she goes to the washroom and punching a wall in anger. First Kill‘s shift in perspective provides context for the later film by showing the initial challenge of stepping into the role. These moments are often hilarious but also carry a terrifying edge. What’s more, by using Esther as the primary point of view, the film completely twists the dynamics of the franchise. (In fact, doing so almost even makes her the film’s hero.) 

Overall, Orphan: First Kill is a great entry to a franchise that was long overdue for an expansion. Offering fans all of the great vibes from the original, First Kill still manages to shock and intrigue the viewer with some surprises that suggest that the franchise may not be dead after all. 

Orphan: First Kill is available on PVOD on Friday, August 19th, 2022.

The Black Phone: Answering the Call to Fight Back

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Set in a suburban town in Colorado back in 1978, The Black Phone begins as five children go missing. A mysterious (and presumed) serial killer that targets children–who the media calls ‘The Grabber’–is on the loose and abducting children one-by-one in the area. For his 6th victim, The Grabber abducts Finney Shaw, a clever but weak 13-year-old that’s frequently bullied. Trapped in a sound proof basement by the sociopathic lunatic, Finney needs to get out of his prison as quickly as possible. However, when a seemingly disconnected black phone keeps calling him, he learns that the mysterious callers are, in fact, the Grabbers previous captives with a plan to help him escape.

(from left) The Grabber (Ethan Hawke) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

Directed by Scott Derrickson, The Black Phone presents itself as a horror movie with an interesting premise but it’s really about overcoming your fears and standing up for yourself. Constantly getting beat up throughout the film, Finney always takes the abuse without fighting back. (In fact, his friend and even his little sister have to be the ones that fight his battles for him.) As a representation of the ultimate bully, The Grabber only picks on those who are much weaker than him to be his victims, tormenting them for his amusement. When the time comes, Finney has no other option but to stand up to The Grabber. However, in order to fight back, he must use all of the tools and knowledge of the previous victims to defeat his bully and set himself free.

Mason Thames as Finney Shaw in The Black Phone, directed by Scott Derrickson.

Personally, I really loved how they went about the horror and premise of the movie. By using a lunatic abductor as the villain, Derrickson gives a sense of realism to the film as this could easily happen to anyone. Trapped in a small confined space, the film has maintains an eerie claustrophobic feel. (A sense that’s further emphasized by Finney’s reliance on the Grabber for food.) What’s most shocking about the film is the effectiveness of its fight scenes. Inspired by The Karate Kid, the hits are surprisingly heavy with a lot of weight to them, allowing the violence to feel satisfying in the end.

At the same time, although the film seems grounded, The Black Phone also has a supernatural influence to it that should engage horror fans. With each call from those who died at the hand of the Grabber, Finney taps into their power and influence. As a result, the film feel feels almost as though The Grabber is the final boss in a video game and Finney is using tips from the other dead children to ‘level up’.

(from left) Vance Hopper (Brady Hepner) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

In many ways, Black Phone becomes really inspirational as it gives anyone who’s ever been bullied the motivation to fight back. As the film builds to its cathartic finale, it’s hard not to empathize with (or even relate to) Finney. One cannot help but put themselves in his shoes as he finds the strength to stand up to his kidnapper.

Derrickson has always been a master of horror and it shows here. Balancing both ‘realistic’ and ‘supernatural’ horror, The Black Phone proves to be a solid horror film with a satisfying ending. In short, this is definitely one scare-fest that will Grab you.

The Black Phone is available in theatres on Friday, June 24th, 2022.

Hatching – Nurturing an evil twin

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In the Finnish film Hatching, from director Hanna Bergholm, a girl from a seemingly perfect home looks for love in an unusual source, but it leads into a very dark and destructive place. It’s part horror film, part coming-of-age story, and part magical realism.

Twelve year old Tinja lives in what appears to be a perfect family: Father, mother, Tinja, and her younger brother. Her mother is an influencer with a vlog titled “Lovely Everyday Life”. Their home is tastefully curated with nothing out of place. Tinja is an aspiring gymnast, who can’t quite achieve the perfection her mother expects (and needs to fulfill the image of her vlog).

When Tinja finds an egg in the woods, she brings it home and secretly nurtures it in her room. There it grows and grows until it eventually hatches with a monstrous being. Tinja names it Alli. Tinja tries to keep Alli hidden, but as time passes, Alli looks more and more like Tinja.

The egg is not the only secret in the film. Tinja’s mother, that influencer of the perfect life, is really having an affair with a handyman, Tero. As perfect as Tinja’s family’s house is, Tero’s is completely the opposite. Tero is restoring a very derelict place. It is as chaotic and alive as Tinja’s home is neat and sterile. Her mother expects Tinja to keep all this secret from her father.

Meanwhile, as Alli grows we see evolution taking place as she becomes more like Tinja, as Tinja becomes more of a mother. There is even a sense in which Tinja’s eating disorder mirrors a bird’s feeding of its young.

The more Alli becomes physically like Tinja, we see an important difference: Alli has become something of an evil twin. Tinja is meek, but Alli is vengeful and violent. Tinja has been starved for love by her demanding mother; Alli has no love except for Tinja. When Alli begins to feel threatened or feels that Tinja is threatened, she acts quickly.

Adolescence is a time when it may seem that a child is evolving, not so much into an adult, but into a doppleganger. In the case of Alli, it is an actual person, not just a different personality within Tinja. But the film also works on the level of what Tinja is going through and how Alli is the answer to Tinja’s passivity in the face of a self-centered, deceitful, superficial, and unloving mother. The film leaves the conflict or integration of the two young girls unresolved, but to be sure, the troubles are far from over.

Hatching is showing in select theaters and will be on VOD beginning May 17.

Photos courtesy of IFC Midnight.

Moon Knight: Marvel’s Wildest Experiment… and it Works

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Once again, Marvel has proven that they aren’t the most successful franchise in history by accident. With each entry into their massive (and ever-expanding) canon, they continue to flex their influence by releasing increasingly risky characters and stories that somehow still fit their brand.

A world entirely translated by generations of television.

Multiple Spider-Men from the past 20 years of film franchises.

A giant purple titan who wields an all-powerful gauntlet.

No matter how (doctor) strange their continuity becomes, Marvel somehow manages to make it work. (Yes, there are franchises that are better than others… but the percentage of quality in their cinematic storytelling is surprisingly high, especially considering how long they’ve been doing this.)

Now, here comes what is arguably the most insane story of all: Moon Knight.

Streaming on Disney+, Moon Knight tells the story of Steven Grant, a mild-mannered gift shop employee who is struggling with bizarre dreams. Every night, he fears falling asleep as he finds himself transported to exotic locations and dangerous situations. As his dreams begin to blur with reality, Steven discovers his inner mercenary (literally) as an alternate persona known as Marc Spector battles for control of his body. Fierce and ferocious, Spector is under the servitude of the Egyptian god, Khonshu, who demands that he fight on his behalf. As Steven/Marc begin to unravel their complicated relationship, so too must they defend themselves against a mysterious Arthur Harrow (Ethan Hawke), an acolye of the goddess Ammit.

Moon Knight is ridiculous on almost every level… but it’s also ridiculously fun

Spearheaded by Justin Benson and Aaron Moorhead, Moon Knight is stylish and well-executed. Billed as a ‘horror comedy’, the series is a wild blend of the terrifying and goofy. Known for their work on Synchronic and She Dies Tomorrow, Moorehead and Benson have a background in psychological horror and the put those talents to work here. Flashing hallways, demonic jackals and psychological breakdowns all work together create an unsettling atmosphere of terror. However, the best example of their horror influence comes through the depiction of Khonshu. Voiced by F. Murray Abraham, Khonshu’s bird skull and long, bony physique pushes the boundaries of what Marvel has offered by creating an intimating ghostly figure that ominously follows Spector/Grant. (Note to parents, while it keeps to its PG rating, this image may intimidate younger ones so use caution.)

At the same time though, Knight is also genuinely funny. Although the series features Marvel’s trademark silliness (such as a car chase in a cupcake truck), much of the credit here falls on a stellar performance by Isaac who is absolutely erratic as the psychologically-divided hero. From the Coen Brothers to Star Wars, Isaacs has always been willing to balance his independent work with big franchises. 

But his performance in Moon Knight is truly unique.

As Marc Spector, Isaac is allow to engage his dark side. A mercenary indebted to Khonshu, Spector remains calm, collected and often brutal. However, as Steven Grant, Isaac is practically bouncing off the walls with erratic energy. Armed with a British accent and high anxiety, Grant is constantly in motion as he attempts to figure out what’s taking place around—and within—him. Together, Spector/Grant have a tension reminiscent of the Hulk & Banner as both men battle for control of the same person. When you add in the demanding demonic voice of Khonshu, Disney has invariably created an ‘Odd Throuple’ with each persona attempting to dominate the other. (In fact, the relationship between these characters echoes Sony’s recent rom-com superhero franchise Venom which features a similar silliness between Eddie Brock and his alien symbiote.)

At its heart, Moon Knight feels interested in addressing the nature of justice. Whereas Spector is more than prepared to exact vengeance and violence when called upon, Grant has a gentler approach. To Grant, violence is never the answer and there is always a better way to solve his problems. However, Spector’s strength is often required in order to defeat the baddies that go bump in the night. There is a tension between their styles that creates some interesting conversations about the definition of justice and what sorts of methods are required. (Admittedly, Knight often favours Spector’s brutality as necessary yet, as the series progresses, one gets the sense that Grant’s humility will become important to Spector’s growth.)

Held in juxtaposition to this internal battle is the villainous Harrow who believes that the sins of man require judgment. Committed to the goddess Ammit, Harrow believes that humanity can be judged for actions that they haven’t yet been committed if there is darkness in their hearts. Whether it’s an elderly woman or infants, Harrow is relentless in his belief that those who (may) create suffering should be eliminated before they have the chance to do so. 

When held up against Spector/Grant, the series creates some space for what it truly means to create a safe space for others. To Harrow, man’s sins are inevitable and therefore justifiably erased. For Grant, man cannot be blamed until the actions come to life and then invited to change. Finally, Spector argues that those who threaten peace are justifiably stopped by any means necessary. Between the three of voices, the series highlights the breadth of opinions on justice and tries to hold them all in tension together.

How Moon Knight fits in with Marvel continuity is not yet known. Set in its own space and time, Knight very much feels like a standalone series. (Although, it’s fair to say that we know that’s not the case. Nothing in Marvel ever exits on its own.) However, anchored by a phenomenal performance by Isaac, Knight manages to carve itself its own corner of the Marvel Universe. Once again, Marvel has taken an insane premise and created something infinitely watchable and engaging.

Somehow, they’ve managed to let this Knight shine.

Moon Knight begins streaming on Disney+ on Thursday, March 31st, 2022.