Police identify woman they say has stolen hundreds of packages across metro
Brookhaven police believe they know who has been stealing packages from the community, and they say the suspect has been committing this crime for years.
Police say they have a warrant out for the arrest of Amanda Noble, who is accused of targeting apartment mailrooms on Aug. 5 and Aug. 23, stealing packages during both incidents. In the Aug. 23 burglary alone, nearly 100 packages intended for residents were taken.
Capt. Abrem Ayana with the Brookhaven Police Department said this isn’t Noble’s first run-in with the law.
“We arrested Ms. Noble previously in Brookhaven back in 2023. We investigated a similar case here in Brookhaven, where she was accused of stealing packages at a separate apartment complex. All appearances are that this is what she does,” Ayana said.
Police said the suspect was last seen leaving the scene in a white Ford transit-style van, possibly a 2017 model.
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They believe she might be connected to other crimes in the surrounding area.
Grant Park homeowner Christopher Doherty believes the person seen in the recently released surveillance video could be the same person captured on camera targeting his community.
“She has a unique look with that pink hair and that pink braid,” Doherty said, describing the woman caught on Ring video during a May burglary at the Swift Townhome community.
Doherty said his community has been targeted multiple times this year, and he and others in the neighborhood are frustrated.
“Stealing packages from someone who works hard for the things that they buy, it’s just kind of crazy that someone would swoop in and steal these things,” Doherty said.
While Brookhaven police work to track down their porch pirate, they’re shipping out some advice to help homeowners protect their packages.
“We would encourage our residents, even if you have a secure mailroom or package room — in many cases, they can still gain access — so if you’re able to do a will call, we always recommend you do a will call,” Ayana said.
Police said they are also looking for a second suspect believed to be the woman’s co-conspirator.
Anyone with information about Noble’s whereabouts or about a second suspect is asked to call Crime Stoppers at 404-577- 8477. Tipsters can remain anonymous and may be eligible for a reward.,
It’s been a great year in movies. So great, in fact, that it was hard to limit our year-end list to just the 50 best new movies. Similarly, TV had a stellar year, and the 50 best new shows only scratches the surface of the year in episodic storytelling.
But not all of those movies are available to watch at home, and many of those shows are spread across a litany of streaming services. Netflix remains the king of streaming services for now. Statistically, you, dear reader, probably have a subscription. But the platform released well over 100 new movies in 2023, and even more shows. Not all of them can be winners. How do you make the most of your subscription? By sticking to these great picks.
A note: This list doesn’t include movies or TV shows produced by other companies but licensed for distribution by Netflix, like May December and Jawan.
Here are the best new Netflix original movies and TV series that came out this year.
Netflix’s best new movies of 2023
The Killer
Image: Netflix
David Fincher’s technical precision is a perfect fit for a story about a methodical hitman. The Killer is an immense technical feat — watch the behind-the-scenes about the sound design and VFX after.
They Cloned Tyrone
Photo: Parrish Lewis/Netflix
One of the year’s most impressive directorial debuts, Juel Taylor’s sci-fi farce They Cloned Tyrone also features one of the year’s funniest performances by way of Jamie Foxx.
Kill Boksoon
Photo: No Ju-han/Netflix
One of many stellar 2023 offerings from Netflix’s investment in Korean entertainment, Kill Boksoon follows an assassin who is also a single mom. It’s a great mix of action thrills and domestic drama, aided by a layered lead performance from Jeon Do-yeon.
Extraction 2
Photo: Jasin Boland/Netflix
Arguably Netflix’s best pure action movie of the year, Extraction 2 improved on the first thanks to a change in setting and one of the year’s most ambitious one-take sequences.
The Wonderful Story of Henry Sugar
Image: Netflix
One of four experimental shorts by Wes Anderson adapting Roald Dahl stories, Henry Sugaris the first and best of the bunch. Benedict Cumberbatch is trying to learn how to cheat at cards, but the real joy is Anderson continuing to toy with the inherent artifice of storytelling, having actors read directly to the camera and using stage-like props and sets.
Netflix’s best new TV shows of 2023
Pluto
Image: Netflix
The long-awaited adaptation of Naoki Urasawa’s legendary manga lived up to expectations, and then some. It’s a gorgeously told story about the hunt for a serial killer targeting the world’s most powerful robots. Unflinching in its depictions of personhood for humans and robots alike, Pluto is a masterpiece.
Blue Eye Samurai
Image: Netflix
Husband and wife duo Michael Green and Amber Noizumi delivered one of the year’s biggest surprises in this bloody, sexy, and satisfying revenge thriller about a mixed-race warrior who hides her gender and ethnicity while seeking to kill the four white men in Japan, seeking vengeance against her father.
Steven Yeun and Ali Wong excel in this intense thriller about two regular people who get in a feud that spirals out of control after a road rage incident. It’s a smart show about how the pressures of capitalism pit people against each other, anchored by two terrific lead performances.
The Diplomat
Photo: Alex Bailey/Netflix
A throwback to the kind of plot-heavy political thriller that used to run television, The Diplomat is a delightful star vehicle for Keri Russell. It’s an absolute treat to see her lead a TV show again, and the supporting cast, led by Rufus Sewell and Rory Kinnear, are more than up for the task of letting Russell shine.
Others worth watching:
Movies
Jung_E, a post-apocalyptic sci-fi from the director of Train to Busan and Hellbound
You Are So Not Invited to My Bat Mitzvah, an Adam Sandler family joint that is a fun and funny teen comedy
Reptile, a dark crime thriller starring (and co-written by) Benicio del Toro
Wingwomen, a French heist/found sisterhood movie directed by and starring Mélanie Laurent
Ballerina, a dark Korean revenge thriller
TV
I Think You Should Leave with Tim Robinson, the third season of Tim Robinson’s zany sketch comedy show
The Night Agent, one of Netflix’s biggest hits of the year and a fun popcorn thriller
Ganglands, the second season of the excellent French crime thriller series
Bloodhounds, a Korean drama about two boys in a bromance who just love to box
Physical: 100, a Korean competition show about finding the fittest person in the country
It’s been one of those strange, busy years where any of Polygon’s top 10 games of the year could have made the No. 1 slot. Heck, you could expand that outward to include the top 20. There was a wealth of great games throughout the year, making it impossible to keep up with everything — even here at Polygon, where many of our jobs are to keep up with video games. That’s why we’ve created this list of 10 games you might have missed, all from indie studios. They cover a bunch of different genres, from a goofy multiplayer game to an inventory management roguelike.
Like with Polygon’s list of the top 50 games of the year, there are plenty of fantastic games that slipped through the cracks. Think we’ve missed any extra-special indies from the past year? Drop your favorites in the comments.
Bread & Fred
Image: SandCastles Studio/Apogee Entertainment
Developer: SandCastles Studio Where to play: Windows PC
Bread & Fred is a game you’re going to want to play with a friend. (Only one of you needs a copy of the game, thanks to Steam’s Remote Play Together.) You’ll play as two penguins tied together on a short rope, tasked with climbing a snowy mountain. It’s hard! The rope is very short, meaning there’s little wiggle room. Communication is key to timing each jump precisely — or you might fall down the mountain once again with a splat. So yes, Bread & Fred is hard, but it’s not impossible. Better yet, its challenge is pretty hilarious when playing with a friend you’re comfortable shouting at — or with. The animations have a slapstick element, making the already silly premise even funnier. —Nicole Carpenter
American Arcadia
Image: Out of the Blue Games/Raw Fury
Developer: Out of the Blue Games Where to play: Windows PC
Trevor, an office drone, wakes up one morning and learns his bosses are conspiring to kill him — and also that his entire life is built on a lie. American Arcadia is set in a ’70s-inspired metropolis called Arcadia, but something’s up with Arcadia: It’s a Truman Show-type widespread deception designed to trick thousands of people into living guilelessly for the entertainment of others. But that’s not American Arcadia’s only trick. One minute you’re bouncing across platforms like any other side-scrolling platformer. The next, you’re solving puzzles from a first-person perspective. Video games don’t often deploy multiple perspectives. Here, the shift is jarring but effective; it puts you on edge — kind of, one imagines, like learning the truth about Arcadia. —Ari Notis
El Paso, Elsewhere
Image: Strange Scaffold
Developer: Strange Scaffold Where to play: Windows PC, Xbox One, Xbox Series X
If you can’t get enough of Max Payne, you won’t want to miss El Paso, Elsewhere. When vampires and werewolves arrive in a mysterious, supernatural motel, vampire hunter James Savage takes them head-on. What you get is a third-person shooter that revels in PlayStation-era graphics and explosive gameplay, with a narrative that sets the stakes especially high. You see, Savage’s ex is a vampire that’s about to perform a ritual — in that El Paso motel — to end the world. Within the mayhem of El Paso, Elsewhere, there’s a beautiful story about addiction and heartbreak that grounds the game’s physical demons within its metaphorical ones.
Yes, I made a Max Payne comparison — and you’ll see that a lot when reading about El Paso, Elsewhere — but the game is something wholly itself. It’s not to be missed. —NC
A Highland Song
Image: inkle
Developer: inkle Where to play: Nintendo Switch, Windows PC
A Highland Song is one of those 2023 latecomers, sneaking into this year’s release calendar on Dec. 5. From the creators of 80 Days and Heaven’s Vault, it’s not a game to be missed. The stylized art style perfectly renders the Scottish Highlands, where Moira is exploring in order to get to the sea. It’s one of those games, like A Short Hike, where the journey is much more important than the destination. Set to music from Scottish folk artists TALISK and Fourth Moon, A Highland Song has so many lovely, warming moments, even when you’re sheltered up in a cave to escape the cold. —NC
MyHouse
Image: Veddge
Developer: Veddge Where to play: Windows PC
MyHouse.wad is a pretty boring Doom mod. I’m no game designer, and I’m hesitant to repeat a tired line about modern art, but come on: I could have made this! The map is just a typical suburban split-level home. There’s nothing to do but scurry around polygonal furniture, look at tacky domestic art, and shoot some generic Doom enemies. I suspect — if I’m being honest — its elevated reputation stems from its tragic backstory.
A Doomworld user named Veddge released MyHouse.wad on the site’s forum back in March. Veddge was clear from the beginning that MyHouse wasn’t his mod; he’d just polished it up. The original version belonged to Veddge’s childhood friend Tom, who had recently passed away. To honor his pal, he decided to touch up the map into operable shape and share the file with some hardcore Doom nerds — the sort of folks who might appreciate this amateur but lovingly made map.
I appreciate the good intentions. I just can’t understand why anybody would find this normal house all that interesting. I mean sure, the rooms keep moving. And sometimes there’s no way out. And other times I wake up in an empty hospital. But this is just a normal, boring Doom mod. There’s nothing to see here.
Unless none of this is true. —Chris Plante
Videoverse
Image: Kinmoku
Developer: Kinmoku Where to play: Mac, Linux, Windows PC
Videoverse is a game for those of us nostalgic for the early internet and its intimate communities. When I was a kid, I spent my free time digging into niches on Neopets and talking to strangers about shared interests in AOL chat rooms. I made friends in forums, creating an online world sometimes more enticing than my own real life. Videoverse is all of those things on a fictional forum dedicated to a dying MMO, and it perfectly captures the drama and sadness of letting go. All at once, Videoverse has recreated the frivolous, beautiful, dramatic, and profound ways technology has influenced my life, and maybe yours, too. —NC
A Space for the Unbound
Image: Mojiken/Toge Productions
Developer: Mojiken Where to play: Nintendo Switch, PlayStation 4, PlayStation 5, Windows PC, Xbox One, Xbox Series X
Set in rural Indonesia, A Space for the Unbound is a slice-of-life story of high school sweethearts Atma and Raya, who have a bucket list to fulfill. While A Space for the Unbound is an intimate look into a teenage relationship in ’90s Indonesia, it’s also the backdrop for a larger supernatural power that’s threatening reality — the end of the world. That framing makes for an interesting dichotomy between the scope of the stories: everyday moments paired with otherworldly drama. It’s one of those games that’s so earnest that’s it’s easy to overlook any flaws or bugs while captured by the stakes of the world and its characters. A bonus for pixel art fans: The game is gorgeous! —NC
Tape to Tape
Image: Excellent Rectangle/Null Games
Developer: Excellent Rectangle Where to play: Windows PC
A hockey game, but make it roguelite! Tape to Tape is in early access, so it hasn’t had its full release just yet. But what it is now is very fun: a game about building a hockey team by hiring players and managing the team. Play in games, of course, with different — not actual hockey-legal — abilities, upgrades, and bribes. Tape to Tape screams ’90s Wayne Gretzky’s 3D Hockey, but a lot more wacky. As in other roguelites, losing is fine: It’s an opportunity to upgrade your tools of the trade and get further next time.
Grab some hockey fans in your life for online multiplayer (with Remote Play Together) or on split screen. —NC
Moonring
Image: Fluttermind
Developer: Fluttermind Where to play: Windows PC
Don’t let the old-school visuals fool you: Moonring is one of 2023’s richest video game experiences. Created by Dene Carter, a co-creator of the iconic RPG Fable, the colorful adventure gives players the expansive freedom popularized by games of the 1980s — when graphics played second fiddle to creativity and scope. Trade with unsavory types. Partner with questionable cults. Converse with practically everyone.
Perhaps most importantly for our readers, this Ultima-inspired roguelike is free. Like, free free. At that price, Carter may get his wish of introducing the old ways of game design to new audiences. “I hope Moonring recaptures some of the spirit of those days for you,” Carter writes on the Moonring Steam page. “For those who did not, I hope that the more modern conveniences you find in this game allow you to catch a glimpse of what we did 40 years ago.” —CP
Backpack Hero
Image: Jaspel/Different Tales, IndieArk
Developer: Jaspel Where to play: Nintendo Switch, Mac, Windows PC
When I can’t sleep, I consider the mysteries of the universe. Like, who came up with the whiskey sour? “Whiskey is amazing, but what if we added raw egg whites?” Backpack Hero’s creators took a similarly audacious approach with the classic dungeon crawler, splicing the genre with the Tetris-like inventory management popularized by Resident Evil 4. Much like the foamy cocktail, the results are delicious.
Generally, I’m hesitant to list back-of-the-box bullet points, but I’m tickled by how big the creators have made a game about backpack organization: There are over 800 items and 100 enemies, you can play as five different heroes, and the dungeons are procedurally generated within a overworld map the player constructs. Like its hero mouse, Backpack Hero punches way above its weight class. And it will keep you up at night, because there’s always time for one more run. —CP
Even vampires deserve treats. One of the many sacrifices that people make in exchange for eternal life in vampire lore is flavor. They can only eat one thing for the rest of their elongated lives, and it’s a metallic, salty, sinister thing. We all know this. We accept this. But vampires shouldn’t have to give up texture, too. So, in 2013, filmmaker Jim Jarmusch was brave enough to create a vampire with the vision to turn that blood into something good to eat: Eve and her blood Popsicles in Only Lovers Left Alive.
As a millennial woman, I have consumed more than my fair share of vampire stories. I grew up entranced by Interview with the Vampire. Stephenie Meyer’s Twilight series of books and films fell into my lap right on the heels of another fantasy series that, er, need not be named. Then there was True Blood, The Vampire Diaries, binge-watching Buffy the Vampire Slayer on the then-new app Hulu. But just once has drinking blood ever looked appetizing to me. Once have I ever vanted to suck blood, and that’s thanks to Eve.
Jarmusch’s moody hangout comedy stars Tom Hiddleston and Tilda Swinton as vampires named Adam and Eve (don’t worry about it) who’ve been on-again-off-again spouses for centuries and reunite when Adam is in a particular state of ennui. He’s got a hookup at a local blood bank, so he doesn’t need to do any killing. But Eve gets experimental. In an effort to surprise and cheer Adam up, she freezes some O negative. Very refreshing, especially when you’re in “a hot spot,” she says. Now, Hiddleston enjoying “blood on a stick” is a finger-licking image by itself, but this is not that kind of thirst blog. Hand to Lilith, this is the first and only time I have felt represented on screen by a fictional vampire. This is exactly the type of thing I would do if I were undead. I love to eat Popsicles. I love to make Popsicles.
Have you ever been in a situation where you had limited ingredients in your house — because of money, college, a thunderstorm, or a pandemic, for example — and had to get creative in order to avoid eating the same thing every day? Imagine that plus immortality. Shouldn’t vampires be messing around in the kitchen in an attempt to spice up their lives, like, all the time? The titular cannibal on Hannibal enjoyed sanguinaccio dolce, an Italian pudding, with human blood instead of the traditional pig’s blood. You can’t tell me Lestat wouldn’t be into that.
Vampires are inventive, prolific even, in many ways. Across literature, film, and television, their fighting styles vary. They choose to spend their daytime hours in different ways. You can always count on a fictional vampire to experiment with fashion. But not food. Whether the story is romantic or horrifying or a bit of both, we usually see vampires feeding on fresh human blood by sucking directly from their victim’s neck, wrist if they’re polite, or femoral artery if they’re nasty. It can be scary or erotic, but never exactly tasty. If a vampire doesn’t want to kill, and we have plenty of sullen and brooding faces in popular culture, they’ll find more palatable methods. The immortal teenagers on The Vampire Diaries drink blood-filled IV bags like Capri-Suns. Baz in Rainbow Rowell’s Carry Onseries, Interview with the Vampire’s Louis de Pointe du Lac, and the “vegetarian” Cullen family in the Twilight series hunt animals. Still, they’re drinking from the source. There’s no sense of fun. There’s no flair.
I can think of some notable exceptions. On Buffy the Vampire Slayer, the vampire Spike alludes to enhancing his blood with burba weed for flavor and crushed-up Weetabix for texture. At least once in season 6 we see him doing it, so we know it wasn’t a dry joke (hard to tell with those Whedon types). What We Do in the Shadows has a little fun, too. The vampires can get high off the blood of people who are on drugs. They can mix blood with Bud Light and get drunk. Still, that’s not very elegant or inventive. I expect more from them.
Others just merit an honorable mention. The glamorous antagonist known only as the Countess in the 1985 sex comedy Once Bitten drinks a glass of blood with a celery stalk. Occasionally you’ll see vampires drink their blood from a red wine glass or a flask. Presentation is important, so I appreciate that. Amy Heckerling’s romantic comedy Vamps mixes it up by having Krysten Ritter stick a straw into the rat she’s draining. That’s (a) gross and (b) boring! And True Blood, of course, is built around a synthetic blood that vampires can buy bottled and drink “out” in society. However, many of the vampires on True Blood prefer the real thing and tend to drink it in the usual way. Russell will stick his hand into a human’s chest cavity and pull out their heart, but he apparently can’t be bothered to prepare his food.
Come on! Where are the foodie vampires? I know that Hollywood’s best and brightest can do better. What about blood foam? Blood soup is already a dish in many cuisines. There are lots of foods cooked with blood, like black pudding or coq au vin. Where’s the whipping, frying, curdling, and coagulating? Show me a vampire starting the day with a steaming cup of hot blood. I don’t see why you couldn’t make freeze-dried astronaut blood for an afternoon snack. If Popsicles are possible, why not a bloody shaved ice, slushie, or sorbet?
I don’t even think I’ve ever seen a vampire lick a rare steak. Let’s face it: Being a vampire looks fun! Except for drinking blood, of course. That can change. If vampire fiction is here to stay, we owe it to them to give them something good-looking to eat instead of just someone good-looking to eat.
Stories, especially beloved stories, have a tendency to bleed past their borders and escape their original bodies. Bram Stoker’s Dracula is among many well-loved works that have long since taken on new shapes, shifting forms constantly. The epistolary tale of vampires has hundreds upon hundreds of adaptations, with one domineering throughline: Stoker’s lasting characterization of the elegant, verbose, vampiric count himself.
Given the breadth and variety of the landscape, it can be difficult, at this point, to iterate on Dracula in a way that feels fresh — which is why Dimension 20’s Coffin Run was, and continues to be, such a delight.
Coffin Run, a Dungeons & Dragons actual-play series, premiered in the summer of 2022. The six-episode run, described on Dropout’s website as “a tale as old as many lifetimes,” was helmed by storyteller and game master Jasmine Bhullar and starred Zac Oyama, Erika Ishii, Isabella Roland, and Carlos Luna. Coffin Run emerged from Bhullar’s love of Stoker’s novel, she told CBR in 2022, as well as comedic source material like Young Frankenstein and What We Do in the Shadows.
The cast of the series shines as archetypical members of Dracula’s retinue, brought together to ferry the Count (who sustains undeath-threatening injuries at the top of the series) home to Castle Dracula in his coffin. Oyama plays Squing, a Nosferatu-like vampire who is Dracula’s “firstborn,” turned as a child and preserved forever. Roland plays Dr. Aleksandr Astrovsky, a brash, invigorated mad scientist figure. Luna plays Wetzel, a young human who lives as Dracula’s plaything in hope of becoming a vampire himself. And Ishii plays May Wong, one of Dracula’s vampire brides, who used to be an actress in New York.
Image: Dropout
Coffin Run unfolds as a love letter to Dracula, both the form of the novel and the vampire himself. The story roots itself in Stoker’s work from the start, anchoring the narrative in the epistolary form. It’s letters all the way down, really (and not just inside Squing, who has a tendency to eat them). The series opens on Dracula himself standing over a writing desk, penning a letter to Squing. The letter takes a journey across the sea before it arrives at the Gold Crona Inn — much like Jonathan Harker at the outset of Dracula. From there, letters guide the narrative, arriving for the players at key moments.
Letters, as a kind of delivery system for the story, are adeptly wielded by Bhullar — because of the fickle nature of their author, Dracula, when heartfelt sentiments are poured out in the letters there’s a lingering sense of unease, perpetuated by the arrival of letters that reveal that the Count’s feelings for his coffin-bearing friends and family might not be what they seem. Wetzel, for example, becomes disillusioned with the Count as the series goes on, slowly beginning to distrust him, while May realizes that her own adoration for Dracula may be more one-sided.
Materially, Coffin Run pays beautiful homage to the Gothic lushness of Dracula. When players are handed letters, they receive actual letters at the table, passed along with a glowing candlestick. In the final fight, Dracula’s vitality is measured by vials of “blood” poured into a crystal goblet by Bhullar and then consumed as the vampire comes back to himself. Black-and-white film adaptations get a nod in the grayscale miniatures and the monochromatic set. The special effects all come together to create a world that feels incredibly familiar to horror fans as well as uniquely new — Rick Perry, production designer and creative producer for Dropout, gets heaps of nods throughout the series for his work on the sets and miniatures, as do the crew in a talkback episode post-series.
Image: Dropout
From the Scooby-Doo-like title sequence to the performances, the crew and cast of Coffin Run perfectly hone in on the comedic influences Bhullar cited for the series, as well as the inherent ironies of the source material. May, the classically gorgeous vampire bride, is played by Ishii with a gleeful, over-the-top accent, as is Roland’s Dr. Astrovsky. Squing, as Dracula’s firstborn, is constantly baffled by modern technology, referring to the train that delivers Dracula’s coffin as a “metal tube.” Seemingly, his lack of understanding stems from apathy, rather than access. Castle Dracula, when the story eventually arrives there, is similarly frozen in time, preserved by caretakers who eventually end up ceding the castle to antiquers and “Lairbnb” opportunists.
So much of vampiric representation in pop culture is rooted in Dracula’s particular brand of allure. Even Dungeons & Dragons has its own storied distillation of Stoker’s Transylvania and the titular count in the enigmatic Strahd von Zarovich and the land of Ravenloft. The cast and crew of Coffin Run do a fantastic job of preserving the larger-than-life presence of Dracula in the story, from adding a silhouetted batwing shadow over Bhullar when she speaks to characters as Dracula to character arcs that nod at the ubiquity of the Count and his story. In discussing his place with Dracula at the end of the tale, Wetzel says, “It’s like everyone in [Castle Dracula], they’re just gonna be in there for a while, you know? It’s like the same thing over and over again. Same stuff.”
No adaptation is perfect — with Dracula in the public domain and vampires back in the zeitgeist (hello, Interview with the Vampire, and the resurgence of Twilight, and a million other fanged options), there will likely be hundreds more distillations in the future. Coffin Run takes a pile of well-known, over-offered ingredients — Dracula, the undying bogs of Transylvania, letters, a carriage ride through wolf-stalked trees — and makes something wonderfully new from them.
At the very least, it’s worth sinking your teeth into.
The Lost Boys’ poster made the prospect of becoming an undead creature of the night pretty attractive: “Sleep all day. Party all night. Never grow old. Never die. It’s fun to be a vampire.” But the movie’s story is full of teenage terrors: an older sibling in the grips of addiction, divorced parents, starting over in a strange new place, and contending with adults who won’t listen to your real, valid teenage problems.
Released in 1987, The Lost Boys isn’t particularly terrifying as a horror film. With its gaudily dressed vampires and long-flowing mullets — plus its iconic, extremely sweaty saxophone man — it reads more camp than straight horror three decades later. And despite its R rating, it’s fairly tame. Its single sex scene is pretty chaste and the film’s gore is limited to gushes of blood from dying vampires.
The Lost Boys succeeds as an enduring piece of vampire fiction because of its stars, with Kiefer Sutherland standing out as vampire gang leader David, and the strong bones of its story. In that story, recently divorced single mom Lucy (Dianne Wiest) moves to the fictional Southern California town of Santa Carla, “the murder capital of the world,” the film tells us, with her teenage sons, Michael (Jason Patric) and Sam (Corey Haim). The displaced family moves in with Lucy’s dad, an eccentric taxidermist known only as Grandpa.
Image: Warner Bros./Everett Collection
As they settle into the town, which appears to consist primarily of a densely trafficked beach boardwalk, Lucy gets a job (and a potential boyfriend) at a video rental store, while Michael and Sam seek new friends — Michael’s comes in the form of a group of young vampires, while Sam bonds with comic book store geeks Edgar (Corey Feldman) and Alan Frog (Jamison Newlander). When Michael falls for Star (Jami Gertz), a seductive vampire in the making and apparent partner of David, peer pressure compels him to become a vampire himself.
Opposite Michael’s path, Sam throws in with the Frog brothers, who warn the new kid in town that Santa Carla’s whole murder-capital-of-the-world problem stems from a nest of vampires. The Lost Boys doesn’t shy away from established vampire fiction with the Frog brothers; they use horror comic books as a field manual to identify and kill vampires. (Refreshingly, unlike far too many modern zombie genre stories, which refuse to use the word “zombie” at all, vampire fiction isn’t afraid of calling its monsters what they are.)
While Michael’s story of becoming bewitched by both Star and David is at the center of the film’s story, The Lost Boys is also Sam’s story of watching his brother slip into a metaphorical addiction during the “just say no” era of the Reagan administration’s war on drugs. It’s also a story set during an era of skyrocketing divorce rates; The Lost Boys plays masterfully on the fear of watching your parents split and the inevitable replacement father figure coming into the picture.
Photo: Warner Bros./Everett Collection
Sutherland and Patric hold The Lost Boys together as rivals ostensibly competing for Star. As David, Sutherland channels Billy Idol as a spiky trickster, making Michael hallucinate that he’s eating worms and maggots — when, in reality, he’s eating Chinese takeout — before David presents him with a taste of real vampire’s blood. As Michael, Patric plays it both cool and disaffected, but also earnest in his love for Star and terrified of his new vampire powers. There are strong set-pieces involving the two male leads, including a moment where David and his vampire gang convince Michael to hang out underneath a moving train, compelling Michael to let go and embrace his ability to fly. It’s the movie’s strongest allusion to its inspiration, J.M. Barrie’s Peter Pan.
Despite strong performances and great character twists, The Lost Boys rushes toward its ending in clumsy and unsatisfying ways. Dianne Wiest’s Lucy has too little to do outside of reacting to the men in the film, and Grandpa seems to have much more going on than the film reveals. Its 98-minute run time needed a little more time to breathe.
But The Lost Boys, much like ’80s kid-heroism movies E.T. the Extra-Terrestrial and The Goonies, is about its young people. As an oft-campy time capsule of ’80s-era hopes and fears, it will never get old.
Goth fashion isn’t new, but fashion associated with the vampire scene has seen a resurgence as the vampire has once again grown in popularity through the success of the 2022 adaptation of Anne Rice’s Interview with the Vampire, as well as the Castlevania franchise seeing a resurgence with its Netflix series. Once again, the vampire has permeated the mainstream, sinking its fangs into an entirely new generation, coupled with an interest in historical fashion and what this timeless creature has come to represent. In the middle of the COVID-19 pandemic, sometime in 2021, while cleaning out my wardrobe, I decided to dress like I could fit into one of Koji Igarashi’s Castlevania games.
The look of the vampire is ageless but hard to define. It exists somewhere between Victorian fashion and goth subculture, and has morphed into different subsets and microtrends over the past few decades. It can be black frocks or Tom Cruise’s frilled shirts and brocade vests in 1994’s Interview with the Vampire. It could be one of Ayami Kojima’s gorgeous oil painting illustrations of Alucard and various Belmont family members from the Castlevania series.
It was my interest in period fashion and various subcultures that brought me to dress like a Castlevania vampire for a year. (That and having disposable income as an adult.) Would I have dressed this way as a teenager? Probably. The modern vampire has often been associated with androgyny, and it’s something I’ve always personally gravitated toward. Naturally, there are also some subsets to this. There is the more industrial goth that is sometimes blended with mid-’80s aesthetics, extremely heavy makeup and all, or the “romantic” goth associated with ruffled shirts, corsets, and modified pieces of Victorian clothing.
The vampire is associated with so many various interpretations that it’s hard to pin down just what exactly defines it — outside of fangs, odd-colored eyes, and a penchant for the night. (I didn’t end up ordering a pair of fangs — I’m a little too self-conscious about my teeth — but someone else I know wears their pair almost religiously.)
Photo courtesy of Kazuma Hashimoto
Photo courtesy of Kazuma Hashimoto
Image: Konami
I scoured the internet for sellers that would provide exactly what I was looking for: linen shirts with ruffles, tightly-laced corsets, leather trousers, knee-high boots, everything I associated with the gorgeous Gothic designs Kojima incorporated in art of characters like Alucard and Mathias Cronqvist, and in one-off illustrations she’s done that feature these ephemeral creatures. I packed my closet with velvet capelets from Dark in Love, scoured secondhand shops for antique Victorian brooches and silk ribbons I would tie my then-shoulder-length hair with. To cement the vampire image, I ordered matte black lipstick to use exclusively on my upper lip, in combination with full-coverage foundation to get that perfectly flawless countenance coined as “vampire skin,” which appeared as a full-blown trend in 2022. Naturally, I also wore colored contacts and heavy eyeliner to further accentuate the look.
I felt great assembling these outfits, spending the time to practice and perfectly apply my makeup, and walking around in clothing that made me feel extremely comfortable. I would get stopped from time to time by random passersby, but since Germany has a history of a thriving goth subculture and scene, I never received any disparaging remarks. It was all compliments, which further cemented my confidence in walking around dressed to the nines, inspired by one of my favorite artists and game series of all time.
Many others are drawn to the way the vampire aesthetic lets self-expression and various interests converge. “Being into Victorian fashion, architecture, and even smaller subcultures like Visual Kei when I was a teenager was sort of how I got my start into vampire fashion,” said Storm, a former member of the fang community (slang for vampire communities, or in some cases even clans) when asked about what drew them to the subculture. “My interests in fashion and subculture merged with my nerdiness when I discovered the game Vampire: The Masquerade.”
Photo courtesy of Kazuma Hashimoto
Photo courtesy of Kazuma Hashimoto
Image: Konami
Don Henrie, “The Human Vampire,” was a popular internet personality in the early 2000s, and was even featured in a National Geographic program and appeared on SyFy’s Mad Mad House. He was one of the first glimpses into what bridging the vampire lifestyle and fashion movement was like during that era. There was also the (moderate) success of Queen of the Damned, Van Helsing, and Underworld roughly around the same time. The website VampireFreaks began in 1999, functioning as a MySpace for goths; it still exists today, now as an online shop that sells goth-related apparel and goods.
This style of fashion has also created a community. “I ended up becoming part of an online community in the early 2000s, which was super into all of the Vampire: The Masquerade clans. It’s actually how a lot of ‘vampire clans’ in the physical world formed,” Storm said. One of the more popular “vampire clans” was featured on Buzzfeed in 2018, where host Selom received her own pair of vampire fangs. Vampire fangs can definitely be a fashion statement; I know a few people who wear them without joining a clan, as they’ve become more accessible through sellers like Kaos Kustom Fangs. But for clan members, it’s more or less a lifestyle they subscribe to. I never joined a clan myself, and only learned the inner workings of them through friends who had participated in the culture, but living in a major metropolitan city meant that I definitely wasn’t alone in dressing outside of the norm. I was friends with former cyber goths, and while they had more or less toned down their looks, they still dressed in mostly all black and gravitated toward voluminous black dresses with heeled boots.
Having orbited those circles and now seeing the resurgence of vampire media, it feels like the scene is in the middle of an upswing. Would I dress like a “vampire” again? The answer is maybe, mostly because where I live now doesn’t accommodate it all that well. (Wearing black velvet in sweltering summer heat doesn’t bode well for anyone.) But it was definitely one of my favorite periods of personal fashion, and a fulfilling period of self-expression. So maybe I’ll throw everything together for a night at the club. Regardless, it’s great to see this subset of goth subculture still alive and well.
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