Welcome to another week at BCB After Dark, the ultimate destination for night owls, early risers, new parents, and Cubs fans around the globe. We’ve been eagerly awaiting your arrival. Your name is on our guest list, so please let us know if there’s anything we can do for you. A table has been reserved just for you. Don’t forget to bring your own drinks.
BCB After Dark is your go-to space for discussing baseball, music, movies, or whatever else might be on your mind, as long as it adheres to our site’s guidelines. Night owls are encouraged to kick off the festivities, but everyone is welcome to join in when you wake up the following morning or in the afternoon.
The Dodgers are set to compete against the Yankees in the World Series for the first time in 43 years, leading to some critiques claiming this is indicative of a broken MLB. Curiously, no one praised the league last year when the Rangers faced the Diamondbacks.
In last week’s discussion, I inquired about your feelings regarding the potential departure of the White Sox from the Chicago area. It turns out that, although many of you may not be fans of the White Sox, a majority still see them as good neighbors, with 59 percent wanting them to remain. Conversely, the remaining 41 percent said it’s time to “kiss ‘em goodbye.”
Now, allow me to transition to discussing music and movies. Feel free to skip ahead to the baseball portion at the end—I promise I won’t take offense.
This evening, we will continue our selection of Halloween jazz with Art Blakey and the Jazz Messengers performing “The Witch Doctor.” No, this is not the novelty hit by David Seville from 1958; it is the title track from the Jazz Messengers’ 1961 album.
Featuring Lee Morgan on trumpet, Wayne Shorter on tenor sax, Bobby Timmons on piano, Jymie Merritt on bass, and, of course, Blakey on drums, this track is sure to enlighten your evening.
Last week, a reader named Realist Larry recommended that I watch director John Carpenter’s 1980 film The Fog as part of my quest for horror films to review this month that won’t leave me feeling nauseous. It was a solid suggestion. The Fog contains violence, but it isn’t overly graphic, and the violence that does occur is enveloped in, well, fog. It’s amusing how that plays out. Regarding the film itself, it presents a mixed bag. While it excels in certain areas, it falls short in others, making it a frustrating experience that should have been exceptional but isn’t quite there. Nevertheless, it’s still in the “not bad” category.
The Fog tells a ghost story. The film opens with John Houseman recounting a ghostly tale to a group of children on a beach in Northern California. (Reportedly, Carpenter added this scene during post-production to improve cohesion; Houseman does not appear in the remainder of the film.) The story revolves around a shipwreck from a century ago, where all the sailors met their demise after becoming lost in the fog.
The ghostly wrecked clipper ship serves as the central figure in the film. I’m not really spoiling any surprises here, as within the first twenty minutes, Father Malone (Hal Holbrook) discovers his grandfather’s diary, which reveals the true story behind that ill-fated ship.
In 1880, the shipowner was a wealthy man suffering from leprosy, seeking approval to create a leper colony near the then-small settlement along Northern California’s coast. Instead, six locals killed the lepers and seized the rich man’s gold to establish the town of Antonio Bay.
Fast forward 100 years, and the murdered men have returned to exact their revenge. The ghosts possess the ability to manipulate the local fog, allowing them to conceal their movements.
A captivating ghost story requires a haunting atmosphere, and that is where The Fog truly excels. Despite the film’s low budget and some outdated special effects, Carpenter creates an unsettling ambiance enveloping the town. A plentiful supply of fog machines goes a long way. He also selected stunning filming locations along the coast of Marin County. Much like in his earlier film, Halloween, Carpenter juxtaposes the seemingly peaceful small-town life with the sinister evil lurking beneath. He masterfully showcases the beauty of the California coast while setting the stage for a tale of violence. Carpenter deserves high praise for his atmospheric setting.
The cast is also noteworthy. If there is a central character in The Fog, it is Stevie Wayne (Adrienne Barbeau), a local leader who operates the radio station from her lighthouse residence. Carpenter predominantly features a cast he is familiar with; he was married to Barbeau at the time and had previously collaborated on a TV movie with her. He also brings back Jamie Lee Curtis from Halloween, who appears alongside her mother, Janet Leigh. Charles Cyphers returns from Halloween in the role of the local weatherman. Additional appearances are made by Nancy Loomis (also from Halloween) and Darwin Josten from Assault on Precinct 13.
The issue arises from the fact that these actors are divided among four separate storylines that ultimately fail to converge. Aside from her son Andy, Barbeau’s Wayne primarily exists in isolation, conversing with the town via radio and making phone calls while remaining secluded in the lighthouse. Although she excels in her role, this separation distances her from the horrors that befall the other characters.
Concurrently, three other distinct narratives unfold. Curtis portrays a young woman hitchhiking up the coast toward Vancouver, who is picked up by Nick (Tom Adkins); together, they investigate the disappearance of Nick’s friend whose boat did not return from a night fishing trip. Leigh plays Kathy Williams, the town’s mayor, who is organizing a celebration for the town’s 100th anniversary. She is also the wife of the missing sailor. Meanwhile, while the other three storylines navigate the mystery of the fog, Holbrook’s Father Malone has deciphered it by reading his grandfather’s diary, yet no one will heed his warnings.
This constant switching between the four storylines highlights a significant weakness in The Fog. None of the narratives serve as a true “main” plot, and while three groups finally converge at the end (with Barbeau remaining alone in the lighthouse), they don’t take the opportunity to share their findings or collaborate. Although this complaint may seem like fan service, one must wonder how Jamie Lee Curtis and Janet Leigh could appear in the same film without a shared scene. The only line I noted exchanged between them was Leigh instructing Curtis to “shut the door” during the ultimate encounter with the ghosts—though she may have actually been addressing Nancy Loomis.
Additionally, The Fog misses a thematic opportunity to emphasize how many of America’s foundational stories are mere fabrications designed to conceal horrific atrocities from later generations. Mayor Williams, played by Leigh, is orchestrating a celebration for the town’s 100th anniversary and the six founders. Father Malone (Holbrook) cautions her that these esteemed founders were, in fact, murderers, but she remains indifferent. “It was a long time ago,” she reflects. “What does it matter now?”
Rather than using this as a springboard to discuss genocide as a foundational concept and its implications for modern society, which seems apathetic, it serves merely as superficial embellishment to introduce specters in a quaint town.
The Fog is far from a terrible film, yet it squanders potential. The four distinct narratives fail to coalesce effectively. It becomes difficult to engage with any single storyline, as the film frequently shifts back and forth, disrupting any developing interest. Just as one plot begins to draw us in, we are whisked away to another. Perhaps due to this constant shifting, I found it challenging to connect with the characters, with Barbeau’s Stevie being a slight exception—strange since her interactions are mostly limited to her son and the babysitter. However, she manages to deliver some memorable DJ lines. Nevertheless, the setting and cinematography (by Dean Cundey, returning from Halloween) in The Fog, despite aging special effects, are truly impressive.
Reportedly, Carpenter was dissatisfied with the final result, even after he labeled an early rough cut as a disaster. He revisited the film in 2005 with Tom Welling, Selma Blair, and Maggie Grace, but I haven’t seen that version, and reviews have been overwhelmingly negative. Over the years, the original has achieved cult status, and I can see why. It’s a decent film; while there are narrative flaws, the strong cast and atmospheric elements compensate. I’d give it an “A” for effort but a “C” for execution.
Here’s the trailer for The Fog.
Welcome back to everyone who skips the music and movies.
Patrick Mooney has published a new article in The Athletic today, discussing the off-season strategies of the Cubs. (subscription required) He specifically outlines the Cubs’ interest in free agent starting pitchers.
One pitcher highlighted by Mooney is Max Fried, a topic we explored back in August, although then we compared him to Corbin Burnes. We may revisit Fried later. Another pitcher on the Cubs’ radar, as mentioned by Mooney, is Nathan Eovaldi, who is anticipated to opt out of his contract with the Rangers this winter.
What are your thoughts on Eovaldi? If it feels like he has been around forever, it’s because he has—at least in baseball terms. Eovaldi debuted with the Dodgers in 2011 and has since played for the Marlins, Yankees, Rays, Red Sox, and Rangers. He has earned World Series championships with both the Red Sox and Rangers.
Eovaldi will turn 36 before Opening Day, so he is unlikely to secure a long-term contract, which may appeal to the Cubs. He is probably aiming for a three-year deal, but might accept two years with an option. Despite his age, Eovaldi has maintained much of his effectiveness. Originally known for his speed, he has lost a couple of miles per hour on his fastball over the years but still averages 95 on his four-seam fastball. As he has matured, Eovaldi has become more adept at throwing strikes and has increasingly relied on his impressive splitter, which has now become his…
Last season, Nathan Eovaldi made 29 starts with the Rangers, achieving a 12-8 record and a 3.80 ERA. He proved to be a reliable workhorse, pitching 170 2⁄3 innings, striking out 166 batters, and allowing only 42 walks. His control has been a standout feature of his performance; in 2021, he led the league in the fewest walks allowed per nine innings at just 1.7, and this past season he walked only 2.2 per nine.
Is there any reason for concern regarding Eovaldi? At 36 years old, even high-performing athletes face challenges as they age. Last season, he experienced a groin strain that sidelined him for 25 days in May, although he remained healthy for the remainder of the season. He also dealt with a forearm strain that kept him out for five weeks in 2023, along with shoulder inflammation that caused him to miss a month in 2022. As a result, he is indeed considered a significant injury risk. However, since missing the entire 2017 season due to Tommy John surgery—his second, as he previously underwent the procedure in high school in 2007—he has not had any long-term injuries.
On a positive note, Eovaldi’s contract demands may not be so exorbitant that the Cubs couldn’t afford to pursue another high-profile free agent. He is scheduled to earn $20 million next season unless he opts out, which he likely desires to exceed. A two-year, $52 million contract with an option appears to be a plausible expectation for signing Eovaldi, possibly including a third year with a straightforward vesting condition.
What are your thoughts on the potential signing of Nathan Eovaldi?
Poll
Should the Cubs try to sign Nathan Eovaldi?
Thank you all for joining us this evening. We hope to have provided some entertainment as we await the World Series kickoff on Friday. Please travel home safely, remember to collect any checked items, recycle your cans and bottles, tip your waitstaff, and come back tomorrow night for more BCB After Dark.
BCB After Dark: Halloween Jazz, Movie Reviews, and Cubs Offseason Plans
Halloween Jazz: Setting the Mood
As the leaves change color and the air turns crisp, Halloween provides a perfect backdrop for jazz enthusiasts. It’s a time when the haunting melodies and spooky rhythms of the jazz genre create an ambiance that’s both festive and eerie. Here’s how you can incorporate Halloween jazz into your celebrations:
- Create a Spooky Playlist: Curate a list of jazz tracks that embody the Halloween spirit. Songs like “Spooky, Spooky” by the Jazz Butcher or “Ghost of a Chance” by the renowned jazz artist, Bill Evans can set the perfect tone.
- Host a Halloween Jazz Night: Invite friends over for an evening of spooky snacks and smooth jazz. Consider playing classic films with jazz soundtracks to enhance the ambiance.
- Jazz and Halloween Events: Many local venues host Halloween jazz nights. Keep an eye out for events in your area that feature live jazz performances themed around Halloween.
Jazz-Inspired Halloween Movie Recommendations
Jazz and cinema have a longstanding relationship, especially when it comes to movies that evoke a sense of mystery and intrigue during Halloween. Here are some recommendations:
| Movie Title | Director | Jazz Influence |
|---|---|---|
| The Shining | Stanley Kubrick | Features a haunting score that draws on jazz influences. |
| Blue in the Face | Paul Auster | Captures the essence of New York jazz culture. |
| Bird | Clint Eastwood | A biopic on jazz legend Charlie Parker. |
Movie Reviews: A Deep Dive
Spooky Season Cinema
As the Halloween season approaches, it’s essential to catch up on some spine-tingling films. From classic horrors to suspenseful thrillers, the genre is vast and entertaining. Here are some brief reviews of popular Halloween movies worth watching:
- Hereditary (2018): A gripping psychological horror that explores family trauma, blending unsettling visuals with a haunting score. A must-watch for horror aficionados.
- The Nightmare Before Christmas (1993): Tim Burton’s animated classic combines Halloween and Christmas magic, featuring memorable songs that resonate with audiences of all ages.
- Get Out (2017): This film masterfully blends social commentary with horror, delivering a thought-provoking experience that keeps viewers on the edge of their seats.
Classic Horror Films
For those who appreciate vintage cinema, classic horror films are a treasure trove of suspense and intrigue. Here are some iconic titles to consider:
| Classic Horror Movie | Release Year | Director |
|---|---|---|
| Dracula | 1931 | Tod Browning |
| Frankenstein | 1931 | James Whale |
| Psycho | 1960 | Alfred Hitchcock |
Cubs Offseason Plans: Analyzing Strategies
As the Chicago Cubs wrap up their season, fans turn their attention to the offseason. This period is crucial for building a competitive team for the next season. Let’s delve into the Cubs’ offseason plans:
Key Areas of Focus
The Cubs are expected to focus on several key areas, which include:
- Player Development: The Cubs will continue to nurture their young talent through the minor leagues, ensuring a strong pipeline of players ready for the big league.
- Free Agency: The Cubs are likely to be active in the free-agent market, seeking to fill gaps in pitching and infield positions.
- Trade Opportunities: Monitoring the trade market for potential swaps can bolster the team’s roster, especially if they can move players with high trade value.
Projected Roster Changes
As with any offseason, roster changes are inevitable. Here’s a brief look at potential changes for the Cubs:
| Player | Status | Potential Impact |
|---|---|---|
| Marcus Stroman | Free Agent | His departure would leave a significant gap in pitching. |
| Ian Happ | Trade Rumors | Trading him could bring in valuable prospects. |
| Christopher Morel | Rising Star | Expected to play a key role in the upcoming season. |
Benefits of Engaging in Halloween Activities
Participating in Halloween-themed activities like jazz nights and movie marathons can provide several benefits:
- Strengthened Relationships: Gathering with friends and family fosters deeper connections and creates lasting memories.
- Stress Relief: Enjoying music and films can help alleviate stress, providing a much-needed break from everyday life.
- Cultural Appreciation: Engaging with jazz and classic films enhances cultural understanding and appreciation for the arts.
Personal Experience: The Magic of BCB After Dark
Attending a BCB After Dark event is an experience like no other. The atmosphere is electric, blending the excitement of Halloween with the smooth tunes of jazz. Last year, I attended a Halloween jazz night that featured local artists performing classic jazz standards with a spooky twist. The combination of live music and Halloween-themed decorations created a memorable evening filled with laughter and great conversations.
Moreover, the movie reviews shared during intermissions sparked engaging discussions among attendees, revealing varying perspectives and interpretations of horror cinema. The event not only entertained but also fostered a sense of community among jazz lovers and film enthusiasts alike.
Practical Tips for Hosting Your Own Halloween Jazz Night
If you’re inspired to host your own Halloween jazz night, consider these practical tips:
- Themed Decorations: Use Halloween decorations to create a spooky atmosphere. Think cobwebs, pumpkins, and eerie lighting.
- Jazz Playlist: Compile a playlist of jazz tunes that resonate with the Halloween vibe. Include both classic and contemporary tracks.
- Engaging Activities: Consider hosting a trivia game related to jazz and horror films to engage your guests.
Embrace the spirit of Halloween with jazz, enjoy thought-provoking movies, and keep an eye on the Cubs’ offseason plans. Each of these themes offers unique experiences that can enhance your October festivities!
