#harold ssttitd

[starlightwoofwoof]

how literally NOBODY has thought of drawing this crossover (to my knowledge) is beyond me but yeah

and here’s an extra thing cause I thought it was funny lol

[sie-werden-nie-vergessen]

Ever since my realization this morning about the wax cylinder scene, I’ve been thinking about Sarah and Ephraim and how immensely sad they make me. They could have been so happy, they could have had everything, and yet....

And Harold too. The poor boy just needed to realize that he could never please his parents, and that blindly hating his baby sister would never earn their love.

The three of them all deserved so much better. My darling little sad Victorians :(

[rwprincess]

Room for One More: Chapter 14

Previous

Masterlist

Next (Chapter 15)

Scary Stories to Tell in the Dark Reader-Insert

Word Count: 2K

Synopsis: Part of bringing your friends back means convincing your mom that you can...and that you’re not crazy. It also means making amends and experimenting on your enemy.

CW: Swearing; parental arguing/lack of support; mild self injury; reverse version of the Scarecrow scene from the movie (which makes me uncomfortable as all get out).

November 7th, 1968

You had settled on a first-steps plan. First, Stella had to see Ramon off and make sure to give him all her best luck on his difficult journey. All you could really do was hope for his safe arrival back some day. Then, she’d have her dad sit down with your mom and you’d all talk about it; try to get her to see that this was the truth and that the danger was gone, but you had to work together to bring the others back. That talk didn’t go over that well.

“What you’re suggesting is insane, it can’t be real!” Your mother said, sternly. “Oren, you can’t believe in boogeymen and kids stories. They must have written these after the others went missing or were hurt. I don’t know if it was to cope or…” She left an open-ended accusation in the air and glared at Stella. The day was appropriately cloudy. Gray and drab, much like your situation. Similarly, it looked like a storm was brewing.

“I thought the same thing myself, at first.” Oren, Stella’s father told your mother. “But the kids keep sticking to their stories.”

“Mom, look at my story. It’s exactly what I said happened, remember?” There was a flicker in her eye for a moment that made you think she believed you, but then she sniffed back her emotions.

“No, no, that could have been written afterwards. How do I know you haven’t told Stella about it? You clearly set all this up.” She was right, you had talked to Stella and it wasn’t just happenstance that she and her father had come over to talk to your mom.

“I know it all seems impossible mom, but why would I be making it up? Why would any of us?”

“I don’t know. I don’t know what you kids could have gotten yourselves into these days. There’s all these damned horror movies lately with ghosts and satanic cults and living dead things eating brains?! Maybe you’ve just lost your grip on reality. You’ve always been imaginative, honey. You get lost in your books.”

“This isn’t just some other book, mom, please.” You begged for her to listen, to no avail.

“I blame myself. I’ve been working too much. I haven’t been present enough in your life. I should have talked with you more, especially after your dad left.”

“This has nothing to do with dad, mom.”

“I should have seen this coming. I’m sure things have been rough for you for a long time, but I just didn’t see it.”

“Mom, no. They weren’t. I’ve been happy here. School is fine, I’m making the grade. I work. I love my friends and we do normal kids’ stuff. We’re not in a cult, we haven’t lost grip of reality. This all just happens to be true! We’re all good kids. We didn’t suddenly just ‘go bad.’”

“And with all due respect, Ms. L/N,” Stella piped up, “We didn’t fake what happened to Ruth. We didn’t put spiders in her face...but we saved her.”

“With similar respect, Stella,” Your mother said aggressively, “I think that could have just been a coincidence. Like I said, you wrote these stories to cope, to interpret what happened.” Unfortunately, Ruth’s story was the least supernatural and easily had a real-world cause.

“What about me, mom? Don’t you think it’s so weird to have a coincidence where the next day I was in an elevator that dropped? Or that they couldn’t find Chuck? Or that Auggie and Tommy have been missing since--”

“That is enough.” She growled in response.

“No, mom! If you don’t believe that there’s some kind of ghostly story to back this up, doesn’t it seem like at least someone is out to get us?” That actually made her pause for a moment, as if she considered that one of those cults she feared was stealing your friends and cutting lines in hospital elevators or something. You used this pause to try to reason with her more, and to tell her another truth: “Mom, remember how the last thing I said on the phone that night was that I love you? I wanted my last words to be nice, just in case it got me too. I was so worried about leaving you all alone, ma. But we were trying to stop it, to fix it. And Stella thinks she did. It’s been days now since anything has happened.” She still remained silent, seeming to process this as a logical explanation.

“I’ve also talked to the Steinbergs,” Oren started, “They’re very broken people right now, Y/M/N. They just got their daughter back from the hospital and their son is missing. At first, they didn’t want to believe it either. But they saw Ruth’s story and they listened to her. They saw how their son was gone without a trace. They believe too, and our kids, the ones that are left, think they know how to solve this and get the other kids back. We owe it to their families to at least try. Auggie is the only child his mother has and she already lost his father.” Your mom of course already knew this, and looked down guiltily. “I’ll be with them on any mission they try. I believe them. I’ll keep them safe.”

“But, I think it’s going to take all of us.” Stella cautiously told your mother, not wanting to set her off again. “I think we have to fix this and I don’t know...repay the debt to Sarah. But we’re all still here for a reason.”

“Please, mom,” You gently laid your hand upon her lower arm, “If we can help them, we have to try. Wouldn’t you want them to try for me if I wasn’t found?” That finally got her. She put herself in the other families’ shoes for once. She would want the others to try to get you back, and she did care about your friends, even if she prioritized you. She finally nodded, seeming to come around to acceptance.

“What do you all plan to do?”

November 10, 1968

You and Ruth sat in the back seat of Mr. Nichols' pick up truck while Stella rode up front, holding the book tightly. You were driving out to the Milner’s farm, wanting to test your theories on Tommy first. At first, you and Stella hesitated and argued amongst yourselves about starting with Tommy and about bringing him back at all.

“Stella, like we said to my mom, if it was us, we’d want whomever to try. We can’t let him just be a scarecrow forever and not try. I know he has been nothing but a disgusting bag of shit to us, but I’m sure his family misses him.” You had also hinted that, if it didn’t work, or you somehow made it worse, at least it was Tommy that was the sacrifice. “I’m not saying we intentionally try to mess him up, but you have to admit that it’s not as big of a loss as it would be if it were Chuck or Auggie, right?” You felt grimy feeling that way, but you definitely were not as attached to Tommy as the other two, and that was through no one’s fault but his own.

You three gathered under the scarecrow that was still wearing Tommy’s letterman’s baseball jacket. Stella’s father was keeping watch, both eyeing the Milner house and making sure that nothing rose from the earth to swallow you three whole. Stella had brought Sarah’s pen with her, to be able to write the story in her own blood. This was the detail you had hidden from your mother and the one that Mr. Nichols had been less keen about, but Stella insisted it was necessary. Sarah had specifically told her to use her own blood. She figured it must have something to do with it. Life for life, or something like that. She drew in a shaky breath as the three of you sat down in a triangle formation with the book in front of her. “I really hope this works.” Stella said, pricking her finger with the pen and filling its chamber with the red drops collecting at her fingertip. Stella had spent the days leading up to this attempt studying Sarah’s prose. She wanted to capture the real thing as close as possible, to have the highest chance of it working. First, she scrawled the title.

“Here goes nothing.” She said, just above a whisper, and started to glide the pen over the aged and stained parchment. Tommy had hated that scarecrow all his life, that is, until he became that scarecrow. Being locked in Harold’s body gave Tommy a new perspective on how he treated others, even the ugly and broken inanimate Harold. However, he lamented that he thought he’d never have another chance to show how he had changed. Luckily, the spirit of Sarah Bellows had let go of her rage and was willing to grant him another opportunity at a better life. Stella paused, calling her dad over. It would be better to take Tommy down now rather than when he had his human anatomy growing back. She wasn’t sure how much pain he was in already, but hanging from a nail in the flesh of his back didn’t sound pleasant. He set the scarecrow down on the ground gingerly, knowing that somewhere inside, Tommy was still present. He also stayed a little closer to your group now, as the moment of truth was nearing. Stella licked her lips and continued the story, pressing her inky blood to the page. Tommy could feel the change begin in his hands. The straw began to grow longer and clump together. As it grew, it shed, and underneath, his human fingers became uncovered. With this newfound dexterity, Tommy began to pull at the burlap on his face, fingers digging in and ripping the fabric away, revealing his true face underneath. You sat and waited for a moment, then your hearts started to collectively pound as the scarecrow started moving. At first, there was a feeling of dread that maybe he was moving to come to get you, that Sarah’s curse would remain intact. However, it was just as Stella had written: first straw shed from his hands, sprouting fleshy fingers, and he immediately began to claw at his face.

“It’s working, Stella!” You breathed, “Keep going!”

Next, Tommy reached into his mouth and started to pull the straw out of his throat that had kept him from precious air for days. While it made him gag to remove it, he sought the sweet stinging feeling that only gulps of air for the deprived could bring. As the air made its way down his throat in heaving gasps, the inside of his body changed, too. His organs were being restored. Tommy kept pulling and tugging at his straw limbs until he, like Pinocchio, became a real boy once again. Just as the words were written, they came to life. Hearing Tommy gag and moan while tearing straw out of his mouth and lungs was horrific and made you nauseous, but the audible gasps that followed meant that it was working, and with that, there was hope for Auggie and Chuck. Soon, a renewed Tommy stood before you, shaken to the core and wide-eyed. The three of you stood, and Mr. Nichols tried to approach him gently. However, Tommy scrambled back in fear.

“Stay the fuck away from me!” He wheezed, hoarsely. It was clear that the straw had grated his throat and he wasn’t used to talking after being silent for so long.

“Tommy, son, you’re alright now,” Mr. Nichols started, but Tommy threw his hands in front of him defensively. He was afraid of all of you.

“I don’t know what you, you witches did to me, to teach me a lesson? But I’m getting the fuck out of here. I’ve learned it, okay? I’ll never mess with you again. But leave me alone!” He turned and started sprinting back to his farmhouse.

“He thinks we did that to him?” Ruth asked incredulously.

“So much for a big ‘thank you.’” You said, rolling your eyes.

“Yeah,” Stella agreed, “But...this means it works! We can get the others back!” The revelation caused you all to grin.

Next (Chapter 15)

[shapeshiftersandfire]

WIP Re-Introduction: Project Verna

Full Title: There’s Something Strange About Aunt Verna

SUMMARY Verna Russell arrives in 1893 Mill Valley and draws the attention of the Bellows family. They welcome her as a guest within their home; Verna only intends to stay a few days, but when she discovers what the family’s been hiding from the town for thirteen years, her focus shifts dramatically. Verna stays on with the Bellows family, turning from their esteemed guest to the bane of their existence, all for the safety of the family’s youngest member.

And that would be easy enough, if the Bellows children didn’t start asking questions about Verna’s odd tendencies, wolf-like and otherwise, and her unusually sharp teeth...

CHARACTERS ➳Verna Russell - the newcomer to the family, also known as Verna Bellows; a woman with strange wolfish tendencies and a knack for knowing things she shouldn’t ➳Sarah Bellows - the youngest of the Bellows children, hidden away by the family due to her albinism; spends her days writing scary stories to escape what lurks above her basement room ➳Ephraim Bellows - eldest of the Bellows children; a doctor at Pennhurst; rigid in his ways and unwilling to break from family tradition ➳Harold Bellows - middle child, runs the mill with Deodat; wishes he had the courage to stand up for what he knows is right ➳Deodat Bellows - owner of the mill; a man with deep regrets and no foreseeable way to make amends for his mistakes ➳Delanie Bellows - the family matriarch; harbors deep resentment for more than just her daughter ➳Gertrude Bellows - the blind, elderly Bellows matriarch, mother of Deodat; bitter and angry, known to love little more than opera and her dog

TIMELINES & RELATED WORKS ➳Main (masterlist) ➳Upon the Heads of Sunflowers - in a world where WRU and the shapeshifter empire coexist in an uneasy balance, Sarah Bellows becomes the uniting factor, sucked into the underbelly of the white beast with one way out and no hope of ever seeing her beloved aunt again. (bbu au; in progress; masterlist) ➳Go Tell Aunt Rhody - a family emergency draws Verna away from the house. In the wake of her absence, things take a dark and terrifying turn. And the full scope of the consequences won’t be felt until seventy years later. (canon compliant au) ➳Cobwebs in the Attic - the Bellows are accidentally resurrected in Stella’s attempt to free her friends from Sarah’s book. Verna returns to Mill Valley to put the family back together, but when Delanie doesn’t turn up, they go on the hunt for her, hoping for the best, and bracing themselves for the worst. (sequel to “Go Tell Aunt Rhody”; distantly canon compliant) ➳What Hides in the Woods - Delanie goes for a walk and doesn’t come home. A search is launched immediately, while Delanie, in the clutches of the most dangerous man in town, fights to stay alive. There’s nowhere to run, nowhere to hide, and the only way out is to join what hides in the woods.

TAGLIST (ask to be added or removed) @motelbf​

[batterycityghoul]

31 Days of Halloween Icon Fest: Day 5 - Scary Stories to Tell in the Dark

If you like/want to use, then liking/reblogging is much appreciated.

Icon Fest Masterlist / Icon Masterlist

[tawneybel]

Imagine traveling with Ramón but getting separated and lost. You don’t know your way around Mill Valley, so you don’t know that running into the Milners’ cornfield isn’t what you want to do to escape Tommy’s wrath. Particularly because Harold the scarecrow doesn’t get many cute girls scurrying his way.

It gives him enough motivation to get off his post, take care of that cretin, then take Tommy’s place. Not as a human, no, that wouldn’t be as fun for the strawman. But as your pursuer.

Harold doesn’t hold any ill will towards you, but you’ll still be sore afterwards. ‘Cause he wants to stuff you until you’re splitting at the seams.

[starlightsoiree]

i hope the pale lady knows how much i love her

[ssttitdramon]

I'm not sure if anyone's done this before

[ambermation]

A small piece of what I'm writing.

I scratched and pulled at my skin, trying to get rid of the straw I found. It only kept growing and growing until I no longer had the strength to try and remove it. I kept running, the farmhouse was so close!

I could get help, I could get mama, mama could help me! She had to!

"Ma!" I shouted, I was out of the cornfield. A couple yards away was my house. "Ma!" I tried shouting again, but found my throat constricting. Before I could try anything I started gagging. I managed to make it another foot before collapsing on the ground. I kept gagging as I felt my face become rough, coarse burlap.

Finally I manage to cough up what got in my throat, but I immediately started barfing up what I coughed up:

Straw.

I felt myself loosing consciousness. I manage to turn my suddenly light head one last time. Behind me I saw Harold.

Harold just smiled.

It's gonna be a Ruth x Tommy, which is a ship I would love if Tommy wasn't such an ass. But my friend loves this ship.

[wholesomerat]

Scary Stories to Tell in the Dark

I actually really enjoyed the movie! It doesn't really stick to the books in relativity to how the stories go, but i think it made sense with how the stories were all something the kids have been told before and now the monsters are going after them.

My only big dissapointment was Harold's role in the movie, it was fine by me that they didn't take the skinning a person route (bc pg13 and all), but i felt like he should've had a much bigger part and more screentime. Harold was by far one of the scariest things in those books, but his part felt like it went by so fast.

I feel like the jangly man (who wasn't even in the books) and harold could have reversed roles. I guess they needed a chase monster but "me tie doughty walker" didn't feel like the story for that. Also I don't know why they didn't just put the Jangly man story as "What do you come for?", because "me tie doughty walker" barely came into play.

Still, the story was good and the visuals were amazing! I also loved how they didnt take the easy out and bring any characters back to life at conclusion. I might have to go watch it again to see if i missed any little details.

[tedwithhairclips]

ssttitd characters but they have tumblr accounts:

Stella - lonelyashell

Ramon - leave-me-alone

Chuck - Chuck-steinburger

Ruth - Lookimscarface

Auggie - Pierrottrash

Tommy - harold-rants

Sarah - i-ruined-your-lives

[starlightwoofwoof]

subscribe to harold asmr for more asmr to help you … sleep

[sie-werden-nie-vergessen]

Violet Matthews & Harold Bellows - The Bellows Book/Pearl Street

“She’s dead now....because of me.”

[ysabelmystic]

Spoilers for SSTTITD

But...Harold is the name of the Scarcrow...and also the name of one of Sarah’s family members.

It made me go hmmmmmm

[shapeshiftersandfire]

make our peace: sarah & harold

taglist: @motelbf​​ from @writing-challenges-and-prompts​​‘s dialogue prompt (pronouns changed to fit) “[—-]’s kinda scary, isn’t he?” “I guess? Honestly, he just comes off as being a bit grumpy to me.” “Grumpy and ‘I’m going to murder you’ vibes are two very different things.”

He’s lost track of how long Verna—Aunt Verna—has lived with them, but each day feels like the first day all over again. Harold still hasn’t gotten used to the way her eyes bore into him sometimes, like she’s looking for an excuse to rip into him, really rip into him, and every time she looks at him he thinks that moment is going to be it, and he’s going to see his short life flash before his eyes before she sends him to the afterlife.

Harold, thus far, has only ever had one conversation alone with Aunt Verna, and it wasn’t nearly as scary as he thought it was going to be, not when he compares it to the conversation she had with Ephraim about the way he treats Sarah. Harold is equal parts relieved and afraid of Verna being in the house. Her presence means he doesn’t have to partake in Ephraim’s twisted games anymore, but it also means he feels like he has to watch his back in case he somehow manages to put one foot out of line.

He thinks he’d like to talk to Sarah about it sometime, but she’s always with Aunt Verna, and the only time he can get her alone is when she’s downstairs, and downstairs holds bad memories for the both of them.

But there’s one day where Harold sees Verna, and she’s alone. He knows Sarah isn’t downstairs, she’d had breakfast with them that morning, and then gone off with Verna to wherever it is they go when they’re not with the rest of the family, and he hasn’t seen her since then. He looks around the hallway just to be sure Sarah isn’t close behind, but she doesn’t appear around any corner and Aunt Verna casually makes her way up the stairs.

“Aunt Verna—” It’s still strange to him, to address her as his aunt when she’s not even related to him.

She stops on the landing between the first and the second floor and turns to him, her eyes shining with something that isn’t the chandelier light, fixing him with a curious stare.

“Where’s Sarah?”

Aunt Verna tilts her head, eyes narrowed just a little, and continues to stare at Harold. He shifts uncomfortably where he stands, feeling like he’s on trial for something he hasn’t done or something she thinks he plans on doing. But Verna tilts her head back with a little nod toward the back of the house. “She’s outside,” she says.

Harold wipes his hands on his pants. “Than you.”

Aunt Verna hums a response, and carries on her way.

With a gulp and a shiver, Harold turns away from the stairs and makes his way to the back porch.

Just like Aunt Verna said, Sarah is sitting on the porch swing, one knee bent under her leg, her book propped open in her lap. She’s got her chin in her hand, pen laced between her fingers, staring off into the fields beyond the house. Her white hair is draped over one shoulder. She doesn’t look up as Harold approaches.

“Sarah?”

She turns to him, pale blue eyes wide as she registers who it is, but instead of shrinking away—Harold doesn’t miss it—she looks him up and down as though she’s trying to assess his reason for talking to her. She sighs, raises her eyebrows, sets her pen in the middle of the book, and leans back casually in the swing. “You look like you’ve seen Grandmother.”

“I saw Aunt Verna.”

Sarah nods, then laughs a little, and pats the open space next to her.

Harold slowly sits down. He’s never heard Sarah laugh before, he’s rarely ever seen her smile. It’s a nice sound, like wind chimes in the breeze, and he likes the way she smiles, the way her eyes shine when she does. He thinks he’d like to see that look on her a lot more than what he used to see. “Aunt Verna is kind of scary, isn’t she?”

“I suppose,” Sarah says, tilting her head. She fixes him with a curious stare, then shrugs. “Honestly, she comes off as being a bit grumpy to me. Among other things.”

Harold wipes his hands on his pants again. She’s learned that from Aunt Verna. He shakes his head. “Grumpy and ‘I’m going to murder you’ vibes are two very different things,” he says. There’s a waver in his voice, and if he hears it, so does she.

But Sarah laughs and smiles at him again. “Aunt Verna’s made her peace with you, Harold,” she says, breathing deeply. “You have nothing to worry about from her. It’s everyone else who does.”

That thought doesn’t comfort Harold as much as he thought it would.

“What about us?” he asks, before he can stop himself. Sarah’s smile fades into a cautious stare. “Have we—can we,” he corrects, “can we…”

“Make our peace?” Sarah finishes.

Harold stares down at his lap and nods. He wrings his hands, rubbing circles around one finger, then the other, and repeats, not daring to look at Sarah. He hears her sigh and the swing creek as she shifts her position. She doesn’t answer right away. The silence might have been deafening had it not been for Harold’s heart pounding in his ears. His mouth is dry, his hands are still sweating. He doesn’t know how Sarah is going to respond, if she’s going to lash out and viciously reject him—and she has every right to, he won’t blame her.

Through the pounding in his ears he catches the sound of her tapping on her book. He manages a glance at her; she’s looking down at a blank page, tapping on the inside cover. Her jaw is clenched; she’s weighing her options and choosing her words, and it’s not something she’s doing lightly.

Finally she takes another breath, stops tapping, and says slowly and carefully, “I think…I think we can do that.”

Harold looks up fully, his heart racing hopefully now. Sarah still doesn’t look at him, not yet, but her words have given him hope. He stumbles over what to say, there are so many things he wants to say and all of them sound wrong. His jaw twitches repeatedly as he flounders for a response among so many potential ones before he finally settles on: “You think?”

Sarah nods again, this time with a stalwart glance at him. “I think.”

Relief and joy floods Harold; his limbs go weak, his first instinct is to jump up and thank her profusely. But Sarah doesn’t do well with sudden movements, least of all from him, and instead he forces himself to sit still and smile at her instead, fumbling for a response. Still so many things he wants to say, and still none of them feel right.

“I, um…” He looks down at the porch. “I—Can I…Can I give you a hug?”

Sarah studies him for a moment. Harold expects her to say no, she has every right, he wouldn’t blame her. But instead she takes her pen from where it rests in the spine, gently shuts her book and lays them both on the table beside the porch swing. “I can do that.” She stands first, and Harold lets her. Then he gets up, slowly, and lets her come to him.

Harold isn’t sure who moves first, if it was him or Sarah, though he’d like to think it was Sarah, but the next thing he knows is Sarah’s arms are around him, his arms are around her, and he has her pulled close. It’s tense at first, neither of them have had this kind of contact in…too long. As her soft white hair brushes his jaw, Harold inhales sharply at the realization. It’s been years since he hugged his sister.

He promises himself he’ll never raise his hand to her again.

“I just want to be your brother,” he whispers into her hair.

“I know,” Sarah answers. She hugs him a little tighter. “I want you to be my brother, too.”

[adamwatchesmovies]

Scary Stories to Tell in the Dark (2019)

If you haven’t read Alvin Schwartz’s Scary Stories to Tell in the Dark, you may walk into the film with the wrong impression. This is horror aimed towards children. It’s frightening, disturbing and macabre but don’t expect to wet your pants in terror like you did in The Conjuring. It’s loads of scary fun with great-looking monsters, likable characters, engaging little stories and a narrative that weaves these beloved tales together well.

On Halloween night, 1968, best friends Stella (Zoe Colletti), Auggie (Gabriel Rush) and Chuck (Austin Zajur) prank school bully Tommy Milner (Austin Abrams) and barely evade his retribution thanks to Ramón (Michael Garza). They continue the night’s festivities by exploring the home of long-deceased Sarah Bellows, whom they say told scary stories to children before they'd mysteriously disappear. When Stella begins reading Bellows’ book, she's horrified to discover all of them are characters within it.

Directed by André Øvredal, the movie adapts a selection of the many stories you probably best remember for the nightmarish charcoal and ink illustrations by Stephen Gammell.  You’ll be blown away by how faithfully the monsters have been adapted for the screen. It’s as though the drawings have been brought to life. The scenes with The Pale Lady unsettled me most of all. The use of colour and camerawork in those scenes are not the kind you expect to see in a children’s film - they’re of a higher caliber.

Originally, The Big Toe, Me Tie Dough-ty Walker!, Harold The Dream, and The Haunted House weren’t connected but they are here is ingenious. It bypasses the curse of anthology films by skipping out on the “host” or “wraparound segment” altogether. Despite being aimed towards kids, don't expect SStTitD to take things easy. The characters lean a little bit towards the rascal-y but you like and sympathize with them, making the scenes when they’re in peril that much more effective. In most movies, you can count on the kids making it out alive. Not here.

I don’t usually grade on a scale when it comes to children’s movies. In this case, I’m making an exception. I had fun as an adult. Had seen this when I was 12, it would’ve been legendary. Deep down, many children like to be scared and this is the perfect way for them to get that rush of adrenaline. It's a more intense version of 2015's Goosebumps, the kind of movie you’ll watch every Halloween with your younger siblings and later, you children, nieces, and nephews. Grown-ups will get a few chills but no so many to prevent them from comforting their juniors during the more intense moments and there are plenty of reprieves to prevent Scary Stories to Tell in the Dark from becoming too intense. This one’s got legs, the long, spindly, slimy kind. (Theatrical version on the big screen, August 13, 2019)