Arts

Sleep all day, party all night, never grow old: The Lost Boys come to Fourth Friday Fright Night

Joel Schumacher’s 1987 cult classic The Lost Boys is returning to the big screen as part of the Fourth Friday Fright Night series at the Cameo Art House Theatre on Aug. 22 at 9:30 p.m. for a thrilling, nostalgic ride through one of the most stylish, energetic and unforgettable vampire films ever made.
Whether you’ve seen it countless times or never experienced it on the big screen, this is your chance to see it.
When teenage brothers Michael and Sam move with their recently divorced mom to the sleepy coastal California town of Santa Carla, they think their biggest challenge will be adjusting to small-town life with their eccentric grandfather.
19But they quickly learn the town hides a dark secret: a gang of leather-clad, motorcycle-riding vampires led by the dangerously charismatic David (Kiefer Sutherland). As Michael falls under their influence, slipping further into the undead world, it’s up to his younger brother Sam and the fearless Frog Brothers (Corey Feldman and Jamison Newlander) to save him before it’s too late.
Also starring Jason Patric, Corey Haim, Dianne Wiest and Edward Herrmann, The Lost Boys is equal parts horror, comedy, action and coming-of-age drama. It’s also soaked in neon lights, unforgettable one-liners and a moody, gothic atmosphere that has made it a beloved classic for over 35 years. The film is directed by Joel Schumacher and written by Jan Fischer, James Jeremias and Jeffrey Boam.
When the film debuted in 1987, The Lost Boys broke the mold of traditional vampire cinema. Before this film, vampires were often depicted as mysterious aristocrats lurking in castles or ancient crypts. Schumacher’s vision updated the genre for a new generation: young, wild, rebellious, and undeniably cool. His vampires wore leather jackets, rode motorcycles and hung out in an abandoned hotel under a boardwalk.
They were seductive, dangerous and effortlessly stylish.
The film also brilliantly blends horror with humor and heart. It doesn’t just focus on the monsters, but on the humans caught in the middle of the nightmare. Michael’s internal struggle, Sam’s desperate attempts to save his brother and their mother’s vulnerability in the wake of divorce all add emotional depth to the story.
Plus, it never takes itself too seriously with the dialogue being sharp, the action thrilling and the scares well-balanced with dark comedy.
The soundtrack, too, has become legendary. Featuring songs like “Cry Little Sister,” “People Are Strange,” and “Lost in the Shadows,” the film pulses with a haunting, synth-heavy energy that defines the era. And everyone remembers that beefy sax player. It’s impossible to watch The Lost Boys and not feel swept up in its atmosphere.
For horror fans in Fayetteville, this is not just another movie night, but is a celebration of everything we love about 1980s horror. Vampires, blood, brotherhood, big hair, black leather and a cool soundtrack. What more could you want?
This screening is also the perfect night out for our local Fayetteville Goth Night community. The mood, music and aesthetic of The Lost Boys fit perfectly within gothic subculture. This is a film where darkness isn’t just part of the setting; it’s part of the style.
If you’ve been to Goth Night, you already know how powerful it can be to connect with others who love the same vibe, the same sound and the same sense of dark spectacle. Now imagine that same energy transported into the Cameo's intimate, atmospheric theater.
The Lost Boys is full of quotable lines, “You're eating maggots, Michael,” and “Michael…Michael…Michael…”. The unforgettable imagery and the kind of bold style that today’s horror movies often forget. It's also a time capsule; a portal back to the 1980s, complete with everything that made that decade strange, stylish and wildly entertaining.
If you grew up with The Lost Boys, this is your chance to relive it with friends or introduce it to a new generation. Whether you're a longtime fan, a first-time viewer, a horror junkie or a member of Fayetteville’s Goth Night scene, this is a movie night you won’t want to miss.
Come in costume, bring your friends and celebrate the enduring bite of one of horror’s greatest cult classics.
UPCOMING SHOWTIME:
Friday, Aug. 22 at 9:30 p.m.
Tickets are available at the Cameo Art House Theater box office or online at https://www.cameoarthouse.com/

Back to the Boulevard: Gloria Swanson’s timeless close-up at Cameo

Sunset Boulevard (1950), one of the most iconic and haunting American film noirs, returns to the big screen for a special 75th anniversary screening at the Cameo Art House Theatre on Saturday, Aug. 23 at 4:30 p.m.
This cinematic masterpiece, directed by Billy Wilder and co-written with Charles Brackett and D.M. Marshman Jr. is widely regarded as one of the greatest achievements in the history of Hollywood. It is a bold, darkly satirical look at the inner workings of the film industry and the psychological toll of fame and rejection. At its core, Sunset Boulevard is a story of ambition, delusion and tragedy.
18The film features a stunning performance by Gloria Swanson as Norma Desmond, a once-glorious silent film star who has become a recluse in her decaying Los Angeles mansion. Norma clings desperately to the illusion that she is still beloved by the public and destined for a triumphant return to the screen. When Joe Gillis (William Holden), a struggling screenwriter, stumbles into her life, she sees him as the perfect person to help revive her career. What begins as a professional arrangement quickly descends into a twisted and claustrophobic relationship built on manipulation, loneliness and despair.
Swanson’s portrayal of Norma is one of the most powerful in cinematic history. She embodies the character with equal parts grandeur and fragility, delivering iconic lines such as “I am big. It’s the pictures that got small.” Her performance is not just memorable, it’s unforgettable. Holden's cynical, weary screenwriter serves as the perfect contrast, a man trying to survive in a town that chews up dreams and spits them out.
Adding further depth to the film is the eerie performance of Erich von Stroheim as Max, Norma’s devoted but mysterious butler, who harbors secrets of his own. Von Stroheim, himself a once-celebrated director of the silent era, adds a meta-textual layer to the film’s already rich narrative, blurring the line between fiction and reality. Named after the legendary street that winds through Los Angeles and Beverly Hills, Sunset Boulevard is a film about the myths of Hollywood. We see the dreams it sells and the people it leaves behind. It is a cautionary tale about the cost of celebrity and the isolation that can come from living in the past.
The film was a commercial and critical success upon its release and has only grown in esteem over the decades. It received 11 Academy Award nominations and won three, including Best Screenplay, Best Art Direction and Best Score. In 1998, the American Film Institute ranked it the 12th greatest American film of all time, and it has since been selected by the Library of Congress for preservation in the National Film Registry for being “culturally, historically, or aesthetically significant.”
For film students, writers, actors and creatives in the community, Sunset Boulevard is essential viewing. It’s a masterclass in screenwriting, acting, direction and visual storytelling. Billy Wilder’s writing is sharp and layered, packed with metaphor, irony, and unforgettable dialogue. Swanson’s performance offers a complex, vulnerable look at a woman caught between glory and ruin.
It’s a movie that remains as relevant as ever, particularly in today’s celebrity-driven culture. It poses questions that are still being asked: What happens when fame fades? What do we become when we are no longer seen?

A Gallery of Growth: SEAR artist reflects on new exhibition

A new show at the Arts Council of Fayetteville | Cumberland County is offering a deeply personal reflection on vulnerability, strength, and transformation.
Artist Natalia Perez-Lozano created Where the Wild Becomes Divine, a body of work that explores the emotional complexities of the human experience. Feminine figures, symbolic elements, and bold compositions speak to themes of instinct, identity, and inner transformation.
Untitled design 2The gallery invites visitors not just to view the art, but to feel it, question it, and reflect on their own stories in response.
“When people visit my show, I hope they see more than just the technical skill,” Perez-Lozano explains. “I want them to feel the meaning behind each painting. I hope they notice the composition, the symbolism, and begin to question the creative process behind the work.”
The gallery series is deeply personal to Perez-Lozano. She knows that art often reflects something unconscious that comes through her brush, but she hopes the themes are universal. She hopes to express clearly what she is thinking and feeling through her visual medium, but hopes visitors can bring in their own experiences.
The exhibition is a result of the Southeastern Artist in Residence program’s mission: to support mid-career artists by giving them time, space, and resources to focus on their craft. Perez-Lozano reflects on her six-month tenure at the Arts Council while preparing the final showcase.
“This experience taught me the value of consistency, talent, and staying curious. I gained confidence—not just in my themes, but in my ability to focus. That directly improved my technique. I feel like this exhibition reflects my growth as an artist in every way.”
In many ways, the gallery became a space for mutual discovery. Perez-Lozano found that the workshops and open studio hours she led as part of her residency shaped her work.
“Being able to talk about art with other artists and visitors, especially when kids came through on tours or when someone was genuinely interested in my painting and asked questions, was such a meaningful experience. Just being there, having those conversations, and seeing people connect with the work made the whole process feel alive and reciprocal. It wasn’t just about showing my art, it was about sharing something that sparked reflection and inspiration.”
It’s this engagement with the community that invigorated her process and shows in the gallery show.
The Arts Council’s SEAR program provided the framework for success culminating in the gallery show that brings the work to life. “I’d love for people to reflect on the complexity of human emotion, instinct, and transformation. I hope viewers see a part of themselves in the work, while also connecting to something bigger and more human.”
Where the Wild Things Become Divine will be on display Aug. 1 through 29. The opening reception will be held Aug. 1, from 6 p.m. to 8 p.m. at the Arts Council building, 301 Hay Street.

(Photo: Lady Natalia Perez-Lozano works on a piece at the Arts Council of Fayetteville/Cumberland County. Photo courtesy of the Arts Council)

Gilbert Theater unveils season of song, story, revolution

The Gilbert Theater is a downtown staple that has brought the community together to laugh, cry, and think, performing everything from Broadway hits to talent not yet to reach its fullest potential. Every season is an experience curated by the theater's artistic director.
The 2025-2026 season is packed with familiar favorites and lesser-known gems. Matt Lamb, the newly appointed AD of the Gilbert, has meticulously chosen a lineup of shows that will bring the best and brightest onto the stage and the community and beyond to the seats.
“When choosing this Mainstage Season, I wanted to bring a wide variety of shows that will bring out the best the Gilbert Theater can offer. Each show brings its own challenges and topics of discussion. I want to bring our community together to experience these stories in this beautiful, intimate space,” Lamb said.
13bCabaret (Sept. 12-28)
Watch the lives of locals and expats of Berlin unfold on stage as the Third Reich slowly takes hold of the country and city. Offering an escape from the ever-growing spread of fascist ideology, the Cabaret promises they’ll forget their troubles.
A Christmas Story (Nov. 21- Dec. 7)
Hitting the stage for another round during the holiday season, this fan favorite and always entertaining and nostalgic stage play is based on the 1983 film that still hits the airwaves every Christmas. Follow Ralphie, a 9-year-old growing up in the 1940s, as he attempts to acquire the coveted Red Ryder BB gun for Christmas.
The Revolutionists (Jan. 30- Feb. 15)
Jump back in time and across the sea for a fantastical comedic tale that hits close to home. It’s a true story. Or total fiction. Or a play about a play. Or a raucous resurrection…that ends in a song and a scaffold.
Join four diverse and extraordinarily powerful women: playwright Olympe de Gouges, assassin Charlotte Corday, former queen Marie Antoinette, and Haitian rebel Marianne Angelle as they hang out, murder Marat, and try to beat back the extremist insanity in 1793 Paris.
On Golden Pond (March 20- April 5)
A feel-good multigenerational tale of a retired couple, who have found their rhythm in their differences, are thrust into the roles of new “grandparents” to an already-teenager. Laugh, cry, and learn a little teenage slang in this stageplay about love and embracing the time that we have together.
Rent (May 15-31)
For twenty-eight years, this beloved musical has been produced all over the country, and this year it’s coming to the Gilbert. A timeless tale about falling in love, finding your voice, and living for today, Rent is a year-long glimpse into the lives of the impoverished residents of an East Village building.
The young artists and musicians are navigating life and fighting for survival in the Lower East Side under the shadow of HIV/AIDS. Explore the complex emotions and actions that make us the humans we are, the ones we strive to be, even in the face of adversity.
The Gilbert Theater provides an intimate experience for patrons. Every performance is the culmination of hard work and passion for creating the best show for audiences, from the directors and actors to the lighting and sound staff.
Tickets for individual shows can be purchased at https://www.gilberttheater.com/our-2025-2026-season/. Season tickets can be purchased at https://www.gilberttheater.com/season-tickets/ and start at $120.

(Actors perform on the Gilbert Stage. Photo courtesy of Gilbert Theater's Facebook Page)

Exploring the history of John Lawson and the Tuscarora

“In the middle of a dark September night in 1711 in Carolina, John Lawson found himself captive, tied up and flung in the center of the council ring of the Tuscarora Indian town of Catechna,” writes Scott Huler on the opening page of his book, A Delicious Country: Rediscovering the Carolinas along the Route of John Lawson’s 1700 Expedition, published by UNC Press.
Lawson did not survive. Tradition says he was tortured to death, with wooden splinters pushed into his skin and set afire. On earlier visits to Tuscarora villages, Lawson had witnessed and described this type of torture.
18Who was this Lawson, and why did the Tuscarora put him to death?
In 1700, English-born John Lawson was a newcomer to North America. Almost immediately upon arriving, he set out on foot from Charleston to explore the endless forests of backcountry Carolinas. The notes he took became the basis of a book, A New Voyage to Carolina, first published in 1709 and still a classic for its rich descriptions of flora and fauna and the conditions of the native peoples.
Like most other readers of Lawson, Huler is impressed with his descriptions and attitudes about the native populations. Lawson visited the Sewee, Santee, Sugeree, Wateree, Catawba, Waxhaw, Occaneechi, and Tuscarora. Huler writes, “He stayed in their wigwams, ate their food, trusted their guides. And he emerged with their stories, for some of which he is the only source in the world.”
Lawson, Huler continues, “documented native communities, buildings, agriculture, hunting, dance, trade, and culture through eyes clear, thorough, and respectful. Lawson depicts the natives as fully human—not some subspecies perceived only in comparison to European settlers.”
Lawson’s words were, “They are really better to us than we are to them.”
But Lawson found the native populations to be in a precarious situation.
“The Small-Pox and Rum have made such a Destruction amongst them, that, on good grounds, I do believe, there is not the sixth Savage living within two hundred Miles of all our Settlements, as there were fifty Years ago.”
For Lawson, his explorations and the reports about them opened the door to prominence and high positions in the young colony. That success came to a sudden end in 1711 when he was captured and executed by the Tuscarora whom he had so greatly admired and praised.
Why did they kill him?
UNC-Wilmington professor David La Vere’s The Tuscarora War: Indians, Settlers, and the Fight for the Carolina Colonies sets out in detail the background. The Tuscarora War began in 1711 with Lawson’s execution and a series of attacks by the Tuscarora on the thinly populated and mostly recently arrived settlers in the New Bern area.
Earlier, in the late 1600s and early 1700s, North Carolina was only sparsely settled, mainly by Virginians moving south into the lands around the Albemarle Sound. They encountered small groups of Native Americans and were generally able to subdue them.
However, to the south and west, the mighty Tuscarora strongholds stood as a barrier.
Meanwhile, Lawson’s glowing descriptions about his travels in the colony sparked the interest of the Lords Proprietors, who were looking for ways to encourage settlement. Lawson met a minor Swiss noble, Christopher de Graffenried, who worked out a plan with the Lords Proprietors to transport groups of German refugees and Swiss paupers to lands along the Neuse River near today’s New Bern.
These lands overlapped with the territories of the Tuscarora, who became increasingly threatened by the growing European presence.
La Vere writes that after overcoming odds, “De Graffenried’s colony of Swiss and German Palatines at the mouth of the Neuse River was thriving.” Therefore, he continues, “expansion up the Neuse seemed a real possibility.”
Lawson and Graffenried made a trip up the Neuse through Tuscarora lands to scout sites for future settlements.
“All the while, the Indians grew more worried and angrier as the abuses against them escalated and their complaints fell on deaf ears. The spark for the war came in mid-September 1711,” according to La Vere, with this trip up the Neuse.
The local Tuscarora king or chief, offended and threatened that his territory had been invaded, captured Lawson and Graffenried, and put them on trial for their lives. When one of the more radical leaders berated him, Lawson lost his temper.
“He argued back, his anger and sarcasm apparent to all.”
Lawson, of course, was doomed and was shortly executed. Graffenried remained in custody while the Tuscarora planned and carried out their first attacks on Sept. 22, 1711, appearing at first as friendly visitors to the settlers’ farms and then striking suddenly from ambush when the defenses were down.
North Carolina’s efforts to beat back the Tuscarora were unsuccessful. The colony did not have enough manpower, firepower, or money. Help finally came from the wealthy sister colony to the south.
South Carolina sent two expeditions (including hundreds of Native Americans in their forces) to relieve its northern neighbor. South Carolina’s involvement wiped out the Tuscarora at their stronghold at Neoheroka, near present-day Snow Hill in Greene County, opening the door to settlement in the interior of North Carolina.
What explains why South Carolina so enthusiastically aided its neighbor and how the South Carolina Native Americans were persuaded to provide the critical manpower?
“Above all,” La Vere wrote, “it was a chance to enrich oneself by looting the Tuscarora towns and taking slaves, which they could sell to waiting South Carolina traders for guns and merchandise.”
This sad footnote to North Carolina’s early history shows that the colonists secured their victory in the Tuscarora War only by facilitating and participating in the enslavement and sale of captured Tuscarora.

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