Tag Archives: Brian Keene

A review of “The End of the World As We Know It: New Tales of Stephen King’s The Stand,” 2025

The End of the World As We Know It: New Tales of Stephen King’s The Stand (2025) isn’t a sequel; it’s a hefty companion volume to King’s apocalyptic classic. I had a lot of fun with it, and I cheerfully recommend it to those who love The Stand.

There are 34 stories here, set concurrently with the events of The Stand or afterward. The contributing authors include a few names you are likely to recognize from genre fiction, including Joe R. Lansdale and Chuck Wendig. (Brian Keene actually chimes in with the anthology’s afterward.)

One of the things that I liked most about the book was the multitude of viewpoints, which really flesh out The Stand’s global catastrophe. The reader is introduced to all manner of individuals who witness this world’s pandemic, the ensuing dreams, and the longstanding consequences of Captain Trips and the showdown in Las Vegas.

It’s a diverse group — from cops (both good and bad), to children orphaned by disease, to astronauts aboard the space shuttle, to exotic animals trying to escape their zoo enclosures. (Catriona Ward’s brutal, beautiful “The African Painted Dog” might be my favorite in the bunch.) We even follow the ordeal of people who were never immune to Captain Trips, but who survive in hidden seclusion. The survivors we meet are in such far-flung places as Puerto Rico, Britain, Pakistan … and even other universes.

The anthology suffers once or twice when its entries stray a bit too far logically from the main narrative of The Stand. The stories I enjoyed a little less were those that felt like conventional horror stories shoehorned into our familiar, favorite end of the world.

This book often reminded me of Max Brooks’ World War Z (2006), which depicted a global zombie holocaust through the eyes of a wide variety of survivors around the world. I mean this as a favorable comparison, because I also loved Brooks’ opus.

Most of the stories have no impact on the events of The Stand. But a few do. And if you loved King’s plague-ravaged universe, it’s fascinating to see what was going on “in the background” while the major events unfolded in the original story. Some of the authors took just a single line or minor location from the novel and created an entire tangential story around it.

The authors even continue King’s tradition of linking his books and stories. There are references to a number of past tales: at least two stories from Night Shift; the The Dark Tower series; and possibly Hearts in Atlantis and The Eyes of the Dragon. (I’m sure there were a few that I missed.) This connectivity makes more sense than you’d think, considering the inclusion of a certain plot device — but I will avoid spoilers by saying no more about it.

If you are a King fan, this is really a good read. Grab it if you can.



A quick pan of “The Witch” (2015)

I’ve read that renowned horror author Brian Keene criticized the popular audience backlash against 2015’s “The Witch,” saying that “90 percent of the people in the theater … will be too stupid to understand” it.  Well, maybe I am among the stupid 90 percent.  I’d name this movie as the most disappointing horror film in recent memory, and I’d rate it a 2 out of 10.

I … think I understand it.  I just didn’t like it much.  It is alternately boring and sad.  It is boring far more often than it is sad.  When it is sad, it isn’t the cathartic, meaningful, artistic “sad.”  It’s just kind of a grimace-inducing downer.  There are problems with pacing, tension and story structure.  The movie only gets interesting during its closing several minutes.

These problems, however, are overshadowed by the movie’s biggest flaw — most of the (literal) Puritans populating this period story are so unlikable that you’d care little about what happens to them.  They are verbosely, tiresomely God-obsessed.  I myself might strike a deal with the devil if he’d silence the two creepy tots, and maybe the shrewish, hysterically shrill mother (Kate Dickie), too.  He wouldn’t have to kill them or anything — muting them would suffice.

Yes, the film does succeed somewhat in establishing mood and tone.  But the result is still nothing to write home about.  This isn’t “It Follows” (2014).

The film has two things going for it.  One, as other reviewers have noted, it achieves authenticity quite well.  The sets, costumes and dialogue were so meticulously developed that I actually did believe we were in 17th Century New England.  Two, Anya-Taylor Joy wonderfully performs the role of young Tomasina.

Those two things do not redeem the film, however.  I’d skip this.

 

 

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