Hello everyone, welcome to the Stephen King cast, one man's musing some of the works of Stephen King.

Each week I will review one entry in the bibliography of Stephen King and the chronological order of publication.

And this week, rather than reviewing one of his written works, I'm reviewing 1985's Stephen King's Silver Bullet.

The adaptation of his collaboration with Bernie Wrightson's mix between a short story

and a calendar, Cyclo the Werewolf.

Before we get into the review itself, I want to share the Stephen King's cinematic universe

put together by Michael Rothman, Dan Caffrey, Justin Gerber, Randall Carlburn, and Dan Flevgor

at Consequence of Sound.

If you haven't checked this out yet, you should stop listening to this podcast right now

and head over to consequence of sound.net to check it out.

The Consequence of Sound president and editor-in-chief writes,

back in October, Scott Tobias wrote a condemning case against cinematic universes, arguing that the films conform to a specific template,

includes scenes that are otherwise useless and eventually add up to a confusing viewing.

He's not wrong.

For all of its past glories, Disney's Marvel Cinematic Universe has become an intricate web of cursed narratives

and curious mythologies that will only get more complicated as the waves continue to pummel theaters.

But really, the stories beg for that medium.

The universe allows them to get away with an Avengers film that doesn't feel too over or underwrought.

The problem is that everyone's doing it. DC films

tipped off theirs in 2013 with Man of Steel. Fox continues to stretch out their X-Men franchise, and

Sony's doing something with Spider-Man, we think. The difference lies in execution. Whereas

Marvel has spent the better half of a decade or even maybe more planning theirs,

...