Illfonic Maps Out Year Two of Free DLC on Ghostbusters: Spirits Unleashed

Feel that chill in the air? It’s Garraka coming to Ghostbusters: Spirits Unleashed! Fresh off of the new Ghostbusters: Frozen Empire film, Illfonic’s asymmetrical 4v1 multiplayer game is getting some pretty impressive adds including characters and elements from the new movie this spring. But that’s not all, coming in the Summer in celebration of the 40th anniversary, the hits will keep on coming. Here’s the full press release from Illfonic:

GHOSTBUSTERS: SPIRITS UNLEASHED YEAR TWO ROADMAP UNVEILED

Year 2 Focuses on Feel, Gear/Gadgets, and Ghastly Ghosts in FREE DLC Plans

 

March 25, 2023 (Lakewood, CO) - Ghostbusters: Spirits Unleashed, a 4v1 haunt-or-hunt action-packed video game, from the asymmetrical multiplayer experts at IllFonic is primed to release new information on the game's year two, FREE DLC roadmap. Fans can expect a heightened focus on interactive play and so much more.

"We have been so focused on building an immersive world, one fans would recognize and appreciate," remarks Jared Gerritzen, Chief Creative Officer at IllFonic. "Our goal now is to double down on the feel. As a long-time Ghostbusters fan, I want to feel immersed. Our drive for DLC year two: heighten the fun, heighten the experience."

IllFonic has planned four major DLC releases throughout 2024. The first release, in March, will coincide with Columbia Pictures’ upcoming release, Ghostbusters: Frozen Empire, out in theaters on March 22. Fans will get to try their hand at taking down Garraka, master of the Death Chill and the newest villain to join Ghostbusters lore. Or maybe fans want to play the heavy themselves and plunge the world into a new ice age. Either way, this DLC will let fans live out experiences inspired by the new movie's adventure. The free DLC will also include more Ghostbuster gear - proton packs, suits, and more.

Future DLCs will also include a 40th Anniversary announcement, a return of a fan favorite, a bounty challenge for the ages, and more. Each DLC focuses on gameplay, a ghastly ghost, and team gear/gadgets to make busting feel oh-so-good. No matter what, fans of Ghostbusters have the chance to unite forces or rally against each other seamlessly across platforms, whether playing on PC/Epic Games Store/STEAM, PlayStation®5, PlayStation®4, Xbox Series X|S, Xbox One, or Nintendo Switch.

In Ghostbusters: Spirits Unleashed, Ray Stantz, and Winston Zeddemore open the Firehouse to you and the next generation of Ghostbusters. This asymmetrical game of hide and seek is a 4v1 setup where players will either be part of a team of new Ghostbusters or a Ghost. This title not only allows players to enjoy the game solo or with up to four friends but also features an online and offline single-player mode available in the form of bot-assisted play. Most importantly, the more you play, the more the story will unfold (with cutscenes). Whether haunting or hunting, the game is easy to learn and fun to master!

More About the Game:

Ghostbusters: Spirits Unleashed has all the iconic gear and gadgets, from Proton Packs to P.K.E. Meters, and Ghost Traps that fans would expect and new gamers to the universe will enjoy when playing as a Ghostbuster. In addition, many will recognize the Firehouse and Ray’s Occult Books that act as the game’s hub. This is where players will choose missions, customize their characters, practice firing their particle throwers, and explore all there is to learn. And yes, you will hear the original film actors reprising their roles as Ray Stantz and Winston Zeddemore, along with some new friends!

As the Ghost - Ghosts have multiple abilities in their arsenal, like possessing objects, of course, sliming, and more, that make haunting all the various locations a blast to play. Choose from up to five Ghosts with unique skills, ultimate abilities, and commendable minions fueled by ectoplasm. Fly around public locations and possess an inordinate amount of inanimate objects to evade pursuing Ghostbusters. Frighten citizens until they flee in fear, prank unsuspecting Ghostbusters, and hide your rifts to spawn safely in case you get trapped.

As a Ghostbuster - Be one of the four proton pack-wielding Ghostbusters and attempt to catch a Ghost haunting unique locations with your trusty ghost trap and tools. Use the P.K.E. Meter to sniff out rifts that act as the Ghost’s spawn points and destroy them with your Proton Pack’s particle thrower before the Ghost completes their haunt. As players progress, they will unlock cosmetics and upgrades for both Ghostbusters and Ghosts to evolve their gameplay experiences. The look and feel will deliver to fans an immersive experience in the universe, allowing them to play out their Ghostbusting fantasies.

Locations - Explore multiple unique locations, including a museum, winter lodge, docked ship, multi-leveled prison, an active brewery, and more. Complete challenges, customize your Ghostbuster and Ghosts and locate hidden spores, mold, and fungus to gain access to more unlockables.

Game Tip - As you play more, a story arc unveils itself. Follow the requests of Ray Stantz and Winston Zeddemore to uncover cutscenes that build an exciting tale! Yes, it’s multiplayer with more…

Ghostbusters: Frozen Empire Full Score Analysis

It’s always a pleasure to hear a new film score, doubly so when I get the rare chance to absorb and reflect on a new Ghostbusters film score. With Ghostbusters: Afterlife, Rob Simonsen composed a lovely tribute both to Elmer Bernstein’s original 1984 score AND the film scores of the 80’s we’ve come to know by heart. With the latest installment, Ghostbusters: Frozen Empire, composer Dario Marianelli takes themes from Elmer Bernstein, Rob Simonsen, and adds his own artist stamp to them. The result is a wonderful, big, sweeping score. With hints of the familiar and a lot of new music to pour over. There are a few new key themes that Marianelli has introduced, including a new romantic theme akin to Dana’s Theme from the original, and a new motif dedicated to the ancient Ghostbusters that have come before.

Marianelli’s score also holds the distinction of being the first Ghostbusters film that doesn’t contain a lot of needledrop, or popular music by other artists throughout. The original film obviously had a chart-topping soundtrack with all the artists Arista Records wanted to throw at the film. Ghostbusters II likewise with MCA. Answer the Call had a pretty rocking soundtrack, albeit so many variations and samplings of the Ray Parker Jr. theme song included, it may be what has given pause in the last two films from overusing the theme. Ghostbusters: Afterlife had several really great Americana cues and a full-volume featuring of the Buzzcocks’ Boredom. Ghostbusters: Frozen Empire features only two needledrop songs: “Love is Strange” by Mickey and Sylvia (which will be familiar to fans of the 80’s Dirty Dancing), and a brief instance of diegetic music heard at the beach through a sunbathers’ radio. So the score has to do all of the heavy lifting throughout the film.

As has become custom since the long-awaited release of Randy Edelman’s amazing Ghostbusters II score, GBHQ is going to attempt to breakdown each of the music cues that appear on the soundtrack, provide a little commentary, and get a better understanding of the new music that we’ve been gifted with. If you haven’t seen the film, spoilers are plenty in the text below since detailing action on-screen to mirror the score is necessary.

Got your copy queued up and ready? Let’s go!

Manhattan Adventurers Society

Where Ghostbusters: Afterlife’s score had a lot of heavy-lifting to set the mood through a variety of studio vanity cards, Ghostbusters: Frozen Empire’s first music cue begins right as we see the Ghost Corps logo. The Yamaha DX-7, played by Peter Bernstein is front and center as that familiar synth chime kicks things off. While I wish the chime could have hit on that Columbia Pictures logo, since the studio is celebrating its 100th anniversary, they get a big and sweeping card with their theme. Which is fitting, and it’s great that Ghostbusters gets to be a part of this big studio celebration. Maybe from this point forward, the Yamaha chime becomes synonmous with the Ghost Corps logo? That would be fitting.

Some dark and ominous tones replicate the same draw that pulls you into the world of the film that Rob Simonsen created for Afterlife, but this go-round the Yamaha takes a little chime walk as we see the Ghostbusters firehouse. But wait, something is different. A lower third informs us this is the firehouse in 1907 as a steam bellowing horse drawn fire wagon bursts out the firehouse doors. This flashback sequence is fantastic and a welcome addition to Ghostbusters - our first period look to the past in the series. Marianelli’s score keeps tempo with a ticking clock sense of urgency as we follow the firefighters to a call. Dark bass-heavy piano and a large orchestra hit jar us from the spooky — there’s a little bit of a music edit here specific to the soundtrack that skips over the entirety of silence where the firefighters discover the frozen adventurers and straight to our look inside the orb at Garraka’s glowing, ominous eyes opening and then we’re into Ray Parker Jr.’s iconic them— wait a second…

Here we get to a moment that I’m sure will be widely debated and I was, frankly pretty surprised by: rather than the cold opening leading into a refrain from Ray Parker Jr.’s needle drop, Kenan and Marianelli have instead chosen to play a minor chord sting from the bouncy Ghostbusters rag theme over the materializing no-ghost logo and title. Timing-wise, I have a feeling it could have gone either way, and perhaps there even was an alternate edit at some point in post production where that RPJ song kicked into high gear over the logo just like the first two films. But here is something cool and unique.

Personal preference, I think the pop tune kicking into gear would have juxtaposed and really built energy into the Ecto-1 tearing through rush hour traffic in the next few shots. But what I think happened here was, Ghostbusters: Afterlife had a solemn challenge of putting a title card after the on-screen death of a character. If that character would have been a no-name victim of a ghost encounter, the energy is different and perhaps the Parker Jr. theme would have worked going from the attack into a title card. But this was the death of Egon Spengler and, sadly for the real world, seeing how Harold Ramis would be written out of the series. The theme song wouldn’t have been appropriate. Ghostbusters: Frozen Empire has the luxury of that aforementioned setup, but also chose not to give the movie theaters’ sound system a booming treat with the theme song and found a middle ground between what happened in Afterlife and what happened in the original two films. I’m guessing that, as the film is a passing of the torch, so too are we thematically passing the torch here too. The theme was for the OG’s in the 1980’s. The new crew either hasn’t earned that theme yet, or they’re forging their own territory where the bouncy Ghostbusters rag composed by Elmer Bernstein is their Hail to the Chief.

How do you feel about it? Let’s hear in the comments.

The Sewer Dragon

Arguably one of the best action sequences in the film, and possibly topping the Muncher chase in Afterlife as my favorite in-motion Ghostbusting scene, the Spengler Family chases the serpentine New Jersey Sewer Dragon through the busy streets as the aging Ecto-1 provides a few additional challenges for the team. A pulsating action cue with some sweeping orchestral lifts keeps the energy high at the top of the cue along with a few Mickey Mouse-d “uh oh” moments as obstacles are encountered. A military march of the Ghostbusters rag confidently tells us that this isn’t the Spenglers’ first rodeo, and they’re in charge, despite how things may look on screen.

At about the 2:40 mark, Marianelli starts to show us how his score might be a little different from his predecessors: a very Gothic and cathedral sounding rise of organ and percussion makes everything sound big. An almost Phantom of the Opera or more even Danny Elfman-esque moment that musically sets this score apart. Randy Edelman had a similar instinct in the Ghostbusters II score, to include these large organ and choir moments and it’s fun to hear Marianelli venture into similar territory as it really fits the world of Ghostbusters well.

FIREHOUSE

I’ve heard both Jason Reitman and Gil Kenan on a couple occasions refer to the family living in the firehouse in Ghostbusters: Frozen Empire as being akin to The Royal Tenenbaums: a family living on top of one another in a place that shouldn’t be housing a family of four. This wonderful cue accompanies a shot that would make Wes Anderson proud, moving from window to window to show the residents interacting with one another. Curiously, there’s a heroic establishing shot of the Hook and Ladder No. 8 that pulls us out of the Mayor Peck scene and a sweeping music sting that isn’t present here on the soundtrack. This one’ll take some future viewings and listenings to determine, but I’m wondering if it’s a music edit from a piece in the score elsewhere.

Ray’s Occult

(Write-up coming soon, keep checking back!)

A Ghost in the Attic

(Write-up coming soon, keep checking back!)

Chess in the Park

(Write-up coming soon, keep checking back!)

When the Light is Green

(Write-up coming soon, keep checking back!)

Paranormal Research Center

(Write-up coming soon, keep checking back!)

A Call

(Write-up coming soon, keep checking back!)

The Orb

(Write-up coming soon, keep checking back!)

A Tour of the Firehouse

(Write-up coming soon, keep checking back!)

Slimer

(Write-up coming soon, keep checking back!)

Dadi’s Secret Room

(Write-up coming soon, keep checking back!)

Should We Investigate?

(Write-up coming soon, keep checking back!)

Dr. Wartzki

(Write-up coming soon, keep checking back!)

Patience

(Write-up coming soon, keep checking back!)

Golden Years

(Write-up coming soon, keep checking back!)

It’s Your Turn

(Write-up coming soon, keep checking back!)

Ionic Separator

(Write-up coming soon, keep checking back!)

Now He Can Control You

(Write-up coming soon, keep checking back!)

The Horns

(Write-up coming soon, keep checking back!)

Back to Headquarters

(Write-up coming soon, keep checking back!)

New Proton Packs

(Write-up coming soon, keep checking back!)

Possessor’s Mistakes

(Write-up coming soon, keep checking back!)

Was Any of it Real?

(Write-up coming soon, keep checking back!)

Last Frozen Stand

(Write-up coming soon, keep checking back!)

The Thawing

(Write-up coming soon, keep checking back!)

In the Fabric of the Universe

(Write-up coming soon, keep checking back!)

This analysis will continually be updated until we’re finished. Keep checking back for new updates!

Ghostbusters: Frozen Empire, Now in Theaters!

Just a little over a year after it began principal photography, Ghostbusters: Frozen Empire is now in theaters! Available in large format IMAX and other booming and crystal-clear theatrical experiences like Dolby Cinema, the latest installment of the Ghostbusters film franchise is not to be missed on the big screen. To find a theater near you and get tickets now, visit ghostbusters.com — and stay tuned to GBHQ for full coverage, reviews, and analysis to come!

Ghostbusters: Frozen Empire Soundtrack Coming to Digital and CD

Sony Masterworks will be releasing composer Dario Marianelli’s new score for Ghostbusters: Frozen Empire on digital platforms March 22nd, and later on CD April 2nd. No word on a vinyl release, but keep in mind that Ghostbusters: Afterlife’s score was released on vinyl in very small quantities through Movies on Vinyl, there’s a good chance any album release of that nature might be the same.

A track listing is available out there, but we’ll withhold from posting here in fear of any spoilers that might be hiding. As always, plan on a lengthy score analysis here on GBHQ at some point in the future.

GBHQ and the Crossrip podcast will have a fun giveaway to celebrate the release thanks to our friends at Sony Masterworks, stay tuned for more details!

Ghostbusters: Frozen Empire Premieres in NYC

This week in New York City, Ghostbusters: Frozen Empire held its world premiere at the Lincoln Square AMC. After a fun event at the Hook and Ladder No. 8 firehouse (which had the iconic No-Ghost sign moved into its traditional place and was “frozen” over by production designers to appear as it does in the film), and a rockin’ Yes Have Some Podcast party on Wednesday evening, the red carpet was unrolled and celebrities and fans alike got their first glimpse at the new film.

Much of the main cast has been running the talk show circuit, with Paul Rudd appearing on Seth Meyers, Bill Murray and Ernie Hudson being joined by Ray Parker Jr. on the Tonight Show with Jimmy Fallon, and Patton Oswalt sitting in the chair on The Late Show with Stephen Colbert.

Also at the event, Mercedes-Benz unveiled their Sprinter Van “Ecto-Z” that appears in the film, and fans got their first look at the amazing Proton Pack rack that is built into the car, offering a little backup to the Ecto-1 when the car is a little too full for that gurney o’ packs.

All-in-all, a fun and fan-filled event. Make sure to catch the film on March 22nd in a theater near you, and stay tuned to the HQ and the Crossrip podcast for more coverage!

Let's Build the Fanhome Ecto-1: Issue 30 (Stages 111 through 114)

Welcome to the next segment in our amazing Eaglemoss/Fanhome die-cast Ecto-1 build series. What began on the Ghostbusters Interdimensional Crossrip podcast continues here on the HQ website in a bit more detail. Want to build along with us? You can start from issue one (or if you started before Eaglemoss ghosted us all, you can also sign up to resume where you left off with Fanhome).

Last time on the show, we build Issue 29. You can check that out here. But this go-round, we’re diving into Issue 30, which really starts to put some of the finishing touches on the exterior of the Ecto and really bring it together.

Issue 30 has a few challenging steps, but still not the hardest among those (that distinction continues to belong to some of the initial engine building stages and for one particularly harrowing stage coming up in Issue 31. More on that in the next edition).

Stages 111, 112, and 113 will seem awfully familiar. Particularly if you’re saving up some shipments and building things in batches. These three stages are essentially the mirror of what was done in the previous issue for the Right Rear fin and reflector/lights. Refer back to our previous build blog for more on those and, well, just reverse it in your mind. A lot of the same challenges apply here to keep pieces in place while adhering them together with screws.

Once again, some painter’s tape really becomes your best friend, particularly as you’re trying to keep the wires in place behind the fins and the skirting (and to keep them attached to the small clips that are provided to wrangle a little). As more components of the car are permanently put into place, the wires do start to become a little less jumbled. But a little bit of easy to remove tape to the chassis of the car and/or a little wrap around some of the bundles will save you a world of headache.

Stage 114 is a great stage because it pretty much tops off the rear cargo area of the Ecto and, sans the roof rack gadgets and gak, gives you a pretty photogenic look at how the end product of your car is going to look!

Once again, wire wrangling ends up being one of the most difficult parts of this stage as you have to make sure that the wires for the lights are threaded into the small space just below the point where you’re about to place some chrome skirting. It takes a little bit of wiggling, but I was able to get the wires to stay in place as I snapped the skirting into place without tape this go-round.

It’s a bit unfortunate that I’ve gotten so used to flipping the car on its top to do work since, in the next issue, we’re about to start adding some of the roof rack lights and components. Which then means you need to very carefully place the car on its side when you’re doing work like this. Keen eyes will also note that I haven’t swapped out the passenger door for the fix that was received in the previous issue. At this point, reverse engineering to get the door off and back on might be a bit tricky and I’m still weighing just how much effort (and potential of breaking something) getting rid of that side-view mirror post is worth. Any thoughts? Let me know in the comments.

After you get the skirting on comes the fun part, attaching the rear license plate to the fender, then strapping that onto the back.

Once it’s on there, the rear end of the car is looking pretty close to done. You’ll see that some of the chrome trim that is applied with sticker glue is still peeling off. Basically all the points that I HAVEN’T dropped a little bit of Gorilla Glue onto are peeling up and sticking out. I’ve decided to wait until I’ve married the body of the car to the chassis before I start putting those little dabs of super glue on the trim and making sure they stop peeling, but it really is a nuisance. For all of the attention to detail and engineering on this awesome model, having those pieces just be metallic stickers that don’t permanently stick is a weird oversight. But easily remedied during a bit of clean up and polish when this is all said and done.

Lastly, in this issue, you receive the last component of the indicator arm that is going to finally allow you to affix the steering wheel onto the driver’s side column from way, way back in the day. Thank goodness I have one giant gallon-sized Ziplock that I kept all the small pieces that Eaglemoss wanted you to set aside for later (and that I didn’t lose said bag). Here’s the rub - the new indicator arm that is received, is pretty much identical to the one received previously with one exception, that it has a rubber spacer instead of being one full piece.

Don’t do as I did and put both of the indicator arms down and forget which is which because I had to cheat and go check out the amazing build happening at MyEcto1.com to remind myself which one was the new one and which one was the old one.

Once you swap out the indicator arm, it’s fairly easy to slot it onto the steering column and lock the wheel in place with a single screw. Then the end cap just snaps on there to cover up your work (another place that I feel might need just a little dab of Gorilla Glue to keep that from popping off at some point in the distant future).

After that, you’re all done and ready for the next issue!

Our thanks to the good folks at Fanhome for reviving the subscription build, sending us stages for review and for keeping the engine running for us all. If you’d like to start up your subscription, now is the time as they’re only offering new and continued subscriptions for a limited time… presumably because they’re dealing with the limited stock from the Eaglemoss days. So act now if you’re interested and happy building!

New Ghostbusters: Frozen Empire Trailers Drop

With March 22nd (still the 29th in international territories) fast approaching, the marketing campaign for Ghostbusters: Frozen Empire has kicked into high gear — and boy does this car have some zip. Two new trailers, one US-specific and another international dubbed into multiple languages that is almost entirely a second and different trailer have hit the airwaves and… well, I defy any fan of Ghostbusters who is reading this website to watch one or both of these and not be excited for what’s to come.

And something tells me that we ain’t seen nothin’ yet.

US Domestic Trailer

International Trailer

A New Wave of Hasbro/Kenner Ghostbusters Product Hits Shelves

After the ball dropped in Times Square and the ol’ yearly odometer clicked over to 2024, eagle-eye collectors started noticing new Ghostbusters toys hitting shelves, particularly at Target stores. Well, Hasbro has made it official, here’s all the offerings they’re sending to a store near you to coincide with the release of Ghostbusters: Frozen Empire, including another round of retro-release Real Ghostbusters Fright Features figures!

Ghostbusters Track & Trap Ecto-1

(Ages 4 and Up/ Approx. Retail Price: $29.99/ Available: Now)

The Ghostbusters are back, chasing down ghosts and ghouls through the streets of New York! Re-create favorite scenes from the entertainment with this Ghostbusters Track & Trap Ecto-1 toy car. Swing out the blaster seat and launch a projectile or deploy the rooftop drone trap to imagine chasing spooky specters up into the air. Includes a Fright Features Slimer toy accessory, featuring Ecto-Stretch Tech for rubbery, stretchable ghost play. This vehicle is compatible with the Fright Features 5-inch action figures each sold separately, subject to availability). Available now at participating retailers , including Target, Big Bad Toy Store and more.

Ghostbusters Zap & Blast Proton Blaster

(Ages 5 and Up/ Approx. Retail Price: $29.99/ Available: Now)

Many different ghosts haunt the world and with this Ghostbusters Zap & Blast Proton Blaster, kids can be ready for any unruly apparition! Gear up as an official member of the Ghostbusters with this proton blaster, featuring LED light effects and 20+ sound effects, inspired by the Ghostbusters entertainment. Blast any class apparition in normal mode or use the “Specter Wavelength” button in Ghost Getter mode, pull back on the barrel to charge-and-reveal a color-changing proton stream. Look for more Ghostbusters-inspired toys, including action figures, vehicles, role play toys, and more (each sold separately, subject to availability). Available now at participating retailers, including Target, Big Bad Toy Store and more.

Ghostbusters Squash & Squeeze Slimer

(Ages 4 and Up/ Approx. Retail Price: $29.99/ Available: Now)

Slimer, the mischievous green ghost from the Ghostbusters entertainment is back to haunt collections! This 7-inch Ghostbusters Squash & Squeeze Slimer interactive toy ghost features over 40 spooky sounds to discover with a jiggly, squishy texture that feels icky yet awesome to the touch. Fly, shake, or swing Slimer as he reacts with motion sounds. Press his tongue to hear munching sound effects, ghostly and ghastly burps and more. Look for more Ghostbusters-inspired toys, including action figures, vehicles, role play toys, and more (each sold separately, subject to availability). Available now at participating retailers.

Ghostbusters Fright Features 5-inch Figures

(Ages 4 and Up/ Approx. Retail Price: $9.99/ Available: Now) 

The Ghostbusters are officially back in business, chasing down ghosts and ghouls through the streets of New York! This Fright Features Callie Spengler, Gary Grooberson, Phoebe Spengler, and Trevor Spengler 5-inch figures features entertainment-inspired design and detail, 5 points of articulation, and comes with a Ghostbusters toy Proton Pack with Ghostbusters blaster wand accessory. Also included in this Ghostbusters figure set is a Fright Feature Possessor accessory featuring Ecto-Stretch Tech. This fun, rubbery, ghost easily stretches, so kids and collectors can pull it over the figure and imagine her possessed by a poltergeist. Look for more Ghostbusters-inspired toys, including action figures, vehicles, role play toys, and more (each sold separately, subject to availability). Available now at participating retailers, including Amazon, Big Bad Toy Store and more.

Ghostbusters Kenner Classics The Real Ghostbusters

(Ages 4 and Up/ Approx. Retail Price: $14.99/ Available: Now)

Join The Real Ghostbusters as they rid New York City of pesky poltergeists! Kenner Classics Ghostbusters toys are designed to replicate the original 1980s Ghostbusters figures, based on the animated series The Real Ghostbusters. Fans can relive the nostalgia with collectible packaging that features the original Kenner branding. Look for more Ghostbusters-inspired toys, including action figures, vehicles, role play toys, and more (each sold separately, subject to availability). Available now exclusively in-stores at Target and at other participating retailers beginning in April.

Ghostbusters: Frozen Empire Will Arrive A Week Early!

Deadline is reporting that Sony Pictures has pushed the release date of Ghostbusters: Frozen Empire UP from March 29th to March 22nd. According to the article, the extra week affords the film another shot at catching kids on their Spring Break, and also gives a lead-in to the previous release dates’ Easter holiday weekend for some.

Says Deadline:

Set to screen in IMAX and premium large formats, the latest picture in the storied Ghostbusters franchise watches as the Spengler family returns to where it all started – the iconic New York City firehouse – to team up with the original Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age.

The film was already under a tight schedule, so trimming off a week must mean that they’re nearing the finish line and the studio has a great deal of confidence in the film. And for us fans, it means one less week to wait to check out the latest installment in the series! See you all in theaters one week earlier!

See How the Spenglers Got from Summerville to New York with "Back in Town"

Coming March of 2024, the bridge between Ghostbusters: Afterlife and Ghostbusters: Frozen Empire will be built with Dark Horse Comics’ Ghostbusters: Back in Town. The four-issue mini- series is written by David Booher (Canto, Killer Queens), art by Blue Delliquanti (Adversary, Across a Field of Starlight), colors by Mildred Louis (Rick and Morty), and letters by Jimmy Betancourt of Comicraft. The first issue's cover will be illustrated by Kyle Lambert, with a variant cover by Steve Morris.

The first issue hits March 27, 2024 and retails for $3.99!

For more on the series, head on over to Dark Horse Comics here.

Ghostbusters: Frozen Empire - Teaser Trailer Full Breakdown

In the grand tradition of GBHQ trailer breakdowns, here we go with everything that’s fit to digitally print on the recently released teaser trailer for Ghostbusters: Frozen Empire!

The trailer pulls a great switcheroo in the style that has become common-place for large blockbusters like this, which really bums me out that the first experience many (if not all) of us have had with this teaser is seeing it on our phones, tablets, computers, what have you knowing that you’re watching a trailer for a new Ghostbusters movie. Can you imagine being in the theater, the lights darken, all the ads finish, the green band MPAA rating pops up, and then you see this not knowing it’s coming? The first 20 to 30 seconds of this trailer are wonderful and tense moments where you’re waiting for the turn. I have to imagine that circa-1988 Troy would have lost his mind with that unexpected firehouse reveal.

Ghostbusters: Frozen Empire (more on the title a bit later) looks to be a great departure for the series, opening up the world both in terms of visuals and story, and seems to speak to literally all of my preferences and loves in life: Ghostbusters and the cold and snow. In other franchises like Star Wars, the ice planet Hoth continues to be among my favorites. Possibly the Colorado kid in me that I just love the aesthetic of a wintery snowscape. And it’s no secret that I hate warm weather and prefer the cold, give me those fall and winter clothes and coats and wardrobe any day.

But I’m getting ahead of myself, let’s do it, eh?

IT’S A CRUEL SUMMER

The studio logos thud with the opening percussion of Cruel Summer and Lady Liberty is seen with some very orange-hue sunshine. It’s hot. It’s summer. Is this a Michael Bay summer blockbuster? Are we about to see a teen summer film trailer? What’s happening? I do love the fact that Bananarama’s Cruel Summer is used here both because it’s such a staple of the 80’s and immediately transports you into that mindset, but also because writer/director Gil Kenan is such a proud “formerly from Reseda” resident that there’s a little but of his Daniel LaRusso Karate Kid attitude present in the trailer here either consciously or unconsciously. You have to think it’s a little conscious given how close attention a scene of teens playing with a soccer ball on the beach gets.

A radio voice tells us that it’s a scorcher out there with heat alerts and record breaking temps on the horizon for New York and New Jersey. Kids are playing with an open hydrant. The Wonder Wheel is spinning with denizens at Coney Island splashing in the water. Eric Steelberg’s cinematography is on full display here as a slice of life has never looked better and more appealing. This idealized scene certainly won’t last, will it?

Sure enough. The song grinds to a halt, as does the Wonder Wheel. Something is amiss.

From the water, a storm cloud closes in and all the swimmers flee as if they’re leaving Amity in a hurry. Heavy Jaws vibes here, and that you know is intentional.

Spikes emerge from the ground and the Wonder Wheel flash freezes. Then comes this frame which: tell me I’m watching a Ghostbusters movie without telling me that I’m watching a Ghostbusters movie:

“Somebody get me the Ghostbusters.”

Chaos as the flash freeze hits Manhattan and the ice spikes emerge from the ground, we’re fully in disaster movie territory as we see a taxi cab impaled from street level. Fortunately for anyone in that cab, it looks to pierce right through the middle. Whew. The rumbling subsides as we follow the street toward a familiar looking building and Elmer Bernstein’s familiar Ghostbusters twinkle plays in the score.

I love this shot for a variety of reasons. Firstly, the camera move is evocative of that teaser trailer for Afterlife that followed the ground of a farm into the open barn to reveal the Ecto-1. Secondly, what an image, right? The Ghostbusters are surrounded. Claustrophobically closed in by the ice and spikes. The threat is visual. It’s overwhelming.

Hit It

The screen dips to black and we hear an engine rev. Could it be? You’re damn right it could be.

The Ecto-1 peels out, pulling off a full U-Turn at top speed and knocking over some trademark NYC garbage in the process. I’ve seen some criticism mainly on forums that the Ecto-1 in the original two films was slow and lumbering and it’s jarring to them to see the car pulling these high speed maneuvers. And, while I completely agree that the coughing and chunky Ecto of the 80’s was the car’s personality at that point in time, the car has obviously been souped up since the 90’s. Even if it was left to rot in a barn, a gearhead like Ray and someone who loves the car like Winston would have been futzing with that thing every day for decades. People change, so can cars. And the energy and excitement that a full-speed Ecto can provide for a film gives it a dynamic that harkens back to The Real Ghostbusters which we’ve learned from Kumail Nanjiani was a touchstone for this film and the filmmakers.

The Death Chill

The trailer kicks into high gear as we hear Patton Oswalt’s new character explain that for the first time, someone froze to death in New York City in July. Phoebe, in full (snow covered) Ghostbusting gear, stands next to the firepole in a darkened and ominous firehouse. Trevor, Lucky, and James Acaster’s new character stand side-by-side looking at something unseen. A very dapper looking gentlemen is suspended in frozen animation. Callie head turns with concern, also standing in what looks like the garage bay of the firehouse.

An apartment door bursts open having been frozen as Phoebe - standing next to Podcast who is seen for the first time asks, “What is it?” And, after a quick hero shot of Kumail’s new character, the answer comes from the one and only Ray Stantz. It’s the death chill.

As Ray gives us the exposition that you are literally scared to death and the last thing you see is your eyes freezing, the trailer rapid fires amazing and tantalizing imagery including a backdraft puff of smoke sucking back through the crack of a door, a hero shot of Paul Rudd’s returning Gary Grooberson, Winston Zeddemore and Peter Venkman, suited up and standing in front of the Ecto looking at an unseen threat, and one of the New York Public Library’s iconic lions snarling and roaring at what looks to be Ray based on the denim shirt he’s been wearing since 1984. Ha!

I Think We’re Going to Have to Put a Little Overtime Into This One

If ever Ray Parker Jr.’s theme song was going to kick in and we see flashes of the team saving the day, now would be about the time you expect it to happen. But this is, after all, just a teaser trailer and both of those particulars are saved for another occasion. Instead, a quick and violent shot of the firehouse doors being ripped away as we look over the shoulder of a couple of busters (and is someone holding some sort of new handheld piece of gear on the left? Dude. Can’t wait to see what that is.)

The street buckles and tears and threatens both our heroes and the Ecto-1. Trevor, Callie, and Gary are pinned against a wall in the firehouse with the ice spikes closing dangerously close to them. The wall around the containment unit cracks and shakes, threatening to collapse (and does that mean another containment breach could be possible?).

Bathed in ominous red light in a shot that looks straight out of a tense moment from James Cameron’s Aliens, Lucky appears to be in a bit of a pickle. From behind, we see a gnarly looking creature of some sort, perhaps the new big-bad, locking a broken horn into the socket on the side of its head. Oh man, is that creature design cool and we’re not even seeing the full breadth of it, I’m sure.

More flashes. James Acaster’s new character, surrounded by darkness and using a flashlight to illuminate something (and wearing one of the much touted by fans’ parkas, more on that in a second). Gary, Callie and Phoebe all suited up and trying to keep warm (love the turtleneck and gloves look with the flightsuit that Callie is sporting). Patton Oswalt slams an elevator gate as he escorts Ray, Phoebe and Podcast somewhere unknown. And perhaps one of my favorite and very mysterious shots in the trailer, Kumail’s character opening what looks to be a false wall in a pantry closet to reveal a secret room. I love a good secret passageway. One of these days, when I win the lottery, I’m going to have a basement with all sorts of cool secret doors and compartments.

Ray’s explanation of the death chill concludes and we see Lucky, fully suited up, seemingly on the verge of freezing to death and her eyes glaze to a frozen state. Certainly looks perilous for Lucky, could this be the character’s end? Or does someone hopefully come to save the day. Stay tuned until March of next year.

Gary states the obvious, that it sounds like Ray is explaining being literally scared to death. There’s a bit of a call and response here that I think is fully editorial as Gary and Callie are standing in what looks to be the firehouse during the daytime and Patton Oswalt’s character telling us how cool it is looks to be in a darkened room elsewhere. It’s a fun moment that shows both characters’ enthusiasm but a strong possibility these two moments are from two totally different parts of the final film that we’ll see.

Just before the title reveal, Trevor struggles to wield a proton thrower that seems to be amped up to eleven, while sporting one of his notable t-shirt choices - this time an old school YMCA shirt. And then, we see the title for the first time.

I’ll just flat out say it, subtitles to films are difficult. You’re sort of damned if you do, and damned if you don’t. For the same reason parents don’t reveal baby names to the general public before the kid is born, everyone has an opinion on names. A gut reaction. A feeling and opinion that they need to express. Movie titles have come under the same microscope. We’ve heard EVERY tired soap joke about Indiana Jones and the Dial of Destiny, but the title was appropriate to the movie. Clear and to the point.

There’s something to be said for the good ol’ days of sequels where you just flat out said what it was: Back to the Future Part II, Beverly Hills Cop II, Star Trek VI. Also clear and to the point. But as the years progressed, a stigma around numerical titles developed where the higher the number of the film the perception of the quality decreasing became the punchline. Even if it wasn’t the case, adding a numerical value to a film title fell out of fashion and the subtitle became king. It’s also possible that increasingly complex titles started weighing on marketing and advertising and even just public perception of having to know a full title like Star Wars: Episode I - The Phantom Menace. You’ve noticed that even the studios have bailed on the episode titles for Star Wars, opting just to ID them by their subtitle: Star Wars: The Phantom Menace, etc.

All of that to say, Ghostbusters: Frozen Empire has the serial qualities of an old school sci-fi film while also immediately selling and stating what the film is. It’s the Ghostbusters sequel where everything freezes. Clear and to the point. And you can tell they were thinking about a play on words with the Empire State somehow but again — didn’t want to over complicate things. Forum and social banter have suggested, “Why not Ghostbusters: Death Chill?” Which yes, is a pretty evocative title but markets the film a little differently. You could see some parents resistant to taking their kids to a movie about the chill of death.

I love the title and think that it absolutely works. It also really frees up future story telling for the Ghostbusters films where they don’t necessarily have to be so wide in scope. They can be hyper focused on a scenario or threat. It takes the franchise in a great direction, in my opinion.

Okay, okay — what about the last two shots of the teaser. Which are outstanding. After the title reveal there are two more glimpses: one of presumably the big bad of the film and the other of our heroes standing atop the firehouse poised to tackle the threat.

Everyone loves the jackets. I do too. I want one of those things for this winter, that’s for sure. But I also love everything happening in the composition and blocking and pose of the characters here. It screams Shandor Rooftop. I love that Callie is wearing the Ecto-Goggles (tough to tell if they’re the Afterlife variant with the Polaroid camera capabilities) and that Phoebe has filled her grandfather’s shoes vigilantly manning the PKE Meter. You can see slight variations on the barrel of the Particle Thrower that Trevor is holding and — THE JACKETS, I MEAN COME ON. TAKE MY MONEY NOW. PLEASE.

If this composition isn’t part of at least one of the theatrical one-sheet posters, I would frankly be surprised. What a shot.

Final Thoughts

What a teaser. It gives us just enough without giving us too much. There are real stakes here. I’m worried about the futures of several of the characters and several of the inanimate objects like the Ecto and the Firehouse. And visually, I love how this film already looks in-step with the original film and Afterlife, but is opening the color palate and scope up a little bit. But also, how crazy is it that after decades of wondering when a third Ghostbusters film would be released, pouring over the glacial pace at the development of the film and every mention and update, to be sitting here dissecting a teaser trailer for a fifth Ghostbusters movie?

Ghostbusters: Frozen Empire Teaser Trailer is Here!

After a week of teasing, which was discussed on the most recent episode of the Crossrip podcast, Sony Pictures has released our first look at the follow-up to Ghostbusters: Afterlife - and revealed the title!

Ghostbusters: Frozen Empire will be coming March 29th of next year, and the teaser trailer gives us a great idea of what’s in store.

The teaser gives glimpses of returning cast and new cast, a preview of the epic conflict the Ghostbusters will have to face, and funny enough harkens back to Gil Kenan’s roots as a Reseda kid by featuring Bananarama’s Cruel Summer, famously known for its appearance in Karate Kid.


The teaser promises a huge scale adventure returning the Ghostbusters to New York City to once again save the day, and have a little fun in the process.

And wow, can the spruced up Ecto-1 cruise!

A full breakdown of the trailer will be available here on the HQ shortly, and you know we’ll be discussing it on the next episode of the podcast. But in the meantime, watch (many times) and enjoy and here’s the official synopsis and info straight from Sony Pictures!

GHOSTBUSTERS: FROZEN EMPIRE
Adventure/Mystery/Comedy
Release Date: March 29, 2024

In Ghostbusters: Frozen Empire, the Spengler family returns to where it all started – the iconic New York City firehouse – to team up with the original Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age.

Directed by: Gil Kenan

Written by: Jason Reitman & Gil Kenan

Based on the 1984 film “Ghostbusters”

An Ivan Reitman film written by Dan Aykroyd and Harold Ramis

Produced by: Jason Reitman, Jason Blumenfeld

Executive Producers: Dan Aykroyd, JoAnn Perritano, Amie Karp, Eric Reich, Erica Mills

Cast: Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani, Patton Oswalt

Celeste O’Connor, Logan Kim, Dan Aykroyd, Ernie Hudson, Annie Potts

Hasbro's HasLab Returns - This Time with TWO in the Box!

After quite a bit of teasing over the past couple weeks, on 10/27 Hasbro revealed the big announcement it had been hyping: the next crowd-funded Ghostbusters HasLab in their series!

The super-successful Spengler Proton Pack was a tough act to follow, but this go-round Hasbro is offering two for the price of one - a replica Ghost Trap and accompanying PKE Meter to go with it! For $299.99 (US) you get both items, plus whatever stretch goals are accomplished in the funding period - which ends on December 11th. So if you want in on this, better act now before the holidays kick in and you forget!

Both items are incredibly cool. This was a quick and easy “Yes please!” for me. The Ghost Trap looks to improve upon the Matty Collector trap offered several years ago in a few places. And also improving on the previous Matty Collector release, the PKE Meter adds the Ghost Taser functionality and red handle button seen in Ghostbusters: Afterlife. Not only that, but Hasbro is touting that the PKE Meter will be a real, working EMF Meter to help you track down those decaying electrons that supernatural entities are known for.

If you’re interested, don’t delay - make sure you back the project sooner than later both so that you don’t miss out and also so that you can help unlock all the stretch goals, which include utility belt offerings, patches, and more!

Hasbro also offered some explosive surprises coming both with 40th Anniversary of the original Ghostbusters film hitting in 2024 and the new as-of-yet untitled Ghostbusters: Afterlife sequel scheduled for release in March.

Here’s the full press release from Hasbro with all the info fit to print:

Ghostbusters Plasma Series HasLab Two in the Box! Ghost Trap & P.K.E. Meter

(HASBRO/Ages 14 years and up/Crowdfunding price: $299.99/Estimated to ship in late Fall 2024)

*Limit of 5 per customer. Standard shipping and handling to the contiguous United States included for Pulse Premium Members. Shipping and handling charges will be calculated at the time of checkout for non-Pulse Premium Members.

 

A lot has happened since we saved the world with our first-ever HasLab—the Ghostbusters Plasma Series Spengler’s Proton Pack life-size replica (no longer available). That’s why, here at the Ghostbusters HasLab Lab, we’ve been working on something special for fans and collectors: the highly anticipated sequel to the smash-hit Hasbro Pulse Ghostbusters HasLab, the Ghostbusters HasLab 2!

The Ghostbusters Plasma Series has equipped fans with a stunning Neutrona Wand and a breathtaking Proton Pack, and now we’re pleased to announce that spooky specters and ghosts can run… but they can’t hide—not from the Plasma Series Two in the Box! P.K.E. Meter and Ghost Trap premium adult collectible set!

This crowdfunded project will run from October 27, 2023, to 11:59pm ET on December 11, 2023, and requires 10,000 backer orders to begin production. If the suspension, shocks, brakes, brake pads, steering box, transmission, and rear end hold up as we drive this campaign to the finish line, the project is estimated to ship in late Fall 2024.

Ghostbusters TM & © 2023 Columbia Pictures Industries, Inc. All Rights Reserved.

HASBRO and all related logos and trademarks are trademarks of Hasbro, Inc. © 2023 Hasbro.

 

THE PSYCHOKINETIC ENERGY METER (AKA THE P.K.E. METER)

It’s no secret Egon Spengler was a very hands-on, DIY kinda scientist, often cobbling together his hardware from common, everyday items, and the P.K.E. Meter is no different. Egon used an old electric shoe polisher for the bulk of this handheld piece of tech, which trades in footwear for phantasms, determining specter location and quantification. The P.K.E. Meter acts like a divining rod when near a spectral being, with a pair of motorized arms extending outward from the sides, embedded lights flashing in sync with detectable spectral frequencies.

Fans will be happy to know that not only have the HasLab Lab Lab Techs included classic P.K.E. Meter features, such as Ghost Detection Mode, but they’ve also included a very special upgrade. Yes, that’s right, the HasLab P.K.E. Meter 1:1-scale premium adult collectible features Egon Spengler’s personal upgrade from his time as the Dirt Farmer, in Summerville: Taser Mode! Taser Mode, if you’re unfamiliar, turns the P.K.E. Meter into a taser that forces an apparition to reveal itself… or explode in a burst of marshmallow goo, as we know from Podcast’s dealings with the mischievous Mini-Pufts in the Ecto-1.

 

THE GHOSTBUSTERS PLASMA SERIES P.K.E. METER

Scanned from the Prop

Innovative Real Life EMF Detection Mode

Multi-LED Display Panel

Motorized LED-Lined Wings

Entertainment-Inspired Sound Effects

Mode Slide Switch

Ghost Detection Mode

Low Ionization, High Ionization, and Mute Settings

Taser Mode (Spengler Upgrade) with Toggle Switch

Display Stand

 

THE GHOST TRAP

Needing something to contain and transport paranormal entities to a more permanent housing facility (namely the Ecto-Containment Unit), Ray Stantz and Egon Spengler designed the Ghost Trap. Consisting of a main chassis and a removable cartridge, the Ghost Trap has limited battery life and was never meant to accommodate ecto-plasmic beings for any extended period.

This 1:1-scale premium adult collectible features everything fans love about this vital piece of ghost-bustin’ gear, including the removable cartridge, high-powered LEDs, premium metal finishes, functioning diecast metal wheels for smooth deployment, and more! This thing is so gorgeous that ghosts will be throwing themselves at you just for a chance to get trapped within this highly detailed, premium collectible!

 

THE GHOSTBUSTERS PLASMA SERIES GHOST TRAP

Scanned from the Prop

Ghost Trap with Removable Cartridge

Working Activation Pedal

Working High-Powered Internal LEDs

Working Multicolored LEDs

Entertainment-Inspired Sound Effects

Functioning Trap Doors and Rumble Motor

Premium Metal Finishes

9-foot Pedal-to-Trap Connection Cable

Docking Station Display Stand

Functioning Diecast Metal Wheels for Remote Deployment

Ghostbusters to Ghostbusters 2 Aesthetic Conversion

Ghostbusters, Ghostbusters 2, and Ghostbusters: Afterlife Modes

 

WARNING: Do NOT look directly at the Ghost Trap’s energy field, when activated, as there exists the potential for stray muons in the body to be drawn out through the eyes, and with them, one’s eternal soul.

 

UNLOCK #1: THE SUPERNATURAL STARTUP UNLOCK

Beautiful, you’re hired. Welcome aboard. Here’s your Supernatural Startup Unlock!

If you want to suit up then you’re gonna have to study up, because the last thing you want is to be unprepared when in the presence of a nasty, focused nonterminal, repeating phantasm, believe you me, buster. Get to know your supernatural elimination equipment with the Supernatural Startup Unlock. Bust this unlock and you’ll receive a handy 18”x24” P.K.E. Meter and Ghost Trap blueprint poster, which, quite frankly, will look pretty boss displayed on your favorite wall.

Speaking of boss displays, you can really spruce up any joint with a few perfectly placed slaps. That’s why we’ve included some sick sticker designs, inspired by the Ghostbusters universe, including Ray’s Occult Books, Stay Puft Marshmallows, and more!

Think you know what else we have in store? Fancy yourself as an aspiring psychic? Then you’re in luck because you’re going to love testing the limits of your psychic abilities with a set of five 4.5”x7” ESP cards, inspired by Dr. Venkman, and updated with a Dr. Stantz flair. Oh, we also took out a third mortgage on the HasLab Lab to give these cards a premium linen-backed finish!

And if that’s not enough, you can slap a screen-accurate ‘84 No Ghost patch replica on your flight suit. Re-created to match the screen-used Ghostbusters patches from the original 1984 smash hit, this patch is the perfect addition to the shoulder of your suit.

12,000 backers bust the Supernatural Startup Unlock. We shouldn’t have to raise the dead to hit that number, but if we do, don’t worry, we handle this kind of thing all the time.

 

UNLOCK #2: THE SECURE RECEPTACLE GHOST TRAP UNLOCK

Face it, ghost-bustin’ is a very active job, boots on the ground and packs on the backs.

Sometimes a pesky paranormal pest will flee… straight through a wall. A good Ghostbuster will give pursuit, which means regaining lost ground, thanks to that slimy, supernatural shortcut. It’s not easy to run—or even jog—with a Proton Pack strapped to your back. Thankfully, your pack is secure; your Trap should be, too!

When hustling down a hallway to catch up to a fleeing phantasm, your Trap is going to be hanging onto your belt for dear life. You don’t want to meet up with your target only to discover your Trap fell off somewhere along the way. That won’t be an issue with the Secure Receptacle Ghost Trap Unlock, which comes complete with a secure holster, created with premium soft goods and real metal.

Oh, and we’re throwing in another Ghostbusters patch! That’s right, we’ve got our very own exclusive Ghostbusters HasLab patch you can slap on your suit, add to your patch collection, or trade with fellow busters!

15,000 backers trap the Secure Receptacle Ghost Trap Unlock, ensuring your Ghost Trap will stick to you like glue when on the paranormal prowl!

UNLOCK #3: THE PSYCHOKINETIC ENERGY DETECTION UNLOCK

Carrying the P.K.E. Meter around in the breast pocket of your lab coat isn’t gonna cut it when on a call. Besides, you’ll have suited up, and the zippered breast pockets of the flight suit are even less adequate for storing this delicate piece of homemade machinery. Looks like we’re going to need another holster! Designed with premium soft goods and real metal pieces, you’ll have peace of mind knowing your Psychokinetic Energy Meter is strapped snugly to your waist.

Need another patch? Good, because you’re getting another patch! You love patches, we love patches, and we want to share the love! Unlock the P.K.E. Meter holster and we’ll toss in an exclusive Mini-Puft No Ghost logo patch. Yep, the adorable image of a Mini-Puft caught in the red No symbol as seen after the end credits of 2021’s Ghostbusters: Afterlife comes to life in an exclusive patch!


18,000 backers to detect the Psychokinetic Energy Unlock, ensuring you have everything you need to take your Ghostbusters Plasma Series supernatural elimination equipment on all your calls!

Let's Build the Fanhome Ecto-1: Issue 29 (Stages 107 through 110)

The build is back!

When Eaglemoss went under just about a year ago in July, I feared the worst for my subscription Ecto-1 build. The kit was a whole lot of fun. And, if you followed along with our builds on the Ghostbusters Interdimensional Crossrip podcast, Chris and I had a great chat every time we would sit and work on our models. It was a double-whammy to have lost the flow of subscription kits and to lose that amazing time with Chris. It sure seemed like a lot of us were going to be stuck with half (or less) built Ecto-1 models.

Enter the good folks at Fanhome, who have taken over the licenses from Eaglemoss and resurrected the subscriptions from the dead. You can now sign up to start from issue one, or pick up from where you may have left off with Eaglemoss and continue via Fanhome. Fanhome has made it super easy to pick which issue you need to begin with and their intuitive website and responsive customer service have been a breath of fresh air.

With the podcast having switched to a more infrequent model, I’ve decided to detail my builds here on the news blog hopefully as reference for those who may need it or for a quick overview for those of you who may be on the fence about joining the club. The model is amazing in quality, and Fanhome gives you all the tools that you need (with a few expendable exceptions like painters tape that I’ll get into a bit later here). If you’re a lot like me and you need 20-30 minutes of downtime to just follow instructions and enter a zen meditative state, this build is for you. It’s just challenging enough to make it fun without being frustrating and, as the end results start to come together, having your own faithful 1:8 scale Ecto sitting on shelf sure is cool as hell.

Fanhome was kind enough to send over a new initial kit, which we’ll be building here on the HQ in the future, but for now - I’m going to pick up with where I left off a year ago, with Issue 29 (Stages 107 through 110), which comprises parts of the left and right rear wheel wells, and the ‘59 Miller Meteor Ecto-1’s iconic red tail fins.

WIth that, let’s crack into it, eh?

When Issue 29 arrived, I cackled with glee. Again, not thinking that this model would ever see completion, getting a box in the mail from Fanhome was a treat. Fanhome sends your monthly subscription in a brilliant purple package, another step beyond the generic mailers that would come from Eaglemoss. The company is really making your monthly shipments a grand event, and it’s pretty cool.

The first thing you’ll notice with this issue’s shipment is that it includes a revised passenger front door. Eaglemoss had mistakenly sent out their kits with a passenger mirror recessed in the initial stage and had been promising a fixed door to those who waited. When it didn’t look like Eaglemoss was coming back, I went ahead and built out the door that I had been sent and attached it to the body of the car — so I’m not entirely sure what to do. Pulling the door off at this point would be a pretty dramatic overhaul. But if I’m going to do it, now’s going to be the chance. I set the revised door aside and… I’ll make that decision later. Worst case, I have an Ecto with a stem for a passenger mirror. Ha!

The door conundrum aside, Stage 107 is pretty straight-forward and a relative breeze. The right rear fender “crown” has just two steps. But key on this one is that the chrome trim at the top of the fin doesn’t attach permanently at this point in the build, so you have to be careful not to lose both it and the rear trim. If you plow through the whole issue, it isn’t that big of a deal. But if you pace yourself out and only do one stage at a time, don’t forget it’s another piece you need to set aside for later. Pro-tip: I have a gallon-sized Ziplock that I set aside which contains only the parts that you’ve set aside for later (things like the steering wheel, etc.). If I know I’m going to have to come back to it later, into the Ziploc it goes.

Stage 108, the Right Rear Reflector and Outer Light Lens is also pretty straightforward and cruises by in a snap. The one thing to look out for on this stage is that the outside inner lens is a very small clear piece that isn’t seated in the tray too well when you open it. Chances are, it will pop out when you open up the package and blends into its surroundings with relative ease. At first, I thought my kit was missing the lens but later discovered it floating in the tray.

Also a curious last step to this stage, you have to replace two screws on either side of the car’s body with flatter machine screws than what were initially installed. I’m thinking this was a course correct for an error that may have popped up earlier in the build. And, when you attach the whole completed part to the body of the car, it actually makes a lot of sense that you need a good flush connection to hold all the plastic pieces against the body of the car.

Stage 109 is where the challenge of this particular issue comes into play. The rear fins have two main pieces with two horizontally mirroring rear tail lights. And, while the assembly of the pieces in this stage isn’t the hardest of steps (that continues to be building the engine at the beginning of the build), the wiring to get the LED wires and bulbs into the tail lights is a bit tricky. You have to pull one of the wires marked R off of your assembled body and wire it into this piece. It took me a bit of trial and error but I found that bending the wire behind the bulb lens slightly to fish the bulb into the housing was a good first step. Then, using the flat back of the supplied tweezers, you can almost shoehorn the bulb into place. The bulb doesn’t seem to go ALL the way into the lens, but it does pop in enough that it won’t shake around or fall out of place.

Once you finally get the two LED bulbs plugged into the lenses, it becomes a matter of snapping everything together into place and then attaching it to the wheel well. This is one of those fun partworks stages where you wish that you had three hands: one to hold all the pieces together, another to push further down the part, and a third hand to be turning the screws to affix everything together. In some instances, a little painter’s tape helps. Or a clamp. But with a couple goes, I was able to snap this all together without additional assistance. Only minor hand cramping. I’m old. It happens. Ha!

With the whole piece assembled, here’s the fun part: attaching it to the main body of the car. Again, after staring at my poor Ecto-1 sitting on the shelf missing wheel wells and these red fins, boy-oh-boy was this gratifying to finally do. It felt like, after a long winter working on a 10,000 piece puzzle, finding the ONE piece that had been missing for months and dropping it into place. There’s quite a bit of hardware that goes into keeping this piece in place, and you have to be careful to thread the wires exactly as they’re shown in the diagram - because they need to snake all the way around the rear of the car and through the left side wheel well also. This is where I definitely recommend a little bit of painters tape to help act as that third hand for you to keep things in place, both during this stage and after. I dropped a little piece of painter’s tape under the cargo door to keep the two wires in place for the next couple stages. Also be sure that you’re using the red tab to keep the wires under the cargo door. Tuck those guys under before you affix the IM screw down.

After quite a bit of screw turning (there’s at least seven IM screws and four NP screws to this stage), I had to flip the body over to take a look and admire. It’s been a long time coming darlin’. You deserve this moment.

The final stage to this issue is a cakewalk. You’re basically prepping to work on the other side of the rear of the car by attaching the skirting to the left rear fending. It’s a quick and easy step that you can set the finished product aside and enjoy the rest of the awesome magazine contents and drop the booklet into your binder. Hopefully after all this time, you still have your binder and the prongs to attach the magazines to them.

All in all, this was a whole lot of fun. After a year and counting of not sitting down to work on the car, I had to shake out a little rust - and realized how over-caffeinated I was with my shaky hands. I’m just so glad to be getting monthly shipments again to finish off this car and finally have what will become one of the crown-jewels in the GBHQ collection.

Our thanks to the good folks at Fanhome for reviving the subscription build, sending us stages for review and for keeping the engine running for us all. If you’d like to start up your subscription, now is the time as they’re only offering new and continued subscriptions for a limited time… presumably because they’re dealing with the limited stock from the Eaglemoss days. So act now if you’re interested and happy building!

The Firehouse WILL Open... At a Later Date...

Deadline broke the news last week that the still as-of-yet untitled sequel to Ghostbusters: Afterlife is sliding from its December 2023 release date to March 29, 2024 as result of the current union strikes in Hollywood. Though the film is wrapped in production, several key processes in post that require actors cannot be achieved because of the SAG strike currently in progress. Things like additional photography or pick-up shoots, or even the common ADR session needed to add in clean dialogue muddied by wind machines or other noises on set are forbidden under the current SAG strike. Not only that, but a film like Ghostbusters usually requires special dialogue looping to be done for the creatures or villains they encounter, all of which are usually also done in post production.

As we discussed in the most recent episode of the Crossrip podcast, a delay isn’t the worst thing for the film, as they were in a dead sprint trying to make the original December release date in the first place. It was going to be a photo finish.

The last film, Ghostbusters: Afterlife experienced several delays due to the COVID pandemic and movie theaters being closed for business. The end result was more time to work on visual effects, the benefit of time to add a post credits sequence setting up Firehouse, and more time to work on the edit of the film. All of which were to the benefit of the end product.

Firehouse (or Ghostbusters 4 as we’ve been calling it around these parts for clarity) will also benefit from a similar bit of breathing room. Both for the film and for the marketing and PR campaign to come, which will now have both a Halloween season, New York Comic-Con (traditionally where Ghostbusters has had a presence of some sort), and a holiday season where merchandise can also add to the awareness of the upcoming film.

While it’s a bummer for fans who have eagerly anticipated the follow-up to Afterlife, in the end it will be worth the wait. Here’s hoping the strikes can be resolved quickly and amicably, and everything can be underway once again.

Ghostbusters Day 2023 Recap

Once again it’s Ghostbusters Day around the world, celebrating the 39th anniversary of the release of Ghostbusters in theaters on June 8, 1984 - Ghostbusters Day has been established as the multimedia marketing touchstone for announcements, reveals, and to just celebrate our love for Ghostbusters (like we don’t do that everyday, but still). Last year, a full Ecto Fest presentation was made, but this year all of the creatives are understandably busy filming the new movie on two continents.

This year, the day kicked off with a filmed greeting by the cast of the Untitled Ghostbusters Afterlife Sequel (Ghostbusters 4, for brevity’s sake). Currently the video is only on the Ghostbusters social media accounts, but we’ll embed as soon as it’s on their YouTube channel.

Dark Horse Comics teased their upcoming bridge between Ghostbusters: Afterlife and the new sequel with some character sketches by Blue Delliquanti of the extended Spengler family. More information on the book will be available soon.

Illfonic teased an expansion to Ghostbusters: Spirits Unleashed the Ecto Edition with a quick teaser trailer. The trailer promises a Nintendo Switch release later this year and a creepy clawed apparition taking a chunk out of the Ecto’s hood - could that be Samhain? Also today, the game soundtrack by Mark Rutherford was released to multiple music platforms.

On her official TikTok account, McKenna Grace shared a choreographed video to the song “Ceilings” showing off the ground floor and exterior of the Hook and Ladder No. 8 firehouse (GBHQ), built entirely on a soundstage. Quick glimpses show you the lockers for the OGBs still in place, the car parked in the main bay and more!

@mckennagrace

Happy Ghostbusters Day😘👻

♬ ceilings Sped Up Version

At about 3pm, Gil Kenan went to bat on his Twitter and Instagram accounts giving us our first (frosty?) look at the teaser poster for the new film!

Magnoli Clothers, reproducers of costumes extraordinaire revealed they are working on Venkman’s “Hunting” shirt and should have it ready for purchase by the end of the month!

More to come as it develops!

Ghostbusters Afterlife Score Album Notes and Analysis

An article that I had a whole lot of fun writing recently was an analysis of Randy Edelman’s Ghostbusters II album release. Not only did it afford me an opportunity to sit with the headphones and really concentrate on the music, but it really made me appreciate just how Edelman’s choices affected the film-going experience. And, particularly on that film, it was the first opportunity that I’d had to listen to the film’s score clean and uninterrupted. I thought, in celebration of Rob Simonsen’s fantastic score for Ghostbusters: Afterlife landing on LP, I’d do a similar deep dive on my observations track-by-track. Though the score has been on regular play rotation for me, particularly with the vinyl arriving from Music on Vinyl, it’s basically been on a loop for the last several days while I work and I’ve really started to notice all the tiny details throughout.

First and foremost, before I jump in, I believe it’s a mistake to dismiss the Afterlife score as simply derivative or completely duplicating Elmer Bernstein’s original 1984 compositions. A film journalist whom I respect and admire greatly told me that hearing echoes of identifiable music from the original film took her out of the experience and instead distracted her, evoking imagery and emotion from the 1984 film and not the story playing out in front of her on-screen. While I understand that, it’s also tough to hold musical familiarity against this score because it is so precisely trying to mimic the films of the 1980’s - heavily influenced by John Williams’ use of recurring motifs and accompanying character and situational themes. I don’t think it’s fair to make claims that Simonsen is “just copying Elmer Bernstein” because the true fact is that he’s paying homage to Bernstein’s themes, while also simultaneously nodding to the great maestros like John Williams, Alan Silvestri, Jerry Goldsmith, and more. It would be like saying Elmer Bernstein was “just copying” Bernard Herrmann because he utilized techniques and motifs from the Psycho score to punctuate Dana Barrett being attacked by an arm chair.

Both Simonsen and Director Jason Reitman latched onto themes in the original film that go hand-in-hand with feelings, movements, and tension in the same way that Yoda’s Theme and the Force theme accompany some of the greatest moments in Star Wars.

As with Edelman’s 1989 score for Ghostbusters II, Rob Simonsen has also introduced new themes and melodies of his own that are unique and special to Afterlife specifically. And, while instantly recognizable themes like the bouncy “Ghostbusters Hero Rag,” and ominous marching “Zuul Theme” are present and used to great effect, particularly on comedic moments between Phoebe and Podcast, there are also some wonderful new things in this score. There’s something that I call the “Mystery Theme” which weaves in and out of Phoebe’s discoveries at the Dirt Farmhouse (and even punctuates the final end tag scene of the Containment Unit in the credits). There’s a whimsical and energetic “Kids’ Theme.” The town of Summerville gets an upbeat and brassy, almost Old Western sounding theme. And then later on the album, Callie gets her own heroic theme that blows me away. More on that in a bit.

Sadly, with the LP release of the score, several cues have been omitted from the digital and CD release. I’ll be doing an analysis of everything released to date, but will note those that are absent on the vinyl album.

Just like the Ghostbusters II score analysis, I’ll continue updating this entry as I notice and decipher things. So make sure to check back for updates after a few more sittings down the road. Ready? Here we go.

Trapped

Much as Bernstein’s 1984 score hit audiences right from the Columbia logo with that great synth note, Simonsen plays off the Sony Pictures “Chime” on its logo to immediately play into a piano waggle that became Peter Venkman’s unofficial theme in the original 1984 film. The film score is tasked with a lot of heavy lifting as it acts as the audience’s first impression of the film. What are we in for? What will this film do tonally? Luckily, there’s some time and the score takes advantage of several production company and studio logos to act as an overture rise leading to the opening images of the Shandor Mine. Like descending into a cavernous room in a haunted house, the score really makes a meal out of the space at the head of the film. Afterlife does an incredible job doing exactly what the original film did, literally hitting a note of music that takes us into an odd world of the paranormal and really showcases the unique Ondes Martenot, recorded by Cynthia Millar in a special recording session in London. Millar being the original artist who played the Martenot on Elmer Bernstein’s score.

After the mood is adequately built over a lengthy minute or so, a bold and brassy and almost heroic refrain of the “Zuul Theme” pulls us out of the moody mist and into the action as Egon Spengler initiates his plan at the Shandor Mine. This is the first instance in which Simonsen has taken a familiar theme and adapted it into the film to serve a new purpose, this heroic three-note melody makes multiple appearances throughout the score - acting as a musical lift very similar to that of Alan SIlvestri’s incredible Back to the Future score (more on that later) would punctuate acts of heroism and defying the odds. Speaking of SIlvestri’s Back to the Future score, at about 1:25 of the track, Simonsen utilizes a very Silvestriesque transition into a ticking clock theme that’s very reminiscent of Back to the Future’s climatic clocktower sequence score. Though modern films rely on flashy non-linear music video style editing to help build suspense and tension and make moments feel as if they’re happening in a micro-second, it was a common trend in the 80’s to also implement a literal pulsing ticking clock score to subconsciously get audiences’ hearts beating in rhythm. This is a wonderful trick that Simonsen uses throughout Afterlife that adds to and enhances just how much Afterlife feels like a throwback to the classics.

A percussive and strong refrain of the Ghostbusters Hero Theme hits at about 1:35, another adaptation. These aren’t the same happy-go-lucky Ghostbusters we remember from the 80’s. They’re battle-tested. They’re heroes. They’re courageous. And this modification of the theme in this moment, accompanied by some stunt-driver worthy maneuvers by a silhouetted Egon Spengler really hammers this home. Though we don’t see his face, we know that’s a Ghostbuster behind the wheel thanks to this theme. And thanks to it intercutting with an ominous Zuul theme, the chase is afoot.

Spengler’s truck crashes and the music takes a soft moment to catch its breath. In the process, it introduces the low clarinet “Mystery Theme” as the Farmhouse is seen for the first time. The Mystery Theme is a short and curious melody that’s used quite a bit in the first two acts of the film. But before we’re really able to register it here, we’re back in the action as Spengler charges the lines of his neutrona field and readies to slam the pedal to entrap the entity chasing him. A long rise with some Mickey Moused footsteps on brass and piano grow louder and louder until the device fails and Egon is forced to scramble. A less confident Ghostbusters Hero Theme with some quick string plucks follow Egon as he improvises and grabs a PKE Meter and the fog builds around him.

A brassy rendition of the Mystery Theme transitions into a low fog horn-like mood shift that becomes a moment straight from the original film as Dana Barrett was taken from her apartment by Zuul and dragged across the floor in an arm chair. The same violent surprise Dana received is musically recreated here as Egon gets the same shock and is attacked from all sides.

A slow resolve after the attack musically helps the audience realize that Egon has passed, but his spirit remains in the Farmhouse while a soft and solemn rendition of the Ghostbusters Hero Theme concludes and resolves into the film’s title card. What a wonderful sequence cinematically and musically.

Dirt Farm

The film goes for a long stretch without score as the Spengler family is evicted, travels from Chicago to Oklahoma and arrives in Summerville. Simonsen’s work resumes as the family station wagon pulls up the unpaved driveway and past ominous and prophetic signs warning of the apocalypse to come. This track places the new Mystery Theme front and center stage as the family discovers the Farmhouse for the first time. High and rolling woodwinds provide a creepy fanfare with some strings and a very quick and very low brass refrain of the Ghostbusters Hero Theme. The mystery is overpowering and overshadowing everything here and the heroic Ghostbuster theme is literally buried underneath it, waiting to be discovered. Incredibly clever touches musically in the first minute or so of the track.

At about 1:30, the tone of the mystery shifts into a low almost bassoon noodle. This small phrase here is also used at the very end of the film to punctuate a very mysterious (and very dusty) Ecto-Containment Unit in the basement of the firehouse.

The track ends with a very lovely and almost romantic theme that longtime fans will recognize as that heard in the Sedgewick Hotel as the Ghostbusters split up looking for Slimer. I’ve come to call this the “Investigative Theme” as in the original film it accompanied the team tracking down an unknown entity, and here it accompanies the family picking at the strangeness of their estranged father/grandfather’s odd home. An optimistic rise of the Ghostbusters Hero Theme announces the presence of Janine Melnitz at the door as the track concludes.

Chess

Full and perfect bouncy Ghostbusters Hero Theme at the start of the track with an interjection of the familiar two-tone Martenot theme that accompanies strange and sometimes gross imagery on-screen (think when Venkman is asked to get a sample of Ectoplasm falling from the New York Public Library Card Catalog). As Phoebe is intrigued by the invitation for a game of chess and notices the PKE Meter chirp, the score also strikes a curious tone with a sweeping rendition of the Mystery Theme.

Summerville

Welcome to the frontier. The Summerville track has a bold and brassy introduction full of energy and of life. This track seems very inspired by Jerry Goldsmith’s themes for Kingston Falls in Gremlins with dashes of Elmer Bernstein’s most notable western scores like Magnificent Seven. In fact, when I first heard the track I couldn’t help but visualize a sweeping crane shot rising over a train station and revealing the bustling city center of Summerville. This energy and life makes the town feel big, even though it is deceptively small and sparse as result of a mine that’s long since closed up. It’s an optimistic and exciting track of music that plays wonderfully into Phoebe approaching summer school with promise of making new friends (out of what?).

It also provides a stark contrast to just how cataclysmic the music gets by the third act of the film. When Summerville is descending into a nightmare hellscape and the town’s residents are being overrun with ghosts. Keen ears will note this was something Elmer Bernstein carefully did with the original film score as well. By the third act, the score was big, bombastic, and felt like the heavy footfalls of the Stay Puft Marshmallow Man crashing its way through Columbus Circle. This bright and vibrant track helps balance out the creepy mystery of the farmhouse with some life, some energy, and a lot of light just waiting to be thrust into darkness.

Research (*not on LP)

They called it the Shandorian curse. As Podcast gives Phoebe a history lesson on the Shandor Mines and their dark history, a very ominous, almost solemn, cello leads into a quick refrain of the Zuul/Gozer theme along with what I’ve come to call the Cataclysm melody. This is a quick but foreboding six-note melody that is ever-present on Elmer Bernstein’s rooftop sequence from the original film and makes several memorable appearances here in Simonsen’s score as well. The Cataclysm theme is subdued, almost muted. The danger is there, lurking in the shadows. A great contrast to later in the film when this six-note theme thunderously booms accompanying a giant vortex swirling around the Spengler family farm. The track ends with a lovely segue into the mystery theme suggesting the mine and the farm are interconnected in some way that Phoebe has yet to realize.

Under The Floor (*not on LP)

The mysterious presence of ghosts is easily communicated in film language without special effects in Ghostbusters. All you need is a slight wisp of wind in the actors’ hair, and a little bit of Ondes Martenot. An etherial Mertenot solo suggests that Phoebe isn’t alone as an unseen figure leads her to a puzzle in the floorboards of the farm house - the mystery puzzle of course is noted with a brief refrain of the Mystery theme as Phoebe unlocks the secrets within. Listen closely in the far background at the mid-way point of the track for a low brassy interlude of the bouncy Ghostbusters Hero Theme that almost sounds like it’s buried under the floor of the house as well. The energy builds as Phoebe continues being led to a destination with a Mickey Moused screech as the armchair animates and jars Phoebe into position. The brassy Ghostbusters Hero Theme comes to the surface now and the warmth of the whole orchestra gives the audience a certain level of comfort that this unorthodox exchange between Phoebe and her unseen grandfather has led her to a stunning realization: a Ghost Trap within a puzzle box. The full warmth of the orchestra continues with a concluding rendition of the Hero Theme. The past is no longer buried.

Nice Replica (*not on LP)

A perfectly plucky piano solo of the secondary Ghostbusters Hero Theme with an infectious charm and youthfulness that perfectly encapsulates Paul Rudd’s performance of Gruberson seeing a “replica” of a Ghost Trap. Bernstein realized that this piano melody conveyed the Ghostbusters’ (particularly Peter’s) energy in the original film and this theme on the piano accompanied memorable moments like the “No Kiss” scene in Dana’s Apartment. This theme has always musically captured for me what makes Ghostbusters so charming: despite the snark, rough around the edges, cigarette dangling from the lips, destroying private property with a nuclear accelerator edge of the Ghostbusters the music betrays that they’re really just kids at heart. Try this as an experiment: listen to Nice Replica when you’re out for a walk or in an elevator and see what it does to your mood and how it makes you feel. If a stranger approached you on the walk or entered the elevator, and this melody accompanied the soundtrack to your life, how would it change your demeanor.

Culpable (*not on LP)

That building “walking” theme starts out the track with a quick piano refrain of what is often used as Venkman’s theme occurring at :10 into the track. As Gruberson and the kids rig the Ghost Trap to a school bus alternator for a little power and end up unleashing hell, a full bombastic orchestra version of the Zuul/Gozer theme accompanies. After a brief valley for us and the characters on-screen to recover from the scare, the Ghostbusters Hero Theme slowly builds as a tension release. Though the explosion of the trap scared the hell out of them and us, this experiment showed the equipment was real, it still functioned, and maybe they released something they weren’t supposed to in the process.

Laboratory (*not on LP)

The Mystery Theme is on full display in Laboratory. The twists and turns of the theme starting out the track front and center. Again the motif of a subdued and almost buried Ghostbusters Hero Theme played on a low brass punctuates Phoebe’s exploration of a secret laboratory hidden underneath the farmhouse. At around the :56 mark, a low and ominous refrain from the Zuul/Gozer theme both punctuates Egon’s ultimate plan and perhaps his demise. The Mystery Theme segues back into the spotlight and a warm, friendly almost resolving rendition of the Ghostbusters Hero Theme hits at the midway point as Phoebe discovers a rack of jumpsuits hanging in the closet (and a discarded Crunch bar wrapper to boot). Despite the ominous tones of the Zuul theme, Phoebe gets a chance to breathe as do we as on-screen we receive confirmation that her grandfather was Egon Spengler. The Mystery Theme continues with a bit more purpose as Egon shows Phoebe how to complete the prototype Proton Pack he’d been developing at the time of his death.

At about 2:38, something wonderful happens that rarely occurs throughout the score, this is the first instance of a synthesizer really playing in Afterlife as a distant almost echoing synth ticking clock can be heard for a brief moment leading into a highlight of Ondes Martenot. That synth/Martenot combination was a staple of the original 1984 score and plays so well here. The combination of technology and the unknown interplaying just as they do in the film itself.

Lab Partners

This track was among the first released and previewed before Ghostbusters: Afterlife was released in theaters and for good reason, it’s a fully focused and bouncy rendition of the Ghostbusters Hero Theme in all its glory, upright piano with the woodwinds and horns having a ball. From the perspective of the album experience, having this full heroic rendition of the main theme play shortly after Phoebe’s discovery is a wonderful segue in the the second and third acts of the film as portrayed here on the score release. But of note, this is the score cue that primarily accompanies Podcast walking Phoebe through Summervile and asking her to tell a joke. I’d be curious if bits of this track were sliced off and edited into that sequence but may have actually been written to accompany a deleted scene in which Phoebe tests out the new Proton Pack in a corn field and ends up creating the popcorn she’s eating while watching the OGB’s television commercial on her laptop.

Definitely Class Five (*Not on LP)

The first of three tracks that are dedicated to the Muncher chase, which is one of the biggest centerpieces of the Afterlife film. The track begins with a marching purposeful melody (which gets a reprise later in the film in one of my favorite sequences where the kids suit up as Ghostbusters and infiltrate the Summerville PD to retrieve the Ecto-1 and the Spengler Pack). At around the :37 mark, the track has another wonderful homage to the Alan Silvestri scores of the 1980’s: an almost militaristic “dun-dun” that sounds similar to a recurring bit Silvestri used in the Clocktower sequence of the original Back to the Future. Again, as mentioned earlier, it should be noted that Simonsen’s Ghostbusters: Afterlife score is as much of a love letter to the original Ghostbusters as it is to the most memorable scores from the 80’s. Keep that in mind when listening to these three tracks and how much you notice they evoke similar feelings to watching your favorite pop culture films from the era.

A sweeping and brassy rendition of the Ghostbusters Hero Theme plays to the nosebleeds at close to the minute mark a moment accompanying the Ecto-1 in a grand wide shot heading into town. The creep factor kicks into overdrive as the new Ghostbusters discover Muncher on a street corner and a stare-down ensues. The track immediately segues into:

Go Go Go (*Not on LP)

Oddly this is the track that I’ve had the most discussion with a couple colleagues who point to “musical moments I remember from the original movie taking me out of the film.” Because the start of this track is so front and center and really kicks off the chase sequence, it really gives the score a chance to shine but many including my colleague associate this specific piece of music with Louis Tully being pursued by a horrifying Vinz Clortho through Central Park. Admittedly, it’s tough not to hear this piece of music and hear Rick Moranis’ voice yelling, “Help, there’s a bear in my apartment!” — but I didn’t bump on this as much as others may have. After all a “chase sequence” in Ghostbusters this is. As was the moment in which a Terror Dog is bounding across the street after our favorite accountant.

However, I also have a feeling that this might be one of the few tracks that Jason Reitman and Rob Simonsen mentioned they returned to some of the original recordings for the 1984 film to capture some of those performances. Particularly around the :19 mark of this quick track, the strings either sound like the musicians in the new scoring session were spot-on with their performance and mic placement to replicate the 1984 recording, or in fact that might be the 1984 strings playing. So perhaps subconsciously, because this music is so familiar to our ear and brain, and because it’s engrained with a moment in time from the original film we associate the music with so clearly, our own brains are playing tricks on us.

Regardless of that, it’s tough not to hear this cue nor watch the film with this cue playing at full volume and not feeling as if it’s spot-on Ghostbusters. It’s hard to mistake that, no matter how many tricks our curious brains wish to play on us.

Trap Him

A rolling screech (literally accompanying the Ecto-1 tearing around a corner with Phoebe hanging out the side) leads to a rousing brass fanfare for the Ghostbusters Hero Theme moves us into the next phase of the Muncher chase sequence as the Ecto-1 closes in on the blue entity. The track segues into a march again, sounding very Alan Silvestri as the tension builds. At about the 1:12 mark, Simonsen does something interesting with the Zuul theme - giving us a quick refrain of it in a brassy major chord. Where the theme is usually utilized for ominous Mickey Mousing of evil afoot, here it’s used triumphantly. As if Zuul’s evil is about to be overcome as Phoebe shouts to Podcast to, “Trap him already!” Unfortunately, it doesn’t go as planned and Phoebe breaks her proton stream through the bed of a pickup truck and half of Spinners’ neon sign.

The film takes a quick breath here for a bit of diegetic music with Willie Nelson’s “On the Road Again” heard by the patrons of Spinners. But the album track keeps right on rolling picking up in the same spot as the tires of the Ecto screech to a sliding stop. A quiet and sweet flute solo gives us the Kids’ Theme as they collect themselves physically and mentally. Muncher heads to the mountain and the track really builds the suspense of will they/won’t they trap Muncher before a bridge closes in on them.

Great tension music comes to a crescendo that ultimately is punctuated with a reimagining of Elmer Bernstein’s “trap sequence” cue heard in the Ballroom of the Sedgewick Hotel that then exudes the musical equivalent of a jump for joy (which the RTV Trap demonstrates on-screen). A brief pause into resolve as the heroes celebrate their victory and are able to take a few deep breaths along with the audience. But at the 3:30 mark, the heroes realize Muncher was trying to escape to the mine and perhaps it’s a sign. A synthesized let down harkening back to a tension release as Dana Barrett floats four-feet above her covers takes the edge off the excitement and returns us to the real stakes in the film’s progression.

It’s with this that Rob Simonsen’s ode to lengthy 1980’s John Williams-era set-piece scoring comes to a conclusion. To me, this ranks right up there with the Star Wars assault on the Death Star in terms of the music really lending a hand to telling a beginning, middle and end of a sequence within the film.

Don’t Go Chasing Ghosts (*Not on LP)

A short piece of beautiful music that accompanies Phoebe realizing that she needs to use her one incarcerated phone call to dial the phone number in the old Ghostbusters advert, Simonsen does something incredible at about the one-minute mark of the track: he takes the bouncy Ghostbusters Hero Theme and turns it into a warm, nostalgic, even maybe a little tired and removed rendition of the theme. Ray Stantz has shielded himself, chosen to bury himself in his work at Ray’s Occult rather than relive the past. The score completely mirrors this while also warming the audience to seeing Aykroyd’s iconic character on-screen for the first time in thirty-plus years.

Ultimately the dialogue scene between Ray and Phoebe is so poetic and bittersweet, that we could hear a pin drop in between their dialogue and Simonsen’s score keeps it just as quiet. Choosing to help entwine their conversation with brief and emotional musical interludes.

Once again, this is a great track to point toward in demonstrating how Simonsen has not only adapted the original themes but is using them to great effect in conveying emotion and tone with perfection. I love it.

Mini-Pufts

The sliding and whimsical “Ectoplasm Theme” and a heavy dose of synthesizer kicks off this cue as an etherial entity makes its way past the Wal-Mart greeter and into the local Summerville department store. Gruberson spies something shake on the Wal-Mart shelf. A tension building music cue betrays the cuteness that arrives on-screen with the first Mini-Puft, who rubs the sleep out of its eyes and toddles toward Gruberson enthusiastically. A dreamy lullaby of synth accompanies the Mini-Puft awakening. The cue takes a hard turn, as does the adorable moment when Gruberson gets nipped on the finger and chaos ensues. Synth builds to a bouncing and chaotic cross between Looney Tunes Merry Melodies score and Jerry Goldsmith’s now iconic Gremlins rag. In fact, just before the two-minute mark of the cue, the synth plucks a couple chords extremely evocative of Goldsmith’s six-note Gremlins theme. Energy builds as the number of Mini-Pufts multiplies, as does the damage and destruction they cause.

A new Mini-Puft theme begins around 2:20. It’s a cute and mischievous melody that also continues to incorporate the two-note Ectoplasm Theme.

Watching the world burn comes to a jarring and complete stop as Gruberson turns a corner to find Vinz Clortho snacking on a giant bag of dog food fit for Cousin Eddie to throw in Clark’s cart. Gone is the cuteness and mischief as the chase is on and Gruberson bolts. As Gruberson runs for the doors and Vinz follows in hot pursuit, the Zuul Theme kicks into high gear.

It was an interesting, and perhaps deliberate decision not to utilize the same musical chase cue that followed Louis Tully’s pursuit in this moment (and was also used earlier in the film at the start of the Muncher chase sequence). I can only surmise that, since the events unfolding on-screen are so familiar and echo things of the past, that maybe dropping that cue here felt too on the nose. Regardless, the stark contrast between the Vinz/Gruberson chase and the whimsical Puft themes that start the cue make this a fun and interesting track. Keen ears will also remember this is the first bit of score that fans heard from the film, as it was used to score Jenn Fujikawa’s fun DIY videos that were created in promotion of the film.

Down the Well (*Not on LP)

Just as Elmer Bernstein’s original 1984 score gradually built from mysterious and bouncy to bombastic and catastrophic, the Afterlife score shifts after the Muncher bust. The stakes are higher and the music follows. As our heroes descend into the Shandor Mine, the score Mickey Mouses lowering into the darkness and utilizes the natural breathiness of the Ondes Martenot to build the mood. The Gozer/Zuul theme slowly creeps into the mystery around the two-minute mark as evidence of Shandor’s grand plot is uncovered. Phoebe puts the puzzle together, discovering that her grandfather Egon Spengler had been holding the line, literally guarding the portal to prevent another crossrip. As the PKE surges and builds, the music rises at about 3:25. This is another of the few times that Simonsen utilizes a fairly modern trope of a doppler cinematic rise sound effect built into the score. Rises and bass drops became so common in trailers that they eventually worked their way into the actual sound design of films, and this isn’t uncommon. But more on Simonsen’s use of rises in a bit.

The Temple Resurrected (*Not on LP)

A fairly short track, the past repeats itself as Gozer reenters our dimension. This track pays homage to the rooftop sequence of the original Ghostbusters as Gruberson diverts the proton streams from crossing and allows the portal to open fully. As a possessed Callie jumps out the window and flees into the farm outside, listen very closely in the last few seconds. There’s a wonderful little nod to the sweet and “release of tension” melody that plays right after Dana Barrett floats four feet above her covers.

The Plan (*Not on LP)

Aside from the Muncher chase, “The Plan” is where Simonsen ventures the most into Alan Silvestri homage. Phoebe grabs a PKE Meter and heads outside, realizing that the entire farm has been constructed as a giant trap. She leads the team down the firepole and into the subterranean Spengler lab. As she does, Simonsen gives us a driving and purposeful version of the Kids’ theme along with some Silvestri (dare I say some Morricone) trademark whip cracks and a thumping bass line from a piano. It’s a lot of fun as the strings and percussion all hit in a syncopated, driving beat while Phoebe shows the team the model of the farmhouse. Yes, while Ghostbusters: Afterlife is evocative of the original Ghostbusters films, here it’s paying very loving tribute to Back to the Future and Doc Brown’s “not quite to scale” model of Clocktower Square. From about 2:10 to 2:30, the score on the album here deviates from the film a bit just before we see Callie and Gruberson unite “formally” at what appears to be Summerville’s version of the famous Vasquez Rocks from Star Trek. There are a few pick-up reshoots in this sequence (as evident by Phoebe and Podcast looking slightly older in a few shots), so it stands to reason there was some music editorial in the final version of the film necessary to work with the recut sequence.

Suit Up

Our heroes break into the Summerville police department to reclaim their ghost-catching gear and the driving Silvestri score continues. About twenty seconds into the track, Simonsen musically begins to marry the Kids theme and the Ghostbusters Hero theme. Listen closely as the energetic theme that’s accompanied the kids gets a couple quick stings of the Hero melody, first as a high toned refrain, then again with some brass and power, each time building in confidence. While Phoebe, Podcast, Trevor, and Lucky have all donned the flightsuits and are working to free the Ecto-1, they’re also musically acquiring the Ghostbusters’ hero theme. It’s a lovely build that of course crescendos with a throw back to the Ecto-1’s original firehouse reveal and the blaring of a familiar siren in the sound effects.

As the Ecto-1 speeds toward the Shandor Mine, we now get a quick, urgent, brassy, energetic and fully-merged version of the Ghostbusters Hero and Kids theme at 1:52 before an ominous and foreboding tone ends the track.

No, I’m Twelve

A dimensional gateway has opened and Gozer is here, ready to rule our mortal plane. The music gets big and operatic, but not before an eerie intro in this track with punctuated flute notes and a refrain harkening back to the very first mysterious piece of score we heard in 1984’s Ghostbusters as Alice the librarian walks through the stacks. New Vinz and New Zuul walk toward the temple steps. Interestingly, Simonsen opts to not use the four-note radio serial sounding “bum bum dum dummm!” The music explodes as the two raise their hands to the sky and other worldly lightning strikes them, opening the portal for Gozer while simultaneously turning the possessed humans into their Terror Dog form. The orchestra swells, the synth wails. Our new Ghostbusting heroes, who have been waiting in the shadows make their move.

Getaway

The climax of the film officially begins and Simonsen’s score does quite a bit of heavy lifting, bouncing between the sentimentality of the family story resolution and the climatic battle with Gozer. The track begins with a quiet moment. The new heroes’ plan is enacted as the gatekeeper is trapped by the RTV, Callie is loaded into the Ecto-1, and the game is afoot. A ticking clock chase ensues with a heroic and brassy rendition of the Ghostbusters Hero theme at a minute and a half dovetailing into the Mystery Theme as Callie is brought up to speed. The mystery is solved and this version of the theme has energy and strikes a major chord. But with Keymaster Vinz hot on their trail, a bouncy Terror Dog stomp breaks the mood and brings us back into the action. Simonsen is able to work in a quick refrain of the Kids’ theme at the end of the track for good measure, effectively giving us a wonderful overture of all the major themes of the score in one bite.

Callie (*Not on LP)

When I first picked up the album, I initially thought this might be a tangent in the action - possibly a concert version of Callie’s theme. Interestingly, this track is a bit out of chronological order in the album presentation. A sweet a melodic track that accompanies Callie venturing down into her father’s lab and realizing that in fact, he had been keeping track of her throughout the years.

Here’s why I think this track is presented here leading into the end of the film: at about 1:35 into the track a new melody is introduced. It’s a warm, tender, and very strings heavy motif that plays a huge part in the closing moments of the film. It’s just slightly off from the Mystery theme, almost a resolute version of it. As if the mystery is no longer veiled in shadow and out in the open. Let’s call this Callie’s Theme from here-on out. And it gets a wonderful spotlight just before a mist creeps into the underground room and possesses our hero.

Protecting the Farm

The Ecto-1 once again does an impression of the Griswold Family Truckster launching back to the Spengler Farm. Zuul’s crossrip theme is in full effect here at the top of the track before a soft moment of mystery. You can almost hear the trademark Ivan Reitman “gust of wind” in the breath the music takes before going into nearly five minutes non-stop.

Because this track is wall-to-wall, it also incorporates lots and lots of those trailer sounding rises. The score is subliminally putting us on edge, and assisting the sound design a few times here. Once at :53 for almost a full minute, then again later at 2:13, and 3:04, and a few teasing instances thereafter. If I had one critique of the score, it would be the overuse of the rises here to help accentuate the rising tension and the powering up of the farm’s “trap.” Amid such a beautiful homage to the thematic scores of the past, it’s such an overused modern trope. It certainly works, especially when mixed into the final soundstage of the film, but for me is one of the only things that bumps when I listen to the score on its own.

That aside, the record scratch on the operatic hits at 3:39 when three figures emerge from the distance to help save the day. As we hear familiar voices and see familiar faces of Venkman, Stantz, and Zeddemore a heroes fanfare gives way to a plucky and whimsical rendition of the Ghostbusters Hero Theme. Perfect for the ad-libbed Venkman dialogue it accompanies. But then it’s back down to business as the action resumes at 4:24 with purpose and intensity.

Showdown

A shot is fired to garner Gozer’s attention: it’s from young Phoebe with a determined look on her face. Phoebe digs in (literally and figuratively) and interestingly Callie’s Theme, introduced just a short while ago on the album, swells. Perhaps attributing some of Callie’s theme to her daughter here for a heroic moment. Despite her courage and strength, Phoebe seems outmatched and wavers. The music takes a breath.

At :41 the twist: after taking a brief respite, a lullaby rendition of the Ghostbusters Hero Theme. A tender and paternal musical moment as we see on-screen, a translucent hand cover and reenforce Phoebe’s…

…a full John Williams swell of the Ghostbusters Hero Theme as we’ve never heard it before signals the return of Dr. Egon Spengler, there to assist his granddaughter. The score continues with strength, pausing only for a moment for friends to reunite in the strangest of ways at 1:30. The trap is spring at 1:40 and the villainous Gozer is defeated with a triumphant flourish at the end of the track.

Reconciliation

And so, we come to the final track of the album. Which just happens to be my favorite as well. It’s an emotionally-charged track that tugs on the heartstrings for a variety of reasons. Not just because we’re seeing a character on-screen for the first time but also because our protagonists are also getting closure and a moment to say goodbye. A few highlights in this track:

:40 - as a warm, strings heavy rendition of the Ghostbusters Hero Theme swells, a piccolo quickly punctuates the Mystery Theme. The two are entwined now. The mystery is over.

2:05 - a perfect rendition of the Ghostbusters Hero Theme for a marshmallow fluff covered Podcast to meet his hero Ray Stantz. The plucky version of the theme is childlike and youthful and fits the two of these characters and their enthusiasm so well. And it seamlessly blends into:

2:45 - Callie’s Theme, with as much emotion and poignancy possible, which plays over Egon seeing his grandkids face to face and a wonderful and tender moment of a grandfather tucking a strand of hair behind Phoebe’s ear.

3:30 - A violin solo with a melody that is unique to this moment and this moment alone. Egon and Callie embrace in a hug as Trevor puts an arm over his sister's shoulder. Zeddemore, Stantz, and Venkman all watch with tears welling in their eyes. This sweeping orchestration immediately calls to mind John Williams’ “Saying Goodbye” from E.T. because of the lift that, combined with incredible performances, it provides for the film.

That lump in your throat that both the E.T. track and this new score from Simonsen produce is honestly what movies are all about. Being along on a ride with characters, empathizing with them to literally feel the emotion they feel. And the greatest film scores are such an intrinsic part of that emotional experience. Yes, we don’t necessarily equate a movie like Ghostbusters with sentiment and emotion, but the most memorable films from the 80’s all left lasting impressions and this is a love letter not just to the 1984 classic, but so many of the films responsible for our pop culture to date. It’s an emotional bookend to our childhoods. Just as the Spengler family has experienced a resolve and a new purpose, so too has this franchise and the films and stories that will continue. This is an emotional closure to chapter one. And a herald for a new chapter to begin.

At 3:55, the orchestra plays the Ghostbusters Hero Theme to the walls. The day is saved. A spirit can rest and cross over to the other side. And a definitive orchestral hit brings the score to an end.

What a treat this music is from start to finish.

Unsung Heroes: Ghostbusters II's Pastrami Sandwich Guy

As has been mentioned countless times on our 300+ episodes of the Interdimensional Crossrip podcast, when you watch a film that is so rich with detail enough, you notice something new almost every time. And so, after viewing five-million three hundred and one of Ghostbusters II, I’d like to present to you the unsung hero in the corner of the frame who now cracks me up every single time that I see him…

Ladies and gentlemen: Pastrami Sandwich Guy.

Pastrami Sandwich Guy commands about a minute worth of screen time. And he chews both his sandwich and the scenery through the entirety. From first frame of celluloid to last, it literally doesn’t matter to this man that the world is coming to a cataclysmic end and chaos reigns around him — he’s finishing his deli, dammit.

With what looks like a delicious pastrami on rye in hand, Pastrami Sandwich Guy epitomizes New York. He does such a great Marx Brothers-like job of listening and watching the action unfolding around him, but the entire time won’t put down his sandwich and certainly won’t cease his slow and methodic mastication. Ben Stein informs us there’s a shell around the museum they can’t dent (holding a photo of Libby’s pedestal)? Pastrami Sandwich Guy observes but continues eating. Hardemeyer is thrown out of the conference room? Pastrami Sandwich Guy tracks him out the door then returns back to lunch. It’s hilarious.

And the best part, as the entire office gathers at the window to watch the sky grown dark with an eclipse and a vortex seemingly swallow the sky whole, who is absent? You guessed it, Pastrami Sandwich Guy can’t be bothered.

Just a brilliant unsung performance by someone probably just making a scale day rate. So who was this mysterious sandwich loving man? I’ve begun my quest to find out.

Best I’ve been able to figure, Pastrami Sandwich Guy got his time under the lights on Thursday, April 27, 1989. The INT. CONFERENCE ROOM scenes were pick ups toward the very end of production on The Burbank Studios lot. For reference, principal photography of Ghostbusters II had wrapped on Wednesday, April 5th. But about a week of pick-ups occurred later in the month, mainly to finish out the final showdown with Vigo.

As we’ve learned over the years, a cameo featuring Eugene Levy as Louis’ cousin Sherman was cut from the film at zero hour, and with it a huge plot hole of Louis asking his cousin to release the Ghostbusters. Not only that, but Hardemeyer receiving his comeuppance by being sucked into the slime wall around the museum had also been cut. This brilliantly rescripted scene smooths out the absence of both plot points, putting the onus on Mayor Lenny to need the Ghostbusters released and also having Hardemeyer thrown out all in one swoop.

Traditionally, only those with speaking or featured roles in the film receive end credits, so it’s tough to figure out who played our sandwich-eating hero. I did some digging into the GBHQ production archives and also came up pretty empty.

While David Margulies (“Mayor of NY”) and Kurt Fuller (“Hardemeyer”) are typed onto the call sheet, several of the actors in the scene are written in as last-minute additions. Ben Stein is written on the call sheet as “Public Works Official” as is Erik Holland and Philip Baker Hall both as Fire and Police Commissioners. My only guess here is that, because these were pick-up days, the cast of players outside of Lenny and Hardemeyer were in constant flux. Most likely, Ivan Reitman had to call in a handful of favors to his friends to come play that Thursday.

Why do I think that’s the case? The first thing filmed that Thursday was a pick-up shot with a dock supervisor witnessing the arrival of the Titanic, played by long-time Ivan Reitman friend and would-be Stripes star Cheech Marin. Who is also written by hand onto the call sheet.

So the best I can figure is that Pastrami Sandwich Guy was a family friend of Ivan’s, background player from Central Casting, or was someone close to the production who stepped in to fill out the scene. Outside of someone out there identifying him, or getting my hands on a Day Out of Days or other production materials that may have shown who this wonderful man was on the day, it will remain a mystery. But whether we know his real name or not, the man is brilliant and deserves a curtain call.

Anyone out there know who he might be? In the meantime, check out the clip below to enjoy Pastrami Sandwich Guy - long may he enjoy lunch.

Become a Ghostbuster Yourself Through Hologate's New VR Experience

Ghostbusters: VR Academy, which was teased at last year’s Ghostbusters Day “Ecto-Fest” is now live and ready for you to experience at 450+ Hologate locations across the world. Not to be confused with a Sony-based VR project that is also still in the works, VR Academy is a location-based multi-level experience akin to a similar offering from the VOID several years ago.

To find a location where you can enroll in the Ghostbusters: VR Academy, hit the link at Hologate and stay tuned to GBHQ for a first-hand report when we’re able to attend!