If you haven’t followed this, here is a brief overview.

Jack Curry of YES tweets the Pettitte signing. Buster Olney of ESPN breaks the report six minutes later, based on his own research (according to him), to ESPN. All hell then breaks loose.

When Curry finally learned of ESPN and Olney not crediting him, he called it “shameless and embarrassing”, and went on a re-tweeting rampage on his Twitter account of all the people supporting him. Check out his Twitter account for the madness.

When Olney finally caught wind of Curry’s rage, he released this series of tweets:

And he’s been on the defensive ever since on his own Twitter account.

As of this morning, the war between the two men rages on, with both of them citing various blog works from others supporting their side of the argument. Olney began by linking Curry to this piece, and Curry quickly replied with a link of his own here.

If you’re looking for some quality entertainment this Sunday morning, feel free to check out the Twitter pages of both men to see what they spout off with next. Personally, I’m just happy Andy Pettitte is coming back, as he’s always been one of my favorite Yankees.

In my opinion, Madonna may go down in history as the suckiest act ever booked for a Super Bowl halftime show. I’ve already started thinking of things to do during halftime so I don’t have to be subjected to what is assuredly going to be full fledged ear torture for the 20 or more minutes she’s on stage.

Here is my list so far:

• Playing in traffic
• Punching myself repeatedly in the face
• Running my nails on a chalkboard
• Attempting to drink a cup of scalding hot coffee before the 3rd quarter begins
• Watching  Oxygen or the Oprah Winfrey Network
• Re-creating as many stunts from the movie Jackass as possible
• Watching Rick Perry debate performances on YouTube
• Writing a 100 word essay on the definition of “The Common Good”
• Allowing my wife to wax my eyebrows
• Reading the iTunes user agreement

These are all things I feel will be less painful than watching the 53 year old Madonna,  strutting around on stage dressed like a prostitute, belting out auto-tuned versions of her “hits”. This is going to be simply atrocious in every sense of the term.

One person looking forward to it is Lady Gaga, who may be the biggest lunatic currently torturing us with existence in the music industry. She’ll be tuning in, and here is what she had to say about the big day on Twitter:

“Looking forward to seeing the Superbowl! The halftime show will be wonderful I’m sure. An excuse to drink beer+watch boys in tights. #yes.”

At least someone will think this halftime show will be wonderful.

I wish the Super Bowl organizers could just keep things simple: Classic rock band, loud music, fireworks, and back to the game.

This show is going to suck, and I refuse to be a part of it.

First, the preamble. “Jaws” is NOT a horror movie. Who needs to swim in the ocean anyway? Then what is “Jaws”? Good question. It’s a little bit of everything — part horror movie, part mismatched buddy movie, part road (er, sea) trip. It’s great at all these things and arguably the best movie ever made, period. Unlike “The Exorcist,” which never really scared me. It’s worth seeing but is more typical three-star fare. And for me, a horror movie has to be either a roller coaster ride of laughs and thrills or a haunted house. Preferably, both. The Exorcist, is neither. So without further ado,

So, the best horror movie ever made is…. EVIL DEAD 2. It’s the gold standard because it’s literally like being on a roller coaster and it’s a haunted house. Plus, it’s damn funny one moment and jolts you from your seat the next with shocks and then grosses you out with enough blood to drown the entire theater. Forget merely dripping off the screen. We’re talking oceans of blood. Bruce Campbell is the all-time horror movie hero thanks to his recurring Ash character. The other Evil Deads are all worthy, too, though Army of Darkness really can’t be called a horror film. (It is, however, HIGHLY recommended.)_ While this movie is ostensibly about demonic possession, if these demons have names they are: Moe, Larry and Curly. But make no mistake, the movie is scary because we see right away that anything can happen to anyone at any time.

Oh, and all kinds of advisories apply to viewing this clip:

Romero is getting Beatles treatment here with two films in the top five — his Rubber Soul and Revolver of horror.

No, the 2004 remake wasn’t bad, except that running zombies suck. Get realistic, people. Living dead I can buy. But unless the zombie is Carl Lewis, he should be lumbering inexorably towards you. Remember, zombies do not get winded. They do not sleep. So, eventually, they win.

The social commentary in Romero’s classic is more spot on. The fact that the humans and the zombies would gravitate to a mall is a nod to vapid American consumerism. Zombies even window shop, too. They want things and do not know why. They ride escalators in a daze just like the living.

The gore quotient is very elevated versus NOTLD. Maybe it’s the fact the film is shot in color. But we linger a lot more. What’s good about this movie is that the characters get a little utopia amidst the world-wide apocalypse and it’s ultimately undone not by the zombies. In a style more typical of the 1970s, the movie ends hopelessly — but how could it end any other way?

The opening of this movie was extremely intense for its time and I think that holds up, too.

Over 40 years later, this movie still holds up as a pure horror experience. The black and white treatment gives the whole film a timeless nightmarish quality. I love how the situation is never really explained, which also adds to the dreaminess of it all. The film is black and white in another way, too, with overtones to the civil rights movement then sweeping the nation. We have a cool, collected black hero being forced to overcome the (mostly) blighted ignorance of the white man, who ultimately gets the last laugh at the end of a gun in one of the most shocking and dark endings in movie history.

But the civil rights/race stuff is all pure subtext that you can focus on or ignore. It’s just the icing on the blood and guts filled cake.

This is not a sci-fi movie. This is a haunted house movie. In fact, it’s the best haunted house movie of all time. Again, we get the prerequisite sense of doom. The characters’ inablity to escape the horror is transposed on us, amplifying our fears. The creature is the Superman of movie monsters. Insect strength, shark teeth, insatiable appetite and acid for blood. In the other corner — the first real female horror movie hero (remember, Donald Pleasence saves Jamie Lee Curtis in Halloween). Sigourney Weaver is great. The film is well paced. The then ground-breaking special effects hold up very well.

Of course, James Cameron’s “Aliens” is even better — but that’s an action/war film and not a horror movie. May be splitting hairs here, I know. But rules are rules.

Took Frankenstein a step further with an indestructable creature that, unlike Frankenstein (okay, Frankenstein’s Monster), was completely inscrutable, especially under that creepy mask. Most unforgettable horror soundtrack ever (not counting “Jaws,” not a horror movie for reasons I’ll explain when we get to No. 1 on this list.) The movie’s strength is conveying a sense of hopelessness in the face of unrelenting terror. I do not buy that this film is misogynistic — the guys get it, too. I also do not see it as a social critique of contemporary (im)morality — these kids were doing what all kids did in the ’70s. Director John Carpenter is just trying to scare the crap out of you and it does it very well by reinventing the haunted house concept by taking our normal nice suburban homes and haunting them. Note that I hate almost all of its progeny in the slasher genre. Carpenter’s use of first-person perspective (of the killer) in many of the kill scenes was later widely copied and is hailed by filmmakers while being panned by sociologists who say it makes audiences sympathize with the killer — ridiculous because to sympathize you first have to understand and this film wisely makes very little attempt at real exposition. Also note that “Psycho,” which is better than almost every film on this list but that I do not count as a horror movie because it has no supernatural element to it, also used first-person perspective in the famous staircase killing scene.

Now this is high concept. “Re-Animator” is completely unhinged. Jeffrey Combs (you can find him at a horror convention near you) had a career-making role as mad-scientist Herbert West. (He can also be seen wide-eyed in the very excellent — probably should have been on this list over Mimic — “The Frighteners.”) Don’t particularly like cats? Or medical school professors? Like the idea of a corpse carrying his severed head that is still able to issue central nervous system commands? Want that head and body to be command an army of undead corpses while also being able to communicate telepathically to the lobotomized father of the student who wouldn’t have him even when he was, um, whole? Then this movie is for you. Bloody. Gory. Twisted. Fearlessly executed — “Re-Animator” is the all-time gross-out horror/comedy classic.

We’re getting close to Halloween. So a double dose of classic horror the next three days as we roll into Monday.

When I saw this movie in the theater as a kid, I thought, “What a waste of time.” But this film gets scarier every time I see it. I think you have to be an adult with wife and kids to understand how this forced proximity in the very wrong place at the very wrong time could drive a person insane. Kubrick’s genius here is in choosing the setting. The hotel is enormous, yes, but ultimately and inescapably confining. And its luxury is juxtaposed nicely with the increasingly dilapidated state of Nicholson’s soul as the demons that the world distracts him from are unleashed with psychopathic fury. This may in retrospect be Nicholson’s greatest performance. And here’s his best scene:

Totally reinvented the vampire genre when that genre was deader than Bela Lugosi.  The early scene in the bar is arguably the greatest horror set piece of all time. Bill Paxton is great as a psychopathic bloodsucker. But it’s the reluctant vampires that give this movie its real bite. The heroes (if we can call them that) are much more dimensional than the those typically found in horror movies and so are the very human conflicts that arise between them.