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A brutally sadistic rape leads to a series of bizarre gory murders during a midnight disco bowl-a-rama at a popular bowling alley. One by one, players of two teams meet blood-drenched gruesome deaths at the hand of a black bowling-gloved masked killer. This alley runs red with blood by sunrise.

When folk icon Irving Steinbloom passed away, he left behind a legacy of music and a family of performers he has shepherded to folk stardom. To celebrate a life spent submerged in folk, Irving’s loving son Jonathan has decided to put together a memorial concert featuring some of Steinbloom’s best-loved musicians. There’s Mitch and Mickey, who were the epitome of young love until their partnership was torn apart by heartbreak; classic troubadours The Folksmen, whose records were endlessly entertaining for anyone able to punch a hole in the center to play them; and The New Main Street Singers, the most meticulously color-coordinated neuftet ever to hit an amusement park. Now for one night only in New York City’s Town Hall, these three groups will reunite and gather together to celebrate the music that almost made them famous.

The life of Edward D. Wood,Jr, hailed as the worst director (of ‘Plan 9 From Outer Space’, ‘Glen or Glenda?’ and ‘Bride of the Monster’) of all time.

The major sub-plot circles around the youngest Griffin, Stewie, who has a near-death experience at a pool when a lifeguard chair falls on him, but he survives. After having a vision of being in Hell, he decides to change his ways, but this doesn’t last long. While watching television, he and Brian spot a man that looks like Stewie. Brian is convinced that he is Stewie’s real father, until Stewie learns that the man is actually himself as an adult, taking a vacation from his own time period. Baby Stewie visits thirty years later to discover that his adult self, going by the name Stu, is a single blue-collar middle-aged virgin working at a Circuit City-type store. Meanwhile, Peter and Lois are trying to teach their two older kids, Meg and Chris, to date. In the future, Chris, who hasn’t changed much, is working as a cop and is married to a foul-mouthed hustler named Vanessa. Meg is now called Ron, since she had a sex-change after college.

One week before her sex-change operation, Bree receives a call from a 17-year-old identifying himself as her son from a college liaison. Bree’s psychiatrist won’t approve the surgery until Bree deals with this relationship, so Bree flies to New York City, bails the youth out of juvenile detention, and offers him a ride back to Los Angeles without disclosing that she is his father. Both her plans and his go awry, and as secrets will out, what might become a friendship (or more) founders. The lad’s step-father, a sex-change support group, a peyote eater, a Navajo wrangler, and Bree’s family all play their parts in this exploration of family, gender, and expectations.