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First Trailer for Ghostface Horror Sequel 'Scream 7' with Neve Campbell
Hollywood

First Trailer for Ghostface Horror Sequel ‘Scream 7’ with Neve Campbell

by jummy84
written by jummy84

First Trailer for Ghostface Horror Sequel ‘Scream 7’ with Neve Campbell

by Alex Billington
October 30, 2025
Source: YouTube

“Oh I’m not hiding, Sydney. Not this time…” Paramount Pictures has unveiled the first official trailer for Scream 7, the latest horror sequel in this beloved horror franchise that will never die. Ghostface is back! As always! Scream VII brings back the original creator & writer of the whole franchise, Kevin Williamson, who co-wrote and is directing this, too. It’s set for release in February 2026 but this trailer is dropping just in time for Halloween. “I’m gonna burn it all down.” When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed. The huge ensemble cast features a few original actors & many more: Neve Campbell, Courteney Cox, Isabel May, Jasmin Savoy Brown, Mason Gooding, Anna Camp, Joel McHale, Mckenna Grace, Michelle Randolph, Jimmy Tatro, Asa Germann, Celeste O’Connor, Sam Rechner, Tim Simons, Ethan Embry, Mark Consuelos. Scream 6 (aka Scream VI) arrived back in 2023 – the original Scream opened in 1996 (nearly 30 years ago). Who knows if this will be the last one or not. What do you think of it?

Here’s the official trailer (+ poster) for Kevin Williamson’s horror sequel Scream 7, direct from YouTube:

Scream VII Trailer Poster

Scream VII Trailer Poster

When a new Ghostface killer emerges in the quiet town where Sidney Prescott (Neve Campbell) has built a new life, her darkest fears are realized as her daughter (Isabel May) becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all. Scream 7 is directed by American genre screenwriter / producer / filmmaker Kevin Williamson, only directing his second movie since making Teaching Mrs. Tingle in 1999; he also created & wrote the entire Scream franchise and also created & wrote films & TV including The Faculty, “Dawson’s Creek”, “Hidden Palms”, “The Following”, “Stalker”, “The Vampire Diaries”, “Tell Me a Story”, Sick, “The Waterfront”. The screenplay is written by Kevin Williamson and Guy Busick; from a story by James Vanderbilt & Guy Busick. Based on the characters created by Kevin Williamson. Produced by William Sherak, James Vanderbilt, Paul Neinstein. Made by Paramount Pictures & Spyglass Media Group. Paramount will be releasing Williamson’s Scream 7 in theaters nationwide starting February 27th, 2026 early next year. Look any good? Who’s in?

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Ghostface Killah: Supreme Clientele 2 Album Review
Music

Ghostface Killah: Supreme Clientele 2 Album Review

by jummy84
written by jummy84

You would be forgiven if the first couplet had you fooled. On “Iron Man,” the opening song from Supreme Clientele 2—the titles of two masterpieces leveraged, diminished, thrown into the SEO fire—Ghostface Killah headfakes like he really has something. “The stamp on the dope was Ronald Reagan with fronts,” he raps, the kind of absurdist and hyperspecific detail that dotted the crime vignettes from the illustrious first half of his career. “My man ran over his legs, all we heard was the crunch,” the last word accentuated by Foley work you might have heard in a 1950s radio play. It’s enough to recall the rumbling Jeeps, spilled tartar sauce, and glass caskets that launch his oddest, most engrossing stories.

That the rest of “Iron Man,” and the rest of Supreme Clientele 2, falls far short of this standard should not be a surprise; it’s an extraordinary image. And the album is certainly not the nadir for late-period Ghost, who over the last decade has frequently sounded strained and depleted, and who has spent significant time of late writing in staid formats that are poor vehicles for his once phantasmagoric style. It’s sturdy, at times truly fun. But this is also an album that—even when stripped of cynical readings of its commercial proposition and taken on its terms as a creative work—is doomed by the backwards gaze that doubles as its premise.

The one thing that prevents the Reagan-with-fronts line from sounding as if it could be lifted from the original Supreme Clientele is the voice in which it’s delivered. Whether the result of marathon nightclub tours, working with different engineers in new recording software, or simply aging, the “Tasmanian Devil who knows where you can get PCP” vibe of Ghost’s youth is gone, replaced by something gruffer, scratchier, more evocative of your blowhard uncle. Compounding those qualitative changes is the decision, not uniform but frequent enough across SC2, to double his vocals. This all has the effect of making Ghost’s music sound the one thing it never did before: effortful.

From 1995 through 2006—that would be Raekwon’s Only Built 4 Cuban Linx… through Fishscale and the wildly underrated More Fish—Ghost was the most singular writer in hip-hop, perhaps in its history. The verses could be dense, even labyrinthine, but all carried the energy of ecstatic, impulsive imagination. In the 2010s and early ’20s, this has been replaced by a flood of painfully ordinary material that includes a pair of LPs with Adrian Younge, a half-baked concept record on Tommy Boy, and a smattering of forgettable single-producer collaborations. In addition to the thinning out of his syntax, Ghost’s narrative writing drifted toward longform character sketches scrubbed of nearly all eccentricity and mapped onto predictable plot beats.

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Ghostface Killah Taps Into the Power of Imagination
Music

Ghostface Killah Taps Into the Power of Imagination

by jummy84
written by jummy84

Last year, Ghostface Killah told Rolling Stone that he was disappointed by the rap landscape, lamenting, “A lot of stuff be regular darts.” He added, “I don’t hear niggas doing storytelling no more.” His thoughts went viral, even becoming the catalyst for an additional conversation with Stephen A. Smith. While bemoaning a “lack of substance,” he declared, “We’re the type of niggas that can rhyme about an eyeball falling out your face, and having the police pick it up and put it in a plastic bag.”

He said “we,” but it feels like only Ghost would concoct that scenario — off the cuff, at that. Ghost has long been a rap surrealist, imbuing one of hip-hop’s most no-nonsense scenes, gritty New York rap, with a streak of vibrance and borderline whimsy. Only someone still in touch with their inner child could rap about a pimpin’ version of SpongeBob Squarepants like he did on “Underwater,” from his 2006 album Fishscale.  

Supreme Clientele 2 rides the energy of his impassioned call for more creativity. He’s attempting to lead by example on a project with song concepts, skits, and lyrical highs reflecting someone that still loves making rap music. To be clear, Supreme Clientele 2 isn’t the masterpiece that the original 2000 album is. But there are plenty of credible rap fans who will argue you down that no other album is as good as Ghost’s id opus. This project, like his Wu-Brethren Raekwon’s Only Built 4 Cuban Linx 2, proposes that it doesn’t make sense to rate a sequel in terms of whether it’s as good as its decades-old precursor as much as how successfully the original concept was done justice. 

A million rappers have rhymed about being raided by the feds like he did on “Iron Man.” But few would follow that up with this visual: “I threw my raps in thе fireplace, then right out of the smoke rose a dead man/He had big chains, sick frame, sick flames/Even had a white glove with him, thought he was Rick James.” At his best, Ghost straps listeners in on an 80 mile per hour rollercoaster featuring locked-in co-stars like M.O.P. (“Sample 420”) and Nas (“Love Me Anymore”), and cinematic details like putting kids in a bathroom and distracting them with Cheetos before a gunfight, as he does on the crime caper “Georgy Porgy.” 

Editor’s picks

On “4th Disciple,” he evokes his classic verse on Wu-Tang Forever’s “Impossible,” while depicting himself trying to revive his friend Taj. On “The Trial,” he comes together with Raekwon, GZA, Method Man, and Reek the Villain, who all play different roles in a fictional trial. It’s a standout track of the Wu’s later years that speaks to the sonic ingenuity that Ghost has said was lacking in current hip-hop. “Metaphysics” feels the closest to the original Supreme Clientele’s spirit, where he’s rhyming free associatively over a sparse breakbeat with horn hits then opens the second verse dishing, “I could put my mama face on the pancake box.” Like some of Ghost’s most memorable moments, it’s unclear what he’s getting at, but the phrase is so vivid and comedic that it just works. 

He’s similarly colorful on “Breakbeat,” where he spits rapid-fire over a pair of Eighties-style drum loops, rhyming, “Dodgin’ bullets while I’m guardin’ the base like Steve Garvey.” The attrition on his vocal cords is apparent throughout the album, including on this track, and it affects how cleanly his once flawless flow unfurls. But he’s still tearing through bars on the self-produced song. He follows that up with the more conversational “Beat Box,” where he’s flirtatiously rhyming back and forth with Aisha Hall over a Dougie Fresh-inspired composition. After those two overt Eighties tributes comes his lead single “Rap Kingpin,” where he and Scram Jones link Rakim’s “Check Out My Melody” with remnants of Supreme Clientele standout “Mighty Healthy.” Kudos to whoever imagined those two melodies blending as seamlessly as they do here. The song is another example of hip-hop’s capacity for cross-generation conversations — could we get a Rakim remix? 

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That said, the 22-track album has moments that it could’ve done without. “Soul Thang” runs long without him in the second half of the song. “Candyland” also doesn’t feel necessary, with his bar “Bill Cosby, K.O. roofies, this for the groupies” being a disturbing clunker. And while his “Pause” skit is a funny and self-deprecating take on fragile masculinity, his Dave Chappelle-featured ”Sale of the Century” skit is marred by a contestant on the track’s fictional game show who regressively boasts about waking up and slapping his wife in the morning. Sure, Ghost has his creative license to put that in a skit without anyone attributing it directly to him, but the skit was funny without joking about spousal abuse. 

Overall, in line with Slick Rick’s and Raekwon’s recent albums, which were also a part of Mass Appeal’s Legend Has It series, Ghost gives it all he has in 2025 over golden-era-evoking breakbeats and a mesh of soul and funk samples from his youth. No, it’s not a one-of-one monument of impeccable poetics like the original, but what is? It’s invigorating to hear and see the effort Ghost put into Supreme Clientele 2, one of the most imaginative, outrageous listens of the year.

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Offset, Ghostface Killah, BigXthaPlug, And More
Music

Offset, Ghostface Killah, BigXthaPlug, And More

by jummy84
written by jummy84

Doja Cat, Lupe Fiasco, Flo Milli, Joey Bada$$, French Montana, and more stars unleash new sounds.

2025 UMG Recordings, Inc.; © 2025 Mass Appeal under exclusive license from Ghostface Killah; © 2025 BigXthaPlug under exclusive license to UnitedMasters LLC

Today is Friday, which means there are a ton of new releases to look forward to from some of your favorite Hip-Hop artists. To help you unwind and enjoy the weekend, check out VIBE’s picks of songs and albums you should hear and add to your soundtrack of weekend festivities.

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