When Sophia Cacciola and Michael J. Epstein’s postmodern diptych of fake proto-slasher End Zone 2 (supposedly 1970, actually 2022) and its fake retrospective documentary The Once and Future Smash (2022) absurdly posited a ‘football revenge craze’ to which the original End Zone (putatively 1964) belonged, they might as well have been describing the subgenre from…
