Alex Breaux is a popular actor, director, and writer who you might have spotted in your favourite series or movies. Be it Lieutenant Akers in Stranger Things or Wild Bill Hickman in American Primeval, or as Camish/Caleb Grimmengruber in Joe Pickett, Breaux handles each role with ease
He was born on January 4, 1986, in Richmond, Virginia. While he was a student and exceptional athlete at Harvard University, he auditioned and was accepted to The Juilliard School’s Drama Division. Breaux initially appeared in a bunch of plays, such as The Real Thing and Red Speedo. He also appeared as Dr. Martin Brenner in Phoenix Theatre’s Stranger Things: The First Shadow.
In 2016, he appeared in projects like Josephine, Katie Says Goodbye, and CBS’s Bull. Apart from that, he also played guest/recurring roles in shows like Law & Order: Special Victims Unit, Blue Bloods, and Blacklist, to name a few. Here are some of Alex Breaux’s must-watch projects.
Depraved- Watch on AMC+
If you’re in the mood for something eerie, Depraved is the right pick. A modern take on Mary Shelly’s Frankenstein, this horror film was released in 2019. Larry Fessenden serves as the director, and it follows Henry, a former US Army medic who now works at a Brooklyn lab to heal from his past trauma. He tries to recreate a man with cobbled body parts and names it Adam, played by Alex Breaux. However, the hard part comes when Henry has to teach Adam how to survive in this evil world.
Foxhole- Available on Prime Video
Bored with horror and supernatural series/movies already? Foxhole is a film that you need to add to your watchlist now. This war/action film follows scenes from three different wars through a US Soldier’s perspective, highlighting the moral dilemmas they face. This Jack Fessenden directorial features Motel Gyn Foster, Alex Hurt, Cody Kostro, and Alex Breaux, to name a few.
Jordan Gass-Pooré, Rigo Garay, John Speredakos, Emily Bennett, Jenn Wexler, Jeremy Holm, Larry Fessenden, Gaby Leyner, Matt Rocker BELOW:Abi Lieff
I came up with the concept for “Orpheus” this time last year. In the past I’ve helped to produce Tales (here’s looking at you Seasons 2 and 3!) but this would be my first as a Tales writer/director. I knew I wanted to write an episode that would allow for a variety of soundscapes and that would let me explore multiple horror sub-genres. I wanted to craft a story that could start intimate and expand into something epic – a chamber piece that spins its way into a blockbuster. The magic of the audio drama! One moment, an intimate phone conversation; the next, nuclear explosions and planes falling from the sky. It’s all possible in audio. Which ultimately led me to realize that this creative process could help me cope with the major anxieties I was having around the advent of AI – at that point, primarily the rise in popularity of ChatGPT.
As I started to develop the story, I knew immediately that I wanted Emily Bennett and Jeremy Holm to star as the couple at the center of it, both fantastic actors and my good friends. I pitched Emily on the idea while tucked into a corner of Jack Fessenden’s childhood bedroom during Glass Eye’s legendary Christmas party. She said yes, as did Jeremy soon after, and I got to work writing, with their voices top of mind.
We recorded “Orpheus” in February with Matt Rocker at Underground Audio NYC, the cast rounded out with Glass Eye regulars and newcomers alike, over the course of two days, and then I dove into the dialogue edit. While editing, I got a coffee with incredible singer/songwriter and my good friend Shayfer James, described the concept to him and that I was searching for a song to serve as the couple’s first wedding dance, as well as the theme for the episode. He sent me his song “Waiting,” which I instantly fell in love with. With that in place and the dialogue edit complete, Matt worked his sound design wizardry, and the episode started to come to life.
We set the Tale aside for a little bit while I worked on another project, and when we picked it back up in the fall, AI in the real world had grown exponentially (as I guess you would expect from it.) Writing “Orpheus” back in January, the Tale seemed very science fiction. Now with Sora, Claude, a few weeks ago Nano Banana, et al, AI has become a very real, inescapable part of our lives and our society. (The day before we released “Orpheus,” I read this article in the Independent – “If You Could Speak To Your Dead Grandmother Forever, Would You?”) The future is apparently here.
But at any rate, there was a Tale to release! In November, brilliant composer Antoni Maiovvi came aboard and crafted a score capturing all of the sub-genres I’d been excited to explore – domestic drama, psychosexual tech thriller, end-of-the-world apocalypse blockbuster. We mixed the Tale at Underground Audio with Matt working his magic. And on our final day of mixing, Larry and Glenn recorded The Host’s intro and outro, which was super fun to see come together.
Meanwhile, as we were finishing up the Tale, Brian Level was making my poster art dreams come true, with a modern spin on the classic gothic women-running-away-from-houses paperback novel covers.
There you have it! A year in the life of an episode of Tales From Beyond the Pale.
And probably obvious to say, but this episode was 100% made by HUMANS. There was no AI in the making of this Tale. Sorry, Orpheus!
A recently widowed woman uses a new AI technology to be able to talk to her dead husband.
Writer, director Jenn Wexler
Producers: Larry Fessenden, and Glenn McQuaid, with Jordan Gass-Pooré and Rigo Garay Associate Producer: Sean Redlitz Featuring the voice talents of Emily Bennett, Jeremy Holm, Abi Lieff, Estelle Olivia, Gaby Leyner, Glenn McQuaid, Matt Rocker, Rigo Garay, Larry Fessenden, John Speredakos Sound Recording, Design and Mix by Matt Rocker at Underground Audio, NYC Score by Antoni Maiovvi “Waiting” written and performed by Shayfer James Poster by Brian Level
DEMONATRIX written and directed by Jeff Ferrell and Aurelio Voltaire starring Jeff Ferrell, Aurelio Voltaire, Hannah Fierman, Doug Bradley, Larry Fessenden, Nivek Ogre
At the age of 10, Aurelio Voltaire bought a super 8 camera and taught himself the art of stop-motion animation. At 17, he ran away from home to New York City where by 18, he had become an award-winning animator and director working on station IDs for MTV and national spots for international brands. Through his stop-motion short films, Aurelio Voltaire was able to explore his more fantastic, monster-filled visions, each narrated by a singer he admired including Danny Elfman, Gerard Way, Blondie front-woman Deborah Harry, Psychedelic Furs frontman, Richard Butler and new wave pioneer, Gary Numan. These five shorts earned Voltaire 35 film festival awards. After achieving success as an internationally touring recording artist and author, Aurelio Voltaire has circled back around to his original passion to make his first feature length creature feature with co-director, Jeff Ferrell. Jeff Ferrell is a filmmaker, actor and musician. He has made three feature films as writer/director: Ghostlight, Dead West (which was picked up by RLJ Entertainment and Netflix) and Holiday Hell, a horror anthology starring Re-Animator’s Jeffrey Combs. The Demonatrix is Jeff and Aurelio’s first feature film as co-writers, co-directors and co-stars, and has been 10 years in the making.
Former Glass Eye intern Nick Funess releases two feature films this year. His debut flick YOUNG BLONDES, STALKED AND MURDERED lands distribution with Anchor Bay, available to watch on various VOD platforms and several theatrical engagements lined up. His second feature THE HEDONIST, starring Funess (with a cameo by GEP Intern Alumn Santiago Saba Salem) premiered at Panic Fest 2025, continues its festival circuit.
Screen Anarchy on THE HEDONIST: There’s a layered sense of play, melancholy and almost dangerous uncertainty throughout The Hedonist that works perfectly for this movie about a young man we sympathize with but wouldn’t actually want to meet. It’s a difficult and distinct tonal balancing act that builds on the promise of his first feature and only makes me more excited to see whatever Funess does next.
Screen Anarchy on YOUNG BLONDES, STALKED AND MURDERED: Young Blondes, Stalked and Murdered is perhaps more tragedy than slasher. And rather than combine them, Funess makes them clash: murder isn’t the cause of tragedy, it’s the possibility of not being murdered that’s tragic.
Glass Eye Pix invites you to count down 25 Days till Christmas with this creepy Advent Calendar. What better way to celebrate the Holiday season than with a daily peek behind the doors and windows, nooks and crannies of this mysterious doll village assembled by artist and stop-motion animator Beck Underwood? See vintage dolls and Santas, stuffed critters and misfit toys, all to delight and tease in this merry celebration of Christmas mischief.
Larry Fessenden & Tom Laverack, aka Just Desserts is releasing their fourth album, ‘Curtains’ 38 years after their debut LP, Sentimental War arrived in 1987, almost to the day. Fessenden, a full-time filmmaker, producer, writer and actor, and Laverack, a singer-songwriter, co-founder of Sojourn Records, and a director of operations at a large behavioral health agency, have never stopped making music. But post-COVID, the high school pals dug back into where they left off working on songs before the pandemic. Coalescing in Fessenden’s barn upstate, the album took shape in the way one might ideally imagine a music project going – exciting reconnection after years of not playing, collaborating on the music and refining ideas, Fessenden, the king of the bridge, helping finish incomplete songs.
Enter Mark Ambrosino and his Madhouse Studio. Mark and Sojourn Records produced the last JD full length album ‘Lost in Love’, and with him behind the kit and the board, Mark helped JD enter into their fourth decade with vigor.
“I remember walking by the car wash on Fourth Avenue in Sunset Park, a strikingly ugly part of Brooklyn, when I had the idea of writing a song called ‘Curtains’. I think I wrote Larry an email and said, ‘Our next album is going to be called Curtains. I just have to write the song.’ The fact that we actually did it, thanks in large part to Larry shepherding the project forward, well it makes me very happy.”
Additionally Laverack adds, “Until we really got deep into it, I don’t think I understood how much this record is about being alive, ironically, in a positive way. Larry used to say he was a disappointed optimist, and I might add I’m a disappointed idealist. So sadness, angst, heartbreak is all there, but so are the odd moments of enlightenment you didn’t know you were capable of experiencing. Many times this occurs musically here, like a counter theme to some of the lyrics. There is a mystery and magic to being alive. As Larry sings, ‘it’s so Tender.’
And then life ends as inexplicably as it began.”
Photos: Laverack and Fessenden; guest guitarists Jack Petruzzeli and Jack Fessenden; Will Holshouser on accordian Laverack is so into it
Glass Eye Pix is the fierce independent NYC-based production outfit headed by award-winning art-horror auteur Larry Fessenden with the mission of supporting individual voices in the arts. Read more...
