Since Michael Dougherty’s Krampus came out in 2015, the pagan hipster Christmas demon has only grown in popularity. We explore the ancient roots of the anti-Santa, discuss Dougherty’s extended universe, and make an unavoidable turn down the road of capitalist critiques of holiday favorites.
This episode is about the most evil genre of music: Black Metal. We are joined by extreme music authority, Andee Connors. He co-owned the notorious Aquarius Records, curates Pandora’s unholy Black Metal station and creates infernal music as a member of A Minor Forest and Common Eider, King Eider. We invoke blasphemous critical theory, the abysmal history of youth movements and the odorous politics of several necrotic musical personalities.
As a primer for our Black Metal episode, our glorious guest Andee Connors has created an epic, but impossible to complete mix for us on Spotify.
Listen in preparation for our episode 30 conversation, listen afterwards for further edification, or listen simultaneously for a Dark Side of the Rainbow effect:
A Scary Thoughts (Mostly) Black Metal Mix by Andee Connors
Brett Easton Ellis’ American Psycho came out to a flurry of controversy in 1991. Director Mary Harron brought it to the screen in 2000. This episode focuses on the film, but the book is brought up quite a few times. It’s a killer conversation that covers Moby Dick, political correctness in the 90s, yuppie culture, Christian Bale’s hotness, A Clockwork Orange, and whether or not Gordon Gekko is more evil than Patrick Bateman.
2007’s horror anthology Trick ‘r Treat is our official Halloween episode. You may notice it is a little late. Excuses? Marc was on tour promoting his new album Deface and Chad was shooting antique firearms in New Orleans. It’s still a good episode. We cover EC Comics’ influence on anthology films, the importance of heroic figures in horror, and whether or not being eaten by sexy werewolves is a good way to exit this mortal coil.
Julia Ducournau’s 2017 film Raw is French and it’s extreme, but is it French Extremity? We discuss this gnarliest of horror subgenres as well as American film in general. We both quite enjoyed this one, so get ready for a sprawling conversation about body horror, misogyny in interviews, and what foreign films get right about fear in the modern age.
The subject of our first live episode is the new version of Stephen King’s IT (2017). We are joined by Philip K. Dick Award-winning horror writer Meg Elison (The Book of the Unnamed Midwife, The Book of Etta) and editor and publisher Jeremey Lassen (Borderlands Books, Nightshade Books). Just like the film, this episode is fun and loud. In fact, if this is your first listen, don’t despair at the noisy café sounds, our audio quality is usually top-notch thanks to Marc’s chronic audiophilia.
This episode takes up Netflix’s sort of controversial take on Death Note. We discuss appropriation, adaptation, what we’d do with the shinigami powers and whether or not Kraftwerk’s eradication from history would stop techno in a Terminator franchise sort of way.
Clive Barker’s Nightbreed hit theaters in 1990. Some would say this version suffered from major studio interference, but it might have been a bit too ambitious for its time. Over the decades there have been multiple edits of the film, short story collections, video games, comic books and all kinds of other tie-ins. We talk about why this “franchise” has endured, what works, and what doesn’t, in the 2014 director’s cut.
In episode 23 we talk about the highly requested 2017 film by Jordan Peele, Get Out. We both loved this film, but knew it deserved some deeper thought, so we took time doing our research (which mostly included listening to Jordan Peele tell you exactly what everything meant in his Nerdist interviews with Chris Hardwick). We hit everything from genre fandom to wokeness. It’s an important and fun film, though despite all the praise, maybe not a future classic (though we believe Peele will soon create an all-time great film).