Cinematic Anarchy

Three film nerds enter The Backrooms; Along the way, the Chris, Steph and Nico unpack creepy entities, Chris immediately get lost looking up 4chan and accidentally finds porn. The they unpack trauma, practical effects, fake exits, and why nobody should ever go spelunking in a suspicious basement. Expect deep lore, punchable-face rankings, a spirited AI rant, and the vital reminder: drink water, you thirsty bitches.

Two shark movies enter the lake. Logic does not come out. Chris and Bev compare Jurassic Shark and Shark Exorcist, examining bargain-bin CGI, baffling demon-shark lore, a suspiciously long opening, and a horrific number of “Tiffany!”s yelled into the void. Is a movie worse when it’s so weird you can’t forget it—or so boring you can barely remember watching it? After debating creepy characters, off-screen attacks, and sharks that apparently defy several rules of nature, they reach a verdict: Jurassic Shark is marginally better. Marginally. Bev also chats about her book on gloriously failed films, while the conversation wanders into shark sequels and horror’s endless supply of cursed titles. No lake water was harmed. Probably.

Find Beverly's new book here: Amazon.com: A to Z of The So Bad, They're Good, The Bad and The Ugly Horror Film 2: 9798185267004: Price, Beverley: Books

Chris and Steph attempt a respectful memorial for Dolly Parton, Tim Curry, Peter Cullen, Reggie Bannister, and other beloved icons—and naturally end up discussing Rocky Horror, Dolly’s legendary philanthropy, questionable children’s-movie euphemisms, celebrity deaths, pierced body parts, and a mummy that sucks souls through people’s… well, you’ll hear it. It’s heartfelt, hilarious, occasionally inappropriate, and proof that grief is easier to process when you add camp, cult cinema, and several wildly unnecessary tangents.

Chris and Steph attempt to discuss The Beatles’ Yellow Submarine and A Hard Day’s Night, but naturally end up debating football, British accents, Jesus, Ringo’s facial hair, wrestling, cultural appropriation, and whether “Dick Boob” is a real person.
Somewhere in the chaos, they make actual points: Yellow Submarine is a psychedelic animated fever dream packed with pop-culture references, while A Hard Day’s Night is a sharper, scrappier comedy that helped shape the mockumentary. They also investigate the Beatles’ strangest characters, questionable voice-acting choices, Blue Meanies, Jeremy Hillary Boob, and why Ringo may secretly be the funniest Beatle.

Is Sam Neill a leading man, a character actor, or simply the human equivalent of “Oh cool, Sam Neill is in this”? Chris sits with Matt and Rachel to discuss his cinematic résumé, from Jurassic Park and Event Horizon to Hunt for the Wilderpeople, while debating whether he could have improved roles played by Gary Oldman. Along the way, they discuss creepy villains, typecasting, Christopher Walken, questionable potato dishes, orange mocha frappuccinos, and movies nobody remembers despite containing half of Hollywood. It’s a chaotic, funny deep dive into why Sam Neill makes almost any movie better—even when he’s only onscreen long enough to look concerned.

The Beatles were never meant to be this weird. From fake kidnappings and hand dryers that strip off shirts to a full-on coach trip fever dream, Help! and Magical Mystery Tour turn one of the biggest bands in history into something much stranger, louder, and more unhinged than nostalgia ever prepares you for.

Chris and Steph break down why one film feels like a polished attempt at Beatlemania while the other spirals into pure psychedelic chaos. Along the way, they untangle the real story behind Ringo as the comedic center, John Lennon's relentless trolling, George Harrison's life-changing trip to India, and why I Am the Walrus is basically John Lennon telling the press to stop trying to decode everything.

Roger Glen Hill joins Chris and Steph to unpack Stalker Jane, the low-budget indie that mixes 80s slasher energy, modern attitude, and just enough chaos to make you keep yelling at the screen. What starts as a twisted date from hell opens into a full conversation about how the film was built, why Halo's debut performance as Jane is so instantly memorable, and how a shoestring budget became a feature instead of a limitation. Roger shares how the story grew from an abandoned Christmas stalker short, why he wrote the role for Nigel Quinn, and how a first scene with almost no outline ended up becoming the foundation for the whole movie.

In this episode, Chris & Step dive into Suspiria — the 1977 horror classic where the colors are louder than the dialogue, the score is pure nightmare fuel, and the practical effects are gloriously unhinged. We talk witches, mirrors, maggots, and why this movie somehow makes a German academy feel like the worst place on Earth. It’s part film analysis, part chaos spiral, and 100% proof that Dario Argento knew exactly how to make a beautiful disaster.

In this episode, Meg and Chris dissect every strange detail — from Gloria Holden’s statuesque presence to Sandor’s punchable face, and the hilariously incompetent police hierarchy. They break down the film’s bizarre costume choices, the unintentional comedy, and the subtle hints of sexuality buried beneath Victorian-era repression.

Ger Can Get It

Is Fight Club a feminist film? Does pissing side by side make you best buddies? Is Jared Leto really all that pretty? All these questions and less answered by Chris and Steph as they ADHD trip through the chaos that is "Fight Club"