It’s a cozy-spooky Halloween at Gravestone: Megan & Arthur hit record on Halloween night and switch things up with a storytelling game, each brings three short scary tales: two based in fact, one pure fiction. The other has to spot the fake…to win the pot of candy. Play along!

Highlights we talk through:

• Chelsea’s 1981 Halloween murders and those strange Son of Sam prison whispers about a planned double murder. What was real, what was rumor?
• The bloodied nightgown visitor sitting on a porch swing with a knife—was it a prank, a breakdown…or something worse?
• A supposed Niagara-side disappearance with puzzling clues and conflicting theories. Coincidence—or cover?
• The tragic Halloween-night case of Martha Moxley—and why it still lingers.

Tell us which story you think was fake and drop your own creepy mini-tales. We’re @GravestonePod everywhere. Also, expect more than movies here, books, games, and horror in every format are coming. Stay scared and stay tuned.

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The most-funded horror on Kickstarter is finally in theaters—here’s what Shelby Oaks gets right after Neon’s reshoots, and why that mockumentary-to-feature opening still rules. We break down the found-footage DNA, Camille Sullivan’s performance, the demon’s slow reveal, and the spoiler-heavy ending.

We also revisit the film’s road from Fantasia to wide release, Mike Flanagan’s light-touch EP role, and how the new edit tightens pacing without overusing sound cues. Stay for our favorite scene-stealers (hey, Norma) and a candid talk about the baby plotline and Mia’s POV.

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In this episode of Grave Tone, Meaghan and Arthur dig into Pitfall (2025)—a backwoods survival slasher that premiered at Screamfest LA—without spoilers. Think 127 Hours, but make it horror… and give the villain a Rambo-style edge.

We break down why the characters feel capable (not cannon fodder), how the practical work sells the pain, and why the cast chemistry keeps the tension human. We also drop a few interview soundbites from our conversation with writer-director James Kondelik and producer Wai Sun Cheng (full interview coming soon). If you’re in New Orleans, keep an eye out—Screamfest NOLA is on the horizon.

Stay tuned for our full interview with the director, James Kondelik, and producer Wai Sun Cheng!

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The Black Phone 2 (2025) review: Gwen takes center stage as winter-camp horror, dream-phone lore, and a meaner Grabber turn this sequel into a tense, atmospheric surprise. Is it as good as the original?

We go spoiler-free first, then dive into spoilers: the icy setting, Sinister/Elm Street vibes, Ethan Hawke behind the mask, continuity callbacks (Fin vs. Finney), the dad’s big scene, darker cinematography you can still see, and whether this franchise needs a Part 3 or a prequel.

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Is Frankenstein (2025) peak del Toro? We break down the performances (Isaac’s swaggering Victor, Elordi’s heartbreaking Creature, Goth’s standout Elizabeth), the jaw-dropping practical sets, and why this adaptation nails Mary Shelley’s themes without feeling dusty.

We also discuss the current Gothic horror wave (hello, Nosferatu) and where this film stands among 2025’s biggest genre releases.

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We meant to cover Shelby Oaks this week… until we double-checked the date and realized the U.S. theatrical release moved to October 24, 2025. So we did what any horror fiend would do on October 3: fired up Shudder and watched V/H/S/Halloween the second it dropped.

Inside the episode, we:

• Recap the franchise’s evolution and why the anthology/found-footage format still works in 2025.
• Walk through the new wraparound “Diet Phantasma” (ghost-soda tests gone very wrong) and five segments:
• Coochy Coochy Coo — feral, grimy Barbarian-adjacent chaos.
• Ut Supra Sic Infra (Paco Plaza) — daytime dread and slick police-investigation tension.
• Fun Size — trick-or-treat rules with a lanky candy fiend; the funniest entry.
• Kidprint (Alex Ross Perry) — deeply upsetting nineties video-ID horror (hard watch, effective).
• Home Haunt — family haunt gone too real, a love letter to DIY Halloween (plus a fun Rick Baker cameo).
• Shout out Good Boy opening weekend (yes, the dog lives).
• Share what’s next on our spooky-season watchlist.

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In this episode of Grave Tone, Meaghan and Arthur dig into GOOD BOY—a supernatural chiller shot from a dog’s eye-level that’s been turning heads on the festival circuit and heading to a wider release via IFC/Shudder. We keep things spoiler-free, focusing on how the film’s third-person canine perspective reframes haunted-house language: blurred human faces, hand-centric framing, and long, shivery holds on dark corners.

We share anecdotes from the Fantasia screening, craft talk from the post-show Q&A, and why this specific dog (Indy!) makes the film unexpectedly emotional. We also touch on the “does the dog die?” anxiety spike, quick festival stats, and why 73 tight minutes is the perfect length for this kind of dread machine. If you’ve been on the fence, this ep is your nudge to see it cold.

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In this week’s Grave Tone, Meaghan and Arthur continue our Childhood Trauma series with the not-so-beloved sequel An American Werewolf in Paris (1997)—a movie Meaghan adored at 10, but that hits… differently now.

We pit Paris against An American Werewolf in London (1981), break down the werewolf-as-tragedy archetype, and ask why Paris’ sunny ending, choppy rewrites, and then-cutting-edge-now-dated CGI undercut the horror. We also shout out the surprisingly stacked ’90s soundtrack, talk Julie Delpy giving 120%, Tom Everett Scott’s “boy-next-door” casting, and how the film’s club-kid vibe tried to modernize a classic monster.

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“Him (2025)” is a gorgeous, vicious sports-horror about the cult of football—GOAT rituals, fame as religion, and a prospect pushed to the brink. Here’s our spoiler-free take… then full spoilers.

We just left opening night: stunning visuals and killer performances clash with heavy-handed symbolism and a wobbly mid-section. We break down the “Jordan Peele effect” (producer vs director), the blood-rite GOAT mythology, and that gnarly final set piece—plus why we still recommend supporting original horror even when it fumbles the ball.

• First Impressions (Spoiler-Free): “Too many ideas,” brilliant look & acting, marketing framed as a quasi-Peele film.
• What Works: Visual design; strong leads (Wayans/Withers); dark humor; set-piece finale that sticks the landing aesthetically.
• What Fumbles: Overstuffed symbolism, pacing drop mid-film, side characters are underserved, cult thread feels shoehorned.
• Themes We Chew On (Spoilers): GOAT mythos/“I’m him,” blood heritage, gladiator lineage, the machine/ownership, temptation and image-making.
• Sports & Body Horror: Brain injury, pressure to perform, hints of CTE anxiety filtered through horror.
• Verdict & Ratings: Not “worst of the year,” closer to 6–6.5/10; audience will split along expectations.

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Fresh off the release of The Long Walk (Sept 12, 2025), we spiral into a full-on King-verse binge and each bring a Top 5 to make a definitive Top 10 of Stephen King adaptations. Expect praise, side-eyes, and at least one “that ranking will change tomorrow.”

Shownotes:

• Why the ’97 Shining Works — faithful themes (addiction, family, culpability), the Stanley Hotel, King’s cameo; keywords: The Shining miniseries, Stephen King vs Kubrick, Stanley Hotel.
• Coming-of-Age King — Stand By Me on friendship, class, and change; keywords: Stand By Me, The Body novella, Rob Reiner.
• One Room, Big Scares — 1408 and practical-effect disorientation; keywords: 1408 explained, John Cusack, Dolphin Hotel.
• Group Dynamics in Terror — The Mist: zealotry vs reason, an ending that haunts; keywords: The Mist ending, Frank Darabont, supermarket siege.
• 2025’s Dark Laughs — The Monkey: morbid comedy that lands; cast highlights; keywords: The Monkey 2025 review, Osgood Perkins, Theo James, Elijah Wood.
• Machines With Malice — Christine and Carpenter’s synth dread; keywords: Christine movie, John Carpenter, Plymouth Fury.
• Fan Obsession as Horror — Misery, parasocial nightmares; keywords: Misery analysis, Annie Wilkes, James Caan, Kathy Bates.
• Crowning a Modern Classic — IT Chapter One and why it still rules; keywords: IT 2017, Pennywise, Losers’ Club.
• Lightning Round — Gerald’s Game, Creepshow, Haven, Salem’s Lot (’79); keywords: King anthology TV, Mike Flanagan adaptation, 70s miniseries.

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