Hate to Interrupt

This week on Hate to Interrupt, we’re talking about two directors known for doing things their own way. Edgar Wright’s The Running Man reimagines the 80s sci-fi classic through his kinetic style and dark humor (or does he?), while Osgood Perkins’ Keeper continues his streak of eerie, unsettling horror that lingers long after it’s over.

We break down how both filmmakers twist familiar genres into something stranger, smarter, and more personal, and whether The Running Man proves Wright still has his edge.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

This week on Hate to Interrupt, we dive into Guillermo del Toro’s long-awaited Frankenstein, a gothic reinvention of Mary Shelley’s classic through del Toro’s signature mix of tragedy and monster empathy. We also talk about It, the modern horror juggernaut that redefined Stephen King adaptations, and Welcome to Derry, the new prequel series expanding that world. To round things out, we discuss The Chair Company, a small but fascinating new project that might be one of the strangest releases of the year.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

This week on Hate to Interrupt, we’re diving into two very different visions of horror and dread. First up: Shelby Oaks (2024), the feature directorial debut from YouTube critic-turned-filmmaker Chris Stuckmann, which turned an internet myth into a crowdfunded studio film. We unpack its found-footage roots, its long wait, and whether it actually delivers.
Then we revisit Midsommar (2019) by Ari Aster—a folk-horror spectacle that blends heartbreak, cult rituals and daylight so bright you forget you’re scared. We compare how each film handles dread, tone and what we’re really meant to fear.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

This week on Hate to Interrupt, we talk about The Black Phone 2 — the long-awaited sequel to Scott Derrickson’s breakout horror hit — and Peter Jackson’s The Frighteners, a 90s cult classic that blends ghosts, comedy, and chaos in a way only Jackson could pull off.

We break down whether The Black Phone 2 justifies its existence, how it fits into modern horror trends, and why The Frighteners might secretly be one of the most underrated supernatural films ever made.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

This week on Hate to Interrupt, we talk about the Peacemaker Season 2 finale — and yeah… it wasn’t great. James Gunn’s usually the master of mixing chaos and sincerity, but this time the tone feels off, the writing drags, and the heart just isn’t there. We break down what went wrong, how it fumbled such a strong season, and whether Peacemaker still has a future in Gunn’s new DCU.

VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

We’re happy to welcome back returning guest  RendanLovell  who joins us to talk Paul Thomas Anderson’s One Battle After Another — an explosive character-driven action drama starring Leonardo DiCaprio — and James Gunn’s Peacemaker, which continues to blend heart, violence, and chaos like no one else can.

VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

Jordan Peele has stepped in as producer for the newly released Him, a horror film already stirring up conversations about identity and control. We share our first thoughts on how it fits into Peele’s growing legacy of modern genre films.

Then we revisit Spike Jonze’s Her (2013), a beautiful, melancholic look at love, technology, and loneliness that still feels just as relevant over a decade later.

It’s a mix of fresh horror and timeless sci-fi romance in this week’s episode.

VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠⁠

In this episode of Hate to Interrupt, we dive into the newly released 2025 adaptation of The Long Walk and unpack how it translates Stephen King’s bleak novel to the screen. From there, we shift gears into the surreal world of the Coen brothers’ Barton Fink, exploring its layered satire of Hollywood, creativity, and madness.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠

The gang is back for another round of movie talk, this time diving into the brand-new Toxic Avenger reboot, the indie drama Caught Stealing, and the offbeat coming-of-age comedy Youth in Revolt. From splatter-filled reimaginings to quirky teenage rebellion, we break down what works, what doesn’t, and how these films fit into today’s movie landscape.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠

For our 50th episode, we’re celebrating by talking about some of our all-time favorite films: The Iron Giant, Tropic Thunder, and No Country for Old Men. From animated cult classics to razor-sharp Hollywood satire to Coen Brothers bleakness, we dig into why these movies stick with us, how they’ve aged, and what makes them endlessly rewatchable.

⁠VHSGuy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠StopCulture⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ghoulif⁠