MAXIMUM OVERDRIVE (1986) d. Stephen King (USA) NIGHT OF THE CREEPS (1986) d. Fred Dekker (USA) CHOPPING MALL (1986) d. Jim Wynorski (USA) TERRORVISION (1986) d. Ted Nicolau (USA) KILLER PARTY (1986) d. William Fruet (Canada) If you love horror with a little extra cheese on top, 1986 might be one of the most glorious years the genre ever produced. Tonight, we're digging into five low-budget cult favorites that prove horror and comedy have always made a deliciously messy combination. MAXIMUM OVERDRIVE When Stephen King stepped behind the camera, he unleashed a full-throttle apocalypse where machines turn homicidal. Killer trucks, AC/DC, and pure chaos—this is '80s excess at its loudest and wildest. NIGHT OF THE CREEPS Fred Dekker blends aliens, zombies, and slashers into one wildly entertaining cult classic. It's funny, gooey, and endlessly quotable—just remember to "thrill me." CHOPPING MALL Jim Wynorski turns a suburban mall into a neon death trap as killer security robots go haywire. Laser blasts, big hair, and after-hours carnage make this a perfect slice of '80s horror cheese. TERRORVISION Ted Nicolau delivers a goo-soaked blast of Charles Band/Empire weirdness as a suburban TV dish invites an alien nightmare into the living room. Loud, gross, and gloriously ridiculous, it's peak midnight-movie insanity. KILLER PARTY Canuxploitation veteran William Fruet starts with college pranks before swerving into supernatural slasher territory. The tonal whiplash is half the fun in this strange and scrappy '80s oddity. So jump in the time machine with our awesome panel of 1980s enthusiasts (Anish Jethmalani, Tim Palace, Dave James Parker, Larry Sternshein) and head back 40 years to a time when practical effects ruled, VHS boxes promised outrageous thrills, and filmmakers weren't afraid to mix genuine scares with a wink and a grin. --------------------------------------------------------------------------------------- ANISH JETHMALANI is Chicago Actor who has been on stages and screens for 30 years. You may recognize him from the horror flick Girl on the Third Floor with CM Punk. He is passionate Cinephile who contributed an essay on The Omen for the original HORROR 101: The A-List of Horror Films and Monster Movies. You can find him on letterboxed at https://letterboxd.com/ajet/

TIM PALACE is a lifelong Chicago-based genre fan with a particular devotion to the horrific. A committed collector of physical media, Tim has amassed close to 13,000 titles he's excited to share with his new terror tyke Oliver. DAVE JAMES PARKER is a YouTube film reviewer, collector, and former indie actor who has been running the Mr. Parka YouTube channel and podcast ‪‪@mrparka‬ for over 15 years. In recent years he has started a deep dive into 1980s horror films where he often collaborates with horror journalist, podcasters, and authors to discuss an assorted mix of genre films. He has made appearances in notable indie horrors Headless and Applecart. LARRY STERNSHEIN is a lifelong movie fan in Colorado and host of the movie memories podcast "Reel Early." Not only does he love talking about horror and action cinema, but is also a big pro wrestling fan. -------------------------------------------------------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

FRANKENSTEIN (1931) d. James Whale (USA) BRIDE OF FRANKENSTEIN (1935) d. James Whale (USA) SON OF FRANKENSTEIN (1939) d. Rowland V. Lee (USA) THE GHOST OF FRANKENSTEIN (1942) d. Erle C. Kenton (USA) The legacy of Frankenstein is one of the most influential in the history of horror. Released by Universal Pictures in 1931 and directed by James Whale, the film helped define what audiences now recognize as the classic Hollywood monster movie. Drawing from Mary Wollstonecraft Shelley's novel and filtered through several stage productions, the film transformed into a powerful visual and emotional experience that changed cinema forever. Perhaps the most enduring contribution of the film is Jack Pierce's iconic design of the Monster, as portrayed by Boris Karloff. With its flat head, neck bolts, heavy eyelids, and clumsy, ungainly, childlike physicality, Karloff's portrayal became the definitive image of Frankenstein's creature in popular culture. Although Shelley's novel describes the creature differently, Whale's cinematic interpretation became so recognizable that it influenced countless films, television shows, cartoons, and Halloween imagery throughout the 20th and 21st centuries. The film also established many visual conventions for horror filmmaking. Whale's use of German Expressionist–inspired lighting, dramatic shadows, and gothic laboratory sets created an atmosphere of dread and wonder. The famous laboratory sequence where Dr. Frankenstein brings the creature to life emerged as one of the most celebrated scenes in cinema history and helped popularize the "mad scientist" trope. Beyond aesthetics, Frankenstein and its dark twin Dracula, released earlier that year, contributed to the rise of Universal's Classic Monsters, paving the way for films like The Mummy, The Invisible Man, The Wolf Man, and sequels such as Bride, Son and Ghost of Frankenstein. These latter films collectively becoming one of the earliest recognizable horror franchises in Hollywood. Ultimately, it is the film's emotional depth that helps distinguish it from being a simple monster tale. Karloff's sympathetic, evocative performance connected with moviegoers worldwide, as did the eternal themes of loneliness, rejection, and humanity. Whale's nimble blend of horror and tragedy ensures that Frankenstein will endure not only as a landmark horror film but as a culturally significant work that continues to influence filmmakers, scholars, and audiences today. Join AC and his incredible panel of guests (Aaron AuBuchon, Anna Ceragioli, Jon Kitley, Michael Weber, Bobby Zier) as we celebrate 95 years of FRANKENSTEIN!!! ------------------------------------------------------------------ AARON AUBUCHON is a film professor and writer, and also an editor, director, motion graphics artist and producer. He is also co-host of the Discover the Horror podcast. https://discoverthehorror. ANNA CERAGIOLI is a Chicagoan who lives for horror movies. From throwing horror-themed dinner parties, playing Monster Bash in her pinball league, or chilling with a Goblin vinyl, it's all horror all the time for her. JON KITLEY has been running his website, Kitley's Krypt for 25 years. He's a columnist for HorrorHound magazine, a co-host on the Discover the Horror podcast, and attends multiple conventions and all-night horror movie marathons at the drive-in theaters! https://kitleyskrypt.com/ MICHAEL WEBER is an actor, director, and currently the Artistic Director of Porchlight Music Theatre. A Chicago native, his fascination with classic horror began with WGN's legendary Creature Features and The Son of Svengoolie. He is an avid fan of the Golden Age of Radio and the author of the play, WAR of the WELLeS (about Orson Welles' infamous radio broadcast.) BOBBY ZIER has a passion for Dracula and runs a TikTok, Instagram, and YouTube channel called Lugosi Theatre. He recently received his second "Monster Kid of the Year" Rondo Award for his efforts in keeping classic horror alive and well. ------------------------------------------------------------------------------------------------ Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

THE INNOCENTS (1961) d. Jack Clayton (UK) Tonight, we're disussing The Innocents, the spellbinding 1961 screen version of Henry James' The Turn of the Screw. Producer/director Jack Clayton and cinematographer Freddie Francis conjure a haunting onscreen atmosphere with an eye for hypnotic, symbolic imagery, where the sunlit scenes are frequently more chilling than those set at night. Truman Capote and William Archibald's screenplay also introduces layers of sexual frustration, repression, and hysteria which, while eliminating none of the original story's ambiguity, supply an intriguing psychological angle that modern viewers will appreciate. As prim governess Miss Giddens, assigned to a country estate to care for two orphaned children, Deborah Kerr is undeniably the film's anchor, engine and rudder. The six-time Oscar nominee's brilliant performance walks the tightrope between strength and fear, conviction and doubt. Pamela Franklin is terrific as the angelic Flora in her screen debut, displaying hints of the preternatural maturity that would show up again and again throughout her career. And, as young master Miles, Martin Stephens manages to top his captivating turn from the previous year's Village of the Damned, delivering a magnificently layered turn that flickers between childlike precociousness and a sinister, almost sexually predatory quality. One of the finest ghost stories ever committed to celluloid, The Innocents is often compared to Robert Wise's The Haunting (1963), another stellar example of prolonged tension tempered with minimal special effects and deep, troubling, emotionally mature subject matter. The two films also share a common theme of lead female protagonists utterly undone by their reactions to the mysteries around them, where we are never quite sure if what they see (and we, through their eyes) is reality or fiction. Join AC and his incredible panel of guests (Kait Astrella, Mark Easteadt, Nicola McCafferty, Tyler Pistorius, Michael Orlando Yaccarino) as we celebrate 65 years of THE INNOCENTS!!! --------------------------------------------------------------------------------------------------------- KAIT ASTRELLA is a librarian, archivist, and indie book publicist working in New York City. Find her posting about printed books and strange fiction on Instagram @kastrella2. MARK EASTEADT is a movie-lovin', trivia-spoutin', music-sharin', pop culture nerd that loves talking about all of the above. He also hosts the horror movie Meetup, Charlottesville Horror Film Fanatics https://www.meetup.com/charlottesville-horror-film-fanatics NICOLA MCCAFFERTY is a PhD candidate in the department of Radio, Television, and Film at Northwestern University. Her research looks at screen representations of nonhuman women such as mannequins, dolls, robots, and aliens in order to deconstruct the overlapping categories of whiteness, humanity, and femininity. Outside of grad school, Nicola has a few stray bylines at Dread Central, has seen every Kristen Stewart movie, and runs an Etsy store (https://www.etsy.com/shop/vvitchroom/?etsrc=sdt) where she sells enamel pins, stickers, and prints inspired by horror and cult films from the 1960s to today. TYLER PISTORIUS is an actor, screenwriter, and producer living in Chicago. His recent works include Death is Business and A Missed Connection, and is currently in development on a new project. MICHAEL ORLANDO YACCARINO's critical writings and interviews have championed world fringe cinema for more than three decades. He is an award-winning biographer and author on unconventional historical figures and the occult. https://www.dorianavilla.com/ ------------------------------------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

DAUGHTERS OF DARKNESS (1971) d. Harry Kumel (Belgium/France) VAMPYROS LESBOS (1971) d. Jesus Franco (Spain) THE VELVET VAMPIRE (1971) d. Stephanie Rothman (USA) TWINS OF EVIL (1971) d. John Hough (UK) LUST FOR A VAMPIRE (1971) d. Jimmy Sangster (UK) THE SHIVER OF THE VAMPIRE (1971) d. Jean Rollin (France) THE WEREWOLF VS. THE VAMPIRE WOMAN d. Leon Klimovsky (Spain) 1971 was a remarkable year for the female vampire — seductive, dangerous, liberated… and deeply entangled in the contradictions of exploitation cinema. Tonight, we're exploring a remarkable cycle of films from that year, on both sides of the Atlantic, that transformed these immortal bloodsuckers into figures of erotic power and cultural tension. From the icy aristocratic seduction of Delphine Seyrig's Countess Báthory in Daughters of Darkness to the psychedelic sensuality of Jesús Franco's Vampyros Lesbos, 1971 delivered a striking wave of female vampire films across Europe and the United States. Spain's horror boom added drive-in gothic thrills with Werewolf vs. the Vampire Woman, while Jean Rollin's Shiver of the Vampires offered a surreal, dreamlike blend of eroticism and avant-garde imagery. In America, Stephanie Rothman's The Velvet Vampire reframed the female predator through the lens of sexual liberation and feminist critique. Meanwhile, Hammer Studios continued its scandalous Karnstein cycle with Lust for a Vampire and Twins of Evil, balancing gothic tradition with the era's rising appetite for sensuality and transgression. Seen together, these films reveal a fascinating paradox: the female vampire as both symbol of emergent female sexual agency and carefully lit object of the male gaze. In 1971, horror vampire cinema didn't just bare its fangs — it bared everything, and we breathlessly drank our fill. Join AC and his awesome panel of guests (Steve Archacki, Emily Barney, David Del Valle, Barry Kaufman, Nicola McCafferty) for an especially epic episode, as we unravel the threads of empowerment and exploitation! ----------------------------------------------------- STEVE ARCHACKI is a connoisseur and collector of all things EuroTrash (especially Italian/Spanish gothic and giallo films and anything Hammer Horror). He also identifies as an avid vinyl soundtrack collector, lapsing metalhead, direct mail marketing guru, and to this day, still harbors perpetual crushes on Rosalba Neri and Dagmar Lassander. EMILY BARNEY studies Czech language and is obsessed with Czech and Slovak movies. She's appeared on The Projection Booth Podcast's Czechtember series, and blogs at emily-barney.com. She's also a lifelong horror and cult movie fan, the weirder the better. DAVID DEL VALLE is a renowned film historian, journalist, and commentator specializing in horror, science fiction, and cult cinema. He has contributed to publications like Fangoria and Cinefantastique, and produced Vincent Price's only interview focused on his horror career. Del Valle's books include Lost Horizons Beneath the Hollywood Sign and Six Reels Under. BARRY KAUFMAN has been committed to spreading the gospel of obscure horror and science-fiction cinema since writing the fanzines Monsters of Japan and Demonique in the 1970s and 80s. He ran All-Horror Video out of a house in the woods in Homewood, Illinois through the 1980s, followed by his shop The House of Monsters in Chicago from 1996 to 2007. He now vends at genre related shows and programs festivals in the Chicago area featuring his inconspicuous film favorites. NICOLA MCCAFFERTY is a PhD candidate in the department of Radio, Television, and Film at Northwestern University. Her research looks at screen representations of nonhuman women such as mannequins, dolls, robots, and aliens in order to deconstruct the overlapping categories of whiteness, humanity, and femininity. Outside of grad school, Nicola has a few stray bylines at Dread Central, has seen every Kristen Stewart movie, and runs an Etsy store (https://www.etsy.com/shop/vvitchroom/?etsrc=sdt) where she sells enamel pins, stickers, and prints inspired by horror and cult films from the 1960s to today. ------------------------------------------------------------ Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

LET'S SCARE JESSICA TO DEATH (1971) d. John D. Hancock (USA) Tonight we're talking about director John Hancock's brilliant low-budget psychological chiller, Let's Scare Jessica to Death (1971), which combines elements of ghosts, vampires, and zombies, yet manages to find its own uniquely eerie voice. Shot independently in and around Connecticut, over the course of 25 chilly Autumn days on a budget of only $250,000, Jessica ultimately brought in $20 million during its theatrical release after being acquired by Paramount. It was later discovered by many more viewers (including this one) over the years via television screenings and VHS rentals, building a small but dedicated fan base along the way. Following her release from a sanitarium, emotionally sensitive Jessica (played by Zohra Lampert) leaves NYC with her classical musician husband Duncan and their like-minded hippie friend Woody to find peace and quiet working a New England apple orchard. But when they encounter a strange, beautiful squatter residing in the farmhouse, Jessica's unstable world begins to crumble. And, like our heroine, we are never quite sure what is reality or nightmare, madness or sanity…. While the original script was envisioned as a parody of scary movies, Hancock approached the material with a serious bent, allowing us to enter Jessica's fragile mind through effective use of self-doubting voice-over as well as an ongoing chorus of entreating, berating, and haunting inner voices. The evocative score by Orville Stoeber (aided immeasurably by Walter Sear's electronic synthesizer) remains one of the best of the early '70s, augmenting Hancock's haunting unsettling atmosphere. An underrated gem deserving of multiple viewings, Jessica insinuates on a deeper level than mere shocks and jump scares, creating a spell that lingers without flashy effects or gore, boasting a wealth of subtle, memorable sequences and surprises around every corner. Join AC and his incredible panel of guests (Jess Ader, Darren Callahan, John McDevitt, Vanessa Morgan, Michael Orlando Yaccarino) as we celebrate 55 years of LET'S SCARE JESSICA TO DEATH! ------------------------------------ JESS ADER is a fellow appreciator of movies and deep synth soundtracks. Former radio-TV-film student making money elsewhere but never giving up the love of all "moving" forms of media and art. He likes peanut butter. DARREN CALLAHAN is an award-winning writer, director, and composer who has written drama, fiction, and non-fiction for many major outlets, mostly focused on the horror genre. He has also released nearly 100 records, from pop to noise to ambient to film soundtracks. His website is darrencallahan.com and his IMDB is http://www.imdb.me/darrencallahan.

JOHN MCDEVITT is a lifelong cinephile who programs two recurring film events in Chicago: SUPER-HORROR-RAMA! and Fetish Film Forum, a monthly screening series about fetish, kink, leather, and BDSM at the Leather Archives & Museum. John is fascinated by all genres of cinema and appreciates horror most of all for its willingness to explore what makes us uncomfortable and for the compassion it often extends to its characters and the viewer. VANESSA MORGAN is the author of several movie reference guides (When Animals Attack, Strange blood, Evil Seeds & Meow!), all available from Amazon https://amzn.to/3Hzm0wN. She's also the creator of the websites https://cat-movies.com and https://traveling-cats.com. MICHAEL ORLANDO YACCARINO's critical writings and interviews have championed world fringe cinema for more than three decades. He is an award-winning biographer and author on unconventional historical figures and the occult. https://www.dorianavilla.com/ ------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

THE SILENCE OF THE LAMBS (1991) d. Jonathan Demme (USA) MANHUNTER (1986) d. Michael Mann (USA) HANNIBAL (2001) d. Ridley Scott (USA) RED DRAGON (2002) d. Brett Ratner (USA) HANNIBAL RISING (2007) d. Peter Webber (USA) This week, we're talking about 1991's The Silence of the Lambs, that rare beast that's both mainstream Oscar-winning success as well as a first-rate horror film. A masterful blend of psychological terror and physical violence, screenwriter Ted Tally's dynamite script (adapted from Thomas Harris' bestselling novel) examines ambitious young FBI trainee Clarice Starling (Jodie Foster) and her efforts to track down the serial killer Buffalo Bill – a nickname he's earned by skinning his victims. Assisting her, with his own cagey motives, is imprisoned serial murderer Dr. Hannibal Lecter (Anthony Hopkins), dubbed "Hannibal the Cannibal" for the unsavory habit of consuming his victims. Director Jonathan Demme handles the action with a sure touch, mixing character, complex plotting, and locations that have a feeling of absolute authenticity. Repeat viewings reveal what a careful craftsman he is, and even the most superficial glance reveals how much pop culture's fascination with serial killers and crime scene pathology has been derived from the film's popularity. Thanks to Hopkins' exquisitely modulated performance, walking a tightrope between sneering intellectual superiority and barely restrained animal urges, Lecter arrived as one the of the screen's most electrifying fiends. (So memorable is he that it's easy to overlook Ted Levine's carefully shaded performance as Buffalo Bill, which is a feat unto itself.) Despite his limited screen time, Hopkins won the Best Actor Oscar, with Foster capturing Best Actress, Demme Best Director, and Tally Best Adapted Screenplay. Unsurprisingly, the film's success revived interest in 1986's Manhunter, which had actually served as the cinematic introduction of Lecter, with Brian Cox memorable in the role. Two future installments featuring Hopkins followed, Hannibal, 2001's direct sequel to Silence of the Lambs, and 2002's Red Dragon, the same source material that had inspired Manhunter, as well as a 2007 prequel, Hannibal Rising, and Bryan Fuller's network television series Hannibal, which ran for three seasons. Clearly our fascination with the chilling world of Hannibal Lecter has yet to run its course, so let's dig in! Join AC and his incredible panel of guests (Anna Ceragioli, Mark Easteadt, Mike Mayo, Frank Merle, Mackenze Parker) as we celebrate 35 years of THE SILENCE OF THE LAMBS! ----------------------------------------- ANNA CERAGIOLI is a Chicagoan who lives for horror movies. From throwing horror-themed dinner parties, playing Monster Bash in her pinball league, or chilling with a Goblin vinyl, it's all horror all the time for her. MARK EASTEADT is a movie-lovin', trivia-spoutin', music-sharin', pop culture nerd that loves talking about all of the above. He also hosts the horror movie Meetup, Charlottesville Horror Film Fanatics https://www.meetup.com/charlottesville-horror-film-fanatics MIKE MAYO has written several books about film and popular culture, among them VideoHound's Horror Show and American Murder. He is also the author of the Jimmy Quinn historical suspense novels set in Prohibition-era New York. https://www.mike-mayo.com/ FRANK MERLE is a Los Angeles-based filmmaker originally from Chicago, IL. He has written and directed several award-winning and critically-acclaimed films, including The Employer (2013), starring Malcolm McDowell and Billy Zane, and From Jennifer (2017), starring Derek Mears and Tony Todd. He recently directed Namaka, a dark fantasy starring Jamie Kennedy and David Howard Thornton, streaming now! MACKENZIE PARKER is a filmmaker living in Los Angeles. He studied at Northern Illinois University and the Moscow Art Theater. He has worked on TV shows such as Sons of Anarchy and Agents of S.H.I.E.L.D. and is currently working as a staff editor for Digital Alliance. ----------------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

DRACULA (1931) d. Tod Browning (USA) DRACULA (Spanish version) (1931) d. George Melford (USA) DRACULA'S DAUGHTER (1936) d. Lambert Hillyer (USA) SON OF DRACULA (1943) d. Robert Siodmak (USA) Released on Feb 14, 1931, Dracula from Universal Studios stands as perhaps the most influential horror film ever made. Directed by Tod Browning with cinematography by Karl Freund, the film was adapted from the wildly successful Broadway stage version of Bram Stoker's 1897 novel. At the center is Bela Lugosi, whose performance as Count Dracula became definitive almost overnight. Lugosi's thick Hungarian accent, hypnotic stare, and aristocratic poise transformed the vampire from a folkloric monster into a seductive, charismatic figure. His portrayal established many of the traits now inseparable from the character: formal dress, slow, deliberate speech, and an uncanny mix of menace and allure. Though Lugosi would struggle, unsuccessfully, to escape the shadow of the role, his Dracula remains one of cinema's most iconic performances. The supporting cast includes Helen Chandler as Mina, David Manners as Jonathan Harker, Dwight Frye as the insect-gobbling Renfield, and Edward Van Sloan as Professor Van Helsing, whose calm rationality helped define the "monster hunter" archetype that would become a staple of horror storytelling. Dracula's massive commercial success—especially during the depths of the Great Depression--played a pivotal role in launching Universal Pictures' legendary Monsters series, proving horror could be both profitable and prestigious. The studio followed with Frankenstein later the same year, then The Mummy (1932), The Invisible Man (1933), and many others, indelibly shaping popular culture for generations to come. Dracula didn't just introduce an immortal character—it helped give birth to American horror cinema as we know it. Join AC and his bloodthirsty panel of guests (Jessica Dwyer, Kate Hansen, Tom Mula, Michael Weber, Bobby Zier) as we celebrate 95 years of DRACULA!! --------------------------------------------------- JESSICA DWYER was raised on a diet of Dark Shadows, Doctor Who, and a lot of things she saw way too young. She's been writing for nearly a quarter of a century about the world of entertainment and her own fiction (and that sound you heard was her bones turning to dust.) She works for the JoBlo Network, HorrorHound Magazine, and is a producer on a number of projects. KATE HANSEN is a music teacher with a penchant for horror. She has been published in magazines like Ultra Violent and Horrorhound. She likes dogs, enjoys the smell of campfires, collects VHS, is afraid of heights, and has only ever received two speeding tickets. TOM MULA is a Chicago actor, director, and playwright, and author of the bestselling book and play, "Jacob Marley's Christmas Carol." MICHAEL WEBER is an actor, director, and currently the Artistic Director of Porchlight Music Theatre. A Chicago native, his fascination with classic horror began with WGN's legendary Creature Features and The Son of Svengoolie. He is an avid fan of the Golden Age of Radio and the author of the play, WAR of the WELLeS (about Orson Welles' infamous radio broadcast.) BOBBY ZIER has a passion for Dracula and runs a TikTok, Instagram, and YouTube channel called Lugosi Theatre. He recently received his second "Monster Kid of the Year" Rondo Award for his efforts in keeping classic horror alive and well. ---------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

THE LITTLE SHOP OF HORRORS (1960) d. Roger Corman (USA) LITTLE SHOP OF HORRORS (1986) d. Frank Oz (USA) Tonight we're talking about Little Shop of Horrors—a title that refers to two very different movies yet equally beloved cult classics that share a carnivorous plant, a down-on-his-luck florist, and a surprisingly dark sense of humor. Producer/director Roger Corman's The Little Shop of Horrors is an infamously low-budget black comedy shot in just a couple of days on leftover sets. Seymour (Jonathan Haze) is a put-upon loser with a hypochondriac mother and an overbearing boss, living in a community surrounded by wacky characters ranging from the sadistic to snooty. His chatty botanical creation—Audrey Junior—is born with a taste for blood, a thirst that grows as rapidly as it does. While the film barely made a ripple on its release in 1960, over time it gained a cult status through late-night TV and repertory screenings, helped along by its oddball tone and an early cameo from future superstar and Corman regular Jack Nicholson. Said scrappy little no-budget movie eventually caught the attention of composer Alan Menken and lyricist Howard Ashman, and their eventual off-Broadway musical in 1982 fused doo-wop, Motown, and musical theater with horror comedy and social satire. Reframed as a Faustian bargain with memorable tunes and cartoonish characters, the show was a surprise hit, and producer David Geffen immediately began conceiving of a way to offer filmgoers something even grander via Hollywood's ever-evolving technology. The final product, released in 1986 and directed by Muppet Master Frank Oz, delivered a glossy, effects-heavy, star-studded crowd-pleasing spectacle that managed to honor its humble origins even as it created an entirely new generation of fans. Join AC and his incredible band of botanical buddies (Dave M Gray, Jay Kay, Anna Maurya, Mary Manchester) as we celebrate both versions of Little Shop, the theadbare no-budget joke and the blockbuster musical hit. From the tiniest seeds of inspiration, mighty and monstrous things are growing down at Mushnik's! ------------------------------------------------------------- DAVE "M" GRAY is currently a test subject in a subterranean mad science lab and allowed to send proofs of life to Raiders of the Podcast (raidersofthepodcast.blogspot.com or anywhere you podcast) and Twitch (twitch.tv/sh4ggyr4nd) weekly. JAY KAY is the creator of the 7-time Rondo-nominated horror podcast, Horror Happens, where he has conducted hundreds upon hundreds of interviews with genre celebrities. He is also a staff writer with HorrorHound Magazine. He is also a budding filmmaker, with numerous credits to his name, including No Good Deed, Within the Frame, and Swing 46: The Last Swinging Supper Club. https://astrangemaninflpro.wixsite.com/jkolucki

MARY MANCHESTER lives and works in Oshkosh, Wisconsin. Lover of dogs, raised by nerds, fan of horror, drag, photography, Oxford commas, and '80s music. ANNA MAURYA is a film fan stuck in Ohio. They have been a guest on Raiders of the Podcast, a contributor to Hidden Horror, and they generally dislike writing about themselves in the third person. -------------------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

THE EVIL DEAD (1981) d. Sam Raimi (USA) EVIL DEAD II (1987). d. Sam Raimi (USA) ARMY OF DARKNESS (1992) d. Sam Raimi (USA) EVIL DEAD (2013) d. Fede Alvarez (USA) EVIL DEAD RISE (2023) d. Lee Cronin (USA) Sam Raimi's Evil Dead franchise is a cornerstone of independent horror cinema, redefining what low-budget filmmaking could achieve. Beginning with The Evil Dead (1981), Raimi combined raw ingenuity, kinetic camerawork, and extreme gore to create a relentlessly inventive horror film that left a lasting impact on the genre. Shot on a shoestring budget with collaborators including star Bruce Campbell, the film's manic energy and iconic "unseen force" camera movements distinguished it from the slower horror of the late 1970s. The franchise's legacy is equally shaped by its bold tonal evolution. While the original film plays as a brutal, nightmarish experience, Evil Dead II (1987) and Army of Darkness (1992) fused splatter horror with slapstick comedy, transforming Ash Williams into a chainsaw-wielding, wisecracking antihero and helping define the modern horror-comedy. From comics and video games to the Ash vs. Evil Dead TV series to reboots like Evil Dead (2013) and Evil Dead Rise (2023), the series continues to evolve. Join AC and his awesome panel of horror enthusiasts (Krisy Jett, Anna Maurya, Daniel Millhouse, Ryan Olson, Jennifer Olson, Joseph Wycoff) as we celebrate 45 years of THE EVIL DEAD!! ---------------------------------------------------------------- KRISTY JETT, faithful horror nerd of 40+ years, resides in Buffalo, NY and is the mother of nine cats. She remains now and forever the world's biggest fan of the film Popcorn (1991). ANNA MAURYA is a film fan stuck in Ohio. They have been a guest on Raiders of the Podcast, a contributor to Hidden Horror, and they generally dislike writing about themselves in the third person. DANIEL MILLHOUSE joyfully returns to review films with Dr. AC and friends! As an Assistant Professor at the College of DuPage, he cherishes his Theatre, TV/Film, and Motion Capture acting experiences. He is one mischievous, charming, goofball. JENNIFER OLSON is a lifelong horror fan and mother of three monster kids. She is a former member of The Flint Horror Con, and currently part of the Synapse Films street team! RYAN OLSON (aka S. Ravenlord of The Cold Beyond music group) is the owner of Deadspeak Design and Night World Records, as well as a member of the Synapse Films street team and a regular on the Synapse Films podcast. His work has been featured in Liquid Cheese, Horrorhound, & Evilspeak Magazines. JOSEPH WYCOFF is a veteran Chicago actor now based in New Zealand, with onscreen credits ranging from "Ash vs Evil Dead" to the Power Rangers to Josh Ruben's Heart Eyes (2025). -------------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!

THE THING FROM ANOTHER WORLD (1951) d. Christian Nyby (USA) THE THING (1982) d. John Carpenter (USA) THE THING (2011) d. Matthijs van Heijningen (USA) Tonight we're discussing Howard Hawks' The Thing from Another World (1951) and John Carpenter's The Thing (1982), two science-fiction horror films that, despite sharing a source in John W. Campbell Jr.'s novella Who Goes There?, reflect very different eras in filmmaking and cultural anxiety and both represent landmark moments in genre cinema. The 1951 The Thing from Another World, directed by Christian Nyby with producer Howard Hawks leaning heavily over his shoulder, is emblematic of Cold War science fiction. Its screenplay by Charles Lederer and an uncredited Ben Hecht, significantly adapts Campbell's story, transforming it into a brisk, dialogue-driven ensemble piece. The alien is a humanoid, plant-based creature (played by future Gunsmoke star James Arness) that represents the fear of external invasion and ideological contamination prevalent in early-1950s America. John Carpenter's The Thing (1982), by contrast, reflects a far bleaker worldview. Screenwriter Bill Lancaster returns more faithfully to Campbell's original concept of a shape-shifting alien menace, emphasizing uncertainty and mistrust. Carpenter's film centers on paranoia rather than invasion, with the alien's ability to perfectly imitate its victims turning the threat inward, eroding trust among the characters. The groundbreaking practical effects by Rob Bottin redefined onscreen monster movies, pushing the boundaries of what mainstream audiences could imagine or endure. Unlike its predecessor, which was immediately hailed as an artistic and commercial success, The Thing was initially reviled by critics and commercially unsuccessful. Thankfully, it has since been reappraised as a masterpiece in the 40+ years since its release. Join AC and his incredible panel of guests (Fraser Coffeen, Chris Hainsworth, Katie McClean Hainsworth, Kevin Matthews, Ryan Olson) as we explore the genre's evolution from externalized fears to psychological and existential dread and everything in between! ---------------------------------------------------------------- FRASER COFFEEN is the co-host of Creepy History, a podcast dedicated to all the creepy stuff you wish they taught you in High School. He's been published in Horror Homeroom magazine and How to Analyze and Review Comics CHRIS HAINSWORTH (he/him/his) is an actor/writer/director represented by Big Mouth Talent Chicago. He is a DeathScribe winner 2009 for the audio drama "Remembrance" and author of The Fourth Wall, part of Motel 666 (2015). KATIE MCLEAN HAINSWORTH is a Chicago-based performer/writer, whom you can regularly find on both the DARK NEXUS and FAWX & STALLION podcasts. She's happily guested on HORROR 101 a few times as well as on Roll For Impact's THE STRANGER. KEVIN MATTHEWS posts a movie review daily on the For It Is Man's Number blog, and is one quarter of the Raiders of the Podcast team who have been putting out weekly episodes for over six years. https://linktr.ee/raidersofthepodcast RYAN OLSON (aka S. Ravenlord of The Cold Beyond music group) is the owner of Deadspeak Design and Night World Records, as well as a member of the Synapse Films street team and a regular on the Synapse Films podcast. His work has been featured in Liquid Cheese, Horrorhound, & Evilspeak Magazines. --------------------------------------------------------- Keep Searching, Keep Exploring, and, most of all, Keep Sharing the Scare!