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Before Hollywood remade every cursed tape and long-haired ghost, Asia had already flipped horror into social commentary. In this deep-dive, Nick and Jan unpack how Japan, Korea, and Hong Kong turned fear into a mirror — reflecting guilt, grief, class, and control.

We break down Bong Joon-ho’s The Host (a creature feature that’s really about pollution, policy, and parenting), the anthology Three…Extremes (beauty, revenge, and trauma as literal body horror), and Takashi Miike’s Audition (the notorious slow-burn romance that mutates into pure nightmare). Along the way: the real “formaldehyde scandal” behind The Host, why Asian horror favors dread over jump scares, and how bodies become battlegrounds for public anxiety.

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In our 13th episode of Rectangles Podcast, we dive deep into the world of Black Horror — a genre that’s more than just jump scares and monsters. From Candyman to Get Out, we explore how fear, trauma, and resistance intertwine in stories told through a Black lens.

Nick and Jan unpack the social commentary behind the screams — how Black filmmakers have redefined horror as both reflection and rebellion. We talk Jordan Peele’s psychological precision, Nia DaCosta’s fresh vision, and even those under-seen gems that helped shape the genre long before Hollywood caught up.

Expect laughs, sharp takes, and a little discomfort — the good kind. Because when it comes to Black Horror, the real horror isn’t always on screen.

🎙️ Rectangles Podcast — where genre meets culture.

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In our first Genre Analysis episode, Janackeh and Nick unpack why ~70% of true-crime audiences are women, why many men prefer fictional gore over real cases, and how obsession, empathy, and power shape the genre. We break down the docs that haunt us (American Nightmare, Long Shot, Making a Murderer, Don’t F**k With Cats, What Jennifer Did, The Girl in the Picture, Tiger King, The Vow, Dirty Pop, Sins of Our Mother), the algorithms that fuel it, and the ethics we can’t ignore.

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In part two of our Final Destination deep dive, we jump into the long-awaited Final Destination 6 — the franchise’s first revival in over a decade. We break down what makes this entry different, how it reimagines Death’s “design,” and why it might be the smartest sequel in the series.

From behind-the-scenes rumors to creative team shakeups and fan theories that finally get some pay-off, we’re dissecting everything that makes FD6 a worthy return — and how it sets the tone for a new generation of paranoia.

🎬 Topic: Final Destination 6 (2025) and the legacy of the franchise

🎧 Part 1 recap: Episodes 1–5 are covered in the earlier in the week's deep dive

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In this episode, we kick off a two-part deep dive into the Final Destination series — breaking down the chaos, the creativity, and the cultural impact of the first five films. From the OG flight premonition to the wildest Rube Goldberg death traps in horror history, we unpack what made this franchise so iconic (and lowkey terrifying).

We’re talking tension, superstition, Y2K energy, and the art of making every everyday object feel like a death sentence. Buckle up — Death’s design is just getting started.

🎬 Films covered: Final Destination (2000) through Final Destination 5 (2011)

🎧 *Part 2 drops later week — where we talk reboots, theories, and the future of the franchise.

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On this second installment of On Couch / Off Topic, we break down the winners and record-setters from the 2025 Emmy Awards. From historic firsts to surprise upsets, we cover who walked away with the gold, who got snubbed, and the cultural conversations sparked by the night’s biggest moments. If you want the real talk on how this year’s Emmys reshaped the TV landscape, grab a seat on the couch with us.

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For the 30th anniversary of Larry Clark’s KIDS, we take a hard look at the film that shook skateboarding and youth culture in the mid-90s. We pair it with the documentary We Were Once Kids, digging into its raw relevance to skateboarding and the darker aftermath for stars Harold Hunter and Justin Pierce. We talk about exploitation by Clark and, to a lesser degree, screenwriter Harmony Korine and weigh how much responsibility they hold for the fallout. Beyond the film’s gritty reputation, we explore its complicated legacy, the culture it reflected, and the reactions that still ripple today.

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In the debut of our off-topic series, we settle in and let the conversation sprawl. First up is the King of the Hill revival—what excites us, what worries us, and why Arlen still matters today. From there, we shift gears into heavier territory with Nat Geo’s deep dive on the Oklahoma City bombing and HBO’s haunting Hurricane Katrina documentary, unpacking how each one balances memory, history, and storytelling.

Nick then takes aim at old-school broadcast scheduling, airing his gripes about networks still clinging to fall-to-spring calendars instead of embracing the drop-when-ready model that streaming perfected.

We wrap things up with a look ahead: a tease of our very first Off the Couch episode, where we’ll be taking the show out into the world and shooting on location.

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In this week’s episode of Rectangles Podcast, Nick and Jan put HBO’s Perry Mason (2020) on the stand. This darker, grittier reimagining of television’s most famous defense attorney trades the polished courtroom theatrics of the past for a smoky, noir-soaked Los Angeles.

The hosts dig into Matthew Rhys’s brooding take on Mason, Tatiana Maslany’s enigmatic Sister Alice, and John Lithgow’s quietly devastating turn as mentor E.B. Jonathan. They weigh how the series leans into prestige TV spectacle while reworking pulp detective roots, and debate whether the slow-burn mystery earns its moodiness.

Along the way, they explore how the show retools iconic characters, how it compares to the original Raymond Burr era, and what it says about the current wave of prestige reboots. It’s part cross-examination, part film-noir appreciation with the rectangles making their verdict clear.

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This week on Rectangles Podcast, we head to the South Side of Chicago — by way of the rent-to-own hustle. We’re talking about South Side, the criminally underrated comedy that turns minimum-wage grind into maximum-laugh absurdity.

From repoing TVs and finessing job titles to getting baptized in Lake Michigan, South Side is a world where nothing is owned, but everything’s on display. We break down why the show’s hyper-specific Chicago storytelling hits different, how it flips capitalism into comedy, and why this might be one of the best sitcoms no one told you about.

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