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Your worst date. A remote cabin. An app that controls everything about your partner. And an electric wine opener that becomes the most satisfying kill in recent horror history.

Ambrose and Jessica break down Companion — the 2025 horror-comedy that's one part rom-com, one part slasher, and one hundred percent a takedown of men who think love is something you can order off a menu.

This episode covers:

• The Barbarian connection — and why director Zack Cregger handed the keys to first-timer Drew Hancock
• Trailer Gate: did the marketing actually spoil the robot twist, or does it not even matter?
• Sophie Thatcher's tightrope performance as Iris — and the one-eye crying thing that is weirdly perfect
• Jack Quaid weaponizing his nice-guy face as the most unsettling boyfriend in horror right now
• The "go to sleep" command, the Campbell's Soup font, the Goo Goo Dolls needle drop with a very specific meta layer
• What Companion is really about — control, commodification, and "nice guy" misogyny with a remote control
• That ending — and whether Iris deserves peace more than a robot revolution

If the answer to "would you want to control everything about your partner" is yes... this movie has something to say to you.

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So, you bought a ticket for a fairy tale. But you got a bone chisel.

This week Ambrose and Jessica (filling in for Kelly, who's recovering from surgery — get well soon!) crawl down into the Critic's Crypt to break down The Ugly Stepsister (2025) — Emily Blitchfield's debut feature that takes the Brothers Grimm version of Cinderella and drags it straight into full-on body horror territory.

Think less glass slipper, more hammer and chisel. Less pumpkin carriage, more tapeworm extraction.

What We Cover

• Who is Elvira — and why she's the most relatable character in any Cinderella story ever made
• Why Agnes (Cinderella) is not the pure, helpless good girl you grew up with
• The rotting body in the spare room and what it says about money, class, and survival
• Dr. Esthetique's Institute — the procedures, the practical effects, and the foley work that will make you never eat celery again
• The tapeworm scene, the extraction scene, and the Sundance vomit incident
• The toe-chopping finale — and the tragically funny mistake that makes it worse
• How this compares to The Substance (and why this one is angrier and grimier)
• The Oscar-nominated makeup work and how they made a classically trained dancer look "aggressively average"
• What the film is actually saying about the beauty industry, eating disorders, and the economics of marriage

Content warning: graphic body horror, surgical procedures, eating disorder themes, blood, and a tapeworm extraction that one Sundance audience member did not survive emotionally.

Mentioned This Episode

• The Substance (2024)
• Raw (2016) — dir. Julia Ducournau
• Crash (1996) — dir. David Cronenberg
• Dead Ringers (1988) — dir. David Cronenberg
• Possession (1981)
• The Fly (1986)
• A Rose for Emily — William Faulkner
• Thelma & Louise (1991)
• William Castle (gimmick marketing legend)
• Jacques Joseph — pioneered modern rhinoplasty in the late 19th century
• The 1899 Paris trend of sewing hair into eyelids for "permanent" lash extensions (yes, it was real)

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In this episode of The THING about Films, Ambrose is joined by Jessica (because Kelly lost her voice and is officially on vocal rest 💀) for a listener-requested trip straight into John Carpenter’s brain-melter: In the Mouth of Madness (1994).

We’re talking Sam Neill as the world’s most stubborn skeptic, a horror author whose books don’t just scare people—they change people, and a “road trip” to Hobbs End… a town that feels like it was printed out of a paperback and stapled onto reality. Along the way, we hit the wild opening asylum setup, the “Do you read Sutter Cane?” moment, the looping-road nightmare logic, and why this movie still feels weirdly ahead of its time.

Spoiler note: This episode is not spoiler friendly. We get into the full story and the ending.

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In this episode of The THING about Films, Ambrose and Kelly head into the coal-dusted chaos of My Bloody Valentine (1981) and break down why it’s one of the most memorable slashers of the early 80s. They talk about what makes the setting feel so different from the usual “teens in the woods” formula, how the town’s working-class vibes shape the story, and why the killer design is still an all-timer.

They also dig into the real-world production story (including what it took to film in an actual mine), the long history of censorship and missing footage, and how the later uncut release changed the way people reevaluated the movie. Plus: favorite set pieces, what holds the movie back, how the 2009 remake compares, and a full Critic’s Crypt verdict with coffin ratings.

SPOILER NOTE: 

This episode does include some spoilers discussion of My Bloody Valentine (1981). The episode also includes talk about the 2009 remake.

CONTENT NOTE: 

Includes discussion of gore and violent set pieces.

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We just crawled back out of the morgue with our hair full of fake blood and our brain full of neon-green science choices. This week on The THING about Films, Ambrose and Kelly revisit Re-Animator (1985) for its 40th anniversary and ask the only important question: why does this movie somehow feel gross, funny, and completely unstoppable at the exact same time?

We’re talking Herbert West being the ultimate roommate from hell, how director Stuart Gordon brought theater-kid rehearsal energy to a splatter movie, and why Jeffrey Combs is basically welded to this role forever (in the best way). Plus: gallons and gallons of blood, practical effects wizardry, and the kind of “how did they even film this” moments that only the 80s could get away with.

SPOILER NOTE
 This episode is spoiler-heavy for Re-Animator.

CONTENT WARNING
 We discuss a sexual assault scene in the film (the Dr. Hill/Megan sequence). If you’d rather skip that part, just use the timestamps/chapters in your player.

IN THIS EPISODE, WE GET INTO

• Why this is more “Frankenstein chaos” than a typical zombie movie
• How H. P. Lovecraft wrote the original story as a serialized, work-for-hire gig… and hated it
• The unexpected path from Chicago theater to splatter classic (and the almost-TV-series version)
• Casting perfection: Combs as West, Barbara Crampton as Megan, and the gloriously slimy Dr. Hill
• Practical effects breakdowns: headless body tricks, table illusions, and why it still works
• The “how is the censored cut longer?” weirdness: unrated vs R-rated vs the Integral Cut
• “Grand Guignol” energy: when the shocks are so over-the-top you laugh on reflex
• Our Critic’s Crypt verdict: scares, laughs, and total madness

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Nice suburban house. Cute family. Cozy living room TV. And then… the static talks back.

In this episode of The THING about Films, Ambrose and Kelly go all-in on Poltergeist (1982) — the haunted-house classic that traumatized a generation, somehow walked away with a PG rating, and helped push Hollywood straight into the PG-13 era. We break down why the Freeling family feels so real, why the TV is basically the scariest “front door” ever invented, and how this movie quietly roasts the American dream while it’s stacking your kitchen chairs like a threat.

We also get into the behind-the-scenes chaos: the Steven Spielberg vs. Tobe Hooper “who actually directed this?” debate, the MPAA rating drama (yes, it was originally an R), and the practical effects era at its most impressive… and most ethically messy.

SPOILER NOTE: This is a spoiler-friendly discussion of Poltergeist (1982).

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Episode Summary

Ambrose and Kelly are back for Season 2! After a quick catch-up, the duo dives into the bold, smart, and often nasty era of 2010s horror. They explore why "small" horror films like Green Room and Better Watch Out hit so much harder than big-budget blockbusters before performing a deep-dive autopsy on the 2016 cult favorite, The Autopsy of Jane Doe.

From the clinical tension of the Virginia morgue to the haunting significance of a "Ray of Sunshine," the hosts break down every stage of this ritualistic nightmare. They also reveal the incredible practical effects and the intense physical performance required to bring Jane Doe to life.

Warning: This episode contains full spoilers for The Autopsy of Jane Doe.

Key Discussion Points

• The 2010s Horror Renaissance: Why this decade moved away from "safe" horror to embrace smart, mean, and high-stress storytelling.
• Atmospheric Dread: How The Autopsy of Jane Doe uses a single location and a minimalist cast to create maximum claustrophobia.
• The Tilden Family Dynamic: Analyzing the relationship between father and son coroners, Tommy (Brian Cox) and Austin (Emile Hirsch).
• The Practicality of Horror: A look at the film's "grossly realistic" practical effects and the remarkable performance of Olwen Kelly as the titular corpse.
• The Symbolism of "Ray": How Tommy’s personal guilt over his late wife's death is mirrored in the autopsy of the mysterious Jane Doe.
• The Final Verdict: Do the hosts think this film is a masterpiece or a misfire? (Hint: Grab your coffins).

Featured Films

• The Autopsy of Jane Doe (2016) (Main Feature)
• Green Room (2015)
• Better Watch Out (2016)

Notable Quotes

"The 2010s was the decade where horror got bold again. It wasn’t just one flavor—you had movies that were smart, nasty, funny, and mean." — Ambrose

"Every step they take in the autopsy just opens another problem. The body becomes this puzzle that keeps getting worse the more you solve it." — Kelly

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⚠️ LIMITED TIME FREE PREVIEW! ⚠️

Welcome to the debut of the Scream Queens Horror News Show! We are unlocking Episode 1 for everyone to give you a taste of what’s behind the velvet curtain.

Love what you hear? The VIP Pass is your ticket to the inner circle. For just $4 a month, you get:

• Ad-Free Episodes: No interruptions, just pure horror.
• The Scream Queens Horror News Show: Get this show delivered to your feed every week.
• Private Discord Channel: Join Kelly, Jessica, and the rest of the community to discuss the latest news in real-time.

Welcome to the very first episode of the Scream Queens Horror News Show! Join your hosts, Kelly and Jessica, as they take a deep dive into the 2026 horror landscape. From A24’s most unsettling new teasers to the return of Pennywise and Jason Voorhees, we are covering the news that keeps you up at night.

In This Episode:

Trailer & Poster Highlights

• Mother Mary (A24): We break down the teaser for this "transgressive dive" into the cult of celebrity. Is stardom the ultimate monster?
• Primal: Get ready for Johannes Roberts’ "killer chimp" movie. We discuss the D-BOX theatrical experience coming January 9th.
• The Strangers: Chapter 3: Renny Harlin’s trilogy concludes on February 6th. We analyze the new "Embrace Your Fears" poster.
• Dr. Jekyll and Mr. Shark: "Sharkopine" is real. Prepare for this digital release later this month.

Production & Industry Updates

• Welcome to Derry (Max): Miles Eckhart joins us (via news updates) to discuss filming Season 2, jumping back to the 1935 Bradley Gang Massacre.
• Crystal Lake (A24): Huge news for the Friday the 13th prequel—we're officially getting a teenage Jason Voorhees.
• Box Office: Five Nights at Freddy’s 2 hits a massive $200M milestone.

The 2026 Horror Watchlist

• The Long Walk: Stephen King’s dystopian nightmare hits screens January 10th.
• Cold Storage: Joe Keery vs. parasitic fungus? Sign us up for this February release.
• New Fear’s Eve: The holiday slasher you didn't know you needed.
• Giallo-uary: Arrow Video brings us restored classics like Deep Red and Blood and Black Lace.
• Indie Picks: Quick hits on The Plague, South Korea's Noid, and Norway's The Ugly Stepsister.

Merch Check

• NECA Reveal: We take a first look at the Santa Ghostface figure—the perfect blend of holiday cheer and 90s nostalgia.

Notable Quote

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Grab your parkas and check the phone lines—we’re heading back to Colorado, but the rules have changed. This week, Ambrose and Kelly dive deep into the snow-covered hellscape of Black Phone 2.

The sequel takes a massive swing, pivoting from the claustrophobic basement thriller of the original to an 80s-inspired "supernatural siege." We break down Ethan Hawke’s spectral return as the Grabber, the fascinating technical "visual map" used to separate dreams from reality, and why the horror community is so divided over the film’s "no kill" paradox. Is it a worthy evolution of Finney and Gwen’s story, or did the 80s slang dial it up a bit too far?

Warning: This episode contains full spoilers for Black Phone 2.

In This Episode, We Discuss:

• The Genre Pivot: How the franchise moved from a grounded thriller to a "Supernatural Siege" set at Camp Alpine Lake.

• The Ninth Circle of Hell: Exploring the Dante’s Inferno connection and why the Grabber’s new "frozen lake" domain is more than just a cool visual.

• Technical Deep Dive: Why the filmmakers used pristine 8.6K Sony Venice 2 digital cameras for the real world versus gritty, "reckless" Super 8 and Super 16 film for the dream sequences.

• The Dream Warrior Evolution: Gwen’s transition from fragmented visions to active combat, and Finney’s heartbreaking struggle with trauma-induced dissociation.

• The Ice-Skating Grabber: Breaking down that audacious (and terrifying) homage to 1983’s Curtains.

• The Controversy: Is the "spectral" Grabber too "polite"? We tackle the fan debate regarding the lack of a present-day body count.

• The Verdict: We head into the Critic’s Crypt to give our official rating in coffins.

QUESTION FOR YOU

Did the sequel’s “frozen-hell ghost” vibe work for you, or did the mythology homework take you out of it?

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This week on The THING about Films, we go headfirst into the suburban chaos of Weapons, the sprawling follow-up that basically dares you to think you’ve got it figured out… and then pulls the floor out from under you.

We break down the “Trojan horse” marketing and why the trailers were built to mislead, the insane scale behind the movie (including the reported bidding war, budget, and final-cut deal), and the cleanest horror hook imaginable: seventeen kids from one third-grade class vanishing at exactly 2:17 a.m. 

Then we dig into the movie’s craft and big swings: “melancholy sunshine” visuals, sound design that’s basically an audio jump scare with a long fuse, the layered meanings behind 2:17, and the ritual rules that make the ending hit as hard as it does. 

Full spoilers for Weapons, including the ending. So if you haven’t seen the movie yet. Go watch it and then come back to hear our take on the movie.

What we cover

• Why the rollout was intentionally deceptive (and how it worked) pasted
  
  
• The scope: New Line vs. Universal, the reported ~$38M budget, final cut, and theatrical guarantee pasted
  
  
• The hook: Maybrook, PA and the 2:17 a.m. vanishing pasted
  
  
• The 2:17 rabbit hole: classroom math, Shining nods, and the Matthew 2:17 grief read pasted
  
  
• Performances and characters (Justine, Archer, James, and Gladys) + why the town turns on the wrong “monster” pasted
  
  
• Cinematography: “melancholy sunshine,” plus the film-stock/processing choices that drain the warmth out of daylight pasted
  
  
• Sound design: the “quiet” that isn’t quiet and the infamous “whale from hell” texture fileciteturn1file2L3-L4pasted
  
  
• The ritual mechanics: the simple, brutal rules of the spell (and how they set up Gladys’s downfall) pasted
  
  
• The ending debate: what almost made it into the director’s cut vs. what audiences got pasted
• The Trevor Moore tributes (including the “seven hot dogs” moment) pasted

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