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Backrooms (2026) director Kane Parsons became an auteur horror phenom through one of the strangest, but possibly increasingly common, paths imaginable: he built a YouTube-native story using open-source software and a meme. The original web series deserves the praise. It looks great. It's fun. It's creepy. And it speaks directly to a generation's fears. The film successfully expands that world while also working as a standalone movie in some interesting ways. In this episode, we talk about new ways films might get made, Lacanian psychotherapy, dead mall aesthetics, Viking liminalism in Valhalla, gold-plated AK-47s, and what it means when a horror movie makes Marvel money.

Obsession (2026) is a film for anyone who's ever been unlucky in love or wished for the impossible. It's won praise as an indie horror darling after making hundreds of millions of dollars, but what if it's really a romcom? In this loving conversation, we cover the pitfalls of working in the movie business, opine on what it takes to maintain decades-long romantic affairs, and ask the all-important question: should you really be careful what you wish for?

Ready or Not 2: Here I Come (2026) picks up minutes after where the previous, and enjoyable, installment left off. If you liked the first one, you're in for a treat because this is, quite literally, more of the same.  This is one of those episodes where the film doesn't have much to say, we don't have much to say about it, and as a consequence, we descend into speculative madness.  Fear not! We still hit many of the classic Scary Thoughts topics: unlistenable music, final girls, The Devil, shitting on A24, and dream casting for The Rock.

Just because you're paranoid, don't mean the Andromedans aren't after you. Chad and Marc give a brief Stranger Things wrap up before disentangling this Yorgos Lanthimos madness. They explore the differences between alien conspiracy paranoia, and the Truth. After hearing Chad's lifelong appetite for conspiratorial thinking, you will want to believe. Marc wonders if maybe the Andromedans really do know what's best. That's not a conspiracy, that's just sensible species management.

For Halloween, we always like to do something a little special, and this year we decided to ask some of our fellow fiends (Meg Elison, Joshua Grannell aka Peaches Christ, Carmen Maria Machado, Daniel Coffeen, Steven Intermill and Monique Jenkinson aka Fauxnique) about the first film they remember that truly scared them, and how that shaped them into the ghouls they grew up to be.

28 Years Later (2025) seems to have divided fans of the franchise. The original film raged into theaters with an absolutely fresh take on the zombie, with new and prescient rules based on gain of function research, and a distorted digital aesthetic that still looks incredible. Plus it introduced us to the great cheek bones of Cillian Murphy. But this film? Chad loved it, Marc hated it. So get ready for a fun back and forth about what worked, and what didn't for your favorite horror movie podcast hosts. This episode hits on the past and future of the franchise as a whole, Alex Garland and Danny Boyle's filmography, zombie dongs, Jimmy Saville's villainy, and whether or not tracksuits are the proper clothing for apocalyptic battles.

Final Destination: Bloodlines (2025) is the sixth installment in a (mostly) beloved franchise of fright films. Fans consider it one of the best in the series, and even the less enthused have found gems to enjoy. The opening sequence is a blast. The kills are hilarious and maximalist. And you even get a little bit of character development.  The conversation stays mostly on topic, but let's be honest, Bloodlines is like a new AC/DC album. You know what you're getting.  We stray into conversation about Japanese denim, ghost outfits and fast fashion, and the new Ryan Coogler film, Sinners.  Overall, this episode is a real hoot.

Companion (2025) comes to us at a great time in our culture's history. As of this writing, AI hucksters are incinerating the planet so anyone can prompt Harry Potter fan fiction and the innumerate can vibe code their way to enough series A funding to purchase one-way flights to the Martian refugee colonies of the ultra wealthy.  If those words are unfamiliar to you, just wait. Soon enough, the tech oligarchs will replace you with a subservient version of yourself that will. Or maybe they'll just make paperclips until we're all dead.  But don't be a sad android! This is a fun movie and we have a fun time talking about it. We discuss AI doomerism, loneliness, The Book of Love song "Boy", and of all things, the power of love.  Special note: this weekend is the @unnamedfootagefestival and we'll be out exploring the unhinged visions of our comrades with our rapidly deteriorating meatsuits. Be there!

In this episode, we sink our yellowed fangs into Nosferatu (2024). It's one of our best conversations in a while. Likely due to our occult powers ascending and a potent peasant stew of nicotine and caffeine. We talk about orthodox exorcisms, Lily-Ross Depp's rise as an actor, supernatural penises, and what kind of undead creatures we'd like to be. Robert Eggers has once again delivered an incredible looking film that shows what you can do with an absurd obsession for details. Are we all in on this mustachioed addition to the vampire mythos? Definitely. Though, we have our usual Statler-and-Waldorf-grade complaints.

The Substance (2024) is a nearly perfect example of what we like in movies. It's dripping with weighty ideas about bodies and power's putrid hold on humanity. The director is an alluring French woman who appears to be a deep fan of all the dark shit we're into. The actors are going for it hard. The effects are practical. It's absurdly gory and fun. To conversate and celebrate this body horror peak, we're joined by Monique Jenkinson–who needs little introduction to our audience–but just in case, she's an artist, choreographer, and writer best known for her work as a Bay-Area-based drag icon. She sometimes pastes magazine photography to herself, though not always to conceal the transformative effects of black market beauty regimens.  This is a focused episode where we get deep into the film and its perennial themes. We talk about the design of biohacker products, how youth is wasted on the young, our aging aches and pains, and the differences in how the male and female gazes approach butt shots.   If you've been enjoying our Alien run, fear not, we will be returning to that soon enough. We needed a break from Weyland-Yutani's corporate culture.  For now, enjoy this conversation about a great film that actually came out this year.

David Fincher's first film, Alien 3 (1992), is a notorious example of studio meddlers clashing with an auteur-minded director, leaving a franchise in the khazi. It's a shame, because xenomorphs are basically money makers. The film has some solid performances and a gloriously grimy setting. But alas, the film (both cuts) is a mess. The special effects are majorly downgraded from Aliens. The plot is full of more holes than a pair of old Weyland-Yutani panties. But they did manage to give Sigourney the noble death she wanted along with a suitcase full of money. We keep fairly on topic this episode. Marc's hatred for the film simmers beneath, while Chad tries to conjure Kanye conjecture. It's a solid one.

Alien$ made an enormous amount of money because James Cameron asked "What if there were a lot of aliens?" and "What if there were a ton of machine guns?" Answering "Yes, and" to these bold questions guaranteed a hit in the 80s. What a time to be alive!   In this episode, we discuss Weyland-Yutani's corporate culture, life in the Colonial Marines, the history of Jews in Mexico and their theoretical role in space, great sci-fi industrial design, and the tyranny of Fox Studio suits.  It looks like we're going for it with this Alien series, god help us. Though we may squeeze in a few side quests here and there. Stay tuned.

Behold! In part two of our conversation about Alien (1979), we get more into speculative territory about UFO sightings, how a trillion dollar space-faring company might operate, and how notes from studio suits always ruin things.  We get more into HR Giger's influence on the film and his firm grip on 90s mall goth aesthetics. We also cover some advice about how to survive in the Alien universe (don't look inside wet eggs) and imagine what products you might make from harvested xenomorph pieces (boner pills).  Also, dear listener, what do you think about us making our way through the franchise? We'll definitely do Aliens; but after that—maybe?

Alien (1979) is a perfect movie. Which is why there is an entire Weyland-Yutani freighter worth of commentary about it. In this, our first ever two-part episode, we explore what makes the film exceptional and we explore the conversation around popular critical touch points—like Ripley's panties. As working class heroes ourselves, we bring new thoughts to the class dynamics of the ship's mission and the role of middle management in making things worse for everyone. If this leaves your chest bursting with anticipation for the next episode, fear not! It's in the can and will be released shortly, just as MOTHER intended.

Hitchcock's Rear Window (1954) is responsible for dozens of film studies books and an inexhaustible number of undergrad student theses–and now a new episode of your favorite podcast featuring our unofficial third co-host Monique Jenkinson (AKA Fauxnique). We cover all of the hits: color theory, suspense, costuming, heroic ladies, weird cops, set design, relationships, whether or not Marc should powder his whole body to combat global warming, and of all things, rolling suitcases.