Podcasts about deader

Finally. We got to "Deader". And uh.. hey if you're grading on a recent curve, kinda worth checking out. Let's all go to Romania, cuz Amsterdam is so 90s. Are you still with us on this journey? 

Not the welcome we expectedWhen your tour guide is an assassin, what can go wrong?By FinalStand. Listen to the Podcast at Explicit Novels.You can do wrong while trying to do right.FlashbackAlal's 'milk of human kindness' had finally run dry as the Visigoths sacked his Roman villa. While looters ran off with his latest trappings of wealth, and deserted by his servants and his slaves, Grandpa decided that he was tired of fucking around with the Human Race. He felt they were simply too stupid, venal and weak to make any positive, lasting changes in the world.Alal decided that he was going to make the key choices for them. Fuck free will. Fuck letting the vermin that floated to the top of the cesspool destroy everything good in the world, as he had witnessed them doing time and time again. He had lost count of the monuments destroyed, histories of peoples forgotten and benefits to mankind burned away by barbarism and ignorance.By the fading light of August the 26th, 410 CE, Alal found himself sitting back in the pergola (a sort of mini-gazebo) in his rear gardens, drinking through several amphora of wine all the while having a deep philosophical debate with the several dozen very dead Goths decorating his environs.As three or four looters would enter the garden, he would kill them. And then three or four more would show up looking for the earlier group,, on and on. This reinforced Alal's belief that something drastic had to be done. He seriously considered going to the coast, getting a ship and five solid stone anchors. He'd sail out two days, maybe three, wrap himself in the anchors and jump overboard.The problem, as he saw it, was that given a few decades, the ropes would rot and he'd bob to the surface to see again that none of the fundamentals had changed. Further complicating his current thinking was that every time he came close to throwing in the cosmic towel, some more GOD DAMN GOTHS would come around, calling for their buddies, the dead ones. Somewhere around noon on August the 27th, Alal vowed that he was tired of this shit.Right on cue, around twenty Goths came strolling through the rear of his villa and soaked up the carnage out back. Fifty-two of their brethren were in various states of dismemberment and defilement (Alal had been, as usual, angry). They saw this dark-skinned Roman and rightly asked 'where's the army that killed these fellows?' He walked up to them in his wine-splashed toga."Are you the one in charge?" he asked the meanest looking Visigoth in passible Goth."I am," the leader responded. With lightning speed, he killed the man with his own sword. The Germans weren't sure what to make of that, it had happened so fast."You can join me," Alal indicated himself, "or you can join him," he indicated the corpse of their former leader. He had his new band of followers and the rest was Illuminati history.End FlashbackFor me, this meant more to me than living with the memories of a very bitter, driven and pitiless man. Alal was essentially the anti-me. It gave me chills to realize that all of Alal's gifts were bestowed on me with a purpose. I knew it was part of his greater plan. Normally, to end-run an evil genius, you just find him and kill him. Not only would Alal not stay dead, I now knew how well he could fight.I knew only four people who might be in his league, and I wasn't one of them. Of the four, Sakuniyas wasn't likely to help Pamela, Saint Marie and Elsa get the job done. That meant I had to rev up the deception engine to comfort my Aunts with hope, while dispelling the knowledge of how little they mattered to their sire. Almost as bad, I had to ignore what horribly people they were while extending that portion of my soul.It was with some relief that I hugged, kissed, and forcefully separated myself from the Aunts in Dublin. We were going on to Budapest's Ferenc Liszt International Airport. My next action was to make my request to Selena for a contract with the Ghost Tigers to defend Hana when she arrived in Russia. (Of the three 9 Clan Assassin-Babes, Selena was the least impressed with me.) She informed me that the Ghost Tigers didn't do bodyguard work. I still wanted her to relay my request, so she relented. After that, I passed out.We left Dublin around 9:30 am Friday morning and landed in Budapest at 1:45 pm., still Friday. As Rachel rousted me so I could grab a quick shower before touchdown, I was gifted with the misconceptions of my fellow travelers:To put it nicely, Riki thought I was somewhat revolting, Virginia was disturbed and Chaz had lowered his opinion of my moral character. It was the incest thing. Vincent being polite was a pleasant surprise, Delilah's camaraderie less so and Odette was peaches with my most recent sexcapades. She was far too good to me. The Amazons uniformly didn't give a crap."So, is there going to be any other bizarre behavior we should be prepared for?" Riki sat down next to me as I was drying my hair. I was back to my 'jeans, t-shirt and wind-breaker' style."Fine, " I said loudly. "It is really none of your business what I did with and to my mother's clones. Yes, they are all clones of my mother, who died when I was seven." A lie."They are also the genetic creations of my grandfather, also known by many as Cáel O'Shea. They are sterile, they are wickedly evil, and two weeks ago I didn't know they existed. I do have a real aunt in Maryland. She's my Father's sister and is not part of the menagerie. Oh yeah, my grandpa is currently a disembodied spirit, back from the Netherworld and looking for a body to take over, if he hasn't found one already," I added."He was born roughly five thousand years ago, was cursed by an ancient Sumerian Goddess such that he can never just die and stay dead. I have his memories running around my head, which, along with denying me a good night's sleep, allows me to speak an assortment of languages, use virtually every weapon built before 1970 and know that he is a vicious criminal mastermind the likes of which you've never imagined outside of fiction.How does that sound, Riki? Shall I get more bizarre? Trust me, I can," I regarded her evenly. She was speechless, but not out of awe. No, she was certain that I was completely unhinged."Everyone who believes Cáel, raise their hand," Odette demanded. Her hand went up. Odette and the Amazons agreeing was expected by the outsiders. Delilah and Virginia joining in was not."Captain Fairchild?" Colour Sgt. Chaz Tomorrow requested clarification."You've all seen those five O'Shea's that left the plane in Ireland. Barring some cosmetic changes, they were the exact same woman. You can either go with Sean Connery's Tak-ne creating a female clone army, or you can believe there is an otherworldly plastic surgeon altering a cadre of super-rich bitches to all look alike," Delilah, who was a captain of something, put out there."Who in the Hell is Tak-ne?" Riki mumbled."Duh," I poked the State Department lassie. "Connor MacLeod's Egyptian mentor in Highlander, the original movie and in the less than stellar sequel, Highlander: The Quickening"."You are mistaken. Connery was that Spanish guy," Riki poked me back."Actually, the relevant quote is: 'I am Juan Sánchez Villalobos Ramírez, Chief metallurgist to King Charles V of Spain. And I'm at your service'," Vincent regaled us with his movie trivia. "He later reveals that he was born Tak-ne in Egypt in the 9th century BCE. Also, his Spanish name makes no sense, he has one too many surnames.""Agent Loire, I am beginning to find intelligent men to be attractive," Charlotte said."Umm, thank you," Vincent responded warily."This might be a good point to get something clear," Chaz inquired. "Mr. Nyilas, whose side are you on? It appears to be rather complicated.""Okay, Chaz, call me Cáel. Calling me Mr. Nyilas makes me miss my dad. I can also be addressed as Cáel 'Wakko' Ishara, Head of House Ishara of the First Twenty Houses of the Amazon Host. Or, you can call me what the Great Khan does, Magyarorszag es Erdely Hercege. Finally, those who love me, or find me amusing, may call me Fehér mén."Selena's snort indicated she'd failed to hide her amusement at my presumptiveness, both titular and physically."Do you want to explain what's so amusing?" Riki looked over to the Black Hand assassin."Your job should be exceptionally easy now," Selena mocked me, "Prince of Hungry and Transylvania, or do you prefer 'White Stud'?""Laugh while you can, Monkey-Girl," I sneered. "The guy currently making a run at erasing seven hundred years of Asian history gave me that title. As for Fehér mén, that means 'White Stallion' and is symbolic of my ties to House Epona, not a phallic reference." Riki's look had gone from disgust, to anger (because she thought she was being played) and lastly, to shock."No," I interpreted her fear. "I am not here as some vanguard to unite the Magyar people to their cultural kinfolk in Central Asia. If you know your Central European history, you might recall that the Mongols devastated my homeland. For the next 450 years, the Turks were unwelcome visitors, conquerors and overlords. My princely status is a pat on the head for a job well done and nothing more.""What job did you do?" Riki prodded."I saved a man's life," I looked pained to admit. She didn't get it."It must have been a major VIPs life," Chaz suggested."You can say that," Pamela nodded. "End of discussion time too."At Ferenc Liszt International, we were diverted to a private hangar once more, courtesy of the Republic of Ireland's diplomatic umbrella. Three grey Ford Focuses and a white panel truck advertising a furniture repair store awaited us. Security issues were immediately obvious. They wanted to separate us (in the Fords) from most of our luggage (in the truck).The five guy welcoming party hid under the cloak of 'don't speak any language you claim to speak' and Selena was of zip help. So, I spoke to them in Hungarian. They glanced my way, but didn't respond. Serbian? Nope. Romanian? Nope."Bows and doves," I commanded.That translated rather logically as 'guns/bows' and 'phones/doves'. Out came our pistols. The only Black Hand to react fast enough was Selena and Pamela had her covered. The Amazons were aiming at the locals while Delilah and Chaz had their weapons out and scanning. Vincent and Virginia hadn't been fast enough, this time. They also didn't have guns pointed at them.The lead BH flunky began talking calmly in German, heavily Slavic accented German."What do you think you are doing?" he inquired of me, in German."Disarming you, ya Moron," I grumbled. Then added in Hittite; "Go", and in my Amazons went to very roughly search, disarm and de-phone our not so friendly friends."Alright, gather up your luggage," I called out to my group. "We are walking to town." That wasn't truly accurate. There was a metro associated with the airport, a kilometer away max. Our guides didn't speak English so they were rather surprised when the bags came out of the truck and were distributed to their owners. Riki Martin and Odette were in some trouble.Girls and 'only packing the necessities', Well, we had some diplomatic lumber to toss at the security services, Vincent had web-searched our location and the route we needed to take to the metro, and Delilah had purchased week-long public transport passes for the group. Only when we started marching out of the hangar did the BH comprehend the totality of their error.The five guys in the hangar were chattering away, in Hungarian, and Selena was peeved."You are upsetting my superiors by blatantly disrespecting their courtesy," she reminded me. "They have guaranteed your safety.""Less than a day has passed since the shootout in London, Selena," I countered."This is the Black Hand's backyard," Selena persisted, "not London.""So, you are only going to help us if we do stupid shit we wouldn't do, even on our own home ground, is that it?" I chuckled. "Sweet," then, to my people, "I guess we are on our own."The airport security guards didn't know what to make of our group of over-worked Sherpa, but the US State department and the RoI (Republic of Ireland) vouched for us, so they let us pass.We hadn't taken the cars and the truck because that would have been theft. The confiscated guns and phones had been disassembled and tossed into a large iron drum of used aviation lubricant. Odette began shopping around for hotel reservations (I was carrying most of her gear). She was the logical choice because she sounded the most human of the bunch.Selena called her people back, explained the fuck up and engaged in a mutual ass-chewing that spilled over a half-dozen languages and ended up with Dick-head, the local BH chieftain providing us with quarters that would turn a blind eye to our arsenal. With that address in mind, we made for the bowels of modern Budapest.Dutifully, Riki contacted the US Embassy to Hungary's CIA mission head and Chargé D' Affaires, a.i., updating them on our arrival and movements. At the last moment, I had Riki relay the wrong address, on a paranoid hunch. I was right to be paranoid except I was looking in the wrong direction.We had just disembarked at the Kőbánya-Kispest M3 station when we walked into the rolling ambush. A 'rolling ambush' is like a meeting engagement, the difference being that one side (ours) is on the move, not knowing it is being hunted while the other side (our attackers) was rushing to catch up with us, not knowing where along the path they would find us.As we preparing to transition from the station to the attached terminal, looking for the bus line that would connect us to the BH safe house in the Kőbánya (X) District, our attackers were dismounting their vehicles from across the street as well as to our left and right. They were dressed like cops. Had they been armed like cops,"Oh look," I snickered to Pamela, "I see a whole bunch of heavily armed people coming our way.""Good for you," Pamela muttered. "Your eyes are still working.""Do you think they are here to raise me up on their shields and proclaim me 'Prince'?" I joked."I think they are here to kill us," Pamela grinned."I prefer to think positively," I grinned back."I am positive they are here to kill us," Pamela laughed. It had to be our relaxed demeanor that confused them.Had we been the droids they were looking for, we wouldn't have been chatting in the open with our bags in our hands. That would have made us crazy, and they would have been right. We were crazy alright and there was a method to our madness. It was mid-afternoon, yet there were plenty of average Hungarians wandering about.Sure, they saw the 'special cops' closing in. They didn't see the upcoming shoot-out because that was plain nuts. A gun battle in a modern metropolis in broad daylight? London yesterday was an aberration, not the new normal. Our impromptu plan was to let the killers get as close as possible to limit the collateral damage.This wasn't classic Amazon training. It was a concession to allies who did care about civilians killed in the cross-fire. The oncoming hit squad was finally putting faces to targets when Odette broke the calm before the storm. All she did was squeak when Vincent pushed her behind a kiosk. Riki took Virginia shifting her to cover in silence.Delilah took off at a dead-run to the south-east. They were raising their shotguns and assault rifles. We were drawing our pistols. Normally this would have been an unequal match, except that in the time period where, in their eyes, we had gone from bystanders to targets, they'd also covered a good deal of ground, to the point that they were out in the open while my fighting band was in close proximity to all kinds of cover.It started out as eighteen to twelve. Pamela, Chaz and Selena quickly cut down those odd by five. Me? I didn't try to shoot and run at the same time, so I made it to cover and was stuck there by our opponents use of fully-automatic fire.My lack of martial prowess could be forgiven by the reality I was the one they were trying to off. My greatest contribution to this skirmish was tossing my SPAS-12 to Chaz so he could use something more than his standard military issue Glock-17. I had barely gotten Chaz's appreciative nod when two grenades went off in close proximity to me.At first, I heard and felt nothing. My eyes were having trouble focusing. When my limbs began to orient themselves, I had to fight down the instinct to move. I was lying down, which was far safer than staggering around in the middle of this hail of lead. The twin grenades turned out to be their second and very fatal mistake on this mission.The first had been their delay in identifying my group. The second, using the stun grenades, did put me, Pamela and Selena out of commission temporarily. But their mistake was having misplaced my six Amazons in this mess they had created. They did have thirteen shooters versus Chaz, Virginia and Vincent. They rushed our position using the classic advance while firing rote.Two meters from me, the six Amazons revealed themselves with five P-90's and one big-ass bow. Four escaped the kill zone only to find themselves flanked by Delilah. Her .480, combined with their confusion, finished off the survivors. That wasn't the end of it. We still had to effect our get-away.I was still getting my head on straight as the ladies decided to hotwire some of the deceased men's rides and get us the heck out of Dodge. Recovery brought with it the knowledge that Virginia and Chaz had been shot. Pamela, Selena and me, we had some scrapes and bruises. Everyone else checked out. Mona let us know that she could handle the wounded. They wouldn't be doing jumping jacks for a week or two, but a hospital was not required. On the downside, no one believed that eighteen killers dressed as cops randomly rolled up on our transit point by accident. The only people who knew about our change in travel plans had been the Black Hand. We'd lied to the US.We broke into an abandoned factory to stash the vehicles and make our next plan. Selena was coldly furious. Not only did she come to the same conclusion we had, the Black Hand had set us up to be murdered, we weren't letting her call in. Wiesława and Charlotte kept their guns pointed at her, so low was our level of trust.Chaz was pretty much of the opinion that Selena should be coerced to provide us with the names and locations of the Black Hand involved so that we could do our own 'fact finding tour'. Oddly, none of the Americans asked to be pulled out. Vincent and Riki wanted to let the US Embassy know what had happened, yet were willing to wait until we were secure somewhere first.Rachel was on board with Chaz's idea, with the addendum that they kill every Black Hand they could get their hands on before fleeing the city. They had tried to kill ME after all. I was touched. It was Pamela who put things in perspective.1) The attackers were not Black Hand, they were mercenaries and that pointed a bloody finger at the Condottieri.2) Selena wasn't a fanatic and her life had been in as much danger as anyone else's. She wasn't part of our ambush. Her buddies had tossed her under the bus.3) It would have been far easier to catch us in that convoy they'd tried to stick us with. Caught in pre-planned crossfires and without our heavier weapons, we would have all died.4) Having failed to deliver us to the pre-planned ambush site, the Condottieri had to rush to our metro stop because, the safe house they had prepared for us wouldn't have worked. We had the numbers to allow us take total charge of our security once we were in place. No, gauging our numbers, this traitor had sent the mercs into a straight-up fight they'd just lost.

Trump has been inaugurated, and with it DEI is officially DEAD. Deader than disco dead. Trump has declared DEI on the Federal level is OVER, and private companies -- and even Hollywood -- are already falling in line. Trump's declaration that DEI is "over" has led to a "masks off moment" for media leaders, allowing them to express their bigoted views they previously concealed during the DEI era. Hollywood's overemphasis on DEI initiatives led to its collapse, with many "woke" projects and hires being laid off and canceled, indicating a focus on appearances rather than success. The entertainment industry's "pervasive wokeism" has resulted in identity politics and agendas being shoved into every project, causing backlash and mistrust from audiences. Actress Sharon Stone's comments calling people "uneducated and stupid" for not voting her way exemplify Hollywood's arrogance and entitled behavior, contributing to its out-of-touch status and decline. A talent manager with A-list clients reports that the industry's "preemptive exhaustion" and "pervasive wokeism" have led to a sense of "Doom" and financial anxiety. Hollywood's lack of self-awareness and inability to understand its audience has resulted in a crisis of confidence, as it mistakenly believed it was driving culture rather than reflecting it.

The Cowboys are dead and they need to stop being on primetime. Yeah Joe Burrow is having an insane statistical season (00:00:00-00:15:56). The Jets have reached rock bottom after firing their GM and Memes has some bad plans to fix it (00:15:56-00:25:26). College Football talk and the coordinated attack on Indiana Football plus could the Big 12 be left out all together (00:25:26-00:54:55)? Hot Seat/Cool Throne including the Sixers in disarray and Jon Stamos is a weirdo (00:54:55-01:30:24). Pat Bev joins us in studio to talk ball, playing in Israel, playing with Giannis, the end of last season and tons more (01:30:24-02:20:26). We finish with listener submitted pardon your takes (02:20:26-02:35:09).You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/pardon-my-take

Podcast über die Montags (OV) Sneak im Metropolis in Frankfurt am Main. Kurz vor Halloween reichen wir euch noch die zweite Hälfte unseres Hellraiser Specials nach. In Summe bietet die etwa genau so viel Qualität wie die erste, jedoch verteilt auf 8 Filme. Bloodlines, Inferno, Hellseeker, Deader, Hellworld, Revelations, Judgement und dann einfach noch einmal Hellraiser (2023). We have such sights to show you, indeed! Umso relevanter für Fans, die sich eben nicht durch alles kämpfen wollen, zeigen wir auf was sich von den „anderen“ Hellraiser Filmen doch irgendwie zu sehen lohnt und wovon ihr wirklich die Finger lassen sollt. Malte und Maikes Antwort ist dabei durchaus teilweise überraschend. Uner Ranking findet ihr zum nachlesen auch noch auf Letterboxd. Aber für den Moment, entspannt euch, macht euer Nokia Handy an und Happy Halloween.

Who knew that the dead could be so lively? In today's Chinese lesson, you'll learn about zombies and their disgusting habits. Learning Mandarin has never been creepier. Episode link: https://www.chinesepod.com/1151

It's a Cenobite. It's the Lament Configuration. It's Superman!  Deader: 00:00 Hellworld: 31:30 Revelations: 1:01:40 Patreon YouTube

Oh yeah baby! Cults are so back! Join the boys as they jump headfirst into Romanian cult movies starring pinhead I guess?

Welcome back to THE SUMMER OF THE CENOBITE where we continue our journey through the Hellraiser franchise.  This episode we are joined by podcaster & author Ron Martin!

Dave and Christian talk TV, Music, What they've been watching, and then jump into Summer Sausage with reviews of The Ghost of Frankenstein (1942) and Hellraiser Deader (2005).  Intro 0:00 - 1:41:23 The Ghost of Frankenstein (1942) 1:41:23 - 2:09:37 Hellraiser Deader (2005) 2:09:37 - 2:40:54 Thanks for listening!

Ian Hamilton and David Heaney discuss Oculus Go's super-death, top-tier VR games arriving on Apple Vision Pro, and Windows volumetric apps.

Extra! Extra! Read, er…. hear all about it! Tonight we've got a Punchout poppin' on pictures about the press, and we're gonna shout it! Well, Eric will take care of most of the shouting as the Video Monsters raise Hell over which Journalism films are Deader than the rest! So Fletch yourself a Shattered Glass of Medium Cool Candy, man, because it's time to Network with The Insider, uncover what She Said at The End of the Tour about Fear and Loathing in Las Vegas, find out if Man Bites Dog or Wags the Dog, and shine a Spotlight on which three Almost Famous films about the Broadcast News(ies) will inhale the Sweet Smell of Success. Tonight's Journalism Popcorn Punchout is absolutely To Die For! If you enjoy this episode, come join the Video Monsters crew on Discord - be a part of the discussion and listen in live when we record our episodes!! Go to linktree.com/videomonsterpod for the link to Discord, our socials, and other highlights!! Video Monsters is brought to you by the Chattanooga Film Festival and Central Cinema in Knoxville, TN. Follow them on Facebook, Twitter, and Instagram, or online at chattfilmfest.org and centralcinema865.com. Links for each of these can also be found on our pages, so be sure to follow us at videomonsterpod on Facebook, Twitter, and Instagram as well. music for Video Monsters by Evan Simmons

In der neuen Folge "Hot Pink" diskutieren Britt-Marie und Nils u.a. über Roberto Cavallis Tod, Sylvester Stallones Rüpelei, Giancarlo Esposito Auftragsmörder für sich selbst, Channing Tatum & Jenna Dewans Scheidung, eine Mini-Suits-Reunion für den wohltätigen Zweck sowie die Versteigerung von Freddy Mercurys Londoner Anwesen und Tony Bennetts Memorabilia. Außerdem geht es um James Hetfields neues Lemmy-Tattoo, Bon Jovis neue Dokumentation, Mariska Hargitay als Helferin in der Not, Hannah Waddinghams großartige Reaktion auf einen rüden Fotografen, die Gerüchte um Mariah Carey & Lenny Kravitz und ganz viele Babys - unter anderem von Henry Cavill und Olly Murs. Hört rein!*Wer noch mehr von Britt-Marie und Nils hören möchte, kann das in Ihrem Spin-Off-Podcast "Hot Pink schaut..." tun.- Aktuell gucken wir die 17. Staffel von "Let's Dance und schnacken mit Marcel wöchentlich über die neueste Show."Hot Pink schaut Lets Dance" - Podcast-Folge 1 zu LD- Daneben haben wir bereits die 1. Staffel von "Drag Race Germany" geschaut und die komplette Show besprochen."Hot Pink schaut Drag Race Germany" - Podcast-Folge 1 zu DRGKommt vorbei und hört rein!

AMA Friday – You have questions, we have answers.Who would you take hunting; Homer Simpson, Elmer Fudd or Fred Flintstone?Ledged Out Bourbon. Questions answered.The Deader the Better? Better dogs now or in the old days w/ Jerry MollElite Nutrition helpWhy do city folks move to the country and try to change it? All this and more.  ►Get Your Houndsman XP Info, Gear & More Here!www.HoundsmanXP.com►Become a Patron of Houndsman XP! Check out our Tailgate Talks.|

Dead Space was cool, right? Who wouldn't want Dead Space 2? Rob, Patrick, Janet, and Cado react to the game of telephone about if/when Dead Space 2 was ever in development, before reacting to Destiny's big announcements and some cool indie news, like Prince of Persia: The Rogue. Elsewhere, Janet and Patrick have been playing Botany Manor, and, of course, more Final Fantasy VII: Rebirth. They also dig into your questions regarding office kitchen snafus.Discussed: Rob's Top 10 List 6:37, Dead Space 2 Remake Cancelled 7:03, Immortals of Aveum Staff Furloughed 32:43, Destiny 2: The Final Shape Announcement Stream 39:43, Slay the Spire 2 Announcement 57:47, Triple-i Initiative Showcase 1:03:43, Botany Manor 1:20:04, Final Fantasy VII Rebirth 1:38:39, The Question Bucket 1:50:46, Outro and Annoucnements 2:23:28See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tommy is in the big chair leading us on a journey of discovery that leads… nowhere. That's right, what do you get when you are forced to reckon the horrors of miscommunication? It's nothing good… that's what. The Mothman Prophecies, Dark Skies, and Midsommar are all on deck this week!And, because Tom's new character is so satisfying, here's the read-along version of his introduction!Hello boils and ghouls, CHOP of the morning to you! And welcome back to another chilling DEAD-isode of Sitting in The Dark! I'm your ghost host, Vomis Wesley Pest the Turd, but don't worry kiddies, I'm not alone. As they say, four DEADS are better than one! First up to BAT (the kind with wings) is The Podcast Daddy himself, BEAT FRIGHT, I mean Pete Wright! Want more good NOOSE? Then AXE-tra AXE-tra BLEED all about it, we're also joined by the DIE-Abolical genius Vile Olson, I mean Kyle Olson! And of course, the MORGUE the merrier, so let's also welcome SLAY DIE-ANTS-FLEE, I mean Ray DeLancy! OH! And it looks like my DEADER half is finished with his MOAN call, so I'll hand the microBONE back to him. Have a good podcast and pleasant SCREAMS!Film SundriesWatch the movies discussed:The Mothman Prophecies: Apple • Amazon • JustWatchDark Skies: Apple • Amazon • JustWatchMidsommar: Apple • Amazon • JustWatch (00:00) - Welcome to Sitting in the Dark (04:37) - Lost in Translation (11:40) - The Mothman Prophecies (29:27) - Mothman - Inside Mirror (31:16) - Mothman - IMG3190 (36:37) - Dark Skies (51:01) - A Cameo! (59:21) - Midsommar (01:00:51) - Midsommar - Flower Crown (01:01:27) - Midsommar - Bear Kissing (01:02:12) - Midsommar - Tapestry (01:03:31) - Midsommar - Darker Glass (01:12:01) - Midsommar - Sister in Trees (01:13:01) - Start your own podcast journey with the best host in the business. Try TRANSISTOR today!Want to upgrade your LETTERBOXD account? Use our PROMO CODE to get a DISCOUNT and help us out in the process!Find source material for The Next Reel's family of podcasts – and thousands of other great reads – at AUDIBLE! Get your free audiobook and 30-day free trial today.Join the conversation with movie lovers from around the world on The Next Reel's DISCORD channel!Here's where you can find us around the internet:The WebLetterboxdPeteRayTommyWe spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked!You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.

This week it was Josh's pick, and he fell on the sword once again to get us through the "Hellraiser" franchise with "Hellraiser: Deader" (2005). Will Pinhead finally break us as we open the Lament Configuration once more?   Part of the Morbidly Beautiful Podcasting Network! Go to the all-new www.aaspookshow.com & join our Patreon for bonus episodes & content over at https://www.patreon.com/aaspookshow & follow us on Twitter @AASpookshow as well as Facebook, Instagram, TikTok, Slasher & our YouTube channel by searching All-American Spookshow Podcast.  Email us at allamericanspookshow@gmail.com with questions & comments, and be sure to leave us a 5-star review on Apple Podcasts & Spotify!  Here's the link to the movie trailer:  https://www.youtube.com/watch?v=qd3ni7yidZY   LINKS:  https://linktr.ee/aaspookshow

Having broken into Nethnelma's home and killed two of her friends, Shaira attempts some diplomacy with some passerby students. From there we search around and attack more people in Nethnelma's residence. Good thing we're not trying to pretend we're the good guys in this one.Get more great MNmaxed and PF2E content on our YouTubeTalk to us and other MNmaxed listeners in DiscordTo support MNmaxed, check out our PatreonAdditional audio is provided by TabletopAudio.comSupport the show

A new MP3 sermon from Word of Life Church is now available on SermonAudio with the following details: Title: Deader than Dead Subtitle: John Speaker: Arnold Brevick Broadcaster: Word of Life Church Event: Sunday Service Date: 11/26/2023 Bible: John 11:45-57 Length: 35 min.

A new MP3 sermon from Word of Life Church is now available on SermonAudio with the following details: Title: Deader than Dead Subtitle: John Speaker: Arnold Brevick Broadcaster: Word of Life Church Event: Sunday Service Date: 11/26/2023 Bible: John 11:45-57 Length: 35 min.

A new MP3 sermon from Word of Life Church is now available on SermonAudio with the following details: Title: Deader than Dead Subtitle: John Speaker: Arnold Brevick Broadcaster: Word of Life Church Event: Sunday Service Date: 11/26/2023 Bible: John 11:45-57 Length: 35 min.

We recorded a full episode of the show -- originally called Deader Than Dead because of the demise of E3 -- but we had no idea how apt that title would actually become. In the hours after we hit stop, word broke of Naughty Dog's cancellation of The Last of Us' standalone Factions mode, which they call The Last of Us Online (as first reported right here on Sacred Symbols). Naturally, we had to record a lengthy pickup to discuss the unfortunate news. And yes: E3 is dead, as mentioned above. From 1995 through 2019, E3 ran each and every year in LA (except for those two random Atlanta shows in the '90s), and it was a gathering point for games professionals, the media, and others. But as the magazine era gave way to web 1.0, and then to 2.0, and now to wherever we are now, the once mighty convention has no place in an environment where devs, publishers, and consumers can reach each other directly. In short: Let's give E3 the viking funeral it deserves. Plus: Insomniac purportedly gets hacked, Spider-Man 2's updates have been delayed, film production house A24 teams up with Kojima, fresh Resident Evil remakes are en route, and more. Then: Listener inquiries! If Blade is an Xbox console exclusive, why won't Microsoft just say so? Should we expect a State of Play early in the new year? How did FNTASTIC take their customers for a ride with The Day Before? Is Colin's "please look forward to that" saying simply an alteration of Jeb Bush's "please clap" debacle? Start the Good Habit at https://www.tryfum.com/ SACRED to save 10% off the Journey Pack today. Get 20% off your first order plus free shipping at https://www.meundies.com/sacred Learn more about your ad choices. Visit podcastchoices.com/adchoices

CAN'T WRITE A DESCRIPTION TOO DEPRESSED SRY@GirlsJustWanna_F1 on Insta@GirlsJustWannaF1 on TikTok@GirlsWannaF1Pod on TwitterTo work with us, email: GirlsJustWannaF1@gmail.comAll the LinksThanks for Listening!♥️ Natalie, Rachel, and Shanna

This week on the blog, a podcast interview with screenwriter and author Neal Marshall Stevens about his new book on horror, “A Sense of Dread (Getting Under The Skin of Horror Screenwriting).”LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Neal's book at Michael Wiese Productions: https://mwp.com/product-author/neal-marshall-stevens/Neal on IMDB: https://www.imdb.com/name/nm0139605/Brian Forrest's Blog: https://toothpickings.medium.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastNeal Stevens Transcript JOHN: Neal, you have a really long and storied history in the horror cinema. Can you remember the very first horror movie that had an impact on you? NEAL: Well, actually, looking back, the first movie that scared the hell out of me wasn't a horror movie. It was actually a Disney movie called Johnny Tremaine. It was a kid's movie. And there was a scene in that movie, Johnny Tremaine was a kid during the Revolutionary War who knew Paul Revere, who, as you may remember, was a silversmith. And there's a scene in that movie, the British are coming and Paul Revere has got this urn of molten silver.It gets knocked onto a table. Johnny Tremaine trips and puts his hand face up into the molten silver and fries his hand. And I'm sure I know I, every kid in the audience goes like (sound effect.) But that's actually not the scariest part of the movie. Later on, surgeons are unwrapping his burnt hand, and they look down and they react in horror.His fingers have healed together, stuck together. We don't see it and they say, “Oh, we're going to have to cut his fingers apart,” which also happens off screen. And again, in our imagination, imagining no anesthesia back then, it's a revolutionary war. So, poor Johnny Tremaine has to have his healed together fingers cut apart. The memory of what that must be like has lasted. I must have been like five or six when I saw it. My parents dragged me to see Johnny Tremaine, it's a happy Disney movie. I'm 67 years old, so it's been over a half a century since I saw this movie and was appropriately traumatized by those images. So, Disney knew how to scare little kids. That's for sure. JOHN: He sure did. Wow. That's a horrible story. NEAL: Yeah. As for official horror movies that scared the hell out of me, again, we used to watch Phantasmic Features on the TV in Boston. I remember a movie called Teenagers from Outer Space. They weren't actually teenagers. They were all in their thirties. But anyway, these invaders had a skeleton ray that as they would aim it at someone, it would flash and you're instantly reduced literally to a skeleton. And they were, they didn't care who, so as soon as they come out of their spaceship, there's a barking dog—bzzzt!—and the dog falls down, reduced to bones. They didn't care. They would use it as a woman's climbing out of a swimming pool—bzzzt!—skeleton floating in the pool. The casualness with which completely innocent people are reduced to skeletons. Again, absolutely horrifying. Couldn't have been much older than nine or ten when I watched this movie. But the fact that human flesh has reduced the skeletons, but also the casual innocence of which people are reduced to flesh is stripped off their bones. It's terrifying to me. BRIAN: I wonder how you parlayed that early sense of, “Oh, I like horror movies” into, “I want to create horror as a genre. “ NEAL: Well, I was one of a whole generation of kids who got super eight cameras and made, you know, we made stop motion movies and made monster movies in their basements. Pursuant to that, I was writing scripts when I was 13 years old. I guess people now do it with phones. We didn't have cell phones back when I was a kid, but we had super eight cameras and then, you know, a little cartridge things that we'd slug in. And so, I made tons of those little stop motion movies down in my basement. BRIAN: Do you still have some of them? NEAL: I guess I may have them somewhere. I think I have an old creaky super eight projector somewhere. I don't think you can get a bulb for it anymore. BRIAN: I've got one up there. I wonder if it would work? NEAL: Yeah. That's the big question. I wonder if it would work? Heaven only knows. JOHN: But that's a great way to learn visual storytelling. NEAL: Yeah. When I ultimately went to NYU grad film and, and all the films that we shot the first year were all silent. First silent film then silent with sound effects, but you weren't allowed to use sync sound until you got to second year, if you made it that far. JOHN: Did you make it that far? NEAL: Yes, I did. I actually graduated. Back at NYU, it was a very rough program at the time. They cut the student enrollment in half going from first to second year. So it was, it was a rough program back then. JOHN: That's brutal. NEAL: Yeah. JOHN: So, you leave film school with something under your arm that you've shot. Where does that lead you? NEAL: It certainly didn't get me much in the way of employment at the time. I ended up going right back to NYU. I ran their equipment room of all things for something like six years. But during all those six years I was writing. They had like a computer that they used to turn out the schedules. And then when I weren't writing schedules, I was using that computer to write my screenplays using WordStar. If anyone remembers that old program. God, it was horrible, but it was free, because they had the equipment room. And eventually I sent some stuff to Laurel Entertainment, which is the company that did Tales From the Dark Side. And they had an open submission program. If you signed a release form, you could send them stuff. And I'd gone in and I'd met Tom Allen, who was their senior story editor. I had a screenplay and I went in and talked about it. He liked it. It wasn't for them, but then he invited me to submit ideas for their new series, their follow-up series to Tales from the Dark Side, which is a thing called Monsters. And I went in, and I pitched some ideas, and they bought one. And it turned out to be their premier episode of Monsters. And shortly after that, tragically, Tom Allen passed away. And the VP, Mitch Galen, invited me in and said, “Would you like to take over and be our senior story editor on Monstersand our other projects?” And meanwhile, you know, for the second part of that whole series, I was still working in the equipment room at NYU and also working as a senior story editor on Monsters and being their creative consultant and reading hundreds of scripts for Laurel Entertainment. And then eventually I quit the equipment room, and I went and I worked for them full time and wrote a bunch of episodes for Monsters. And I was a story editor on The Stand and The Langoliers— which wasn't so good—but on a bunch of other projects, it was just an enormous learning experience. And The Stand I think turned out really well. Other stuff, The Langoliers, did not work out really well. And a bunch of other projects that were not horror. BRIAN: Why do you think some things, especially, let's talk about Stephen King, why do you think some of those things adapted well and some didn't? NEAL: Well, The Langoliers was not, it wasn't that great. Wasn't that strong a project. And I think the idea, trying to make that and stretch that out into a mini-series. wasn't that strong. It wasn't that strong, the material wasn't really there. I think there are times when staying faithful to the material is the right approach. It certainly was the right approach with The Stand. Working with The Langoliers, you know, there were certainly elements of The Langoliers that were strong. And other stuff that was really just so-so. And I think if you'd had the willingness to step aside and do something different with it, it would probably have ended up—especially because they were expanding it into a mini-series—being just devoted to the original material, I think, ended up with a product that was really thin. Plus, we had hired a special effects company that the Langoliers themselves were just horrible. It was really substandard, honestly. So, it did not work out very well. BRIAN: I'm guessing with all these different projects you had to work on, you probably had to start dealing with types of horror and genres of horror that weren't in your comfort zone. Maybe not even what you wanted to do. What kind of learning curve was that for you? NEAL: You end up having to deal with a lot of different kinds of horror, especially with, you know, working in Monsters, where you just were turning stuff out tremendously fast. But also, I grew up with a certain kind of horror.I was never a huge fan of slasher stuff. I missed that whole era of horror. Certain kinds of movies appealed to me. That particular kind of transgressive material never really clicked. JOHN: Why do you think that is with you? NEAL: Because this simple act of repetitive bloodletting, for me, it always felt thin. I mean, it's not that I objected to explicit violence or explicit gore. I mean, I think that Dawn of the Deadunquestionably is one of the most brilliant horror movies ever made. And there certainly, George Romero didn't pull back from explicit violence. Or a movie like Hellraiser, the same deal. It's a question of how the filmmaker employs the use of graphic violence to elevate the material. What I've told people when you watch a movie like Dawn of the Dead, the first 10 or 15 minutes of that movie—which by the way, I saw when it virtually when it first came out and saw it in the theater—you had never seen anything like that opening scene in terms of graphic violence from being bitten and heads being blown off and all the rest. You were just put through the ringer, watching that opening. And after that opening, the movie was never that violent again. He never showed anything like that again.And you didn't have to, because you—having seen that opening scene, you were—you were so blown out of your seats. You said, “I'm watching a movie where anything could happen to anyone.” And that was a kind of really intelligent and that kind of thoughtful use of violence is what George Romero was always able to do. It was understanding how graphic images can affect the psychology of the viewer. JOHN: Do you think it's also that with Romero's films, they're actually about something, whereas a slasher film is really just about a body count, but with Romero, he always had another thing going. NEAL: Well, of course, I mean, no movie that isn't about anything is ever going to really, from my perspective, be worth watching. But I mean, even a movie like Hostel, which is exceptionally violent and harrowing, is certainly about something. And I think Eli Roth's movies, which get a really bad rap, are very much about something. He's got something to say with his depictions of violence and his images. Not necessarily to my taste. I certainly wouldn't say that he's not, he's making movies that are certainly about something. He's not a dumb filmmaker by any stretch of the imagination. JOHN: So, you work on Monsters, and then what happens? NEAL: I worked on Monsters. I worked there for around six years, and then they were acquired by a big studio, and they were shut down. And so, I was out of work. I'd known a woman named Debbie Dion from Full Moon. I figured, well, I'll give that a shot. I'll call her up and see, maybe I could write for a Full Moon. And so, I gave her a shot. I, you know, reintroduced myself and said, you know, “I'm looking to see if I could get some job, maybe writing features for Full Moon Entertainment, Charlie Band's company.” And they said, “Well, we pay around $3,000 for a feature.” And I said, “Well, I got paid more than that for writing an episode of Monsters. That doesn't seem like such a good deal.” And then my unemployment insurance ran out. BRIAN: Suddenly it's a very good deal. NEAL: Sounds like suddenly a very good deal. But, you know, I made it very clear that money buys one draft, and if you want to rewrite, you got to pay me again, because I knew what development was like, where they just expect draft after draft after draft, and I'd say, “I can't do that, that doesn't make any sense.” And also, having worked for Monsters, I had learned to write really fast. I could write a pass on a Monsters episode in two days, so I knew that I could write fast, because these were 80-page scripts. And so, I started writing for Full Moon, and over the course of like the next few years, I wrote something like... 50 or 60 features for Charlie Band. And a lot of them got made, because they're not wasting money on movies that don't get made. Tons of them got made. And in the midst of doing that, I was, you know, whenever I got a break writing a full movie, I would write spec scripts, you know, in the hopes I could sell something of my own that wasn't for $3,000. I didn't have an agent at that point. I didn't have a manager at that point. And so, I'm not really good making cold calls to people. It's not my thing. I just like to sit, write my scripts. I'd come home one day, and I saw my wife was on the phone having this long conversation with someone. When she was done, I said, “Well, who was that?” “Oh yeah. I called up to order something.” I said, “So she's really good at getting on the phone and talking to people and calling them.” And so, I convinced her to be my manager. So, she agreed. She changed, you know, she went out under her maiden name. She managed to get an option on a science fiction script that I'd written that, I mean, it was ultimately bought. It was never made. And then I decided, you know what? Horror is really my bread and butter writing for Charlie Band. But I don't really have a horror spec. And most of what was out those days in horror didn't really scare me that much. I should really write a script that would scare me. So, I wrote a script called Deader, which I thought had all the stuff in it that I thought was really scary. And Judy went out with that script, sent it to a bunch of people, sent it to some folks at Stan Winston's company, as they had a development deal. The producer that she talked to really liked it, asked if he could sort of slip it to some people. He did, he sent it to someone, a producer at Dimension, it's based in New York, and he really liked it. And they showed it to Bob Weinstein. Bob Weinstein called us on Sunday. Am I half awake? Talk to Judy. Because they didn't know that Judy was my wife. He said, “This is the best goddamn script I've read. I'm like three quarters away. Come in on Monday and we'll talk about it.” So, we came in on Monday and they bought the script. And of course, at that point, it sort of went all over town. And for a very short period of time, it was like the flavor of the month and everyone loved me. And I got myself an agent and got myself like three pictures. And as I was a really big, big to-do. From that, I also got 13 Ghosts. I had like a really big opinion of myself after, after that sale. JOHN: Has that been tempered since then? NEAL: I kind of got the opinion that like, wow, selling scripts is easy. People wanted to hire me because that script was super hot and was all over town. I learned subsequently there are flavors in writers, and I was like that flavor of the month. That fades and then you have to really do a lot more work to get things sold. That was a hard lesson to learn. But I've managed to keep working over the years. I've written many scripts, sold some, and it's been a decent career. BRIAN: I was just wondering, you were having all the success writing screenplays, when did you decide to make a jump to writing a book? NEAL: Over the last five or six years, I've been teaching. A woman that I knew from NYU, actually, Dorothy Rumpolsky had been instrumental in starting a screenwriting program at David Lynch Institute for Cinematic Studies. And she realized at one point that she had a number of students who wanted to work in a horror. She remembered me back from NYU many years ago. So, she got in touch with me and wanted to know if I was interested in mentoring those students. And I said, absolutely. I done some other online teaching at other places. And so, the way it works is, you fly out for an opening few days where you meet the students. And then you fly back to where you come from. They go back to where they come from. And it's all done remotely, the mentoring. And so, I've been doing that now for five or six years. And during that kind of get together, you meet a bunch of guest lecturers and other teachers, other mentors. And a number of those people had written books for Michael Wiese productions. And, in the course of chatting, they suggested, well, you, you know, “You have a kind of encyclopedic knowledge of horror and horror cinema. That might be a good book for Michael Wiese. Give them a call and see if you can come up with a pitch and an interesting take on it.” And so I did, and I called them and they responded. And so we were off to the races. JOHN: The book is really, maybe delightful is the wrong word, but it's a captivating book because as you read through it—you have outlined breaking down our different types of fears—you can immediately in your mind go, “Oh, that's what that movie was doing. Oh, that was that. That's what was happening there.” What was your research process like? NEAL: I think that the research kind of developed over the decades as I studied what made movies scary and what was working, not only in the movies that I was watching, but in the movies that I was writing. I mean, in the same way that when you work as a screenwriter, it becomes almost second nature to try to figure out what was working and what wasn't. Talking to fellow filmmakers and screenwriters, you have to say, “How many times do you watch a movie?” And a lot of times I will watch a movie 8, 10, 20 times. And there's a process that works when you watch a movie that many times, where you say “Certain things will work every time you watch a movie.”In the same way that you can watch a comedy and you can laugh every single time as certain things comes up. And other times, you start seeing the nuts and bolts and say, “Well, this is always working and here they're just connecting stuff.” And you start saying, “Ah, I get it. I see what they're doing. I see how they're taking this piece that works and this other piece that works and they couldn't quite, they kind of, they found some connective tissue to stick it together. I see exactly what they're doing.” And you start understanding—whether you're watching a comedy or you're watching a drama or you're watching a scary movie—they knew exactly how to make this thing scary. And this is how they're doing it. And they understood exactly how to make this thing scary. And it's like, ah, this is what they're using. Whether it is a spider crawling on someone, that's always going to work. Or, “Oh, I see, this is just a jump scare.” And the jump scare is, I understand, that's just, because a big bang, a loud noise, a hand reaching in from, that's just, that's always going to work. It's going to work no matter what. It's just a kind of placeholder scare, because they couldn't think of anything better. And there are movies where it's just jump scares. And you can always use a jump scare. You can sneak up on a cat and jab it and it'll jump. It's an instinctive response. And if a movie is just relying on jump scares, you know it's because they don't have anything better. They haven't got any deeper than just having the phone ring and they turn up the soundtrack. You can always get an audience to jump by putting a loud sound on the soundtrack. JOHN: Is there an example you can think of though, where there is a jump scare that you think is a genuinely good, effective jump scare? NEAL: I can think of a movie that has two really excellent jump scares. John Carpenter's The Thing. When the doctor's giving the electric shock to the guy's chest, and the chest opens and slams shut on his hand. Didn't expect it.That's a super great jump scare. It is perfectly integrated into that scene. Everyone jumps, but it's also a brilliant continuation of that scene. Second jump scare, when MacReady is testing everyone's blood. And saying, “We're going to do you next,” puts the needle in, and that thing jumps out of the Petri dish.Fantastic jump scare. We didn't see it coming. Everyone jumps. And it's again, it's perfectly integrated into that scene. So, two brilliant jump scares in what's already an incredibly brilliant movie. BRIAN: I remember watching the commentary on Jaws and Spielberg said he got greedy with his jump scares. He had the moment towards the end of the film, you remember that Jaws comes out of the water while it's being chummed. And he said he got this great reaction from the audience, and he wanted one more. And he went back, and he added in the scene earlier where the corpse face comes through the hole. And he said he never got the audience to react as well to the shark after he added in that corpse face coming through the hole of the ship. And I wondered, do you think there's a point of diminishing returns with jump scares in one movie? NEAL: I think there absolutely is. I mean—and I have no end of admiration for Jaws. I think it may be one of the most brilliant movies ever, and it certainly has stood the test of time. JOHN: So, we've each come armed with some movies here that I thought it would be fun to talk about them with you, so that you could sort of delve into the different types of fear that are outlined in the book and we'll just sort ofcheckerboard back and forth here. I'm going to start with one of my favorite sense of dread movies, and that's Don't Look Now, with Donald Sutherland and Julie Christie, directed by Nick Roeg which I saw way too young. First R rated movie I saw. I remember I knew that it was supposed to be really scary, and I went with my older brother, and we were standing in line and the seven o'clock show was letting out. And I said to my brother, “Well, it can't be that scary. They're not saying anything.” Not realizing that they had all been stunned into silence about the last five minutes of that movie. So, what are your thoughts on Don't Look Now and where does that fit? NEAL: When I talk about the sense of dread, which is what my book is about, it's the notion of those aspects of our lives that we think of as safe and secure and dependable and sacred being suddenly or unexpectedly penetrated by the unknown or the unnatural, the unexpected. And you have to say, well, what are the things that we depend on? We depend on our homes. We depend on our families. And so that relationship of parent and child, what violates that? And the loss of a child, loss is already wrenching. And so, this sense of parents having lost a child, but then this notion that, well, maybe not, maybe the child is still out there somewhere, is so deeply disturbing. And so this weird, this quest, this pursuit in them. And meanwhile, in the background, you have the sense of a killer, of killings going on. This really disturbing notion of the woman's half decayed body being pulled out of the water is just as an image is—and again, the notion of human body being reduced to mere flesh—it's deeply disturbing. And nakedness, coupled with decay, it's deeply disturbing. And all of this sort of happening in the background. We don't quite know how these pieces connect. The notion that the search for the child and the notion that there's a killer on the loose. We know, because the nature of cinematic storytelling is telling us that somehow these things are going to connect, because, I mean, in the real world, there are countless thousands of things drifting around that don't necessarily hook up. But we know that one thing is going to collide with another. And so, there's this growing sense of profound unease, because we know, somehow, this child in this Red Riding Hood cape is wandering around, it's like, is this the child? Is the child going to become embroiled in this? But what we don't, certainly don't expect is the ending that confronts us in the finale, which is so incredibly, the reversal is so terrifying and so hits us in the face of that sense of innocence—revealed in such a terrifying way—is the essence of dread. Where we expect to find innocence, we find a nightmare. JOHN: What's great about what Nick Roeg did there was—if you read Daphne du Maurier's short story—he basically shot the last paragraph of that short story. Cinematically, he figured out the way that she's laying out what's going on with Donald Sutherland's character at that moment. He figured out a way to make it cinematic. So, like you say, all the pieces suddenly fall into place in those last few seconds. And, like you said, we've been brought to this place, we had no idea that that's where it was going to turn. Neal, tell me about Enemy from Space, and what you like about that. NEAL: Enemy from Space is the second of the three Quatermass movie, adaptations of the serial. It's in the same vein as Invasion of the Body Snatchers, and all these other movies about human beings who are being invaded and infested by alien forces. In this case, over the past few years—but in the context of the story—there have been rains of these tiny little meteorites. Anyone who finds them, they crack open and what's inside infests human beings. And you can find these tiny little burn marks, these V shaped marks on them. And the parasites take them over and make them into these kind of human slaves. And the premise is they serve this larger being, this kind of group entity, and they proceed to start building these atmosphere plants, with the goal ultimately to turn the earth into a colony for these beings that come from outer space. But the notion of these human beings, they have infiltrated our government, infiltrated our community, and they gradually take people over, scary enough. And they have built this enormous plant that looks, he says, this looks just like this proposed lunar base with these giant atmospheric domes. A group of people managed to infiltrate one of these bases and he looks inside, manages to get close enough to look inside one of these domes and inside are the parasites. When they're released, they grow together into this thing that looks like a giant blob. That's what it looks like outside of the human hosts. And a bunch of these guys are trapped inside of the atmosphere of plant. And they realize this thing, they can't survive outside the human body. They need methane to breathe, because that's what their home planet is like. “What we need to do is we need to pump oxygen into this dome to kill this thing. That'll destroy it.” And voices come over to say, “Look, this guy's crazy. There's nothing inside this dome. You send some representatives over, we'll show you anything you want.” And Quatermass says, “You're crazy if you go over there, you're going to be infected. You're going to be taken over.” But they managed to divide, they send the guys over and Quatermass is pleading with them, “Listen, they're going to get on this speaker. They're going to tell you that everything is fine, but you can't listen. Don't listen to them, whatever you say.” And then they hear this sound. This hideous sound of screaming coming down the pipes, the pipes that they've been sending oxygen down to the dome. They say, “What the hell is that? What's going on?” And then they look, they see the pressure has gone way up. There's something wrong. And the pipe is burst, the pipe that's sending oxygen to this dome. And they say, “What is it? What's happened?” And they look and something is dripping down through the pipe. And they say, “What is it?” It's blood. They took the guys that they sent, and they pushed them into the pipe. They say those pipes have been blocked with human pulp in order to keep the oxygen from coming into the dome. That is one of the most, again, all you see is just these drops of blood coming out of the cracked pipe, but that has resonated as one of the most terrifying moments from any movie that I saw, again, as a little kid. I've seen the movie recently and it's still incredibly terrifying. And again, the architecture of this web of pipes, the cold black and white architecture, is horrifyingly chilling. And the notion of human beings being reduced to mere flesh, being used as material for blocking a pipe. And the pipe's only like, it's like this big. So, you can imagine this person shoved into a pipe is hideous. JOHN: It is available on YouTube if anybody wants to watch it after that. Brian, do you want to ask about folk horror? BRIAN: Actually, I was going to jump ahead just because of what Neal was just talking about. I thought this would dovetail nicely into a question I had about a fear of contagion. And you can wrap body horror into this. Movies like The Thing or 28 Days Later, or probably The Quatermas Experiment as well. How does that fear of our own bodies being infected or watching another body change or be infected in unnatural ways? How does that—I don't want to use the word appeal—but how does that appeal to our sense of dread? NEAL: Well, I think you also have to run back to one of the most common— whether it's psychological or physiological—which is obsessive compulsive disorder. You say, well, what exactly is obsessive compulsive disorder? We have built in grooming behaviors, whether it's cleaning our hands, we clean our skin. That's wired into us. And when you turn the dial up too far, that turns into obsessive compulsive, obsessive hand cleaning or scratching, itching, hair pulling, all that stuff. It's wired in behavior, in the same way that dogs will scratch, we will scratch. And so, all of that, we react to it in the same way that if you see a spot of dirt on someone's forehead, it's almost impossible to “Clean that thing off. Get rid of that thing.” I mean, we're built in a certain way to respond to distortions, infections, invasions, in the same way that if someone's eye is cocked to one side, we react to it. Someone's face is distorted. We react to it negatively. We have to work not to respond to it. It may be a bug, but it may be a feature, because we are built to respond to a diseased or distorted members of our community. It's a survival trait. And so, in some ways, horror movies respond to that. Distorted human beings, Hunchback of Notre Dame or Igor or anyone else who are distorted, deformed, limbless creatures—Freaks—are employed in horror movies in a variety of different ways. BRIAN: And it's a very different thing from seeing an arm chopped off versus seeing an arm with three hands that are all operating. Both of them is something happening to your body that you might revolt towards, but it's a very different reaction though, right? NEAL: It is, but it's—in a sense—it's all variations of the same thing. There's a central human norm, and that which varies from the human norm beyond a certain point triggers a reaction that says, “That's not the way it's supposed to be.” And it's just, eyes are too close together, eyes are too far apart, eyes are too big, or there's an extra one. There's one missing. We recoil from it. We recoil from something that is too different, too far off the norm. And of course, in strictly social terms, you can say, but why, why should we? We shouldn't really respond in that way to others who are too different. But we do respond that way, and it comes with the programming in a very real degree. JOHN: How does that connect, then, to another movie on your list, The Island of Lost Souls, from 1932? NEAL: I think it's central to that list. The notion of the difference between that which is human and that which is animal. And Moreau, who experiments with making animals into human beings, but not really. And the sort of terrifying revelation when our hero and the woman—who we know to be an animal woman, but she looks fundamentally human—escape out into the woods and come across the animal person village. And the realization to what extent Moreau has been experimenting. It's not just tens or dozens. The animal people just come flooding out of the woods. And it's just hundreds. And the extent and the depth and the kind of nightmarish quality, they're all different. They're all horrible. And it's just like, what has Moreau been doing? He experiments with these animals, gets them to a certain state, and then he just discards them and moves on to something else. This utterly careless, sadistic god of this army of nightmares. And you sort of see when they do their, you know, “Are we not men?” And you just see row upon row upon row of these hideous nightmare faces. And you just say, “My God, what has this guy been doing for years? Just making these monsters.” JOHN: It's a classically creepy movie. I do want to ask you about the classic ghost story movie, The Haunting, and what that says about our fears. If you can, maybe tie that into Ghostwatch, because there's a similar sort of thing going on there. NEAL: They're both intriguing. They both are opening us up to this notion of unseen nightmare forces, especially the original Haunting, which shows us nothing. All you ever see: Doorknob turning. A face that may or may not be in the wall. This horribly loud banging on the door. A moment where someone thinks that her hand is being held, but there's no one there. It is simply this notion of a house that is born bad, but never really fully explained. Again, you have this idea of the world itself that should be well behaved, that should be governed by comprehensible natural laws. But there's something deeper and darker and incapable of truly being understood, nevermind being controlled. And if you just prod it a little bit too much, you're going to open it up to forces that are utterly destructive and utterly malevolent. And in both of these cases, you have this man of science and his team that are going to find out. “We're going to find out for sure whether there really are ghosts, whether there really is a supernatural, whether it really is life after death. We're going to nail this down for science.” Yeah, don't do that. Don't do that. These are things that are, that are not meant to be explored, not meant to be examined. Go back. BRIAN: I'm reminded of Van Helsing's sign off on the original Dracula, where he said, “Just remember, there really are such things in this world.” NEAL: Yeah. Yeah. And, and the same thing is true in some ways on a much more terrifying scale with Ghostwatch, where it's just, it's this kind of, “It's all just fun and Halloween, we're going to explore this. It's the most haunted house in Britain.” And it's broadcasters whose faces everyone knew at the time, and they were playing themselves. Going to this haunted house where you had these poltergeist phenomena. And we're all going to, “We're going to do it live and call in with your own experiences about being haunted.” And it all just goes so horribly wrong. JOHN: Now, Neal, I just watched that for the first time this week. Heard about it for years. I had no idea that those were real broadcasters. I thought they were really good actors. But to someone in Britain watching that, those are faces they saw all the time? NEAL: Yeah. Those are real broadcasters. They had their own shows. They were real, the real deal. JOHN: Wow. I highly recommend renting it because—it'll test your patience a little tiny bit, because it is quite banal for quite a while, as they lead you into it. But now this new bit of information that these are all faces that that audience who saw it, quote unquote, live that night, it's as terrifying as I imagined the Orson Welles' War the Worlds would have been. Because it seems very real. NEAL: And apparently the way they did it, is that there was a number you could call in. And if you called in that number, they would tell you, it's like, “Don't worry, this is all just a show.” But so many people were calling in, they couldn't get through. BRIAN: This really is War of the Worlds. NEAL: So, they never were able to get to that message that would tell them, don't worry, it's all just a show. So apparently it panicked the nation, because part of the premise was at a certain point, the ghost that was haunting the house got into the show. And so, the studio itself became haunted. It was really spectacularly well done. JOHN: It is. It's great. Let's just sort of wrap up here real quick with Neal, if you have any advice for beginning screenwriter about how to best create a really powerful and effective horror screenplay, any little tips. NEAL: Well, first of all, and I touched on this before, jump scares don't work on the page. You need the loud bang. You need the hand reaching in from the side. You describe that and it doesn't work. So, you have to rely on creating that sense of dread. And while writing screenplays, you have to keep things tight. The concept, the idea—in the same way comedy screenplays have to be funny—scary screenplays have to be scary. It has to be scary on the page. If it's not scary on the page, you're not going to sell the screenplay. And that's the fundamental trick. You got to make it scary on the page. JOHN: Excellent advice. All right, let's just quickly, each one of us, tell our listeners a recent favorite horror film that you've seen in the last couple years.I'll start with you, Brian. BRIAN: Just last night, I saw Haunting in Venice. And it worked because I had seen the other Kenneth Branagh/Agatha Christie adaptations, and I was very familiar with, and you know, you already know generally that kind of detective whodunit story: it's going to be very, you know, using logic and rationality.And when they had this episode that was sort of a one off—sort of a departure from that usual way that mysteries are solved—it was very effective. I think if I'd seen it without having already watched a bunch of Agatha Christie adaptations, I would have said, “Oh, that's an okay Halloween movie.” But having seen those other ones, it was an excellent Halloween movie. JOHN: Excellent. That's on my list. The movie I would recommend, which really surprised me, my wife literally dragged me to it because it was a French film called Final Cut, which is a French remake of a Japanese film called One Cut of the Dead. At about the 30-minute mark, I was ready to walk out, and I thought, why are we watching this? And then they took us on a ride for the next hour that, it's a really good ride. It's called Final Cut. BRIAN: And this is not to be confused with the Robin Williams Final Cut from... ? JOHN: Not to be confused with that, no. Or if you can go back to the original and watch the Japanese version. But what's great about the French version is they are literally remaking the Japanese version, to the point where they've made all the characters have Japanese names. Which the French people struggle with enormously. It's a highly effective film. Neal, how about you? Take us home. NEAL: Okay. It's not a new movie, but I just saw it very recently. It is a Chilean stop motion animated film called The Wolf House. It describes the adventures of a young Chilean woman who escapes from a repressive German colony and ends up in this bizarre house in which she blends into the walls. She's escaped with two pigs who grow up with her in this house, but again, nothing, no way in which I describe it is going to convey to you how deeply disturbing and chilling this movie is. It really is quite indescribably bizarre and disturbing and just well worth your time to watch. It's not quite like any other movie I've ever seen.

We discuss BOTA the movies that Rick Bota directed and released in 2005. Once again we find ourselves in Romania. DEADER follows investigative journalist Amy Klein as she infiltrates a mysterious death defying cult called the Deaders. HELLWORD introduces us to a group of college kids going to a total rager! --- Send in a voice message: https://podcasters.spotify.com/pod/show/killstreakpod/message

Seven entries into a franchise, you expect most of the characters will have died. So what's scarier than that? DEADER! Because once you're dead, and still exist, that's at least comforting, because you aren't cast into nothingness. But what happens if THAT ends? At least that's one way to scare an audience. The makers of this movie had other ideas. We discuss.

Welcome to the second installment of the endless cycle that is Rick Bota Hellraiser movies. Dark colors. Blue hues. Funky music (in a bad way). + much more. PATREON (BONUS EPISODES, VIDEO CONTENT, AND MORE!) ➟ https://patreon.com/screampodcastNEXT EPISODE ➟ Hellraiser: Hellworld (2005)SCREAM! PODCAST WEBSITE ➟ https://www.thescreampodcast.com/SCREAM! SOCIALS:Instagram ➟ https://z-p42.www.instagram.com/screampodcast/Twitter ➟ https://twitter.com/thescreampodFacebook ➟ https://www.facebook.com/thescreampod/?ref=py_cSCREAMPODCAST@YAHOO.COMHORROR SOUP SOCIALS:Instagram ➟ https://www.instagram.com/horrorsoup/?hl=enTwitter ➟ https://twitter.com/HorrorSoupSucks?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorLETTERBOXD (MOVIE REVIEW APP) ➟ https://letterboxd.com/horrorsoupcaleb/~Music Credits~ETHAN HURT – WWW.ETHANHURT.COMKYLE HERMAN - @iamkyleherman on InstagramSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hey everybody sorry that this took a bit too get to you but we Raul and Ashley continue their dive into Hellraiser with Hellraiser Deader, Hellraiser Hellworld and Hellraiser Hellworld with special guests Greg and Dave from Monsters and the Moshpit! Hellraiser Deader Raul - 2 out of 10 subways sex orgies (avoid) Ashley - 2 out of 10 chain smoker (avoid) Greg - 4.5 out of 10 hallways that keep out the big boys (low priority rental)  Dave - 3 out of 10 subways to nowhere (avoid) Hellraiser Hellworld Raul - 7.5 out of 10 teens burning themselves alive (buy) Ashley - 7.5 out of 10 Henry Cavill singing pussy to a nun picture (buy) Greg - 8.5 out of 10 you don't tug on superman's cape (buy) Dave - 8 out of 10 heads in a jar (watch, maybe buy) Hellraiser Revelations Raul - 8 out of 10 killing babies in their cribs (buy) Ashley - 3 out of 10 incestious make out sessions (read the screenplay don't watch the movie) Greg - 1.5 out of 10 TEMU pinheads (Avoid at all costs) Dave - 6 out of 10 dead hooker puddles of blood (Watch, maybe buy) Website Links: Website -⁠ https://headlongintomonsters.godaddysites.com⁠ Twitter -⁠ https://twitter.com/In2Monsters⁠ E-mail - ⁠headlongintomonsters@gmail.com⁠ Facebook Group -⁠ https://www.facebook.com/groups/1192679381675030⁠ Ashley Links: Twitter -⁠ https://twitter.com/BarelyAshley⁠ Instagram -⁠ https://www.instagram.com/barelyashley⁠ Letterboxd -⁠ https://letterboxd.com/barelyashley/⁠ Raul Links: Twitter -⁠ https://twitter.com/RaulVsMonsters⁠ Letterboxd -⁠ https://letterboxd.com/into_monsters/⁠ Greg and Dave Links Links: Twitter - ⁠⁠⁠https://twitter.com/MonstersMoshPit⁠⁠⁠ Facebook Group Page - ⁠⁠⁠https://www.facebook.com/groups/712317883066333⁠⁠ Listener Feedback and Horror Happenings music Created by Mike Miller (Mike twitter): ⁠https://www.facebook.com/profile.php?id=100004929583462⁠ Opening Music:⁠ https://audiojungle.net/item/80s-horror-retro-background/33176055⁠ Closing Music:⁠ https://audiojungle.net/item/hip-hop-horror/25238003

Well, good evening, listeners, and welcome back to Horror Hill. I am your host, your storyteller, your voice from beyond: Erik Peabody. Tonight's episode includes two stories, both from newcomers to Horror Hill. But don't worry, they both have their horror engines firing on all cylinders. To watch the podcast on YouTube: http://bit.ly/ChillingEntertainmentYT Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/HorrorHillPodcast If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: https://bit.ly/HorrorHillPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

Read transcript Here's the story of a man named Arthur, who was father to... wait, this is something else. This is the story of a world that is becoming tougher on crime, but easy on the eyes! Grab your chaps, and your gun belt, it's time to talk about Red Dead Redemption 2 Press B To Cancel now on Youtube! For updates and more episodes please visit our website www.pressbtocancel.com, or find us on Twitter @pressbtocancel and Instagram @pressbtocancel. Special thanks to The Last Ancient on SoundCloud for our podcast theme.

Modern English loves an idiom. We use them all the time. “Take the cake.” “Eat crow.” “Deader than a doornail.” “By hook or by crook.” “Cut the mustard.” “Left in the lurch.” But do we really know what they mean? That was University of Minnesota linguistics professor Anatoly Liberman's question when he set out to write a dictionary of common English language idioms. His new book, “Take My Word For It,” is the first truly all-encompassing etymological guide to both meanings and origins of idioms that surround us every day. Liberman is a favorite guest on Kerri Miller's show, and this week, he returns to talk about the history of idioms, both popular and obscure. It's not rocket science, but it is a delightful and engaging conversation that will leave you feeling as right as rain. Guest:  Anatoly Liberman is a linguist and professor of languages at the University of Minnesota. His new book is, “Take My Word For It: A Dictionary of English Idioms.” To listen to the full conversation you can use the audio player above.  Subscribe to the MPR News with Kerri Miller podcast on Apple Podcasts, Google Podcasts or RSS. Subscribe to the Thread newsletter for the latest book and author news and must-read recommendations. 

This week on Brother Date, we finally get the backstory on one of Star Trek's most popular villains, the TNG writers succeed despite their best efforts, and the DS9 writers succeed thanks to our best efforts.We're all just doing our best out here.

Ryan, Jose and Rob are back with another Audio Commentary down for “Clive Barker Podcast Presents Fundraiser III: Hell on Earth”. This time it's Hellraiser (7) Deader. Synch up your DVD players, or Netflix or VHS to just before the Dimension logo, and let's watch! Show Notes Hellraiser Winter's Lement (Deader Prequel Fan-Film) http://www.jonathankui.com/hr7prequel/ Info about the Composer https://en.wikipedia.org/wiki/Henning_Lohner Why Harvey Weinstein didn't release the movie when it was finished.  http://primary.slate.com/articles/arts/the_hollywood_economist/2005/10/the_great_illusionist.html

Hi folks! Sorry this is late, was busy rocking out over the weekend. Anyways, we spent last session talking about DEADER and the final DGG Halloween installment. Spoilers!

Halloween greetings from Bent & Twisted. We invite you to accompany us on a dark journey into history as we present you with another double-bill - a little treat we call Dead & Deader - an homage of sorts to those pesky expired folks that can't seem to stay in the ground.The brews are frosty, the herb is green, and the hellhound is snoring peacefully by the fire as JR gets down and dirty with the Bodies in the Bogs. Restraints still clinging to their limbs in death, bizarre wounds, and the vast variety of violent ends these people met reveal the terror of their last moments on earth. But was it murder, magic or a means of punishment? Next up J investigates the pale, languishing, specterlike victims of the mystery sickness that ravaged New England and he unearths the American vampires that terrified the country and inspired Stoker, Poe, Lovecraft and other masters of gothic horror. So join us on this journey…if you dare.

Email the show Leave us a Speakpipe Discord Channel Patreon Page Stu  Scorn A Plague Tale - Requiem The Long Dark Duke  Rocket League Monument Valley Panoramic Edition The Long Dark Coral Island Tower of Fantasy Chinny The Long Dark Plague's Tale: Requiem Monster Train Power Washing Sim

Episode 291 - Drop Dead, Fred This weeks episode is held together by one very loose thread....the word Dead. That's literally it. But being professionals, we forge ahead...or aDEAD! (James was so much better at writing these...) This week we explore the world of livestreaming in DEADSTREAM and start to round the corner of our Fred-stival Of Fun with FREDDY'S DEAD all while enjoying a cold crisp Dead & Deader from Rogue Brewing! JOIN US! Follow us! Twitter: @thebuzzedkillPC Instagram: @thebuzzedkillpodcast Facebook.com/thebuzzedkillpodcast MOVIES WE DISCUSSED - DEADSTREAM (2022) - FREDDY'S DEAD: THE FINAL NIGHTMARE (1991)

Hellraiser - Episode 214: Pleasure is Pain. Pain is Podcasting! On a very S&M episode your hosts don some black leather, poke themselves with some needles, and head to hell - to talk Hellraiser! This iconic 80's franchise is a perfect fit for Spooktober, but does the reboot leave us puzzled? Tune in to find out only on Normies Like Us! We have such podcasts to show you! Insta @NormiesLikeUs https://www.instagram.com/normieslikeus/ @jacob https://www.instagram.com/jacob/ @JoeHasInsta https://www.instagram.com/joehasinsta/ @MikeHasInsta https://www.instagram.com/mikehasinsta/

Back when we first started this podcast, our friend Del asked specifically to be on the episode for Hellraiser: Deader, the seventh movie in the franchise. Can he convince the gang that this is "one of the good ones" in the franchise? 

The Alchemist ease into undeath in Hellraiser: Deader. Key Elements: Party Caboose, Zombie Potty, Back Pain Join the Patreon: https://www.patreon.com/filmalchemistpod  

In the tradition of comedians who have made the transition from the stage to the screen, such as Richard Pryor and Bill Cosby, multi-talented Guy Torry has made the leap to comedic actor with great success. Guy has been seen on BET's Comic View, Comedy Central's Premium Blend, Showtime at the Apollo and Russell Simmons: Def Comedy Jam where he made his stand up debut to a national audience. Guy also hosted the enormously successful 52 city comedy tour The Kings of Comedy, which grossed over $37M. He created a unique concept called Phat Comedy Tuesdays which was a weekly showcase for up and coming comedians. This evolved into a weekly spotlight at the Comedy Store on the Sunset Strip entitled The Guy Torry Show where Guy hosts and produces a comedy showcase featuring an improv comedy troupe. This event was regularly attended by the comedy A-List including Eddie Murphy, Chris Tucker and Chris Rock. While attending Southeast Missouri State University, Guy had a curious desire to pursue a career in entertainment. Once in Los Angeles, he landed a job as a production assistant on the Fox comedy Martin. His quick wit captured the attention of the show's writers, producers and eventually the show's star Martin Lawrence. Guy became a contributing writer to the series and had subsequent writing stints on sitcoms such as Minor Adjustments and Moesha. The St. Louis native also received critical acclaim for his work on the small screen starring in the NBC mini-series The 70's, the HBO movie Introducing Dorothy Dandridge, and the UPN drama The Strip. He hosted BET's sports talk show Baller, with four-time NBA World Champion John Salley and three-time NFL Pro Bowler Hugh Douglas. Guy has made guest star appearances on television series including Blind Justice, The Shield, One On One, X Files and NYPD Blue. He also supplied his voice on the animated Nickelodeon series As Told By Ginger. Guy has appeared in such feature films as Funny Money, opposite Chevy Chase, Penelope Ann Miller and Chris McDonald, The Last Stand, starring Anthony Anderson, Darrin Henson, Kevin Hart and written and directed by Russ Parr, Dead and Deader, opposite Dean Cain and Susan Ward, and the independent thriller Slow Burn, opposite Ray Liotta, Taye Diggs, LL Cool J and Mekhi Phifer. Guy has also appeared with Matt Damon, Greg Kinnear and Eva Mendes in the 20th Century Fox Film, Stuck on You, and his other film credits include Runaway Jury, Don't Say A Word, Pearl Harbor, Life, The Animal and most notably American History X. Guy is currently performing in comedy clubs across the country, and resides in Los Angeles.

On this episode of Stream Queens, Marrs and Rachel are once again joined by their good buddies Larry and Justin of the Here's Johnny Podcast. Together, we repeatedly ask ourselves “why?” as we try and review Hellraiser: Hellseeker and Hellraiser: Deader. So, were these the sights we sought? Or did we end up wishing we were... Read More The post Stream Queens Horror Podcast Episode 82: Hellraiser: Hellseeker & Hellraiser: Deader appeared first on The Zombie Grrlz Horror Podcast.

On this episode of Stream Queens, Marrs and Rachel are once again joined by their good buddies Larry and Justin of the Here's Johnny Podcast. Together, we repeatedly ask ourselves “why?” as we try and review Hellraiser: Hellseeker and Hellraiser: Deader. So, were these the sights we sought? Or did we end up wishing we were... Read More The post Stream Queens Horror Podcast Episode 82: Hellraiser: Hellseeker & Hellraiser: Deader appeared first on The Zombie Grrlz Horror Podcast.

- A reason you should never drink Coors Light - Remy and Kasey play "Deader than a door nail" - Will Netflix's Squid Game reality show be a "fail or nail"?

This week on Fresh Hop Cinema; Beer 1: "Ain't Getting any Deader" from Green Cheek Beer Co (Orange, CA). Style: California IPA. ABV: 7.2% Ratings: Jonny - 9.1, Max - 10. Film: "Top Gun: Maverick" directed by Joseph Kosinski. Ratings: Jonny - 9.7, Max - 8. Beer 2: "Spinning the Elaborate Yarn" from Green Cheek Beer Co (Orange, CA). Style: West Coast IPA ABV: 7% Ratings: Jonny - 8.5, Max - 8. Inside Hot & Bothered: - Max - "Legends & Lattes" by Travis Baldree (Audiobook Review) - Jonny - "Moon Knight" (wrapped) ------ Episode Timeline: 0:00 - Intro, Ads, & Shoutouts / / 5:00 - "Ain't Getting any Deader" / / 17:32 - "Maverick" (No Spoilers) / / 32:00 - "Men" (DANGER ZONE) / / 52:41 - "Spinning the Elaborate Yarn" / / 1:02:49 - Hot & Bothered Please leave us a rating and/or review on Apple Podcasts, or wherever you get your podcasts! Got a few bucks to spare? Support us on Patreon for as little as a dollar per week at www.patreon.com/freshhopcinema

One news reporter's life is changed forever when she investigates a London subculture where the deceased literally rise from the dead. It also stars Pinhead, so that's something. Listen in as our Hellraiser Marathon plows ahead with Hellraiser: Deader. --- Support this podcast: https://anchor.fm/bmoviebreakdown/support

Hellraiser: Deader, could this series get any better? We're at number 7 of the Hellraiser series and the boys are barely holding on by a thread. This can't get any worse than the last two movies, right? This movie follows a reporter named Amy who is tasked with investigating *deep breath* the cult known as the deaders. They can't die! Or are they already dead? I'm not sure we'll ever know.Support this podcast at — https://redcircle.com/the-other-half/exclusive-content

The uniqueness of Spider-Man as a character, the difficulty adapting him to games, the Uncle Ben storytelling trope, an overview of more Spidey games than you can shake a web cartridge at, choosing between Tobey, Andrew, and Tom, and what IS retro anyway...? I'm the Well-Red Mage and this is MAGE CAST feat. voice actor @Voxgizer!Promo code: RED10PatreonJoin BuzzsproutJoin our DiscordTwitchTeePublicTeespringNovella on AmazonGuests:@VoxgizerLinks:twitter.com/Voxgizeryoutube.com/channel/UCfNtPxW--bjikNzHxEBQFsQtwitter.com/merlino_gamesthe-pixels.com/2022/02/16/what-is-retrothe-pixels.com/2022/03/16/spider-man-venom-maximum-carnage-1994-snes-Sponsors-BiFrost Bridge Studios - twitter.com/StudiosBipatreon.com/BiFrostBridgeStudioslinktr.ee/BiFrostBridgeStudioskickstarter.com/projects/bifrostbridgestudios/gaias-seed-a-thrilling-new-graphic-novelJoypad Lad - twitter.com/JoypadLadShopjoypadlad.comMusic: "Maximum Carnage Opening" by Green Jelly & "Spider-Man: The Animated Series Intro Theme" by Joe Perry, Shuki Levy.Support the show (http://www.patreon.com/thepixels)

Screenwriter Stuart talks about how to write a horror screenplay with veteran screenwriter and author A Sense of Dread Getting Under the Skin of Horror Screenwriting Neal Marshall Stevens.THE BOOK - "A Sense of Dread: Getting Under the Skin of Horror Screenwriting" is out now where you buy your books.Just what is “The Sense of Dread” and how does it apply to the writing of horror movies?Our first fears are rooted in biologyWhat are some examples of psychological fears and how can we make use of them in our writing?Fears based in cultureThe “Toolbox of Dread” Neal Marshall Stevens is a graduate of NYU's Graduate School of Film and Television, he has been a working professional for over 30 years. He began his career as a writer and Creative Consultant/Story Editor for Laurel Entertainment's syndicated Series, MONSTERS. He went on to work as Laurel's Senior Story editor on such projects as THE VERNON JOHNS STORY and STEPHEN KING'S THE STAND.  Later, Neal went on to work for Charles Band's Full Moon Entertainment, specializing in Direct-to-Video productions. Over the course of his association with Full Moon, he's worked on over 40 motion pictures, including five entries in the popular PUPPETMASTER series. He also wrote and directed the feature, “STITCHES” for Full Moon Entertainment.  Among other projects, Neal sold the original screenplay DEADER to Dimension Pictures, which was later produced as HELLRAISER: DEADER, and wrote the screenplay for DARK CASTLE's feature remake of THIRTEEN GHOSTS.  For the last seven years he has been teaching on-line for SCREENWRITERS UNIVERSITY and is also a professor in the David Lynch MFA Graduate Program in Screenwriting at the Maharishi University International. A partial list of his credits can be found at: https://www.imdb.com/name/nm0139605/?ref_=fn_al_nm_1 You can buy me a cup of coffee & support this independent podcast that I host and produce at https://app.redcircle.com/shows/e030598-6b83-4001-8a29-5e5dd592ed26/sponsort Rate, review and subscribe wherever you listen to your podcastsCreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/)Podcast for www.britflicks.com. Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Neal Marshall Stevens has been working in the entertainment industry for over three decades, writing, producing and working as a story editor for more than 50 produced motion pictures. He has also worked on several recent web series including Trophy Heads and Ravenwolf Towers. His screenplay “Deader” was produced by Dimension Pictures as Hellraiser: Deader and he wrote the screenplay for Dark Castle's remake of Thirteen Ghosts. In addition to his work as a screenwriter, Neal has been teaching for the last 8 years for Script University and works as an associate professor in graduate-level screenwriting courses.