Podcasts about hammer horror

401 Hammerama Ep. 34 - Moon Zero Two Welcome to Hammerama! Hammerama is a subsidiary series of the DieCastMovie Podcast. Please join Alistair Hughes and Steven Turek as they analyze the wonderful movies of Hammer Films, from opposite ends of the world! Please send feedback to DieCastMoviePodcast@gmail.com.Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror. A special thanks to Reber Clark for allowing us to use his music! You can purchase Mr. Clark's music at reberclark.bandcamp.com.

Hammer Horror delivered one of its finest 1970s films with Blood from the Mummy's Tomb, despite a notoriously cursed production. This 1971 British release is the studio's fourth and final Mummy film, loosely adapted by Christopher Wicking from Bram Stoker's 1903 novel The Jewel of Seven Stars. Crucially, it remains the only entry in the franchise where a physical mummy never actually appears.The trouble began early when a gap in the studio schedule forced the film into premature production. Wicking wanted to keep Stoker's original book title, but James Carreras refused, leading to a brainstorming session that birthed Blood from the Mummy's Tomb – a title Wicking never expected them to use. Wicking also clashed with producer Howard Brandy and was barred from the set, forcing him to work with director Seth Holt secretly in the evenings. Brandy later claimed the script was unshootable and heavily rewritten by Holt. Brandy also wanted to cast Amy Grant, but Sir James Carreras insisted on Valerie Leon.Tragedy struck five weeks into the six-week shoot when Seth Holt suffered a fatal heart attack on set, collapsing into the arms of actor Aubrey Morris. Michael Carreras tried to recruit Don Sharp to finish the film, but Sharp was committed to a project in Israel. Michael Carreras ultimately directed the final week himself, later noting that Holt's footage did not cut together well, forcing them to salvage what they could.Valerie Leon shines in the dual roles of Margaret Fuchs and Queen Tera. Beyond her famous Hai Karate aftershave adverts and seven Carry On appearances – including Carry On Christmas: Carry On Stuffing – Leon delivered a critically praised performance but clashed with the studio. She was deeply upset when producers denied her time off to attend Holt's funeral, and her refusal to perform a nude scene required a body double. Hammer never hired her again. Her career later included roles alongside two different James Bonds, Roger Moore and Sean Connery.The supporting cast features incredible British character talent. James Villiers plays Corbeck, George Coulouris plays Berigan, and Aubrey Morris features as Doctor Putnum. Morris was described by Jeremy Brett to Noël Coward as the finest small-part player in London, boasting roles in The Wicker Man, A Clockwork Orange, and as the bubble-bathing B-Ark captain in The Hitch Hiker's Guide to the Galaxy. Rosalie Crutchley plays Helen Dickerson. James Cossins brings his trademark blustering authority to the role of an abusive psychiatric nurse, and a young Anthony Head makes an uncredited appearance.Andrew Keir plays Julian Fuchs, stepping in after Peter Cushing completed just one day of filming before leaving due to his wife's emphysema diagnosis. Keir's presence links back to our Quatermass and the Pit reviews, Daleks' Invasion Earth 2150 A.D., and Cleopatra alongside Richard Burton. The film is elevated by a brilliant electronic score by Tristram Ogilvie Cary, the pioneer who founded EMS, created the VCS 3 synthesiser, and composed the music for the first Doctor Who Dalek serial.Support this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Anglotopia Podcast, Jonathan Thomas sits down with Spencer Murphy — Assistant Professor in Media and Communications at Coventry University, specialist in film theory and cross-cultural cinema, and founder of the Coventry East Asian Film Society — for a wide-ranging, enthusiastic, and genuinely entertaining conversation about British film. What is a British film, exactly? Is it about the money, the cast, the crew, the story, or the setting? How does class permeate almost every British film ever made, from Ealing comedies to Harry Potter? Why does the British landscape function as a character in its own right? And why do Americans connect so deeply with British cinema when its sensibility — restrained, ironic, self-deprecating — is so different from Hollywood's? Jonathan and Spencer also trade their top five British films each, debate the new Wuthering Heights adaptation (neither of them liked it), and discuss why British cinema's literary inheritance is both its greatest strength and, sometimes, its creative limitation. Links Spencer Murphy at Coventry University BFI Top 100 British Films Dead Man's Shoes (2004, Shane Meadows) The Full Monty (1997) The Remains of the Day (1993) Rebecca (1940, dir. Alfred Hitchcock) Tamara Drewe (2010, dir. Stephen Frears) Friends of Anglotopia Takeaways Defining what constitutes a British film is genuinely one of the hardest questions in film studies — it can't be reduced to funding source, shooting location, cast, or director alone. Both Jonathan and Spencer agree the most satisfying answer involves who is behind the artistic vision, but even that gets complicated fast. The "Mary Poppins test" is Spencer's shorthand for films that feel very British on the surface but aren't authentically so — the tourist's vision of Britain, the chocolate-box version that meets an expectation rather than reflecting a reality. British film has a deep and complicated two-way relationship with how Britain represents itself to tourists — Hollywood's vision of Britain shapes what visitors expect, and British places have increasingly adapted to meet those expectations, from Harry Potter shops in York's Shambles to the way villages brand themselves around filming locations. Class is the single most persistent thread running through British cinema across every decade and genre — from Ealing comedies to Downton Abbey to Trainspotting — and Spencer argues it's almost impossible to think of a major British film that isn't, consciously or not, about the class system. British cinema's literary inheritance — the endless cycle of Jane Austen, Brontë, and Robin Hood adaptations — is both a commercial lifeline and a creative constraint. Spencer sees it as potentially reducing the space for new voices and contemporary stories, though he acknowledges the money it generates can fund smaller, more singular films. The British landscape is not just a setting in British cinema — it functions as a character, carrying regional pride and identity in a way that Hollywood rarely matches. Spencer notes that British location managers and production designers feel a deep obligation to get place right in a way their American counterparts don't always have. Spencer's explanation for why Americans love British film comes down to one word: self-deprecation. British culture — and British cinema — is not afraid to ridicule itself, to see its own shortcomings, and to raise them with others in a way that doesn't quite offend. He sees this as the quality Hollywood fundamentally cannot replicate. The new Wuthering Heights adaptation was a near-universal disappointment for both Jonathan and Spencer — not for lack of visual quality, but for failing the fundamental question every film must answer: who is this for? Spencer's most unexpected recommendation is Dead Man's Shoes (2004) by Shane Meadows — a harrowing, masterful, deeply regional Midlands film that he shows students as one of the most authentic and powerful representations of working-class Britain ever put on screen. The incoming Harry Potter TV series — set explicitly in the 1990s with a period-appropriate visual aesthetic — is likely to have a bigger impact on British tourism than anything since the original films, and will once again reshape what visitors expect Britain to look and feel like when they arrive. Soundbites "When I grew up, I really loved Hong Kong movies — Bruce Lee. The thing that fascinated me was you had streets with Chinese signs, but then Royal Albert Street, buses that looked like London buses. I remember my dad saying, 'Oh, it's part of Britain.' And I was like, what? That can't be so." — Spencer on the connection between British colonialism and his career in film. "It's almost like a snake eating its tail. Britain adapts to meet the expectation that its own exported films have created. You go to the Shambles in York and every other shop sells Harry Potter things and tea — because that's what people want to see." — Spencer on cinema's two-way influence on British culture and tourism. "Class in the UK is not purely related to finance. You can be a very, very wealthy working class person. You could be a millionaire and you'll always be working class. That idea of class being embedded generationally — going back hundreds and hundreds of years — movies articulate that struggle." — Spencer on why class is the defining thread of British cinema. "I'm from the Black Country — a heavily industrial area. I moved into what people would call a very middle class job as a lecturer at university. But my accent, the way I speak, where I'm from — it's working class and it will never leave me." — Spencer on living the class story British cinema tells. "You could argue British cinema is trying, in the 1940s post-war period, to lay out the parameters of class once more — because the great leveller of class was the Second World War, when it really didn't matter who your parents were. People were dying at every rank." — Spencer on class and British cinema's post-war identity crisis. "I always think of it as the King Charles test. He gave that speech in Congress — understated, but deeply critical, undercutting the president in a way where nobody could quite call him out for it. That is quintessentially British. And I think British film does that too." — Spencer on why Americans love British cinema's self-deprecating wit. "You're never going to see a British version of Top Gun. It's just never going to happen. Hollywood can be very congratulatory. British cinema is not afraid to ridicule what it is to be British — and I think that appeals to American audiences enormously." — Spencer on the fundamental difference between British and American cinema. "Wuthering Heights — I watched it and I thought, I don't even know what it felt like, but it didn't feel British to me. I wasn't sure who it was made for. Is this made for 19 year olds? Because I don't get it." — Spencer on the Emerald Fennell adaptation. "Dead Man's Shoes is harrowing and awful, but it had a massive impact on me. It touches on class, on the 1980s, on the downtrodden. It's a film I've seen about three times. I show it to students because it's just masterful." — Spencer on his most unexpected British film recommendation. "When they replayed the Royal Wedding coverage in the pub, you know what came on after it on BBC One? Wallace and Gromit. The perfect chaser of all that Britishness." — Jonathan on the most quintessentially British television scheduling decision ever made. ⠀ Chapters 00:00 Introduction — Jonathan sets up the episode and introduces Spencer Murphy 01:50 Spencer's Journey into Film — VHS tapes, corner video stores, Hong Kong martial arts films, and an accidental PhD 04:36 Jonathan Meets His Wife at Film School — A brief Anglotopia origin story 05:13 Southeast Asian Cinema and the British Colonial Lens — How post-1997 Hong Kong shaped Spencer's thinking about national cinema 08:52 What Is a British Film? — The question neither host can fully answer, and why that's the right response 12:36 Jonathan's Working Definition — Setting, cast, and the authenticity test 13:37 The Merchant Ivory Problem — When a British story isn't quite a British film 14:32 The Mary Poppins Test — How to spot a tourist's version of Britain on screen 16:17 Harry Potter, Bond & Lawrence of Arabia — Are America's favourite "British" films actually British? 18:46 Cinema's Two-Way Effect on Britain — How films shape the places they portray 20:53 Harry Potter as Britain's Biggest Cultural Export — And the new TV series that will change tourism again 22:29 The Visual Identity of the Harry Potter TV Show — Why setting it in the 1990s is a smart move 24:28 British Film Genres — Social realism, heritage drama, comedy, Hammer Horror, and what each adds to the British identity 26:50 Class as British Cinema's Defining Thread — Why it runs through every genre from Ealing to Peaky Blinders 31:33 The Full Monty, Billy Elliot & Richard Curtis — Class in 1990s British film 33:36 Accents, Class & the Transatlantic Voice — From clipped 1930s RP to Trainspotting's Scots 38:45 British Cinema & Literary Adaptation — Strength or creative constraint? 42:49 The New Wuthering Heights — Two film lovers find they agree it didn't work, and debate why 47:36 Landscape as Character — How place functions in British cinema differently from Hollywood 52:08 Why Americans Love British Film — Self-deprecation, irony, and the King Charles Congressional speech 55:23 The Battle of Britain vs Top Gun — How British and American cinema represent heroism differently 55:50 Spencer's Top Five British Films — Rebecca, Dr. No, The Devil Rides Out, The Full Monty, Dead Man's Shoes 59:14 Jonathan's Top Five British Films — The Remains of the Day, Master and Commander, About Time, Tamara Drewe, That Hamilton Woman, Hot Fuzz, On Chesil Beach, and Wallace & Gromit 1:03:06 Wallace & Gromit After the Royal Wedding — The perfect end to any discussion of British culture 1:04:08 Wrap-Up — Spencer must dash, a second episode is promised, and a call to share your own favorite British films Video Version

385 Hammerama Ep. 33: Hands of the RipperWelcome to Hammerama! Hammerama is a subsidiary series of the DieCastMovie Podcast. Please join Alistair Hughes and Steven Turek as they analyze the wonderful movies of Hammer Films, from opposite ends of the world! Please send feedback to DieCastMoviePodcast@gmail.com.Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror. A special thanks to Reber Clark for allowing us to use his music! You can purchase Mr. Clark's music at reberclark.bandcamp.com.

Dive into the gothic terror of The Brides of Dracula (1960), one of Hammer Film Productions' most stylish and chilling vampire films. Starring the legendary Peter Cushing as Van Helsing, this sequel to Horror of Dracula takes a bold turn- without Dracula himself-and still delivers unforgettable horror. In this episode of Frenzy Frights, Chris and Gerry explore the film's eerie atmosphere, standout performances, and its place in the golden age of Hammer Horror. From its haunting visuals to its unique take on vampire lore, The Brides of Dracula remains a fascinating entry in classic horror cinema. Topics include: Peter Cushing's definitive Van Helsing Life after Dracula: a sequel without the Count Gothic set design and Hammer's visual style Memorable scenes and chilling moments The film's legacy among the classic horror fans If you love classic monsters, Hammer films, and deep-dive horror analysis, this one's for you. Like, comment, and subscribe for more classic horror breakdowns every week!

This week on the Scary Spirits Podcast, we draw back the velvet curtain to commemorate the U.S. release anniversary of Hammer Horror's 1971 classic, Dr. Jekyll and Sister Hyde, released on April 15th. With scholarly precision and a suitably macabre twinkle, hosts Karen and Greg examine the film's daring reimagining of Robert Louis Stevenson's tale—where science, repression, and identity intertwine in true Hammer fashion. Expect thoughtful discussion of the film's performances, atmosphere, gender-bending shock, and its enduring place in the golden age of British horror cinema. Naturally, such an elegant descent into madness demands refreshment. As the clock strikes midnight, our hosts raise a glass to the good doctor with a themed Brandy Old Fashioned cocktail, rich, refined, and just a touch dangerous—much like the film itself. If you are a devotee of Hammer Horror films, classic 1970s horror cinema, or simply relish intelligent conversation steeped in Gothic charm, then join us… because some experiments are far too fascinating to resist. Listen now to Scary Spirits Podcast — where classic horror meets wickedly good spirits. Brandy Old Fashioned • 2 oz brandy• 1/2 oz simple syrup• 3 dashes aromatic bitters• 2 dashes orange bitters• Garnish: orange peel and brandied cherry Instructions: Add brandy, simple syrup, aromatic bitters, and orange bitters to a glass with ice and stir until well chilled. Squeeze the orange peel over the glass and drop it in. Garnish with a brandied cherry. Source: ohlq.com A Brief Synopsis: Blackly comic variation on the classic tale, in which the good doctor, experimenting with ways to prolong life, tests the formula on himself and metamorphoses into a beautiful woman. His alter ego turns out to have a very nasty streak, killing prostitutes who, terrified of Jack the Ripper, believe they have nothing to fear from a woman. Some of the topics discussed and highlights of this episode include: We learn about the original novella by Robert Louis Stevenson that inspired the film. The history of the White Chapel murders is discussed. Dr. Karen tells us all about the use of Lime in mass burials. Karen gives us stats about the murder rate of men. Our rating of the film: This movie was OK. It took us 3 cocktails to get through it. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

Join Justin as he chats with actor Youssef Kerkour about the secret success behind A Knight of the Seven Kingdoms, haunted movie sets, the importance of the movie theater experience, Hammer Horror films, and more!Youssef Kerkour bio:“Youssef Kerkour is a Moroccan-British actor. He is best known for portraying Syrian refugee Sami in the comedy-drama series Home (2019–2020), a role for which he was nominated at the 2020 British Academy Television Awards. “Intro and outro theme created by Wyrm. Support Wyrm by visiting the Serpents Sword Records bandcamp page (linked below):https://serpentsswordrecords.bandcamp.com/Monsters, Madness and Magic Official Website. Monsters, Madness and Magic on Linktree.Monsters, Madness and Magic on Instagram.Monsters, Madness and Magic on Facebook.Monsters, Madness and Magic on Twitter.

Vi tar en närmare titt på Roger Cormans adaptioner av Edgar Allan Poe, ofta i nära samarbete med storheterna Vincent Price och Richard Matheson. Det blir, bland mycket annat, ett samtal om psykoanalys, manlighet, arvsskuld, trauma och ett billigt och effektivt filmskapande gjort av gubbar i form av den absoluta gräddan av den amerikanska skräckmyllan. I avsnittet som helhet pratar vi också bland annat om: H.P Lovecraft, Peter Pan-syndromet, Lucio Fulci, gotisk skräck, skräckromantik, det makabra, galenskap, självdestruktivitet, blommigt språk, weird fiction, kosmisk skräck, exploateringsfilm, Sigmund Freud, Alfred Hitchcock, Psycho, det undermedvetna, det overkliga, Besökarna, Sam Raimi, The Evil Dead, gravvalv, kryptor, degenering, romantiseringen av den döende kvinnan, Hammer Horror, Bram Stoker, HBTQ-perspektiv, påkostade för- och eftertexter, det psykedeliska, Les Baxter, jazziga soundtracks, dödsdrift, skräckmelodram, Saw-franchisen, Barbara Steele, Mario Bava, Black Sunday, aristokratisk dekadens, katalepsi, Ray Milland, taphofobi, The Autopsy of Jane Doe, The Whisperer in Darkness, Agatha Christie, omotiverad dimma, Slå nollan till polisen, tvångsneuroser, OCD, spöken, kameraåkningar, Peter Lorre, M, Fritz Lang, skräckkomedi, Basil Rathbone, Sherlock Holmes, hypnos, transliknande tillstånd och Mike Flanagan. Mycket nöje!

376 Carry on Screaming w/Alistair HughesThis time Steven is joined by Alistair to discuss 1966's Carry On Screaming! Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror.Please send feedback to DieCastMoviePodcast@gmail.com or leave us message on our Facebook page.Thanks for listening!

This week we're traveling back to 1958 for the FIRST Hammer Dracula film, The Horror of Dracula. From Christopher Lee's chilling performance to the film's lush visuals and lasting influence on vampire lore, we're talking about why this iconic Hammer Horror still haunts audiences today. Whether you're a longtime horror fan or just curious about the roots of modern vampire films, this episode is for you. Where to find us:  https://linktr.ee/Jumpscarepodcast    #HorrorPodcast #ClassicHorror #Dracula #HammerHorror #FilmHistory #HorrorFans #christopherlee #horrorofdracula #dracula1958 #hammerfilms

Send us a text or a voicemailA young woman is abducted by a monstrous figure intent on raising her on a diet of only string cheese and cigarettes. On Episode 715 of Trick or Treat Radio our feature film discussion is Dolly from director Rod Blackhurst! We also talk about some of the most memorable and infamous Mondo films, learn the dietary habits of our resident “health nut”, and we react to trailers for the films; Alpha from director Julia Ducournau, and Buffet Infinity from director Simon Glassman. So grab your entire doll (or action figures if that makes you feel better) collection, bring it into the woods to make creepy scenes, and strap on for the world's most dangerous podcast!Stuff we talk about: Jenna Ortega, Beetlejuice, Hereditary, actors who get passed over for roles, Ari Aster, sparking up an intelligent conversation, Christian Cage, turtleneck to mock turtleneck, Milly Shapiro, The Boys, Gen V, Daredevil, Talk is Jericho, Kuarantine, Rascals, PJ Farley, Chris Jericho, Square One Mall, having cops break up your pool party, The Brainiac, Hammer Horror, The Curse of the Crying Woman, The Mephisto Waltz, Family Plot, Tremors 2, The Backlot Murders, The Man With the Screaming Brain, SyFy, Bruce Campbell, Bubba Hotep, Shaun of the Dead, Elle Fanning, Predator: Badlands, Kristen Stewart, Crimes of the Future, Love Lies Bleeding, Jenna Jameson, Zombie Strippers, The X-Files, Supernatural, Fred Dekker, The Monster Squad, Night of the Creeps, Innerspace, The Substance, Dennis Quaid, Ed Wood, Glen or Glenda, Bela Lugosi, Dracula, Faces of Death, real atrocities, steakandcheeseDOTcom, Savage Man Savage Beast, mauled to death by lions and bears, Roar!, Shocking Asia, Traces of Death, Mondo Cane, The Killing of America, Riz Ortolani, Nekromantik, Strange Days, Ralph Fiennes, The House of Frankenstein, Kurando Mitsutake, Krull, Ice Pirates, Julia Ducournau, Alpha, Nick Cave, “what's that static movie?” Simon Glassman, SCTV, Buffet Infinity, Neon Films, Yellow Veil Pictures, how great is the breakfast buffet, string cheese for breakfast, food shaped like cigarettes, Dolly, Texas Chainsaw Massacre, Max the Impaler, Sean William Scott, Rod Blackhurst, Fabianne Therese, Ethan Suplee, Brute 1976, wrestlers playing masked killers, Becky, Day of the Dead, Deranged, William Friedkin, Sorcerer, How to Kill Monsters, Unsolved Mysteries vs. In Search Of, Robert Stack, Leonard Nimoy, Transformers: The Movie, RIP Tigger, The Untrustable Uncrustable, Circumvent Yourself, Oil Your Mohel, and a little tinkle with the ivories.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: Support the show

This week on the Scary Spirits Podcast, we beckon you into the shadowed heart of modern Hammer Horror as we commemorate the recent U.S. release anniversary of the 2009 folk‑horror gem Wake Wood, unveiled stateside on March 25, 2011. A film steeped in ancient ritual, creeping dread, and the terrible cost of defying death, Wake Wood stands as a chilling reminder that some doors, once opened, can never be closed. Join your devoted hosts, Karen and Greg, as they dissect this unsettling tale of grief and resurrection—exploring its ties to classic Hammer traditions, its atmospheric Irish setting, and the sinister folklore that pulses beneath every frame. Expect thoughtful analysis, reverent admiration, and a measured descent into the darker corners of the human soul. To honor the film's brooding Irish roots, the discussion is accompanied by a specially crafted themed cocktail: the Irish Wolfhound—bold, refined, and not to be underestimated. So pour yourself a glass, draw the curtains tight, and prepare to walk willingly into the woods… for Scary Spirits invites you to confront the horror that waits beyond the firelight. Irish Wolfhound • 2 oz Irish whiskey• 2 oz ginger beer• 1 oz pink or ruby red grapefruit juice Instructions: Add the whiskey, ginger beer, and juice in a rocks glass. Add ice to the glass. Garnish each drink with grapefruit half slices. Source: whygoouttoeat.com A Brief Synopsis: After a crazed dog kills their nine-year-old daughter, Patrick and his wife Louise decide to relocate. Moving to the remote town on Wake Wood, they stumble upon the locals enacting a terrifying ritual said to bring the dead back to life for three days. Desperate to see their daughter alive again, the couple strike a deal with town leader Arthur to be part of the ceremony, but how will they cope when the three days are up? Some of the topics discussed and highlights of this episode include: Dr. Karen tells us all we need to know about Bovine Cesarean Sections. Greg gets schooled about wind turbines and electricity. Our rating of the film: This movie was OK. It took us 3 cocktails to get through it. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

Looking for the perfect April Fools Day horror story? Tonight on Weekly Spooky, a skeptical researcher chasing mysterious ley lines, haunted roads, and strange energy finds himself lured to a remote castle where nothing is what it seems. What begins like a campy gothic prank quickly spirals into a bizarre night of vampires, werewolves, dark comedy, and supernatural terror.This creepy and funny monster story blends classic horror movie vibes, eerie folklore, and an April Fools twist that turns a joke into a nightmare. If you love scary stories, gothic horror, cryptids, old-school monster movies, haunted castles, and supernatural suspense, this one is for you. Hit play and spend April 1st with a story that feels equal parts Hammer Horror, midnight creature feature, and wicked practical joke from hell.Fooled Ya — by Douglas Waltz

Step right up... to terror. In this video, Chris and Gerry dive into Vampire Circus (1972), one of the most bizarre and unforgettable films from Hammer Horror. Set in a quarantined village haunted by a cursed past, this film blends gothic horror with surreal circus imagery, creating a nightmare unlike any other vampire movie of its era. We'll explore the plot, themes, shocking imagery, and why this film stands out among Hammer's classic catalog. Is Vampire Circus an underrated masterpiece or just pure madness? We will break it down. Topics covered: Plot breakdown and ending explained Hammer Horror's shift in the 1970s Themes of corruption, tmeptation, and fear Memorable scenes and shocking moments Why this film became a cult classic If you're a fan of classic horror, vampire films, or Hammer productions, this is one you don't wnat to miss. Like, comment, and subscribe for more classic horror deep dives!

In 1968, Hammer Studios filmed Taste the Blood of Dracula at Highgate Cemetery in north London. Within months, witnesses reported a tall dark figure with burning eyes. Foxes were found drained of blood. A self-proclaimed bishop announced a King Vampire from Wallachia was buried in the grounds. A mob broke into the cemetery on Friday the 13th carrying homemade stakes. A hundred-year-old corpse was dug up, decapitated, and staked through the heart on Lammas Day. And two rival occultists spent the next fifty years locked in a feud so intense it outlasted the phenomenon itself.The Highgate Vampire is a masterclass in what happens when fiction provides a template and reality fills it in. Tonight we trace the feedback loop from Hammer Horror to genuine anomalous phenomena to the egregore question that sits at the center of the whole affair: can a story become real if enough people believe it hard enough? 

Hammer Horror and Terence Fisher tackle THE PHANTOM OF THE OPERA (1962), but what they deliver is a simplified adaptation, a sympathetic Phantom, and a Joan of Arc opera. At least stars Michael Gough, Edward de Souza, and Herbert Lom seem to be having a good time! Context setting 00:00; Synopsis 42:23; Discussion 55:34; Ranking 1:24:55

Good evening, dear listener… and welcome to a most atmospheric installment of Scary Spirits, where reverence for classic horror and scholarly delight walk hand in hand through the shadows. In this week's episode, we commemorate the March 15th anniversary of Hammer Films' 1967 gothic horror classic, The Mummy's Shroud—a chilling relic of Britain's golden age of terror. Join your hosts, Karen and Greg, as they thoughtfully unwrap the film's sinister wrappings, examining its brooding atmosphere, ancient curses, and unmistakable Hammer Horror craftsmanship. As the conversation unfolds, our hosts raise a glass of their thematically inspired “Bloody Snake Bite” cocktail, perfectly suited to an evening steeped in eldritch menace and archaeological doom. Together, they explore the film's legacy, its place within the Hammer canon, and why The Mummy's Shroud remains a compelling entry for devotees of classic horror cinema. If you are a connoisseur of Hammer Horror films, a student of 1960s gothic cinema, or simply one who delights in tales of ancient evil awakening under moonlit skies, this episode promises both insight and indulgence. Pray…do join us. Some spirits, after all, are best enjoyed in the dark. Bloody Snake Bite • 2 oz Southern Comfort• 4 oz cranberry juice• 1 splash Rose’s Lime Juice• 1 handful ice cubes• 1 lime wedge, for garnish Instructions: In a glass (highball would be ideal, but work with what you have), add a few ice cubes. Pour in the Southern Comfort. Add the cranberry juice, as well as a few splashes of Rose’s Lime Juice. Garnish with a lime wedge. Enjoy the taste of New Orleans! Source: food52.com A Brief Synopsis: In 1920 an archaeological expedition discovers the tomb of an ancient Egyptian child prince. Returning home with their discovery, the expedition members soon find themselves being killed. Some of the topics discussed and highlights of this episode include: Do you know what £12,000 in 1967 is worth in todays currency? Greg tells us about Hammer Glamour girls Maggie Kimberly and Elizabeth Sellars. We learn how an oasis (not the band) forms. Karen tells us all about clairvoyants. Greg makes references to the band Iron Maiden and Star Wars. Our rating of the film: This movie was OK. It took us 3 cocktails to get through it. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

366 Hammerama Ep. 32: Frankenstein Must Be DestroyedWelcome to Hammerama! Hammerama is a subsidiary series of the DieCastMovie Podcast. Please join Alistair Hughes and Steven Turek as they analyze the wonderful movies of Hammer Films, from opposite ends of the world! Please send feedback to DieCastMoviePodcast@gmail.com.Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror. A special thanks to Reber Clark for allowing us to use his music! You can purchase Mr. Clark's music at reberclark.bandcamp.com.

Mary Shelley wrote Frankenstein at nineteen. Cinema has been retelling it ever since - and mainly getting it wrong.Hosts Laura Gommans and Tom Ooms dig into the big question: is Frankenstein the story of a misunderstood outcast, an abandoned child who never asked to exist, or a cautionary tale about scientists who should really know better? More importantly, why is Frankenstein always so ugly?They trace the monster on screen through James Whale's Universal original in 1931, Hammer Horror's gloriously excessive franchise — essentially the Marvel Universe before Marvel existed — and into modern Frankenstein-by-another-name films like Ex Machina and Blade Runner. Plus reviews of the two new adaptations, Frankenstein and The Bride, putting the myth back in the spotlight.Also: Laura confesses to having seen Fifty Shades Darker in the cinema three times and to watching Arrival at the gym. This is relevant. Kind of.Fill out our survey and win up to €100 worth of prizes.Get your tickets to The Bride @ LAB111Get your tickets to Female Frame @ LAB111Listen back to The Immortal Cinema of Bloodsuckers And NightstalkersListen back to Why Zombies Refuse To DieListen back to How Sex And The City 2 Maps The Rise And Fall Of American Empire

Come closer… the shadows grow restless. This week on the Scary Spirits podcast, Greg presses onward in his relentless crusade to review every Hammer Horror film, dragging the 1966 cult nightmare The Witches, starring the chillingly composed Joan Fontaine, out from beneath layers of dust and dread. Your hosts Karen and Greg peer deep into this unsettling piece of classic British horror, unraveling its curses, quiet menace, and creeping atmosphere—where evil whispers instead of screams. As the discussion darkens, so does the glass, with a specially prepared “Voodoo Doll” cocktail fueling the descent into the occult. Expect brooding analysis, shadow‑soaked commentary, and a slow burn of supernatural unease as folklore, fear, and film history entwine. This is Hammer Horror at its most insidious—subtle, sinister, and steeped in doom. Pour carefully, listen closely, and remember… some spirits are better left undisturbed. Voodoo Doll Cocktail • 1/2 oz vodka• 1/2 oz of Chambord Raspberry Liqueur (alt: raspberry liqueur)• orange juice• cranberry juice Instructions: Add vodka and Chambord to a shaker. Add orange juice and cranberry juice until desired taste. Shake and serve with ice in a cocktail glass. Source: cocktailbuilder.com A Brief Synopsis: Gwen Mayfield suffers a mental collapse after a showdown with a witch doctor while performing missionary work in Africa. Once she recuperates, she starts teaching at a private school in England and gets to know Linda, one of her students. Linda’s boyfriend claims that there is a cult that is going to sacrifice her, and Gwen begins to investigate the wild rumors. This leads her to a confrontation with powerful cult leader Stephanie Bax. Some of the topics discussed and highlights of this episode include: We learn what a mangle is. Dr. Karen tells us about penicillin. Karen gives us a little history on Galileo and his feather and cannonball experiment. The career of Joan Fontaine is discussed. Greg tells us about the Christian holiday Lammastide. Greg also makes a reference to Todd Rundgren. Our rating of the film: This movie was so bad that it took us 4 cocktails to get through it. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

In this episode, we return to our original plan by checking out another holiday slasher narrowly missing its relevant time period. But is it a worthy holiday slasher or some unremarkable fodder for the junk pile? Join us as we tackle that question and check out Jamie Blanks' Valentine from 2001. But before all that, we dish on what we've been watching. Jason circles back to check out some of the more obscure Hammer Horror releases while Dustin is overwhelming hyped about the new Kamen Rider and desperately tries to upsell others into checking it out. And so much more! Part of the Prescribed Films Podcast Network (www.thepfpn.com) What We've Been Watching: -Jason: The Traitors (2026) & A Knight of the Seven Kingdoms (2026) & Nightmare (1964) -Dustin: Kamen Rider ZEZTZ (2026) & Babe Watch (1996) & Lionheart (1990) Show Notes: -Valentine Trailer -Go check out all the other fine shows on the Prescribed Films Podcast Network -Related Series: Bridgerton -Related Series: The Vampire Diaries -Related Series: Star Trek: Next Generation -Related Series: Star Trek: Starfleet Academy -Related Series: Star Trek: Discovery -Related Series: Star Trek: Strange New Worlds -Related Series: Star Trek: Lower Decks -Related Series: Rick & Morty -Related Film: Werewolf Game -Related YouTube: The Retro Vault -Related Film: Vertigo -Related Series: Dark Shadows -Related Film: The Satanic Rights of Dracula -Related YouTube: TokuSHOUTsu -Go check out Kamen Rider ZEZTZ -Related Film: GoldenEye -Related Topic: Baku (Yokai) -Related YouTube: Kings of Horror -Related Series: Rhoda Shear's Up All Night -Related Series: Baywatch -Related Film: Hobgoblins -Related Film: Vice Academy -Related Game: Street Fighter II -Related Film: Hard Target -Related Film: Street Fighter -Related Film: New Fears Eve -Related Book: Valentine: A Novel -Related Film: Urban Legend -Related Film: Carrie -Related Film: My Bloody Valentine -Related Topic: The Columbine Massacre -Related Film: Alone in the Dark -Related Film: The Hidden -Related Film: Scream 4 -Related Film: Scream 5 -Related Film: Starship Troopers -Related Series: Buffy the Vampire Slayer -Related Series: Angel -Related Film: The Crow: Wicked Prayer -Related Series: 90210 -Related Series: Scooby-Doo: Where Are You? -Related Film: National Lampoon's Van Wilder -Related Film: Final Destination 2 -Related Film: Can't Hardly Wait -Related Film: The Dark Knights Rises -Related Film: Halloween H20 -Related Film: Motel Hell -Related Film: Donnie Darko -Related Series: Roswell -Related Artist: Sandro Bottichelli -Related Film: Hellraiser: Hellseeker  -Related Film: Hellraiser: Bloodlines -Related Film: Santa's Slay -Related Topic: Vincent Price -Related Band: Linkin Park -Related Band: Disturbed -Related Band: Static-X -Related Band: Rob Zombie -Related Band: Marilyn Manson -Related Band: Orgy -Related Film: Hellraiser: Deader  -Related Film: Hellraiser: Hellworld -Related Topic: Fangoria Chainsaw Awards -Related Film: Hannibal -Related Film: The Mummy Returns -Related Film: Thirteen Ghosts -Related Film: Jeepers Creepers -Related Film: Ghost of Mars -Related Film: Children of the Corn: Revelation -Related Film: From Hell -Related Film: Mulva: Zombie Ass Kicker! -Related Film: Session 9 -Related Film: Scream -Related Book: Legacy of Blood: A Comprehensive Guide to Slasher Movies (2004) -Related Topic: Dario Argento -Related Film: Storm Warning -Related Film: Long Weekend -Related Film: My Bloody Valentine 3D -Related Film: Sorority Row -Related Film: Prom Night -Related Film: Muck -Related Topic: Shudder -Related Topic: Screambox -Related Topic: Found TV Next Time: A Chinese Ghost Story (1987)

The boys hit the books as they set the stage discussing Mary Shelley's Frankenstein; or, The Modern Prometheus by Mary Shelley, as we dive into its various adaptations. First up is the Hammer Horror classic The Curse of Frankenstein directed by Terrence Fischer. We're talking Victor's bitchy hubris, which parts of the book were adapted, and whatever the deal is with Victor's "tutor" Paul Krempe. It's alive!New episodes drop every Tuesday, subscribe so you don't miss out. Rate us 5 stars while you're at it! Enter The Phantom Zone to access all sorts of bonus goodies like our monthly side show "Watching the Watchlist", movie commentaries, and polls to help shape the podcast: https://patreon.com/spectercinema Haunt Garrett on social media:TikTokTwitterBlueskyInstagramLetterboxdYouTubeHaunt DeVaughn on social media:BlueskyTwitterTikTokInstagramLetterboxdYouTubeSpecter Cinema Club Original Theme by Andrey Kinnard

The vampire didn't rise from Transylvania — it crawled out of the Balkans.Forget Count Dracula — before Stoker's gothic horror came centuries of chilling folklore, blood-soaked superstition, and very real vampire panics. In this spine-tingling episode, travel writer and award-winning author Nick Jubber joins Paul Bavill to rage against the myth that vampires were born in Transylvania.From Serbian graveyards and Croatian legends to the age of Enlightenment and Hammer Horror, Nick traces how fear, politics, and imagination turned the undead into one of history's most enduring monsters. Discover how the printing press helped spread vampire hysteria, how priests profited from graveyard rituals, and why monsters mirror humanity's deepest desires and darkest fears.Whether you're a folklore fan or just love a good supernatural tale, this episode will have you rethinking everything you thought you knew about the vampire myth.

Frankenstein Created Woman (1967) | Hammer Horror & Peter Cushing Deep DiveWelcome to another atmospheric installment of the General Witchfinders podcast. In this episode, we are throwing chronology to the wind and jumping straight into the heart of the Hammer Films oeuvre. Having previously explored the Baron's first experiment in The Curse of Frankenstein and his final bow in Frankenstein and the Monster From Hell, we now settle into the middle of the franchise with the 1967 cult classic: Frankenstein Created Woman.Directed by the undisputed master of gothic cinema, Terence Fisher, and featuring a career-defining performance by Peter Cushing, this film stands as one of the most intellectually provocative entries in the Hammer Horror canon. Interestingly, this is famously cited as one of Martin Scorsese's favorite films, proving that the brilliance of the Baron transcends the "B-movie" label.The Soul of Science: Baron Victor FrankensteinIn Frankenstein Created Woman, Peter Cushing returns as Baron Victor Frankenstein. Unlike earlier iterations where the focus was on the stitching of limbs and the reanimation of dead tissue, the screenplay by Anthony Hinds (writing as John Elder) takes a metaphysical turn. Here, the Baron is obsessed with the soul.The plot follows the wrongful execution of Hans Werner (Robert Morris), the lover of the physically scarred Christina Kleve (Susan Denberg). After Christina takes her own life in grief, the Baron captures Hans's soul and traps it within Christina's surgically repaired body. This results in a "soul-swapping" revenge thriller that remains unique within the Frankenstein series. Cushing's performance is refined, showing a Baron who is less of a graverobber and more of a cold, calculated philosopher of the macabre.The Legend of Susan Denberg and Nikki van der ZylThe casting of Susan Denberg is central to the film's legacy. A German-Austrian model and 1966 Playboy Miss August Playmate, Denberg was already known to sci-fi fans for her appearance in the Star Trek episode "Mudd's Women." While her visual presence is striking, the production decided her Austrian accent was too strong for the character.Enter the legendary Nikki van der Zyl. If you have watched a James Bond film, you have likely heard her voice. She famously dubbed Honey Ryder in Dr. No and provided dialogue for countless Bond girls and even Gert Fröbe in Goldfinger. Her work on Frankenstein Created Woman adds a layer of polished professional mystery to Christina's character, bridging the gap between Hammer Horror and the 1960s spy-fi aesthetic.The Hammer Character Actor NexusAs we always do at General Witchfinders, we track the "mother nexus" of British character actors who populated the halls of Bray Studios. This film is a treasure trove for genre enthusiasts:Thorley Walters (Dr. Hertz): A close personal friend of director Terence Fisher, Walters brings a much-needed warmth to the role of the Baron's assistant. Fans will recognize him as a recurring Doctor Watson in various Sherlock Holmes adaptations, including Sherlock Holmes and the Deadly Necklace.Duncan Lamont (Werner): A veteran of the Hammer stable, Lamont appeared in the original Quatermass Experiment and returned for the 1967 film version of Quatermass and the Pit. He is also a favorite of ours from The Creeping Flesh.Robert Morris (Hans Werner): Another Quatermass alum who brings a tragic weight to the first half of the film.Derek Fowlds (Johann): Long before he was a household name in Yes Minister and Heartbeat, Fowlds was a RADA scholar cutting his teeth in the world of horror.Production History: From Bray Studios to the ScreenThe road to Frankenstein Created Woman was long. It was originally mooted as a follow-up to The Revenge of Frankenstein in 1958, capitalizing on the popularity of Roger Vadim's And God Created Woman. By the time it went into production at Bray Studios in July 1966, it was one of the penultimate productions at that iconic location.Support this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

Please welcome to A Year In Horror, special guest Patricia Louise Crane. We talk about the 1965, Barbara Steele starring, Nightmare Castle.

Please welcome to A Year In Horror special guest Clayton Burgess from Satan's Satyrs. We talk about the 1976, Christopher Lee starring, To the Devil a Daughter. The final Hammer Horror during the companies first run.

In this video, Chris and Gerry dive into Twins of Evil, one of the most provocative and stylish entries in the legendary Karnstein Trilogy from Hammer Film Productions. Starring real-life twins Mary Collinson and Madeline Collinson, alongside horror icon Peter Cushing, this gothic shocker blends vampire seduction, religious fanaticism, and Hammer's signature atmosphere into a blood-soaked fever dream. Is Twins of Evil a gothic masterpiece or pure exploitation wrapped in a morality tale?  If you love classic horror, Hammer films, and vintage vampire cinema, this one's for you.

Step softly into the fog‑shrouded marshes of classic Hammer Horror as Scary Spirits raises a ghostly toast to two unforgettable icons. In this chilling new episode, we commemorate the birthdays of Oliver Reed and Yvonne Romain with a reverent yet spirited review of the 1962 Hammer masterpiece Captain Clegg, also known in the United States as Night Creatures. With measured wit and scholarly delight, hosts Karen and Greg explore the film's brooding atmosphere, secret identities, and macabre menace—unearthing why this nautical nightmare remains a jewel in the Hammer crown. As the lantern light flickers and the tide rolls in, they sip a specially crafted “Scarecrow” cocktail, perfectly themed to the film's eerie legend and sinister charm. If you cherish classic horror films, Hammer Studios, 1960s Gothic cinema, or the dark elegance of Britain's golden age of fright, this episode beckons you closer. Join us, if you dare, for an evening of shadows, spirits, and timeless terror—where the past refuses to stay buried. Scarecrow Cocktail • 4 parts coffee-rum (or in emergency, ordinary white rum)• 3 parts Kahlúa• 2 parts lime juice• 8 parts pineapple juice• 4 parts orange juice Instructions: Shake ingredients with ice and strain into highball glass, add some ice. If possible, serve with actual straw. Source: superherococktails.com A Brief Synopsis: When a captain arrives on an English coastal town to investigate reports of smuggling, he ends up with much more to deal with, including marsh phantoms and a suspicious vicar. Some of the topics discussed and highlights of this episode include: Karen gives us some history of alcohol smuggling in 1776. Karen also references the 1968 Clint Eastwood film “Hang ‘Em High”. Greg reads a passage from the book “Hammer Glamour: Classic Images From the Archive of Hammer Films” by Marcus Hearn. Our rating of the film: This movie was pretty good, but it is not a horror film so we had to give it 4 cocktails. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

Jose (Cupcake) and Mike (TheWildaBeast) go full spoiler on Luc Besson's Dracula (2025) — also known overseas as Dracula: A Love Tale — and buckle up, because this movie is a LOT. In this breakdown episode (156b), they tear into everything: the shameless Bram Stoker's Dracula (1992) Coppola rip-offs, the cologne-fueled nun-feeding frenzy, kung fu gargoyles doing Black Widow throws, a Zoom-background ballroom dance sequence, the "cocaine bride," and an ending that may or may not set up a sequel nobody asked for. Is it a trainwreck? Absolutely. Is it entertaining? Somehow, yes. This is the ultimate "so bad it's good" group watch — think Hammer Horror meets Tim Burton meets Beauty and the Beast on a bad CGI budget. Don't miss the spoiler-free Episode 156a if you haven't seen the film yet. Like, subscribe, and drop your hot takes in the comments!Link to the previous Episode 156: Luc Besson's Dracula spoiler Free: https://youtu.be/CyIhL4xQYGE - - - - - - - - - -WE ARE WATCH SKIP PLUS!FOLLOW/LIKE/SUBSCRIBE/REVIEW/LOVEEmail us: WatchSkipPlus@gmail.com#Dracula2025 #LucBesson #DraculaReview #MovieReview #SpoilerReview #HorrorMovies #VampireMovie #MovieBreakdown #SoBadItsGood #MoviePodcast #FilmReview2025 #NewMovies2025 #HorrorReview #ChristophWaltz #GothicHorror #CultClassic #WatchSkipPlus #MovieTalk #FilmCommunity #PodcastClips #WeirdMovies #CampyHorror #DraculaALoveTale #BramStoker

Vi lägger lupp på satanister i skräckfilmen med visst avstamp i "The Satanic Screen: An Illustrated Guide to the Devil in Cinema" av Nikolas Schreck samt "The Satanic Panic of the Warrens – The Conjuring: The Devil Made Me Do It and the Satanic Cult Horror Film" (kandidatuppsats i filmvetenskap) av Robert Wettersten. Filmerna vi pratar om i ordinarie flödet är The Black Cat från 1934 och The Seventh Victim från 1943. Vi pratar också bland annat om: Rosemary's Baby, The Exorcist, The Omen, Le manoir du diable, Church of Satan, The Satanic Panic, Satan Wants You, Mansonmorden, Altamont, The Satanic Temple, QAnon, Hail Satan?, Der Golem, Metropolis, M, Dr. Caligaris kabinett, Edgar Allan Poes "The Black Cat", Bela Lugosi, Boris Karloff, "Pre-code"-film, The Hayes Code, Universal Pictures, Art deco, första världskriget, svarta mässor, ritualer, motivbilder, gotiska skräcktroper, psykologisk skräck, musikläggning, tysk expressionism, Aleister Crowley, PTSD, Val Lewton, RKO Pictures, I Walked with a Zombie, Cat People, film noir, självmord, Léo Taxil, frimurare, urban wyrd, folk horror, magi, David Lynch, Twin Peaks, Mulholland Drive, ritualmord, häxerier, runor, hicksplotation, goa gubbar, biljakter, Texas Chain Saw Massacre, Easy Rider, Kill List, The Empty Man, The Wicker Man, See No Evil, Don't Look Now, The Devil Rides Out, Dennis Wheatley, Hammer Horror, Christopher Lee och cash-in-film. Patrons avnjuter också ett samtal om 70-talsrullarna Race with the Devil och To the Devil a Daughter. Mycket nöje!

Director Guillermo del Toro has been making movies about monsters his entire career, from Mimic to Hellboy to Pan's Labyrinth to The Shape of Water. His most recent film, an adaptation of Mary Shelley's ultimate monster story from 1818, is the culmination of del Toro's long-held dream to breathe new life into his favorite novel and film subject. Drawing inspiration from John Milton, Bernie Wrightson's classic designs, and the Hammer Horror films, del Toro was ready to throw the switch on the project with Universal Pictures, until the studio's "Dark Universe" project proved dead on arrival. Now, at Netflix, del Toro's creature feature is alive… ALIVE!... once more. Starring Oscar Issac as the doctor and Jacob Elordi as the creature, the film includes Mia Goth, Christoph Waltz, Charles Dance, and Lars Mikkelsen, and it was recently nominated for nine Academy Awards, including Best Picture. But does this reanimated cinematic assemblage deserve to walk the halls of streaming entertainment? Or is it more "ponderous" than "pondersome," leaving us reaching for the Off switch on the remote? Join us as we meet Guillermo del Toro's Frankenstein!   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

High in the Himalayas lurks the Yeti. But other threats await in these mountains of madness: paranoia, avalanches, mystic monks, and Peter Cushing's improv. So grab your bear traps, rifles, and spot of tea as we explore this underseen film in the Hammer Horror legacy. Plus, conversations on cryptozoology, classic British horror, left vs. right brained people and more! HUGE thanks to screenwriter, Stephie Theodora, for joining the expedition.And thank YOU for listening! Follow us on patreon.com/campkaiju, leave a rating and review, follow on Instagram, send an email at campkaiju@gmail.com, or leave a voicemail at ⁠⁠⁠(612) 470-2612⁠⁠⁠.We'll see you next time for Blacula (1972) with guest host, Shawn Pryor!TRAILERS AND CLIPS The Abominable Snowman (1957); Quatermass 2 (1957); Curse of Frankenstein (1957); The Wasp Woman (1959); "In Search Of..." Season 4 (1979-1980); Attack of the 50 Foot Woman (1958); The Apartment (1960)SHOUT OUTS & SPONSORSSubstack ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film Criticism by Matthew Cole Levine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Plays by Vincent S. Hannam⁠⁠⁠⁠⁠⁠⁠Zack Linder & the Zack Pack ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Classic Horror Film Board - Rondo Award Nominating!Stephie Theodora - YouTubeCamp Kaiju: Monster Movie Podcast. The Abominable Snowman (1957) Movie Review. Hosted by Vincent Hannam, Matthew Cole Levine, Stephie Theodora © 2026 Vincent S. Hannam, All Rights Reserved.

Episode 88 Occupied by Tim Rich   Tim Rich reads ‘Occupied' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/88_Occupied_by_Tim_Rich.mp3 This poem is from: Dark Angels: Three Contemporary Poets Available from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK   Occupied by Tim Rich We buttered the cat's pawsand baked bread in borrowed tinsto make the unfamiliar speak of pleasureand our intentions to remain All that first daythe house talked to itselfabout us Later than I expected, light withdrew across our table, unopened cratesback through thin glasstowards tomorrow So the room released its formand we sat among one anothergiving our ears to the conversation:inner doorways muttering behind flat hands; oak floors—masonic in their black treacle gloss—deciding whether to settleunder our presence Later still, in bed, I stared sideways into an unlit universe, absentlymindwalking the bounds,relocking iron door-bolts like an old rifle, drawingdrawn curtains a little closer,charting the evaporating pathbehind that plane's descent In time, each stray thought went to its home, leaving this accommodation to take place: the air held here sighing gently,like contented tortoise breaths; the softening percussion of bodies sleeping; the punctuating crack and hiss as fresh eggs are brokeninto a smoking pan; someoneopening a window   Interview transcript Mark: Tim, where did this poem come from? Tim: So, almost always for me, poems just emerge out of some sort of inner dusk. I'm not someone that can go to their desk with a plan to write about a particular message or topic or piece of content. The poem just presents itself to me. And actually I don't really have any choice in the matter. I'm sort of just forced to be a transcriber in that moment. And I was looking at the sea the other day, and I had this moment when I just thought my poems are a bit like strange sea creatures that live on the seabed. And at a particular point in their life, they decide that they just want to go to the light and they start floating up through the murky water and explode in bubbles on the surface. And, you know, hopefully I'm there sitting in the poet's boat ready to haul them on board. So, that's almost always how poems start for me. And this poem very much began that way. I was at home on a winter's evening, and it just began to come through me, as it were. And the context for that was that after many years of living in the same house, my wife and I were starting to think about the possibility of moving. And, you know, it was a really exciting prospect but also it definitely was stirring up the sediment of my unconscious. I'm someone that really feels the need for a settled home, a settled place, and this unsettled me. So, I think that that was what was giving the raw energy to the content. And there was something else, which is what informed the scenery of the poem, if you like, which is this idea of light withdrawing from a space and what that does within the space. And when I was 11, I was living just with my dad, and he would come home from work later than I would get home from school. So, for the first year or so, he arranged for me to go to some elderly neighbours on the way home from school. So I was, sort of, watched, and we would sit in their front room, and they would load up their coal fire. And through the windows, the sun would set slowly, and they were so calm. They would hardly speak. When they did speak, it was about these, kind of, wonderful domestic details like, you know, what needs to be chopped for dinner, or are there any windfalls in the garden that we can harvest tomorrow? It was very, very calm. And, you know, the coals in the fire were glowing red, but the rest of the room just lost its light. And I remember the shape of their very heavy old furniture, and the picture frames, and the curtains all began to disappear. And that must have just lodged somewhere deep within me, because that's very much, as the poem came out, where I was also taken to in my mind. Mark: So, I like this. So, I mean, to put it bluntly, it's not like you moved into a house and then you wrote this. You were thinking about moving and then a house emerged from your unconscious, from memories of other houses and so on. Tim: Yeah, yeah. Absolutely. Mark: And I think that's kind of a salutary thing to hear because… And this is a poem that really you read it and you totally believe it. It feels like a first-hand account of, well, we did this and this is what happened. And yet you're, kind of, pulling the rug from under our feet here, which is a nice thing in poetry. I think that you can't necessarily take it literally or face value. Tim: Well, we moved house… Yeah, we moved house about six months after I wrote the poem. So, I went through the experience of living the poem, which seems to be quite a good way around. Mark: Did you conjure the house, Tim? Tim: Actually, it was wonderful because it confirmed to me part of what motivated the poem, which is that I think we can all become a little bit… I don't know. Complacent seems to be too loaded a term, but we get so used to how our houses speak that we stop hearing them. And actually, there's this kind of wonderful symphony going on the whole time, you know, radiators making those strange percussive noises, and the way that the door squeaks, or suddenly, you know, how your staircase gets to a particular temperature in the middle of the night and decides to squeak. And they're constantly making these noises. And when you're living there, you stop hearing them. But when you move to somewhere for the first time, or sometimes if you go and stay in a haunted Airbnb in the woods, that first night particularly, everything's coming to you fresh. So, I think there's a strong sense of what's it like when a person moves into a space for the first time and that space has a character, and an energy, and a being of its own. Mark: So, really it's that state of heightened awareness, isn't it? You know, apparently this is how the mind works. If you've got a constant stimulus, the mind will tune it out. It's that Heaney line, you know, ‘The refrigerator whinnied into silence,' which is just that moment of… You only hear the fridge when it stops. Tim: Yeah. Mark: And what you're describing is the reverse of that. When you're in the house for the first time and everything is new and you're on hyperalert for the voices of the house. Tim: Yeah. And we're listening to our houses right now because there's a 1066 Line train from Hastings that's just gone into the tunnel over there. But we probably can't quite hear it on the microphones, but it's in the air and it's just touching elements of the house. And we're surrounded by this the whole time. And I think it's important to say, as soon as the poem had laid itself out on the page for the first time, it was clear to me that this poem was about people moving into a home for the first time, but it is also quite a vivid description, I think, of what was going through me at the time in terms of that unsettled nature. You know, I was quite surprised by the nature of the metaphors that my unconscious had presented me with. I mean, it's quite a portrait of anxiety to double-check the curtains, to lock a bolt as if it's an old rifle. You know, this is partly a portrait of an unsettled, anxious mind, which is, I think, something that I was going through at the time. Mark: And you've got some great similes, you know, the iron door bolts like an old rifle. And there's this lovely bit where you talk about ‘drawing drawn curtains'. And if you look on the website, then you can see that there's a line break after drawing, so it's drawing, line break, drawn curtains, which really just emphasises it's already drawn. You don't need to do it. This is the OCD kicking in, which really speaks to that anxiety you're describing. And I really love the second section where you say, ‘All that first day, the house talked to itself about us,' which is just a wonderfully unsettling idea that we are the intruders and the house has an opinion. Tim: Yeah, I definitely wasn't being sort of whimsically mystical about infrastructure and materials. It was definitely the feeling that there is an exchange when animals, human and other, come into a space. There's a change in energies and temperatures and sound and smells. And, you know, the dynamism of creatures come into a space that has been unoccupied, which is what generally most houses are, you know, sometimes for days, sometimes for months, and years before the new occupants come in. And I was just really taken with that idea that the house also needs to find its way of settling under these new occupants. And that seemed like a moment of 24 hours of the two parties eyeing each other and listening to each other and wondering about, ‘Who is this that I need to live with for these next years?' Mark: And it's quite a humbling poem, isn't it? Because, you know, when you think of owning the house or occupying the house, it's like you're the one in charge. But this poem just kind of subverts that idea that it's the house that's weighing us up, as in the people in the poem. It made me think of that TV series David Olusoga does, A House Through Time, where he gets an old house, and he goes through the records, and he looks at all the people who lived in the house and tells their story. And there's quite a lot of them, like, much more than I would have expected. You know, each episode goes on and on and on, and you just realise the house is staying there. The house is constant. These people, they're temporary. They might think they're the owners, but we're just passing through. Tim: We are passing through. It is a reminder of our mortality and our houses often way outlive us. Also, in recent years and decades, there's been an increase in the way in which people work from home, but that isn't a new thing. So, I wrote this poem in the house we lived in before, which was built to be a weaver's cottage, a live/work weaver's cottage. And, you know, they would find their living accommodation in quite modest corners of the house because a lot of it, at different times in the process, was given to equipment and storing material and a very intense version of live/work and working from home. And, you know, I think that part of when people suddenly a whole generation through particularly lockdowns but also just this change in working habits are spending much more of their life within the home quite often and what that means in terms of their relationship to the space and how the house relates to that. Tim: I think, just as I'm speaking, it occurs to me that perhaps also part of the influence of the atmosphere in the poem is around some of the fiction that I enjoy. And I haven't thought about this until we were talking now, but I like an M. R. James novel, or, you know, The Haunting of Hill House has just come to mind, and buildings and atmospheres that speak, as sort of some of the atmospheres you get in a Robert Aickman type horror novel. So, some of the classic British horror novels and that type of fiction. And just as we were talking about that, and I was also casting my eyes down the poem, there's some of the dusk that you get with those places, which is in this poem. And it's great, isn't it, coming back to one of your own poems quite a while after you wrote it, and you perhaps see some of the reasons for its being in a slightly different way. Mark: I mean, that's the basic premise of the haunted house is that the house is alive. I mean, you've not gone full Hammer Horror with this one. It's maybe a little more subtle, but you've definitely got some really wonderfully suggestive details. I loved ‘inner doorways muttering behind / flat hands, oak floors – masonic / in their black treacle gloss'. And that's so true. There are so many of these old houses. It's like, what happens to the wood? How does it get to be like treacle? And there's that heaviness and that opacity about it that you convey really well. Tim: Yeah. I was taken with the idea of the house being almost quite an august figure in some ways. It would be wrong to say it's proud of itself, but deciding whether to settle under our presence is quite… Mark: It's not aiming to please, is it? Tim: It's not. It's not easily won over. I mean, you know… Yeah, let's see what these new occupants are like. You know, what do they get up to? What are their tastes? What do we think of the prints that they put up on the wall? Mark: Yeah. Will they get it? Will they behave themselves? So you've got this lovely line in the third paragraph, ‘So the room released its form / and we sat among one another.' Well, thinking about the form of the poem, how close is this to, say, the first draft when you were hauling the sea creature out from the depths over the side of your poetic boat? Tim: Yeah, when the poem came out onto the page, it actually made a demand of me. It said, ‘I don't want you to put me into very organised type measures. I don't want to be sorted into regular stanzas. And also, I want you to be quite careful about any linguistic bells and whistles.' It just was a bit like the house. It had almost a sort of slightly stern feeling to it as a poem. It was very clear, and it was saying each of these stanzas, or scenes maybe, has to be as long as it wants to be. ‘I don't want you to spend time evening things up or creating consistency.' And there are many other poems that I've written where, of course, I'm deliberately very measured, very consistent. At the moment, a lot of the poems I'm writing have a lot of half rhymes but particularly a lot of internal rhymes. And, goodness, audaciously, you know, I even have a rhyming couplet in a poem that I'm working on at the moment. But this poem just said, ‘I don't want any of that.' Now, that's not to say that there aren't some half rhymes or suggestions of rhymes, and certainly some lovely withholding with words at the end of the line that only resolve as you move through into the next line, the enjambment of the word and the meaning falling over into the next line. Definitely that happens. But I tried to edit this into different shapes. I probably tried it five different ways, and each time it just felt wrong quite quickly actually. I tried to give it a consistent number of lines per stanza, and it repulsed me as a poem. It just said, ‘No, I need to be this free form.' And also, I had to accept that it's probably a little bit messier than I normally feel comfortable with. And it was good. I was like, ‘Actually, you know, just stop fighting. Just stop fighting it.' Sometimes your poems can be more irregular, more free, less obviously organised. And I think it has its rhythms that hold it together. It does for me. And listeners will decide, when they hear it, whether those rhythms are actually holding it together. Mark: Well, for me, it feels a bit like one of those old houses where you go in and there's not a right angle in sight. You know, the floors are sloping. The doors have to be a kind of trapezium to open and close, which I think is obviously true to the spirit of the thing. And it's like the house itself. It's not trying too hard. You can read it quite quickly, and it seems quite plain-spoken and spartan. But when you look, you notice the little details. Like, you know, there's the door bolts like a rifle, and the ‘nasonic', a wonderful adjective. And I've just noticed now, as we were talking, in the final verse, ‘In time, each stray thought / went to its home, leaving this / accommodation to take place'. And that's a lovely reframing of ‘accommodation', because the everyday sense is a place where you go and live, but it's an accommodation in the sense of a mutual alignment, almost like a negotiation or getting used to each other, which I think is really delightful. Mark: Okay, Tim, so I have to ask, looking again at the poem, what on earth is going on with buttering the cat's paws at the beginning? Tim: So, buttering the cat's paws is a bit of folk wisdom. And the idea is that when you move to a new house, if you have a cat or cats, that you actually put lovely, creamy butter on their paws and that they, you know, as cats do, will then spend time licking and licking and licking. And it means that more of their scent is put into the floor and the grounds of the place so they feel at home quicker and sooner. So they're sensing the place much more actively sooner. Now, I don't think there's any scientific evidence to suggest it works. But, you know, if anyone has any experience with this, I would love to hear it. But I don't really care, because the whole image of spreading beautiful, creamy butter onto the paws of the cat and that somehow just inviting them to feel that this place is home is more than enough for me. And I'd heard the phrase years and years and years before. And again, I think it was just the very first phrase that came out as the poem emerged. I think it was opening the doorway to the poem, and it felt very natural for it to be the beginning of the poem. I wonder now, looking back, whether there's something to do with the eye opened with an animal spirit. And so much of this poem really has come up from the unconscious. And I'm not starting with a very measured, conscious human, you know, activity or… I'm not saying, you know, ‘we made the decision to move'. It's not a person-led piece in the sense that, okay, we're doing the buttering, but it's the cat that's front and centre in that open line. And that's not something that I particularly thought about consciously at the time. But looking back, I think there's a hint there that we're not just talking about a straightforward human, rational response to living in a place. There are animal spirits too. Mark: Yeah, and it feels like a wonderful piece of folk magic. I mean, cats are magical creatures like witches' familiars. And, you know, maybe there's a magical aspect to that. It's a little ritual, isn't it? Tim: It is. I had a question for you, but it just came out of part of my experience of this poem going out into the world, which is that I've just been surprised, in a wonderful way, by how diverse and often surprising people's responses are to poems, how I can never really tell what it is about a poem someone's going to pick up and come back to you about. You know, for example, someone has given copies of this poem to friends when they move house. Mark: Oh, lovely. Tim: …as a housewarming present, a printed letterpress, which is very, very beautiful. Someone else said that they really loved sort of, what did they say, the soft absurdity around the house being almost this grand piece. And others have responded in different ways. And I think it's one of the wonders of poetry, maybe something that doesn't get talked about quite so much, which is that we interrogate the meaning for ourselves. And if you work with your editor and sometimes reviewers, meaning is discussed. But actually, my experience, when poems go out into the world, is it's just incredible how broad the range of response is and what people pick up on. And I suddenly think, well, is that just my experience? So what's it like for you? Are you constantly surprised by what people pick up and come back to and focus on with your poems? Mark: Yeah, it's a little bit like a Rorschach test, isn't it? People see themselves in it to a degree, or they see something that will resonate for them. And to me, it's the sign of a real poem if it can do that, if different people see different things in it. If it was too obvious and too, you know, two-dimensional, then that's fine, but it's not really a poem. And I think this is part of the magic of why poems can persist over time. Society is shifting all around them. Maybe a few of the houses are constant, but the poem still inhabits the space, and people still relate to it for decades or hundreds or even thousands of years sometimes. Tim: Yeah, I think there's an important point for poets that you have to maintain your confidence in ambiguity and what might feel like potential confusion. Of course, you need to think through how you're writing it and avoid unintended, poor consequences. But there's also a point in which I think you have to protect some of the messiness of meaning and not try to pin things down too much. Of course, there are different types of poets, and some poets need to be very clear and very message-driven. But I'm thinking, for me, there are sometimes moments when I think, ‘Am I just leaving this hanging and ambiguous and a bit dusky in terms of meaning?' And that's the point at which I think, ‘No, quite often just trust that people will find their own way into the poem.' Mark: Yeah, absolutely. And this is something I've seen a lot in classes, and it certainly happened to me very often. You know, the teacher will say you can cut the last line because we already get it. You don't need to underline the message of the poem. Sometimes we feel a bit nervous just leaving it hanging. And you've absolutely had the confidence to do that with the wonderful ending of this, where you talk about ‘the punctuating crack and hiss / as fresh eggs are broken / into a smoking pan. Someone / opening a window' – and that's it. I mean, tell me about that ending. How did you arrive at that? And did you go back and forth? Did you think, ‘Can I leave that window open, that line?' And by the way, listener, there is no full stop either to hang on to at that point! Tim: Yeah. I have to say, I do find myself clearing away more and more of the furniture of the poems. And there is a very deliberate lack of a full stop there. It was all there in the first draft that came out. It wasn't a constructed or reconstructed ending later on. Again, the poem seemed to want to open into something rather than close itself down and make a point. I think that in the action of the poem, we've moved through this dusky night, including a sort of bout of insomnia, of staring into the darkness. And then morning is coming, and it's full of new things. And there is something about that morning of waking up in a new house. What a moment in someone's life that is. Mark: Yeah. Yeah, yeah, yeah. Tim: It's just extraordinary. And there's a natural link there into the egg as a symbol. Something new, something is being born. And yeah, there may be many reasons why that window needed to be open. The smoke from the pan is one thing, which is all about the… Mark: Right, right. Setting the smoke alarm off! Tim: Yeah, it goes off in our kitchen quite often. And of course, the cooking is, again, this thing of humans being in a house and occupying it and all of the energy and dynamics. And how are you most going to make a new home your own? You're going to get out and start cooking and making a mess and eating together and getting things moving. I have no idea who the someone is, and I don't know what their motivation is for opening a window. And I like that. Mark: Okay. Well, let's have another listen to the poem and maybe, you know, each of us, as we listen to this this time, just see what associations come up for you. You know, houses you've lived in, places you've been, memories it conjures up. Thank you very much, Tim. What a lovely space to explore with this poem.   Occupied by Tim Rich We buttered the cat's pawsand baked bread in borrowed tinsto make the unfamiliar speak of pleasureand our intentions to remain All that first daythe house talked to itselfabout us Later than I expected, light withdrew across our table, unopened cratesback through thin glasstowards tomorrow So the room released its formand we sat among one anothergiving our ears to the conversation:inner doorways muttering behind flat hands; oak floors—masonic in their black treacle gloss—deciding whether to settleunder our presence Later still, in bed, I stared sideways into an unlit universe, absentlymindwalking the bounds,relocking iron door-bolts like an old rifle, drawingdrawn curtains a little closer,charting the evaporating pathbehind that plane's descent In time, each stray thought went to its home, leaving this accommodation to take place: the air held here sighing gently,like contented tortoise breaths; the softening percussion of bodies sleeping; the punctuating crack and hiss as fresh eggs are brokeninto a smoking pan; someoneopening a window   Dark Angels: Three Contemporary Poets ‘Occupied' is from Dark Angels: Three Contemporary Poets, published by Paekakariki Press. Available from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK     Tim Rich Tim Rich grew up in the woods of Sussex and now lives and writes by the sea in Hastings. His poems have been published in numerous anthologies and journals, including Dark Angels: Three Contemporary Poets (Paekakariki Press) and Poet Town (Moth Light Press). The Landfall series – exhibited at the Bloomsbury Festival, London — brought together his poetry and photography. He has five poems in the anthology Family Matters, a collection of poetry about family, to be published in 2026. Alongside poetry, Tim writes, edits and ghostwrites books.  timrich.com Photograph by Maxine Silver   A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Occupied by Tim Rich Episode 88 Occupied by Tim Rich  Tim Rich reads ‘Occupied' and discusses the poem with Mark McGuinness.This poem is from: Dark Angels: Three Contemporary PoetsAvailable from: Dark Angels is available from: The publisher: Paekakariki Press Amazon: UK... Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold  Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town.

Philip's here with the first feature episode of 2026 and it's a chance to look into cats, village life and folk horror whilst supposedly discussing a 60 year old film intelligently with Adam, Cev and Smokey. Just Smokey. Cast him a spell of good luck...“The House Of Hammer Theme” written and produced by Cev MooreArtwork by Richard Wells All the links you think you'll need & more! https://linktr.ee/househammerpod

Send us a textWoHos!Chrissy Champagne, host of the podcast, Residue, joined us and brought along one doozy of a film.We watching DON'T GO TO SLEEP, a 1982 made-for-tv horror movie starring Valerine Harper and Dennis Weaver. It is full of 80's fun.Please follow Chrissy and check out her podcast. Here is her Instagram!Next up on the main show, Mac and I discuss Guillermo del Toro's FRANKENSTEIN as well as Hammer Horror's first horror film in color, the amazing THE CURSE OF FRANKENSTEIN from 1957.Thanks, as always, for your support. It means the World of Horror™ to us, truly.Remember, WoHos, we love you, and DON'T go into the basement! Gerry Entriken: WoHo Outro ThemeSupport the showOpening Theme "Bucket" by Gerry EntrikenClosing Theme "Mop" by Gerry Entriken Interstitial Musicalso by Gerry Entriken. We love you, Gerry!Subscribe to the Podcast for a Special shout-out!World of Horror's InstagramMom's InstagramMac's InstagramDonate to Translifeline

On this episode of The Weekly Scroll Podcast, Ryan is joined by Christian Sorrell, aka Meatcastle Gameware, to review HAMMERS by Jon Davis of Sivad's Sanctum, an old-school dungeon crawler for fans of Hammer Horror, Universal Monsters, and folk horror.Find Hammers here: https://sivads-sanctum.itch.io/hammersFind Christian here: https://meatcastlegameware.com/0:00 Start1:05 Who the heck is Christian Sorrell7:30 Hammers game info8:35 Let's get into it9:40 Character Generation23:40 Rules Breakdown33:50 Leaning into the vibes37:05 Thoughts, likes, misc. bits42:50 Metrics1:18:05 Wrap upAll our links here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/theweeklyscroll⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@theweeklyscroll⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitch.tv/theweeklyscroll⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/the.weekly.scroll⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/theweeklyscroll.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/SQYEuebVab⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠At-Coast Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.bonfire.com/store/the-weekly-scroll/⁠⁠

Unearthing the Undead: Celebrating Hammer Horror's “The Plague of the Zombies”! This week on the Scary Spirits Podcast, we dig up something sinister from the grave—Hammer Horror's chilling classic, The Plague of the Zombies (1966). As the film's 60th anniversary approaches on January 14th, join hosts Karen and Greg as they peel back the rotting layers of this undead masterpiece. Expect eerie insights, spine-tingling trivia, and a cocktail that's as dark and twisted as the Cornish moors themselves—the Voo Dew Cocktail. If you crave zombie lore, Hammer Horror history, and a drink that bites back, this episode is your invitation to the graveyard. Tune in… before the dead walk again. Voo Dew Cocktail • 4 oz Mountain Dew®• 1 oz coconut rum• 1/2 oz silver rum• 1 oz pineapple juice• 1 pineapple wedge, grilled• ice as needed Instructions: Fill rocks glass with ice. Add coconut rum, silver rum, pineapple juice, and top with Mountain Dew®. Stir and garnish with grilled pineapple. Source: pepsicopartners.com A Brief Synopsis: A medical professor and his daughter link a Cornish epidemic to a village squire’s voodoo. Some of the topics discussed and highlights of this episode include: Karen gives us the history of mining tin in England. We learn about Voodoo the religion, as well as the zombie lore. Greg makes a reference to the band Ghost. Our rating of the film: This movie was OK. It took us 3 cocktails to get through it. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

Happy Hallo - no, wait - Happy Holidays! Ring in the new year with the ghosts of hosts past, as we play games, talk monster movies, and reveal the first 12 episodes of 2026! Please let us know what you're most excited for! Or, maybe most afraid of? Either way, THANK YOU for listening and supporting!You can follow for more on patreon.com/campkaiju, leave a rating and review, follow on Instagram, send an email at campkaiju@gmail.com, or leave a voicemail at ⁠⁠⁠(612) 470-2612⁠⁠⁠.We'll see you next time for another Poverty Row roundup before kicking off 2026 with... Godzilla vs. Mechagodzilla II (1993).SHOUT OUTS & SPONSORSSubstack ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film Criticism by Matthew Cole Levine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Plays by Vincent S. Hannam⁠⁠⁠⁠⁠⁠⁠Zack Linder & the Zack Pack ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Big Mecha But Not Huge podcast with Sean ChildersCamp Kaiju: Monster Movie Podcast. Announcing Season (2025). Hosted by Vincent Hannam, Matthew Cole Levine © 2025 Vincent S. Hannam, All Rights Reserved.

Happy holidays horror heads! Today we chat with the singer, guitarist and founder of thrash legends Kreator. We discuss the band, horror and Suspiria. Let's do Kristmas with the 'Krushers of the World'.KREATOR NUCLEAR BLAST

343 Hammerama Ep 31: Curse of the Werewolf Welcome to Hammerama! Hammerama is a subsidiary series of the DieCastMovie Podcast. Please join Alistair Hughes and Steven Turek as they analyze the wonderful movies of Hammer Films, from opposite ends of the world! Please send feedback to DieCastMoviePodcast@gmail.com.Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror. A special thanks to Reber Clark for allowing us to use his music! You can purchase Mr. Clark's music at reberclark.bandcamp.com.

EPISODE 139: Blair Mowat is a BAFTA-nominated, award-winning composer with over 200 projects and nearly two decades of experience across film, television, and theatre. Credits include Class (a spin-off from Doctor Who), McDonald & Dodds, Hammer Horror's Doctor Jekyll, Russell T Davies's Nolly (TV BAFTA-nominated score and Camille Award winner), The Guest, After the Flood, and The Age of Disclosure, an explosive and record breaking documentary that, since release, has entered the global news conversation. blairmowat.co.ukContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

As Hammer are nearing their final film of 1966, here's a film with William Castle that's originally from Halloween 1963.Confused?That's just the start of it...Cev takes you through this particular Old Dark House while Smokey has a funny feeling and Philip has a look around some other gloomy properties“The House Of Hammer Theme” written and produced by Cev MooreArtwork by Richard Wells All the links you think you'll need & more! https://linktr.ee/househammerpod

Curse of Frankenstein It’s a little bit of horror in December as we welcome back, friend of the podcast, Ryan Bijan from Cowtown Movie Classics. Brandon and Ryan are discussing the 1957 Hammer Horror classic, Curse of Frankenstein.  You can find what Ryan is up to at https://linktr.ee/CowtownMovieClassics Don't forget to follow/reach us at: Website: https://linktr.ee/FrontRowClassicsTwitter: @FRNCLASSICSEmail: classicsfrn@gmail.comFacebook: https://www.facebook.com/thefrontrownetwork/Instagram: frontrowclassicspod

Hammer Horror’s Atomic Terror: X the Unknown (1956) – Reviewed! Hear my words, and tremble… This week, on the Scary Spirits Podcast, the unyielding crusade continues. Your devoted host, Greg, dives deep into the hallowed (and often bloody) vaults of Hammer Film Productions, selecting a true relic from the atomic age: the chilling 1956 science fiction masterpiece, X the Unknown. Forget your quaint ghosts; this is a reckoning of pure, primordial energy. Join your guides through the shadows, Karen and Greg, as they meticulously dissect this early Hammer horror landmark. We shall explore every creeping dread, every unnerving implication of this British cinematic classic. What unspeakable, radioactive menace emerges from the depths of the earth? We shall tell you! But fear not the void, for we have libations! Our hosts shall calm their nerves (and perhaps yours) with a meticulously crafted, themed beverage: a potent and electrifying “Atomic” Cocktail. Listen now if you dare to confront the unknown… This is essential listening for every fan of classic horror film reviews, Hammer Films, and the spine-tingling terror of 1950s sci-fi movies. Atomic Cocktail • 1 1/2 oz sparkling wine• 1 1/2 oz cognac• 1 tsp dry sherry• 1 1/2 oz vodka Instructions: Stir cognac, vodka and sherry in a mixing glass. Pour in a cocktail glass. Add champagne. Source: abc.virginia.gov A Brief Synopsis: A creature made of a radioactive mud-like substance escapes from the centre of the Earth and terrorises a Scottish village. Some of the topics discussed and highlights of this episode include: We learn a little about the Geiger counter. Is there such a thing as “harmless” radiation? Dr. Karen tells us about radiation burns. We learn about tritium and cobalt-60. Greg reminisces about Julie Newmar. Our rating of the film: This movie was so bad that it took us 4 cocktails to get through it. Take our online survey! We want to know more about you! Please take our survey. All questions are optional and you can remain completely anonymous if you prefer. Tell us what you like or would like to hear more of! All music on the Scary Spirits Podcast is provided by the band “Verse 13”. Please check them out. You can listen to all their music on their Bandcamp page. Get social with us! Connect with us on Facebook and Instagram Subscribe on YouTube to watch Greg attempt to make all the featured cocktails Follow @ScarySpiritsPod Questions, comments or suggestions? Shoot us an email at info@scaryspirits.com As an Amazon Associate, we may earn a small percentage of qualifying purchases through our links.

Step into late November with This Week in Horror History, the horror podcast that digs into the spooky anniversaries hiding between Thanksgiving and Christmas. In this episode, we dive into a full week of genre milestones for November 18–25, from cult slashers and gothic ghost stories to Stephen King adaptations, survival horror gaming, and a haunting cannibal romance.We kick things off at summer camp with Sleepaway Camp (1983), the infamous 1980s slasher movie whose shocking final twist made it a cult legend on VHS and a must-watch for every serious horror fan. Then we ride into the fog with Tim Burton's Sleepy Hollow (1999), a stylish gothic horror film packed with headless-horseman mayhem, Hammer Horror vibes, and one of Johnny Depp's most beloved spooky roles.From there, we lock the supermarket doors and let The Mist (2007) roll in. This Stephen King horror movie traps terrified townspeople in a grocery store surrounded by Lovecraftian monsters and religious hysteria, building to one of the bleakest endings in modern horror cinema. We also pick up a controller for Condemned: Criminal Origins (2005), a grim Xbox 360 survival horror game that turned a next-gen console launch into a nightmare of crime scenes, jump scares, and first-person brutality.Our Deep-Cut Spotlight sinks its teeth into Salem's Lot (1979), Tobe Hooper's terrifying Stephen King TV miniseriesthat made an entire generation afraid to look out their bedroom windows. We talk small-town dread, the iconic window-scratch scene, and how this vampire story helped shape everything from Fright Night to Buffy the Vampire Slayer and Midnight Mass.Along the way, we roll through horror birthdays (including icons connected to The Silence of the Lambs, The Thing, and indie horror favorites), revisit the legacy of Universal's Frankenstein in a Then & Now segment, and close with a Weekly Recommendation: Luca Guadagnino's Bones and All (2022), a melancholic cannibal road movie that plays like a twisted, emotional Thanksgiving watch.If you love horror history, Stephen King adaptations, Tim Burton gothic horror, 80s slasher movies, Thanksgiving horror, and deep dives into cult classics, this episode is your cozy, creepy guide to late-November genre viewing.Subscribe to This Week in Horror History on the Weekly Spooky network so you never miss a horror anniversary, hidden gem, or nightmare from the vault.Sleepaway Camp (1983)Streaming: Currently streaming on Peacock and available via Prime Video (depending on region/packaging).Physical: Recent Blu-ray restorations from boutique horror labels are in print and easy to hunt down for collectors.Sleepy Hollow (1999)Digital: Available to rent or buy digitally on the usual suspects, including Prime Video and Apple TV.Physical: Long-standing Paramount Blu-ray and DVD releases are widely available.The Mist (2007)Streaming: Streaming on Peacock and Paramount+, often as part of their Stephen King / horror lineups.Physical: Blu-ray editions are easy to find, including releases that feature Frank Darabont's preferred black-and-white cut.Condemned: Criminal Origins (2005 – game)Digital: Recently delisted from major digital storefronts, so it's not a simple click-to-buy anymore.Physical / Legacy: Best found as a physical Xbox 360 disc or as remaining PC keys from reputable sellers that still activate on Steam; expect some tinkering on modern hardware.Salem's Lot (1979 miniseries)Streaming: Shows up on free-with-ads streamers like Tubi and on horror-centric services such as AMC+ and Shudder from time to time, though availability shifts.Physical / Digital: There are solid DVD and Blu-ray editions in circulation, and it's typically available to rent or buy digitally on major VOD platforms when it falls out of flat-rate streaming.Bones and All (2022)Digital: Available digitally on Prime Video.Streaming: Also popping up on cinephile-focused streamers such as The Criterion Channel and MUBI, making it easy to slot into a late-night double feature.This episode of This Week in Horror History is brought to you by Savorista Coffee. If you love big spooky flavors without the jitters, head to Savorista.com and use promo code SPOOKY at checkout for 25% off your order. Every purchase supports the show directly — treat yourself to better coffee and help keep our horror history rolling.

332 Hammerama Ep 30: Prehistoric WomenWelcome to Hammerama! Hammerama is a subsidiary series of the DieCastMovie Podcast. Please join Alistair Hughes and Steven Turek as they analyze the wonderful movies of Hammer Films, from opposite ends of the world! Please send feedback to DieCastMoviePodcast@gmail.com.Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror. A special thanks to Reber Clark for allowing us to use his music! You can purchase Mr. Clark's music at reberclark.bandcamp.com.

Send us a textSteve Rogers and Mark Stanborough of Hammer Films tell us about the resurgence of physical media releases from Hammer this year, along with an update on the new ownership and the new company priorities.We then detail how The Curse of Frankenstein became a definitive 4K release, along with the Warner Archive, pairing archival rigor with fan-first features. You will hear about the restoration process, the new optional 5.1 audio, and the entertaining new extras included in the various Deluxe UK and US releases.  This is a podcast horror and specifically Hammer Horror fans don't want to miss.US Curse of Frankenstein 4K Purchase linkGet information on the DELUXE UK Edition at the Hammer Films WebsiteThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

[School of Movies 2025] "Adapting is like marrying a widow; You respect the memory of the husband, but at some point you gotta get it on." - Guillermo del Toro. In preparation for GDTs long-awaited take on Frankenstein we delved into some of the most significant onscreen versions of Mary Shelley's book. Taking our cues from the excellent piece by Overly Sarcastic Productions we recruit Gothic enthusiast Willow and together as a family talk you through the story, referencing different movies regarding how closely they cleave to the source novel, and how and why they choose to deviate. Many of the elements people take for granted, lightning, green skin, bolts in the neck, flat head, tendency to talk like a caveman all seem to stem from the 1931 James Whale film and its 1935 sequel starring Borris Karloff and Elsa Lanchester. Turns out that the monster, the creation or as he is sometimes called, "Adam" was, as-written a great deal more complex, something some films have expressed in the interim near-century, nearly all of the most significant we talk about, including the 1994 Kenneth Branagh version, the 2011 stage version with Benedict Cumberbatch and Johnny Lee Miller, the Hammer Horror versions with Christopher Lee and Peter Cushing, Frank Roddam's The Bride from 1985, Tim Burton's Frankenweenie, and a surprisingly great two-part TV miniseries from 2004. Accompanying, we have a Cutting Class episode releasing this weekend with a bunch of other adaptations we talked about here but were trimmed out for time and focus, and we will of course be back to talk about Del Toro's version very soon.

The House of Horrors is still in England and we are stuck in it discovering more Hammer Horror with our good mate Jon. Vampires and big breasted women stand no chance when the Captain is on the job. Season 4 of Scary Larry's House Of Horrors continues it's U.K. sojourn.

New from the EOH Network, Hammer Time: A Hammer Horror Podcast!  Subscribe to Hammer Time on Apple Podcasts  Subscribe to Hammer Time on Spotify  Subsribe to the Hammer Time RSS Feed  From The Curse of Frankenstein to Blood from the Mummy's Tomb, from Dracula to Legend of the 7 Golden Vampires, Hammer was the leading production company in British horror from the mid 1950s to the 1970s. Join film critic and Hammer newbie Becky Darke and Hammer expert Kevin Lyons as they watch and discuss every horror film in Hammer's back catalogue! It's Hammer Time. Hosted by Becky Darke & Kevin Lyons Produced & Edited by Mike Muncer Drop us an email: hammer@evolutionofhorror.com Check out the full list of films being covered on evolutionofhorror.com/hammer Part of the Evolution of Horror Network Follow EOH Network on Instagram Follow Becky Darke on Instagram and BlueSky  Check out Kevin Lyons' websites, EOFFTV and EOFFT Reviews  Follow Kevin Lyons on X and Facebook  Follow Mike Muncer on Instagram and BlueSky