Podcasts about Pet Sematary

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Continuing their year of Stephen King novels, Michael and Jess dig deep into the Pet Sematary. We talk mostly about the book itself, but also a little about the '89 movie, its sequel Pet Sematary Two, the 2019 remake, and the 2023 prequel Pet Sematary: Bloodlines.

Criminal Mischief: The Monkey's Paw Some stories entertain. Some stories linger. And a very rare few change the course of horror forever. This week on Criminal Mischief, Carolyn Ossorio narrates one of the most influential horror stories ever written: The Monkey's Paw by W. W. Jacobs. First published in 1902, The Monkey's Paw introduced generations of readers to one of literature's most terrifying ideas—that every wish comes with a price. What begins as a simple family gathering around the fireplace slowly transforms into an unforgettable meditation on fate, grief, and the dangerous temptation to change what should never be changed. Its influence stretches across more than a century of popular culture, inspiring countless novels, films, television episodes, and perhaps most famously, Stephen King's Pet Sematary. Join Carolyn as she brings this timeless Gothic classic to life in a dramatic reading that reminds us why some stories never grow old... because the fears they explore never disappear. Sometimes the greatest horror isn't receiving exactly what you wished for. It's realizing the cost after it's too late. Follow Criminal Mischief

Criminal Mischief: The Monkey's Paw Some stories entertain. Some stories linger. And a very rare few change the course of horror forever. This week on Criminal Mischief, Carolyn Ossorio narrates one of the most influential horror stories ever written: The Monkey's Paw by W. W. Jacobs. First published in 1902, The Monkey's Paw introduced generations of readers to one of literature's most terrifying ideas—that every wish comes with a price. What begins as a simple family gathering around the fireplace slowly transforms into an unforgettable meditation on fate, grief, and the dangerous temptation to change what should never be changed. Its influence stretches across more than a century of popular culture, inspiring countless novels, films, television episodes, and perhaps most famously, Stephen King's Pet Sematary. Join Carolyn as she brings this timeless Gothic classic to life in a dramatic reading that reminds us why some stories never grow old... because the fears they explore never disappear. Sometimes the greatest horror isn't receiving exactly what you wished for. It's realizing the cost after it's too late. Follow Criminal Mischief

Summer horror gets bloody, claustrophobic, cursed, and undead in this episode of This Week in Horror History, covering the week of July 6 through July 12. This time, we're digging into splatter-film history, cursed-camera video games, one of the scariest cave movies ever made, Netflix's summer-camp slasher revival, Italian zombie cult madness, and the return of the Tall Man. Inside this episode:July 6, 1963 — Blood Feast reportedly plays Peoria, IllinoisHerschell Gordon Lewis changes horror forever with a cheap, outrageous, blood-soaked shocker often credited as a key turning point in splatter cinema and grindhouse gore. July 8, 2022 — MADiSON releasesA haunted-house horror game turns an instant camera into a cursed object, making every photo feel like an invitation for the nightmare to come closer.July 8, 2005 — The Descent opens theatrically in the UK and IrelandNeil Marshall sends a group of friends into an unmapped cave system where grief, betrayal, darkness, and something much worse are waiting below.July 9, 2021 — Fear Street Part Two: 1978 releases on NetflixThe Fear Street trilogy heads to Camp Nightwing for a brutal summer-camp slasher packed with cursed-town mythology, teen terror, and R.L. Stine nostalgia with real bite.Deep-Cut Spotlight — Burial GroundAndrea Bianchi's Italian zombie cult favorite unleashes ancient Etruscan dead, a cursed country estate, crumbling corpses, and some of the strangest undead chaos of the early 1980s.Horror Birthdays This Week:Shelley Duvall, Kevin Bacon, Anjelica Huston, and Fred Gwynne all enter the birthday roll, bringing connections to The Shining, Friday the 13th, Tremors, The Witches, The Addams Family, The Munsters, and Pet Sematary. Weekly Recommendation — Phantasm IIAngus Scrimm's Tall Man returns in a bigger, weirder, more action-heavy sequel filled with silver spheres, funeral-home dread, road-trip nightmare energy, and late-80s cult horror atmosphere.Plus, Weekly Spooky heads into the woods with “Branch Manager” by Gary D up in Ontario, Canada — aka Blue Fire Raging — where exhausted telemarketers escape into Algonquin Park only to discover that the forest is listening, moving, and hungry. From Blood Feast and MADiSON to The Descent, Fear Street Part Two: 1978, Burial Ground, and Phantasm II, this week in horror history proves that summer horror can trap you underground, curse your camera, resurrect the dead, send you to camp, and still leave room for one more silver sphere flying down the hallway.

The Devil's Ledger — Week of July 6, 2026 Happy Fourth of July—and welcome back to The Devil's Ledger, your weekly guide to everything happening across the Evio Creative universe. This week we celebrate America's 250th birthday, uncover one of history's strangest Independence Day coincidences, preview another terrifying installment of The Campfire Files on The Devil Within, travel back to a haunting tale from 1902 on Criminal Mischief, examine Sherri Papini's latest attempt to rewrite history on The Slippery, and take a look at this week's supernatural thriller, JACKED, starring Carla Gugino. This Week's Lineup

We recently sat down with legendary horror composer Christopher Young to talk about his score for Passenger, the creative risks that keep him inspired after four decades in the industry, and how a playground swing recording became the sound of a demonic entity.From Hellraiser and The Grudge to Pet Sematary and beyond, Christopher's music has shaped the sound of horror for generations. Join us for a deep dive into melody, sound design, experimentation, and the craft of storytelling through music.Sit tight for a thoroughly inspiring chat about music, film, and fear…Support this podcast at — https://redcircle.com/composers-in-a-jukebox/donations

Today on Art of the Cut, we speak with editor Sarah Broshar, ACE, on editing Steven Spielberg's Disclosure Day.Sarah has been on Art of the Cut several times, last for her editing of The Fablemans. She was nominated for an ACE Eddie for Spielberg's The Post. Her credits also include Ready Player One, Pet Sematary, and West Side Story.This discussion will be about the rule when temping score that will be replaced by the legendary John Williams, how the length of the first assembly is a secret even to Spielberg himself, and Sarah's keys to building suspense and enhancing emotion.If you want to read along this podcast and see images from the film, the trailer, and images on the post crew, check out the BorisFX blog siteborisfx.com/blog/aotc

Put on your lip gloss and listen to Episode 217 of The Horror Stans Podcast! For this one, we're covering director Mary Lambert's (Pet Sematary) 2000 teen thriller The In Crowd! Listen as we discuss whether this movie might not actually be good but is a great vibe, plotlines that go absolutely nowhere, sexy people doing sexy things, the different cuts of the film, and the lip gloss queen herself, Brittany, as played by the stunning Susan Ward! We hope you enjoy!Please give us 5 stars!

Brian and Jeff welcome director/writer/producer BT Meza to discuss his new film Affection, released in theaters May 8 and on video on demand June 5. Meza connects horror and joy through his love of watching horror, recounts early influences like reading Pet Sematary and Jaws and watching The Exorcist, and explains how he began making work by constantly photographing and filming, including music videos. He describes getting Affection made through supporter collaboration, producer Austin Walk's advocacy, and persistence through pandemic delays. The conversation highlights filmmaking's collaborative demands, Affection's blend of sci‑fi and horror rooted in plausible technology, and its commitment to practical effects created by Slither effects artist Dan Rebert with no CGI. Meza discusses the three-character cast (Ellie, Bruce, Alice), themes of memory, identity, grief, and a tension driven by Bruce's need for certainty. Affection

This post contains affiliate links, which means I may earn a small commission at no extra cost to you.What happens when a beloved actress becomes a storyteller of forgotten Black history? Karyn Parsons — yes, the Hilary Banks from Fresh Prince of Bel-Air — joins us to talk about her powerful historical fiction for young readers, her nonprofit Sweet Blackberry, and why books like hers matter more in 2026 than ever.In this episode, we dig into Blue Beach, a YA murder mystery set on a segregated Black beach in 1929 that is equal parts page-turning thriller and gut-punch history lesson. We also talk about Clouds Over California, Karyn's middle grade novel set in the 1970s that reframes the story of the Black Panthers. Whether you're a longtime reader of YA or someone who thinks "that's not for me" — this conversation will change your mind. Adults: these books are absolutely for you.Plus: Karyn shares what she's been reading lately, including a deeply unsettling thriller about smell, murder, and obsession, a darkly funny book that involves... cannibalism (?!), and why Kindred by Octavia Butler is a required read for every human.

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Trad wives are taking over horror in 2026 – but I predict none will be more frightening and more gorgeously WEIRD than Sarah Langan's novel.   It's the tale of a young woman in the dying era of journalism and the YouTube influencer who offers her hope, and much worse things…. I absolutely loved it.   Sarah and I talk about the trad wife phenomenon, where it comes from, what it means, and how it's all really based in cold hard capitalism. We talk about literary influences, about sustaining extreme weirdness in fiction, and why establishing character properly is so important.   And we even recall the time we bonded over the gift of a mutant duck!   Enjoy!   Other books mentioned: Pet Sematary (1983), by Stephen King Trad Wife (2026), by Saratoga Schafer Yesteryear (2026), by Caro Claire Burke “The Yellow Wallpaper” (1892), by Charlotte Perkins Gilman The King in Yellow (1985), Robert W. Chambers Rosemary's Baby (1967), by Ira Levin The Ceremonies (1984), by T. E. D. Klein Room (2010), by Emma Donaghue Station Eleven (2014), by Hilary St. John Mandel   Support Talking Scared on Patreon   Check out the Talking Scared Merch line – at VoidMerch   Come talk books on Threads, Bluesky, and Instagram, or email direct to talkingscaredpod@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Frodo the cat serves as the ultimate horror witness in A Quiet Place: Day One (with Lupita Nyong’o) Crypticon Seattle, the great Pacific Northwest horror convention, has once again come and gone, but the memories linger. The panels are what make the convention feel like a class reunion. The panels are produced entirely by volunteer experts from across the region and are the ultimate in fan interaction. This is what it feels like to create a horror community, sharing our ideas and experiences with each other. This year, I decided to record some of the panels I participated in and attended to give you a sense of what happens at these events. This Pets in Horror panel was hosted by Brien Gorham, and I participated in it along with Kathy Fennesy and Todd Johnstson. If you are a long-time reader of our website or a listener of our podcast, you will know that I have a big ol’ soft spot for pets in horror. Whether they are the MacGuffins, the heroes, or the villains of the story, pets provide strong emotional connective tissue within horror constructs. The use of pets also sparks some great debates regarding the narrative use of animals. Because we have such a natural affinity for critters, horror movies tend to exploit those feelings by putting the animals in peril. Fair, or not? We will talk about that in this discussion. Brien was inspired by the success of last year’s remarkable film Good Boy which we have been a huge proponent for. You can use that link to listen to an interview with director Ben Leonberg, who discusses how he coaxed an award-winning performance from his pet dog, Indy. That movie, however, is just the tip of a very big trope iceberg. Thank you to Jason and Jasen for putting me on this panel, as it is something near and dear to me, and to many attending Crypticon. Brien Gorham outlined his panel discussion topics for this panel: “Indy the Dog from Good Boy has become the latest in a line of cinematic pets to steal our hearts, but domestic animals have a long history in horror movies. Whether that be as a witness, antagonist, or, as in the case of Indy, a protagonist. Let’s discuss how our collective best friends have been represented in horror films.” Introductions Opening question: If you could choose one pet from a horror movie to have in your home, who would you choose and why? Some larger questions that can be applied to any category: How do our personal relationships with pets affect how we see them in stories? (Please feel free to include personal stories where appropriate) How does the motivation of a pet differ from human motivation? Altruism? How do we recognize animal performances? (Indy's acting win) What resources are available for those who are sensitive to animal violence?  Part 1: Pets as Witnesses Possible Movies: Cat's Eye, Poltergeist, The Hills Have Eyes I and II Let's start with movies where a family pet serves as a witness or bystander to an individual or family crisis. In these cases, what purpose does the inclusion of the pet serve? How much do we hate it when pets are introduced just to be killed off for sympathy? Part 2: Pets as Heroes Possible Movies: Good Boy, Cat's Eye, Phenomena, The Hills Have Eyes Next, let's explore pets that go above and beyond, playing an active role in saving the day. Which movie pets do you most admire? How do certain traits of specific animals play into this heroism? How much do we hate it when animals sacrifice themselves for humans? Part 3: Pets as Antagonists  Possible Movies: Cujo, Lake Placid, The Uncanny, Uninvited, Pet Sematary, The Black Cat (any version) What happens when man's best friend turns violent, and our furry friends rebel against us? The most terrifying pets in horror? The most heartbreaking transformations? Closing What beloved pets have we not seen represented in horror movies? PET HORROR RESOURCES You can check out our Favorite Horror Movie Dogs Dead List for our updated list of horror hounds for your reference. Kathy Fennessy is a former president of the Seattle Film Critics Society and runs the Seattle Film Blog. She has a blog post titled “Good Boy and Other House Pets in Horror: Purrs, barks, Growls, and Deadly Attacks.“ I find that Kathy is the unofficial research librarian for Crypticon Seattle and has a deep and thorough knowledge of the genre. For those of you who get triggered by animal harm or death in movies, please visit “Does the Dog Die?“ It’s a great resource for people who need to filter their movies for moments that will trigger anxiety, with the primary trope being that of harm to dogs. It also covers things like harm to children and rape, which are non-starter elements for many people. A Recording of Brien Gohram’s Good Boy: Pets in Horror Panel Panelists:Brien Gorham – HostKathy Fennesy Eric LiTodd Johnston Please note: I was using a compressor microphone on the table, so the audio isn’t as clean as it would be with our dynamic podcasting microphones. Todd Johnston, in particular, is a bit faint, though I did boost the audio when he is speaking. Don’t over-adjust your volume, though, because when the conversation turns back to the rest of the panelists, it picks up. A fan and her pet chihuahua attend the Crypticon Seattle Pets in Horror Panel: Note – The dog makes it! Our Discussed Films:Plus… a couple more Indy: Good Boy (2025) Chewie: Critters (1986) General: Cat’s Eye (1985) Dickie: The Beyond (1981) Thor: Bad Moon (1996) Sarii: Prey (2022) Frodo: A Quiet Place Day One (2024) Ben (1972) Lake Placid (1999) Ella: Monkey Shines (1988) Pluto: The Rule of Jenny Pen (2025) The Uninvited (1987) Willard (1971) Inga: Phenomena (1985) Jed: The Thing (1982) When Evil Lurks (2023) Baxter (1989) Frankenweenie (2012) Boy: Love and Monsters (2020) Jones: Alien (1979) Cujo (1983) Green Room (2015) Roar (1981) Max: Man’s Best Friend (1993) Clovis (and gang): Sleepwalkers (1992) Black Sheep (2006) Precious: The Silence of the Lambs (1992) Church: Pet Sematary (2019) Zoltan: The Hound of Dracula (1977) Pippet: Jaws (1975) The Legend of Hell House (1973) Sugar: Crawl (2019) Beast: The Hills Have Eyes (2006) The Black Cat (1934)

University of Maine Professor (and the Stephen E. King Chair in Literature, by the way) Caroline Bicks spent a year combing through King's original manuscripts at his own personal archive and that resulted in an essential book for King obsessives: Monsters In The Archives that gives us new insights into King's process and illuminates paths not taken on some of his most iconic stories, like The Shining, Pet Sematary, Carrie, Night Shift, and 'Salem's Lot.These bonus episodes are usually exclusive to The Kingcast Patreon, so if you want more of this make sure to sign up over at www.patreon.com/thekingcast.Also make sure to order your copy of Monsters in the Archives at your local bookstore or at www.carolinebicks.com. 

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you. In this episode, we are joined by author and Shakespeare scholar, Caroline Bicks, to discuss her latest book, Monsters in the Archive: My Year of Fear with Stephen King. Caroline will share with us how Shakespeare some of Stephen King's most famous works, and the surprising similarities she discovered between Shakespeare's writing and King's.  Monsters in the Archive: My Year of Fear with Stephen King is out now.  About Caroline Bicks Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. About Monsters in the Archives: My Year of Fear with Stephen King After Caroline Bicks was named the University of Maineʼs inaugural Stephen E. King Chair in Literature, she became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Bicks focuses on five of his most iconic early works—The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: Join our email list Follow us on Instagram at @shakespeareanyonepod Visit our website at shakespeareanyone.com Support the podcast: Become a patron at patreon.com/shakespeareanyone  Buy us a coffee Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores. Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link. Find additional links mentioned in the episode in our Linktree.  

 Normal & The Mummy: A Double Feature Worth Your Time (Spoiler-Free) | WatchSkip+Cupcake and Mike are doing something a little different this week — a genuine double feature review, clocking in under 30 minutes. First, they dig into Normal (2025), the new Ben Wheatley action-comedy written by Derek Kolstad and Bob Odenkirk. Is it just Nobody again? Not even close — and the guys break down why this deeply weird, gory, surprisingly soulful film deserves your attention in theaters right now. Then they turn to Lee Cronin's The Mummy (2025), the Blumhouse/Atomic Monster horror that has the internet divided. Jack Reynor leads a cast through something that plays less like a classic mummy tale and more like a psychological body horror spiral in the vein of Evil Dead Rise and Pet Sematary. Both hosts have verdicts. Neither one will spoil a thing — that's what Sunday's SPOILER'D episode is for.- - - - - - - - - -WE ARE WATCH SKIP PLUS!FOLLOW/LIKE/SUBSCRIBE/REVIEW/LOVEEmail us: WatchSkipPlus@gmail.comBe kind. Be open. Be vulnerable. That's where the art is.SOCIAL MEDIA: FB: https://www.facebook.com/watchskippluspodIG: https://www.instagram.com/watchskipplus/X: https://twitter.com/watchskipplus 

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Episode 258! In a first for Book Cougars Author Spotlights, we welcome back an author not to discuss their next book, but to learn about why and how their first novel is being published for a second time – with a new publisher and a new ending! We enjoyed Heather Harper Ellett's debut novel, AIN'T NOBODY NOBODY, and were thrilled to invite her back to talk about the new life being breathed into her fantastic literary mystery, which also now has an audiobook version. Don't miss our conversation, which follows our regular segments. We finished/DNF'd some good/okay reads since last time: – PET SEMATARY by Stephen King – THE GOLDEN BOY by Patricia Finn – TRUE CRIME: A Memoir by Patricia Cornwell – RAISING HARE by Chloe Dalton – SHOELESS JOE JACKSON COMES TO IOWA: Stories by W.P. Kinsella In Biblio Adventures, we visited some fabulous independent and used bookstores: –CT: River Bend Bookshop's new location in West Hartford; Grey Matter Books, the Book Trader Cafe, and Atticus Bookstore Cafe in New Haven –MA: Papercuts Bookshop in Jamaica Plain, Boston –NYC: Pickle Books and P&T Knitwear Books on the Lower East Side And check out Emily's conversation with author Rebecca Kauffman about her novel THE RESERVATION over on Ingredient One. As always, we talk about more books and #biblioadventures than we list here. We hope you enjoy the episode and check out the show notes for links to all/most of the books, movies, and places that we mention. Happy Listening and Happy Reading! https://www.bookcougars.com/blog-1/2026/episode258

Stay away AI, some Russian wisdom, a change is going to come (hopefully), the endearingly weird Krofft Brothers, Trump is a hater, Morrissey is sleepy, cow butt, an enjoyable new horror movie, another reason to mention Logan, an overlooked Bruce Willis action thriller, a girl with yellow eyes, butt cheeks, and hemming and hawing over a Hyundai. Stuff mentioned: Love Connection (1983-1994), The Bugaloos (1970-1971), Land of the Lost (1974-1976), Dr. Shrinker (1976), Wonderbug (1976), Pryor's Place (1984), Ray Parker Jr. "Pryor's Place" (1984), Morrissey "I'm Throwing My Arms Around Paris" (2009), Morrissey Years of Refusal (2009), Whistle (2025), Final Destination (2000), Logan (2017), Mercury Rising (1998), Pet Sematary (1989) Kindergarten Cop (1990), and Wes Craven's New Nightmare (1994).

This week we are joined by Matt Stewart from Prime Mates to ponder the question what if Harambe was buried in Stephen King's Pet Sematary? From guesting on Joe Rogan to the etymology of tossing salad, this is an episode where we all learn things. Some are even ape related! Happy APEril! Get tickets to see Matt live in Melbourne (use code GOBANANAS): https://www.comedyfestival.com.au/browse-shows/matt-stewart-and-suren-jayemanne/ Hosted on Acast. See acast.com/privacy for more information.

This Week in Horror History is your weekly horror movie and horror game release-date roundup, with where to watch or play (U.S.), a deep-cut spotlight, and a weekly recommendation for fans of body horror, supernatural horror, Stephen King, cult horror, survival horror, and horror documentaries.This week brings Slither, Cat People, Cursed Films, Pet Sematary, and Resident Evil 3—a lineup packed with alien parasites, erotic transformation, cursed-production mythology, grief-driven resurrection horror, and full-speed Raccoon City panic. Inside this episode✅ Horror releases from Mar 30–Apr 5Mar 31, 2006 — SlitherJames Gunn's slimy body-horror cult favorite turns alien parasites, mutant flesh, and small-town terror into one of the nastiest and funniest creature features of the 2000s.Where to watch: Rent or buy on Prime Video, Apple TV, and Fandango at Home.  Apr 2, 1982 — Cat PeopleA stylish, dreamlike erotic horror remake where sex, transformation, and predatory danger blur together in a feverish New Orleans nightmare.Where to watch: Rent or buy on Prime Video, Apple TV, and Fandango at Home.  Apr 2, 2020 — Cursed Filmshis eerie Shudder horror docuseries explores cursed movie legends, horror fandom, and real tragedy, asking why the genre keeps turning productions into myths.Where to watch: Streaming on Shudder; also available through AMC+ and Philo.  Apr 5, 2019 — Pet SemataryA modern Stephen King horror remake built on grief, resurrection, and the terrible idea that death might be reversible.Where to watch: Streaming on Paramount+; also available via the Paramount+ Roku Channel; rent or buy on Apple TV and Fandango at Home. 

Send us Fan MailThis week on The Horrific Podcast, we're joined by horror icon Miko Hughes, known for his unforgettable performance as Gage Creed in Pet Sematary.Miko became part of horror history at a young age with one of the most chilling roles in a Stephen King adaptation, and he continued to build a career with appearances in other genre-defining films like Wes Craven's New Nightmare.In this episode, we talk about his early experiences working in horror, what it was like on set for some of these iconic films, and how those performances have stayed with fans over the years. Miko also shares insights into the horror community, conventions, and what it means to be part of such a lasting legacy in the genre.It's a great conversation for fans of classic horror and one of the most memorable child performances in horror history.Ghost ExecutionersMerchandise!https://www.teepublic.com/user/thehorrificnetwork?utm_source=designer&utm_medium=social&utm_campaign=horrificnetworkFollow All Things Horrific Network Herehttps://linktr.ee/thehorrificnetworkGet Your Sinister Creature Con Tickets Herehttps://www.sinistercreaturecon.com/thecon

Horror films are a unique genre because they can have a profound effect on the viewer. They can literally change lives, leaving such a strong impression that something shifts in the psyche. Whether it makes someone afraid to go in the water, uneasy around bugs, frightened by Frankenstein's creature, or just generally on edge, these films can have a lasting impact. They are meant to scare us, but for some, they remain harmless entertainment. For others, certain films reach much deeper, lingering in the mind long after the credits roll. And yet, we keep coming back for more. Do these films help us confront our fears? Do they help us overcome them? Can they serve as a way to process real-world trauma, something made easier to face when it exists within the safe boundaries of a movie? Join us for this episode as we explore the films that have had a lasting impact on us, along with others that have left a powerful mark on audiences. Movies mentioned in this episode: The Blob (1958), Bring Her Back (2025), Cannibal Ferox (1981), Cannibal Holocaust (1980), Day of the Dead (1985), The Deep House (2021), The Exorcist (1973), Faces of Death (1978), Frankenstein (1931), Friday the 13th (1980), Guinea Pig (1981), Gravity (2013), Halloween (1978), Henry: Portrait of a Serial Killer (1986), Hereditary (2018), Infested (2023), Irreversible (2002), Jaws (1977), King Kong (2005), Last House on the Left (1972), Marathon Man (1976), Mondo Magic (1975), Nekromantik (1988), Night of the Lepus (1972), Night of the Living Dead (1968), Old Boy (2003), The Omen (1976), Open Water (2003), The Orphanage (2007), Paranormal Activity (2007), Pet Sematary 91989), Piranha (1978), Psycho (1960), Relic (2020), Requiem for a Dream (2000), Ringu (1998), Scream (1996), A Serbian Film (2010), Texas Chain Saw Massacre (1974), Trouble Every Day (2001)

Stephen King is one of the best selling authors in history and over 100 of his stories have been adapted for the screen. It, Carrie, Cujo, The Green Mile, Pet Sematary, The Shawshank Redemption, Salem's Lot, Stand By Me, Misery, The Mist, The Shining... King's work is intrinsic to popular culture. On this episode we look at the man dubbed "The King of Horror" and try to find out what makes him tick.This is a comedy/history podcast, the report begins at approximately 10:16 (though as always, we go off on tangents throughout the report).For all our important links: https://linktr.ee/dogoonpod Check out our other podcasts:Book Cheat: https://play.acast.com/s/book-cheatPrime Mates: https://play.acast.com/s/prime-mates/Listen Now: https://play.acast.com/s/listen-now/Who Knew It with Matt Stewart: https://play.acast.com/s/who-knew-it-with-matt-stewart/Jess Writes A Rom-Com: https://shows.acast.com/jess-writes-a-rom-comOur awesome theme song by Evan Munro-Smith and logo by Peader ThomasDo Go On acknowledges the traditional owners of the land we record on, the Wurundjeri people, in the Kulin nation. We pay our respects to elders, past and present. REFERENCES AND FURTHER READING:https://www.biography.com/authors-writers/stephen-king#car-accident Stephen King: A Necessary Evilhttps://www.youtube.com/watch?v=Jeg8RhlA5m8 https://www.britannica.com/biography/Stephen-King https://en.wikipedia.org/wiki/Stephen_King# https://en.wikipedia.org/wiki/Stephen_King_bibliography# https://www.theguardian.com/books/2012/may/01/stephen-king-tax-the-rich https://huntingthemuse.net/library/stephen-kings-writing-routine https://abcnews.com/GMA/Culture/tabitha-king-calling-calls-stephen-kings-wife/story?id=61409581 https://www.mentalfloss.com/article/502166/how-stephen-king-was-outed-richard-bachman https://www.theguardian.com/books/2000/sep/17/stephenking.fiction https://screenrant.com/stephen-king-shining-movie-stanley-kubrick-opinion/ Hosted on Acast. See acast.com/privacy for more information.

Bart Mixon was Born in Houston, Texas, Mixon began his special make-up effects career working on local independent productions, including the 1984 thriller Courage, starring, co-written and produced by Ronny Cox. He eventually became a make-up lab technician and on-set makeup artist on more high profile productions, including A Nightmare on Elm Street 2: Freddy's Revenge (1985), The Supernaturals (1986) and The Texas Chainsaw Massacre 2 (1986). Perhaps more notably, he worked on The Terminator (1984) and was part of the "Robot Team" on RoboCop (1987). In 1987, Mixon moved to Los Angeles, California, where he supervised special make-up and creature effects for such projects as Fright Night Part 2 (1988), Pet Sematary (1989), Gremlins 2: The New Batch (1990), Predator 2 (1990) and Terminator 2: Judgment Day (1992). He was also the creature effects supervisor on Stephen King's It (1990); as such, he was responsible for designing, sculpting and applying the make-up for the Pennywise character.  After working on the Klownzilla hands on Killer Klowns from Outer Space (1988), Bart worked with the Chiodo Bros. once again as the Shop Foreman during the production of Ernest Scared Stupid (1991) where he supervised the creation of the trolls! He returned to do makeup FX work on Pet Sematary Two (1992). In 1994, Mixon entered into a partnership with fellow Star Trek make-up artist Earl Ellis to create the make-up effects studio Mixon & Ellis FX (or ME FX). Over the next four years, the studio created make-up and prosthetics for such films as Fargo (1996), Men in Black (1997) and Rushmore (1998). Mixon closed down the studio in 1998 and has since worked as a freelance artist on films such as How the Grinch Stole Christmas (2000), Planet of the Apes (2001), Men in Black II (2002), The Ring (2002), Hellboy (2004) and Collateral (2004).  Mixon also was the prosthetic make-up artist for The Thing on Fantastic Four (2005) and Fantastic Four: The Rise of the Silver Surfer (2007). He was also a key prosthetic artist on X-Men: The Last Stand (2006) and was a make-up artist on Pirates of the Caribbean: Dead Man's Chest (2006). In addition, he worked on the Academy Award-nominated prosthetic make-up for Norbit (2007). Co-Hosted by Jeremy Morehead @jt_pumpkin_gutz of the Epic Film Guys podcast @epicfilmguys Be sure to follow Bart @bartmixon and rate the show wherever you're listening!  #KellensPettyTalkShow #BartMixon #IT #Pennywise #ErnestScaredStupid #ElmStreet2 #RoboCop #TexasChainsawMassacre2 #BillMoseley #Choptop #MakeupFX #SpecialFX #TommyLeeWallace 

PET SEMATARY II (1992) haunts The Blind Rage Podcast this second week of Sequels Month, bringing a story where the past refuses to stay buried, and the living discover that some things are better left alone. With moments that are unsettling, absurd, and darkly funny, it's a ride that keeps your nerves on edge and your eyebrows raised.

As we continue our look at a century of women-directed movies, "Yentl" and "Pet Sematary" take center stage. We look at Barbra Streisand's directorial debut has us enjoying the performances and the politics and being confused by the music. Mary Lambert's adaptation of the Stephen King book has us scratching our heads entirely. Soap opera acting, dangling plot points, too many themes (or are there no themes at all?) make this fun to talk about after being tough to watch. Hosted by Brad Garoon & Jake Ziegler, with guest Danielle Segel0:00 Introduction; 0:30 Yentl; 17:32 Pet Sematary#classicmovies #horrormovies #jewishmovies

It's been a minute. The boys are back in town and pick up where they left off with a deep dive into the adaptations of King's darkest work. They share their fears of crazed cats, how this story hits differently if you're a parent or not and discuss the darkness on the screen.And also they ask - who the hell is Missie?

In this episode of The Filmumentaries Podcast, I'm joined by filmmaker John Campopiano and producer Jim Beller to talk about their new documentary, The Farmer and the Shark. The film centres on Craig Kingsbury, a farmer from Martha's Vineyard who appeared in Jaws (1975), playing Ben Gardner, the local fisherman whose abandoned boat is discovered by Chief Brody early in the film. From that small but unforgettable role, the documentary explores Craig's life, his connection to the island, and how his story intersects with the legacy of Jaws. John Campopiano is the director of the film and is known for documentaries including Unearthed & Untold: The Path to Pet Sematary and Pennywise: The Story of IT. Jim Beller is one of the producers of The Farmer and the Shark - former producer of my Inside Jaws - A Filmumentary and all round Jaws expert.I should note that I haven't seen the finished film yet, so this conversation focuses on the making of the documentary, how the project came together, why Craig Kingsbury's story stood out, earning trust, and shaping a film around a real person whose life briefly intersected with a cinematic landmark. If you're looking for a calm, thoughtful conversation about film history, storytelling, and the people behind the scenes, I hope this episode provides a welcome distraction. GuestsJohn Campopiano — DirectorJim Beller — ProducerFilms DiscussedThe Farmer and the SharkJaws (1975)Support the Podcast - If you enjoy The Filmumentaries Podcast, you can support the show on Patreon. Your support helps cover the time, research, travel, and production costs involved in making these episodes. Thanks for listening.This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Send us a textA group of friends join a game show in which contestants, allowed to flee anywhere in the world, are pursued by "podcasters" hired to kill them with their brand of off-beat humor. On Episode 703 of Trick or Treat Radio our feature film discussion is The Running Man (2025) from director Edgar Wright! We also revisit MZ's hatred of Stephen Spielberg, our coming attractions segment has us reacting to the trailers for the films; Undertone, and The Dreadful, and we get a horrifying glimpse into our very near socio-political future. So grab as many costume changes as you can fit in your bag, bury all your new dollars in your backyard, and strap on for the world's most dangerous podcast!Stuff we talk about: Remembering Heather O'Rourke, Poltergeist, She Was Here, you can learn from Spielberg without becoming Spielberg, Disclosure Day, Duel, Sugarland Express, E.T., Brian Paulin, Amistad, Treejumpers, Catch Me If You Can, Bela Tarr, The Fatal Hour, Return of the Living Dead II, In Dreams, Virus, Jesus Christ Vampire Hunter, Rats, Vampire Boulevard, Asylum, Butcher House, Ghost Hunters, Army of the Dead, The Book of Eli, Intruders, Ari Aster, Robert Zemeckis, Hostel, Chad Lowe, The Others, Mario Van Peebles, Cape Fear, The Accident, George “Funky” Brown, Andrea Martin, Black Christmas, Cannibal Girls, Richard Franklin, Pet Sematary 2, The Devil's Daughter, Jaws 2, Dube dube doo he did Jaws 2, Billy the Kid vs. Dracula, The Old Dark House, The Bride of Frankenstein, London After Midnight, Dr. Jekyll and Mr. Hyde, Beau is Afraid, Joaquim the African Dream, RIP T.K. Carter, The Thing, Punky Brewster, RIP Marcus Gilbert, Grateful Dead, RIP Bob Weir, Barry Sobel, The Milwaukee Dream, Slick, Pontypool, Stanley Kubrick, The Dreadful, Onibaba, Undertone, A24, Orson Swells, Katy O'Brian, The Running Man, Arnold Schwarzenegger, Yaphet Kotto, Edgar Wright, Last Night in Soho, sidekick prepper, Baby Driver, Ant-Man, The Cornetto Trilogy, Katy O'Brian, Martin Herlihy, Please Don't Destroy, William H. Macy, FreeVee, Stephen King, Richard Bachman, Shock Treatment, The Long Walk, Michael Cera, Scott Pilgrim vs. The World, Sinners, Series 7: The Contenders, Dust Bunny, Mockingbird Lane, American Gods, Hannibal, Bryan Fuller, David Dastmalchian, Late Night With the Devil, Flay or Filet, BMX Bandits, Controlling the Orswellian Narrative, Edgar Played it Wright, Even Satan Has a Podcast.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: http://instagram.com/TrickorTreatRadioSupport the show

Emily (they/them) and Pace (they/them) are joined again by Brandon Grafius as he talks about his new book Scared by the Bible: The Roots of Horror in Fiction. We then dissect the film Pet Sematary. Will you come over and play with me? First I play with Jud. Then mommy came, and I played with mommy. Will you play with us? CW: Discussion of racism, toxic masculinities, ableism, queerphobia related to the filmBrandon Grafius' Lurking Under the Surface and Scared by the Bible: The Roots of Horror in Fiction-Stephen King's Pet Sematary Support us on Patreon! Buy some merch! Subscribe to our newsletter! Follow us on Instagram, Facebook, and Twitter for all the latest updates about upcoming films, news, and other announcements. If you would like to submit your own real life church horror story for a future minisode, follow this link (https://bit.ly/HNACMinisodes) or email us at horrornerdsatchurch@gmail.com And don't forget to comment, rate, and subscribe to us on your favorite podcast provider!

Happy Thanksgiving, Spookies! This week, we're thankful for Herman Munster, chest hair, and cuddly cats, because we're celebrating the holiday with Stephen King's Pet Sematary (1989). One of the few adaptations of his books that the prolific author actually got to write the screenplay for himself, this flick is interesting in the ways it both stuck to and veered away from the original story. On our latest episode of Spooky Tuesday, we're diving into those differences and dodging 18 wheelers as we talk about the merits of playing god and slaying a cunty little funeral fit. References:https://www.slashfilm.com/1546643/stephen-king-pet-sematary-creepy-painting-meaning/https://pshares.org/blog/death-as-the-villain-in-pet-sematary/https://www.theguardian.com/books/booksblog/2013/feb/21/rereading-stephen-king-pet-semataryhttps://www.strangeharbors.com/blog/2019/4/3/revisiting-1989s-pet-semataryhttps://newrepublic.com/article/153546/pet-sematary-refuses-diehttps://www.brightwalldarkroom.com/2018/08/10/pet-sematary-these-corruptible-vessels/https://screenrant.com/pet-sematary-movie-george-romero-not-director-stephen-king/https://stephenking.com/xf/index.php?threads/the-real-question-about-the-ending-spoilers.19690/

Now I know what you're thinkin' now. Don't you even think about it. You wanna click this here GBGB episode and try to hear the review of Pet Sematary (1989). I know you wanna listen to more of the Cat Season but it aint right. The episode's gone sour you see? You'll think it's a GBGBs episode but it won't be right. One of the cohosts will have listened to the episode in a different language he doesn't speak (without subtitles??) and the other two will complain about how there wasn't enough of the cat the whole time. But now I've gone and told you and you're thinkin about it alright. Don't say I didn't warn you....   Thanks for stopping by!

Welcome to Episode 120: PET SEMATARY, where we have a very LIVELY chat about being dead, and staying dead. We discuss many topics including: “Where did Gage get that top hat? The first thing we think about when we hear the word Zelda is definitely NOT a video game. Also, how Jud is ultimately to blame for the whole damn mess!! So crank up the Ramones and meet us down where the ground is sour…Consider supporting on Patreon

Happy almost Halloween, Fear listeners! Welcome, welcome, welcome to TICKLED TO DEATH! The horror movie game show where the screams are fake, but the laughs are real. In this episode, Roz Hernandez takes us deep into the chilling world of Stephen King. From the haunted halls of The Shining to Carrie's bloody prom, IT's sewer-dwelling Pennywise, and the cursed ground of Pet Sematary, our guests battle through trivia and ridiculous games to see who will survive as the Final Ghoul. Joining the madness are critic BJ Colangelo (This Ends at Prom), filmmaker Michael Varrati (Midnight Mass), and actor Sarah Seeds, ready to test their King knowledge and their nerves. It's a mix of spooky trivia, unhinged improv, and a whole lot of laughs. Don't get tickled to death. Hosted by comedian and horror fanatic Roz Hernandez (Ghosted!, Hulu's Living for the Dead), Tickled to Death is the comedy game show that mixes scary movie trivia with off-the-wall improv and ridiculous challenges. Each week, Roz and a rotating cast of actors, comedians, and horror experts dive into iconic horror movies and cult classics, competing to see who will survive as the Final Ghoul. Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy almost Halloween, Epic listeners! Welcome, welcome, welcome to TICKLED TO DEATH! The horror movie game show where the screams are fake, but the laughs are real. In this episode, Roz Hernandez takes us deep into the chilling world of Stephen King. From the haunted halls of The Shining to Carrie's bloody prom, IT's sewer-dwelling Pennywise, and the cursed ground of Pet Sematary, our guests battle through trivia and ridiculous games to see who will survive as the Final Ghoul. Joining the madness are critic BJ Colangelo (This Ends at Prom), filmmaker Michael Varrati (Midnight Mass), and actor Sarah Seeds, ready to test their King knowledge and their nerves. It's a mix of spooky trivia, unhinged improv, and a whole lot of laughs. Don't get tickled to death. Hosted by comedian and horror fanatic Roz Hernandez (Ghosted!, Hulu's Living for the Dead), Tickled to Death is the comedy game show that mixes scary movie trivia with off-the-wall improv and ridiculous challenges. Each week, Roz and a rotating cast of actors, comedians, and horror experts dive into iconic horror movies and cult classics, competing to see who will survive as the Final Ghoul. Listen wherever you get your podcasts: https://lnk.to/TickledToDeath Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy almost Halloween, Adrenaline listeners! Welcome, welcome, welcome to TICKLED TO DEATH! The horror movie game show where the screams are fake, but the laughs are real. In this episode, Roz Hernandez takes us deep into the chilling world of Stephen King. From the haunted halls of The Shining to Carrie's bloody prom, IT's sewer-dwelling Pennywise, and the cursed ground of Pet Sematary, our guests battle through trivia and ridiculous games to see who will survive as the Final Ghoul. Joining the madness are critic BJ Colangelo (This Ends at Prom), filmmaker Michael Varrati (Midnight Mass), and actor Sarah Seeds, ready to test their King knowledge and their nerves. It's a mix of spooky trivia, unhinged improv, and a whole lot of laughs. Don't get tickled to death. Hosted by comedian and horror fanatic Roz Hernandez (Ghosted!, Hulu's Living for the Dead), Tickled to Death is the comedy game show that mixes scary movie trivia with off-the-wall improv and ridiculous challenges. Each week, Roz and a rotating cast of actors, comedians, and horror experts dive into iconic horror movies and cult classics, competing to see who will survive as the Final Ghoul. Listen wherever you get your podcasts: https://lnk.to/TickledToDeath Learn more about your ad choices. Visit megaphone.fm/adchoices

It is Stephen King week, as we watched Pet Sematary (1989) and The Monkey (2025), both inspired by King's work. The prolific author has influenced many in the horror genre, with his works of suspense and sometimes gore. Let us know what your favorite King book or adaptation is, in the comments.Also Play:Cinema Chain Game--------------------------------------------Subscribe, rate, and review:Apple Podcasts: Our Film FathersSpotify: Our Film FathersYouTube: Our Film Fathers---------------------------------------------Follow Us:Instagram: @ourfilmfathersTwitter / X: @ourfilmfathersEmail: ourfilmfathers@gmail.com

Welcome, welcome, welcome to TICKLED TO DEATH! The horror movie game show where the screams are fake, but the laughs are real. Roz Hernandez takes us deep into the chilling world of Stephen King. From the haunted halls of The Shining to Carrie's bloody prom, IT's sewer-dwelling Pennywise, and the cursed ground of Pet Sematary, our guests battle through trivia and ridiculous games to see who will survive as the Final Ghoul. Joining the madness are critic BJ Colangelo (This Ends at Prom), filmmaker Michael Varrati (Midnight Mass), and actor Sarah Seeds, ready to test their King knowledge and their nerves. It's a mix of spooky trivia, unhinged improv, and a whole lot of laughs. Don't get tickled to death. Hosted by comedian and horror fanatic Roz Hernandez (Ghosted!, Hulu's Living for the Dead), Tickled to Death is the comedy game show that mixes scary movie trivia with off-the-wall improv and ridiculous challenges. Each week, Roz and a rotating cast of actors, comedians, and horror experts dive into iconic horror movies and cult classics, competing to see who will survive as the Final Ghoul. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hosts Josh and Jamie and special returning guest Mike Thorn kick off SPOOKTOBER by discussing two different eras of largely faithful Stephen King adaptations: Mary Lambert's playful, colorful and yet still effectively upsetting and morbid realization of PET SEMATARY (1989) and Lawrence Kasdan's attempt at keeping a straight (expensive Hollywood production) face while King bizarrely remixes many of his career-long obsessions in the painkiller induced fever dream of DREAMCATCHER (2003). Next week's episode is a patron-exclusive bonus episode on two Italian legends: Dario Argento's DEEP RED (1975) and Lucio Fulci's THE PSYCHIC (1977), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on Patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-12:22 PET SEMATARY // 12:22-1:20:30 DREAMCATCHER // 1:20:30-2:31:40 Outro // 2:31:40-2:35:38 All things Mike can be found at: https://mikethornwrites.com/ NEW SLEAZOIDS SHIRT + HAT: https://blackbeltcinema.ca/search?q=sleazoids&options%5Bprefix%5D=last WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller

You know him as young Ben Hanscom in the recent It films and now Jeremy Ray Taylor is all growed up. He's a married man and works with cars, but he still acts and has a new project out in theaters, an action comedy by the name of London Calling where he co-stars with Josh Duhamel as a nerdy kid forced to tag along with a lousy hitman by his mobster father in order to toughen him up some. We talk about that movie as well as his experiences working on It: Chapters 1 and 2, before we dive into his chosen topic: 2019's Pet Sematary remake. Why this one? Turns out, Jeremy is a bit of a horror scaredy cat and this is the movie that helped get him into the genre.

In this episode, the hosts kick off 'Stephen King September' with a discussion marked by rants about Hollywood. They engage in a draft where they select their favorite Stephen King adaptations, debating the merits of classics like 'Stand By Me' and 'Pet Sematary,' and more obscure picks like 'The Dark Half.' The episode also dives into some personal Hollywood gossip, interactions with friends, and the quirks of Stephen King's storytelling. 00:00 Introduction and Frustrations 01:09 Hot Goss Section 03:40 Stephen King September Plans 15:51 Stephen King Movie Draft 46:37 Kathy Bates and Stephen King Movies 48:22 The Firestarter Remake Debate 50:00 Sleepwalkers and Other Stephen King Picks 51:18 Dr. Sleep and The Shining 56:39 Salem's Lot and Other Stephen King Adaptations 01:01:11 The Running Man and Other Picks 01:07:24 Stephen King's Legacy and Adaptations 01:31:03 Stephen King's Personal Life and Writing 01:33:16 Final Thoughts and Thank Yous Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, the hosts kick off 'Stephen King September' with a discussion marked by rants about Hollywood. They engage in a draft where they select their favorite Stephen King adaptations, debating the merits of classics like 'Stand By Me' and 'Pet Sematary,' and more obscure picks like 'The Dark Half.' The episode also dives into some personal Hollywood gossip, interactions with friends, and the quirks of Stephen King's storytelling. 00:00 Introduction and Frustrations 01:09 Hot Goss Section 03:40 Stephen King September Plans 15:51 Stephen King Movie Draft 46:37 Kathy Bates and Stephen King Movies 48:22 The Firestarter Remake Debate 50:00 Sleepwalkers and Other Stephen King Picks 51:18 Dr. Sleep and The Shining 56:39 Salem's Lot and Other Stephen King Adaptations 01:01:11 The Running Man and Other Picks 01:07:24 Stephen King's Legacy and Adaptations 01:31:03 Stephen King's Personal Life and Writing 01:33:16 Final Thoughts and Thank Yous Learn more about your ad choices. Visit megaphone.fm/adchoices