Podcasts about The Vampire Lovers

Hello, Horror Fans! This week on the Horrorcraft Podcast, Cass is joined by her "Talkin Tapes" co-worker Brewster to talk about "Subspecies". It's a Full Moon pictures classic and defined a generation of Vampire Lovers. So grab your crosses, and buckle up because we are taking a trip to Romania. "Subspecies" is currently streaming on TUBIFacts about "Subspieces:https://www.imdb.com/title/tt0103002/trivia/?ref_=tt_dyk_trvFind Brewster on Facebook at:https://www.facebook.com/profile.php?id=100090521983541or his youtube channel:https://www.youtube.com/@Brewstergore82Catch Cass and Brewster on Talkin Tapes at:https://www.youtube.com/@TalkinTapesA HUGE THANK YOU TO OUR FRIEND TIKI FOR MAKING OUR NEW INTRO!!!!!!!Stay Spooky!!!

[10x1] Season X launches with us rewinding the clock on Hammer to tackle non-Dracula strands of the famous production company's archive. And we begin with The Vampire Lovers from Roy Ward Baker, with Ingrid Pitt playing a female vampire preying on affluent women in 19th-century Germany... And completing her unintended recent trilogy of Vampire Videos guest appearances, it's copywriter and podcaster Mary Muñoz once again... Hosts: Hugh McStay & Dan Owen Guest: Mary Muñoz Editor: Hugh McStay "You must die! Everybody must die!." -- Marcilla Subscribe and leave a rating or review to support the show. You can also leave a donation at Ko-fi and follow us on social media platforms here. A proud part of the Film Stories podcast network. Theme music by Nela Ruiz • Episode art by Dan Owen. Podcast art by Keshav. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's our second anniversary AND our 100th episode, a scheduling feat you wouldn't believe was on purpose even if we tried to convince you it was. We take the time to answer some questions sent in by listeners over the past year, touching on our favorite games and inspirations, some podcasting inside baseball, and of course, the Mets.Thanks for listening!!Timestamps(03:45) First gaming loves and breaking our parents' rules(11:55) The Girl Mode canon(18:50) Sports games and comics(26:20) Our critical inspirations(32:50) X-Men by Girl Mode Studios(36:45) Fixing the video game timeline(44:00) Finding our podcasting voice/underdiscussed games/the Mets as RPG protagonists(56:10) Thanks for listening!(59:25) What else have Willa and Robin been up to? (feat. Dragon Age: The Veilguard, The Vampire Lovers, Late Night with the Devil)TheWorstGarbage.onlineJoin The Worst Garbage Discord!Follow us and send us questions!Music Street Food by FASSoundsWe stand for a free Palestine, and against the occupation, oppression, and genocide perpetrated against its people.Please consider donating or otherwise standing up to support Palestinians in the wake of Israel's attacks.Gaza FundseSims for GazaMedical Aid for PalestiniansPalestine Red Crescent SocietyPalestine Children's Relief FundDemand a ceasefire from your representativesGame Assist's "Gamers for Palestine" resource packetCartoonist Cooperative's e-SIM fundraiser Hosted on Acast. See acast.com/privacy for more information.

Welcome, once again, to our annual house of horror! As usual, we discuss two horror movies featuring the stars of television's Doctor Who. This year, we kick off proceedings with Hammer Films' The Vampire Lovers (featuring Ingrid Pitt, Peter Cushing, and Kate O'Mara), before moving on to Amicus Production's first anthology film, Dr Terror's House of Horrors (featuring Peter Cushing, Roy Castle, and Michael Gough). This year, our good friend Diana Birney joins us for the ride!   Join us as we discuss classist lesbianism (dammit, Carmilla/Marcilla!), gratuitous nudity, the best place for biting to draw blood, the heartlessness of killing a dog in one of the movies, killer kudzu, why Biff had to die (and why his couch is a sign of that coming), the joy of Christopher Lee facing off against Michael Gough, and the British love of trains. Anthony also talks about one of his childhood nightmares,   If you would like to watch along with us, these films are available to purchase at the links below*: The Vampire Lovers (Amazon US: https://amzn.to/3UohZlM | Amazon UK: https://amzn.to/3BXoOEH) Dr. Terror's House of Horrors (Amazon US: https://amzn.to/4eZ7wFN | Amazon UK: https://amzn.to/48o5wnW)   Other media mentioned in this episode*: Dracula (1958 Hammer version) (Amazon US: https://amzn.to/3f4jq7F | Amazon UK: https://amzn.to/3syfBL6) Scars of Dracula (Amazon US: https://amzn.to/3TCBt3R | Amazon UK: https://amzn.to/3DzdsEY) Dr. Who and the Daleks (Amazon US: https://amzn.to/3DPnmjc | Amazon UK: https://amzn.to/2Z9n7Rc) Dead of Night (Amazon US: https://amzn.to/4f22gBk | Amazon UK: https://amzn.to/3YeATfS) The James Bond Collection (Amazon US: https://amzn.to/3FWn6kg | Amazon UK: https://amzn.to/3DQB4lR) The Lord of the Rings: Motion Picture Trilogy (Amazon US: https://amzn.to/3nfEjMU | Amazon UK: https://amzn.to/3jwU4hv) The Addams Family: The Complete Series (Amazon US: https://amzn.to/2Xpaalv | Amazon UK: https://amzn.to/3vqdlGf) Idle Hands (Amazon US: https://amzn.to/3AcQ4yq | Amazon UK: https://amzn.to/3YliDBJ) The Vault of Horror (Amazon US: https://amzn.to/3MlqPwq | Amazon UK: https://amzn.to/45Lkmln) The House that Dripped Blood (Amazon US: https://amzn.to/3G7zY7o | Amazon UK: https://amzn.to/2Z3T6lW) Dr Horrible's Sing Along Blog (Amazon US: https://amzn.to/4eaP77O | Amazon UK: https://amzn.to/4hhC7jf) Santa Clarita Diet (Netflix: https://www.netflix.com)   Finally, you can follow us and interact with us on our social media accounts - Facebook, Instagram, and X. You can also e-mail us at watchers4d@gmail.com. If you're enjoying this podcast, please subscribe to the show, and leave us a rating or review.   *Support Watchers in the Fourth Dimension! We are an Amazon affiliate and earn a small commission from purchases through Amazon links. This goes towards the running costs of the podcast.

Take a trip back in time to the heyday of the iconic British production company Hammer Film Productions. Between the mid-50s and the early 70s, Hammer left an indelible mark on horror, with hits that were sexy, lurid, gothic and campy. We take a look at the lasting impact and sometimes questionable politics of a small selection of Hammer Horror films. Includes discussions of David Cronenberg's novel Consumed, Blow Out (1981), The Hound of the Baskervilles (1959), Taste of Fear (1961), The Gorgon (1964), The Devil Rides Out (1968), The Vampire Lovers (1970), Hands of the Ripper (1971) and more.Follow us on Instagram and Facebook.Contact us at crystal@spookybitchgang.com and scott@spookybitchgang.com.

This month, as we get closer to spooky season, Lee has crafted a quick and dirty playlist revolving around vampire films from the 1970s. Greats like Dracula, Yorga, Barlow, Blacula, and several other lesser known blood suckers are featured. Lee talks less than usual on this one, so you the listener gets to the music faster! The Wolfman Lee Van Teeth is taking over next month for his annual Halloween show, so catch you all again in November. --Attack in the Woods from "The Vampire Lovers" (1970) --Harry Robinson --Wings of Death from "Scars of Dracula" (1970) --James Bernard --Blue Doll Baroque & Blue Quadrant from "The Nude Vampire" (1970) --Yvon Gerault --Le Frisson Des Vampires & The Memory of Eternal Darkness from "The Shiver of of the Vampires" (1971) -- --Psycho Contract Nr.1 from "Vampyros Lesbos" (1971) --Vampire Sound Inc. --Amour Sur Les Rails & Les Lèvres Rouges from "Daughters of Darkness" (1971) --François de Roubaix --Yorga's Storm from "Count Yorga, Vampire" (1971) --Bill Marx --The Night Stalker Theme/Kolchak at the Scene/Showdown from "The Night Stalker" (1972) --Robert Cobert --Blacula Strikes! from "Blacula" (1972) --Gene Page --Opening Theme & Torment from "Scream, Blacula Scream" (1973) --Bill Marx --You Got to Learn to Let it Go from "Ganja & Hess" (1973) --Sam Waymon --The Dream from "Lust for a Vampire" (1974) --Harry Robertson --Main Titles from "Captain Kronos – Vampire Hunter" (1974) --Laurie Johnson --More Blood from "Blood for Dracula" (1974) --Claudio Gizzi --The Calling from "Martin" (1977) --Donald Rubinstein --And Now Straker & Ralph is Floating from "Salem's Lot" (1979) --Harry Sukman --Fascination from "Fascination" (1979) --Philippe D'Aram --Mantra II (Choir) from "Nosferatu the Vampire" (1979) --Popol Vuh Opening and closing music: Theme from Slaughter from "Slaughter" by Billy Preston, and Too Risky a Day for a Regatta from "Tentacles" by Stelvio Cipriani.

It's Hammer month and we're starting with one just for the girls.... plus Lena's August tarot. Vampyre Tea available www.vampyreteacompany.com Tarot Reader: https://www.etsy.com/shop/ArtemisMoonTarot Theme Song: https://linktr.ee/chrismiskis

Madeline Smith is an actress best known for playing Bond girl Miss Caruso in Live and Let Die with Rodger Moore but also had larger roles in the Hammer horror films The Vampire Lovers, Taste the Blood of Dracula, Tam-Lin, Theatre of Blood and Frankenstein and the Monster from Hell. She stared in comedy films including Up Pompeii, Up the Front and Carry On Matron and the musical film Take Me High with Cliff Richard. Her television credits include Doctor at Large, The Two Ronnies, His and Hers with Tim Brooke-Taylor, Casanova '73 with Leslie Phillips, Steptoe and Son and The Howerd Confessions with Frankie Howerd. She was a member of the regular cast of the BBC2 series The End of the Pier Show and In The Looking Glass alongside satirists John Wells and John Fortune and composer Carl Davis. Madeline also starred in The Passionate Pilgrim which was the final screen appearance of Eric Morecambe.Madeline Smith is guest number 397 on My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Follow Madeline Smith on Twitter: @maddysmith007 .
Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens and Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

We return to Hammer Productions with Frankenstein and the Monster From Hell, filmed at Elstree Studios in 1972. It marked the final chapter in the Hammer Frankenstein saga and director Terence Fisher's last film. The Film Features: Peter Cushing in his sixth and final portrayal of Baron Victor Frankenstein, a part he originated in 1957's The Curse of Frankenstein. Despite being 59 and apparently in poor health when he made this film, Cushing still insisted on performing a stunt requiring him to leap from a tabletop onto the hulking creature's back, spinning wildly in circles to subdue the monster gone amok with a sedative. Shane Briant as Dr. Simon Helder, best known for his four Hammer appearances, including this film and Demons of the Mind, Straight on Till Morning, and Captain Kronos - Vampire Hunter (coming soon from General Witchfinders). He reprised the role of Simon Helder years later in the film Sherlock Holmes vs. Frankenstein. Madeline Smith as Sarah "Angel" Klauss. Also seen in Hammer's The Vampire Lovers, Taste the Blood of Dracula, Tam-Lin, and Theatre of Blood, she went on to become the first Bond girl of the Roger Moore era, Miss Caruso, in the post-opening titles sequence of Live and Let Die (infamous for the scene where Bond unzips her dress with a magnetic wristwatch). After taking a break from acting to raise her daughter, she is still working now at the age of 74, recently appearing in Mark Gatiss's The Amazing Mr. Blunden. And of course, the main event... the feature creature... we have Dave ("Dave Prowse IS Darth Vader") Prowse as the Creature / Herr Schneider. Actor, bodybuilder, and strongman Dave Prowse carved a unique path in film history. He's best known for portraying Darth Vader (voiced by American actor James Earl Jones) in the original Star Wars trilogy. However, his career stretched far beyond that iconic role. He was a familiar face in the UK as the Green Cross Man, promoting road safety for children. However, in a recurring snub to the beautiful West Country accent, the first two adverts in the series had Prowse's voice dubbed by another actor. Thankfully, he appeared using his own voice in the third advert. Dave won the British heavyweight weightlifting championship for three consecutive years (1962-1964). Leading him to compete for England in the 1962 Commonwealth Games. During his bodybuilding training, he befriended future action stars Arnold Schwarzenegger and Lou Ferrigno. His role as the manservant in Stanley Kubrick's 1971 film, "A Clockwork Orange," caught the eye of Star Wars director George Lucas, which led him to the defining role of Darth Vader. Throughout his film and TV career, Prowse was often typecast with parts such as the circus strongman in Vampire Circus, a Minotaur in (Doctor Who Klaxon)'The Time Monster,' and an android named Coppin in The Tomorrow People.  He supposedly came close to iconic roles, claiming to have nearly landed the part of Jaws in James Bond and being considered for Conan the Barbarian before those parts went to other actors. We are told that Prowse lobbied for the role of Superman in Richard Donner's 1978 film. In a television interview, he recounted his response to being told "we've found our Superman" with a simple "Thank you very much," only to then learn Christopher Reeve had been chosen and Prowse would be his trainer. Finally, it's worth noting that David Prowse made his second appearance as a Frankenstein laboratory creation in this film, his first being in The Horror of Frankenstein (uncredited cameo in 1967's Casino Royale aside). He holds the distinction of being the only actor to play a Hammer Frankenstein's monster more than once. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

Aaron and Darlene watch some classic sci-fi from the 1950s and '60s, good and bad. They talk about what makes these films memorable and fun, and if you should take a trip back in time and enjoy these films as well.Feedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekSubscribe to our feed: https://www.spreaker.com/show/3571037/episodes/feediTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: https://open.spotify.com/show/3Lit2bzebJXMTIv7j7fkqqGoogle Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzU3MTAzNy9lcGlzb2Rlcy9mZWVkWebsite: https://www.thisweekingeek.net

VAMPYRES - "She's My Girlfriend" It's the most wonderful time of the year!!! It's our whole teams Birthday Month!! Julia, Teri & Sierra are all born in March! In order to celebrate we bring you a whole month of our most beloved sub-sub-genre - LESBIAN VAMPIRES - kicking off with VAMPYRES (1974). We hope you enjoying biting into the flesh of this fresh episode!Support the show

BONUS: Audio essay, "The Rapture of Cruelty: Carmilla in Classic Cinema," written by Dr. Steve Haberman and read by actress Madeline Smith.

Film historians Dr. Steve Haberman and Constantine Nasr

Director Roy Ward Baker, actress Ingrid Pitt, and screenwriter Tudor Gates

Film historians Marcus Hearn and Jonathan Rigby

 This week we're looking at the groundbreaking Vampire Loves from 1970, starring the legendary Ingrid Pitt & more. Plus musical guest "Feed The Corpses To The Pigs" returns courtesy of Horror Pain Gore Death Productions. (HorrorPainGoreDeath.com)

 DownloadWelcome to episode 356 of LOTC!! This is our newest decade journey as we will be working our way through the 1970's decade. Each month we will be looking at a year from the 1970's and January we start with the year 1970. Each month following we will cover the next year till we finish with our top 10 horror movies from the whole decade in December. This was such a hit last year as we looked at the 80's we decided we would continue this format each year. We hope you will enjoy this show as the crew countdown their top 5 movies from 1970. Be sure to get your favorite snacks and beverages and turn that volume up to 11. We hope you will enjoy this journey through the Land Of The Creeps. HELP KEEP HORROR ALIVE!!THE LOTC CREW'S TOP 5 FROM 1970DAVE :5. AN EVENING WITH EDGAR ALLEN POE / SANTO VS THE RIDERS OF TERROR4. GIRLY3. THE VAMPIRE LOVERS2. MARK OF THE DEVIL1. THE BIRD WITH THE CRYSTAL PLUMAGEBILL :5. TASTE THE BLOOD OF DRACULA4. MARK OF THE DEVIL3. THE DUNWICH HORROR2. I DRINK YOUR BLOOD1. THE BIRD WITH THE CRYSTAL PLUMAGEPEARL :5.  AN EVENING WITH EDGAR ALLEN POE / CROWHAVEN FARM4. TROG3. THE VAMPIRE DOLL2. THE DUNWICH HORROR1. HATCHET FOR THE HONEYMOONGREG :5. THE VAMPIRE LOVERS4. THE VAMPIRE DOLL3. HATCHET FOR THE HONEYMOON2. THE DUNWICH HORROR1. THE BIRD WITH THE CRYSTAL PLUMAGELOTC Links :Land Of The Creeps InstagramGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageJay Of  The Dead's New Horror Movie PodcastYoutubeInstagramEmailLetterboxdHaddonfield HatchetTwitterDr. ShockDVD Infatuation TwitterDVD Infatuation WebsiteFacebookHorror Movie PodcastJay Of The Dead's New Horror Movies PodcastYouTube ChannelLetterboxdDVD Infatuation PodcastThe Illustrated Fan PodcastBill Van Veghel LinkFacebookLetterboxdPhantom Galaxy PodcastTwisted Temptress LinkLetterboxdLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebookLespecial FacebookLespecial Website

“Mircalla?” “Marcilla?” “But that girl is a guest in my house. Her name is Carmilla. And my daughter is dying!” Looks like “Anagrams ‘R' Us” is at it again. Join […]

The Vampire Lovers (1970)AIP Production #7005 Directed by Roy Ward Baker Screenplay by Tudor Gates, based on ‘Carmilla' by Sheridan Le FanuAdaptation by Harry Fine, Tudor Gates and Michael StyleProduced by Michael Style and Harry Fine for Fantale films/Hammer Films, distributed by AIP Jeff and Cheryl are titillated by the…well, you know, in the Vampire Lovers.Starring Ingrid Pitt as Marcilla/Carmilla/Mircalla KarnsteinPippa Steele as Laura SpielsdorfMadeline Smith as Emma MortonPeter Cushing as General SpielsdorfGeorge Cole as Roger MortonDawn Addams as the CountessKate O'Mara as the governess, Mademoiselle PerrodotDouglas Wilmer as Baron Joachim von HartogJon Finch as Carl EbhardtFerdy Mayne as the doctorKirsten Lindholm as the First Vampire (the blonde woman)John Forbes-Robertson as the Man in BlackShelagh Wilcocks as the housekeeperHarvey Hall as Renton, the butlerJanet Key as Gretchin, the maidCharles Farrell as the landlord Co-produced by Hammer Pictures and American International Pictures. Find this movie streaming on Tubi, Freevee or ScreenPix, or rent it on Vudu.Follow the American International Podcast on Letterboxd, Twitter and Instagram @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast.View the Vampire Lovers trailer here.Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

Some things are too good to keep tight so we pulled a Scorsese. Come sink your teeth into this supersized second installment of our Lesbian Vampire series. Titties get top billing and Torie meets her redhead arch nemesis in THE VAMPIRE LOVERS (1970). Male-female gender politics get fascinating treatment in the French gem FASCINATION (1979). The (un)holy trinity of hotness - David Bowie, Catherine Deneuve, Susan Sarandon - deliver a religious viewing experience in THE HUNGER (1983).

On termine de célébrer Halloween en bonne compagnie : avec la vampire originelle Carmilla et la scénariste-réalisatrice Clémence Marsh pour en parler ! Première vampire féminine et première vampire lesbienne, la mystérieuse Carmilla explore la monstruosité à l'ère victorienne (et de nos jours) à travers les complexités de son identité et son histoire d'amour avec Laura. Crise d'ado, nature et religion, libre arbitre... Carmilla et son histoire continue d'inspirer et de questionner. On revient aussi sur l'histoire de la vampire lesbienne, sa présence en littérature et au cinéma du 19ème siècle à aujourd'hui, et tout ce qu'elle implique du meilleur jusqu'au pire. Encore merci à Clémence de s'être joint à nous ! Vous pouvez regarder son film Armance ici : https://www.comet-courts.com/fr/drame/armance Merci à Jayhan (@JayhanOfficial) pour les super intro et outro ! Tu peux nous suivre sur tous les réseaux : @codexespod et aussi nous laisser une note et un commentaire sympa si tu veux. Force et amour. Ressources : - « A Wilde Desire Took Me : The Homoerotic History of Dracula » de Talia Schaffer. 1994 - Chapitre « Woman as Vampire: The Hunger » dans le livre « The monstruous-feminine : film, feminism, psychoanalysis » de Barbara Creed. 1993 - Chapitre « Daughters of Darkness : The Lesbian Vampire on Film » de Bonnie Zimmerman dans le livre « The Dread of Difference ». 1996 - « Repossessing the Body : Transgressive Desire in 'Carmilla' and 'Dracula' » d'Elizabeth Signorotti. 1996 - « The Haunt of Injustice : Exploring Homophobia in Vampire Literature » de Clare Nee. 2020 - Thèse « Queer Fear : Vampirism and the Transmittable Evil of Homoeroticism » de Carla-Joan Carmona pour l'université Emory. 2020 - Armance, le film de Clémence Marsh https://www.comet-courts.com/fr/drame/armance - Carmilla and Emma d'Harry Robinson, morceau de la BO de The Vampire Lovers joué à la fin de l'épisode.

Un épisode sous le signe du WAMPYR cette semaine alors que les voyeurs se penchent sur Blade de Stephen Norrington, The Vampire Lovers de Roy Ward Baker et Vampire humaniste cherche suicidaire consentant d'Ariane Louis-Seize!

Welcome to It's A Wonderful Podcast!! Vampires are taking over the main show all October long too; and this week, Morgan and Jeannine talk the undead in their most seductive form in Hammer's THE VAMPIRE LOVERS (1970) starring Ingrid Pitt! An adaptation of Carmilla, perhaps THE foundation story for modern vampire lore, this movie prays on the fear of sex and empowered women, and can be looked at as equal parts controversial, progressive, and gloriously garish! Our Youtube Channel for Monday Madness on video, Morgan Hasn't Seen TV, Retro Trailer Reactions & More ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

Sponsored by: ANYCUBIC KOBRA NEO 3D Printer $150 Glarry Guitars Inexpensive Guitars  Golden Goat CBD CBD & Delta 8 Edibles    FInd us on... Podbean Amazon Apple Stitcher Facebook Our Patreon

Sponsored by: ANYCUBIC KOBRA NEO 3D Printer $150 Glarry Guitars Inexpensive Guitars  Golden Goat CBD CBD & Delta 8 Edibles    FInd us on... Podbean Amazon Apple Stitcher Facebook Our Patreon

This week Karen and Greg discuss the 1971 Hammer horror film "Lust for a Vampire," the sequel to "The Vampire Lovers," which is celebrating its 52nd anniversary on September 2nd. They'll talk about the film's plot, characters, and special effects, and they'll also share their thoughts on the film's legacy. Join them as they enjoy a Strangelove Negroni cocktail and take a deep dive into this classic vampire film.

Our main feature this week is Summoning the Spirit. We're also reviewing Horror in the Forest, The Vampire Lovers, Mar Nego, The Frankenstein Syndrome, The Bees, My Amityville Horror, and How the Skin Shed by Chad Lutzke.

Mark and Sam continue their chronologically-ordered, occasional trips into the world of Hammer Horror, with Hammer's 1st Entry in their ‘Karnstein' trilogy. Links to all our Hammer episodes: The Good The Bad and The Hammer Feedback to: info@thegoodthebadandtheodd.com Or chat with Mark who runs the facebook account athttp://www.facebook.com/the-good-the-bad-and-the-odd or read Mark's reviews on Letterboxd Main Page for iTunes, […]

LOVE WILL HAVE ITS SACRIFICES. NO SACRIFICE WITHOUT BLOOD. BEWARE THE NIGHT AND YOUR OWN GAY PANIC, BUT, ALSO, HUBBA HUBBA!   Wash your neck, prep your veins, and get ready to donate your plasma to the blood-sucking daughters of Sappho. It's time to explore the sexy, violent world of lesbian, pan, and bisexual vampires on film. Join Gabe and returning guest Luana Saitta of the Defend Your Trash Movie and Monster Island Commentaries podcasts as they explore a specific period in Sapphic vampire movie history (1970 to 1983) and four representations of the surprisingly prolific genre: Roy Ward Baker's The Vampire Lovers (1970), Harry Kümel's Daughters of Darkness (French: La Rouge aux Lèvres, 1971), Jean Rollin's The Living Dead Girl (French: La Morte Vivante, 1982), and Tony Scott's The Hunger (1983).   00:00 – Intro 09:26 – The Vampire Lovers 32:43 – Daughters of Darkness 53:12 – The Living Dead Girl 1:21:57 – The Hunger 1:40:44 – Outro   If you are in a position to make the world a better place, please consider the following fundraisers: Dallas Hope Charities (LGBTQ+ homeless youth charity): https://secure.givelively.org/donate/dallas-hope-charities Equality Florida: https://www.eqfl.org/ Atlanta Solidarity Fund: https://atlsolidarity.org/ Donations 4 Abortions (state by state abortion funds): https://donations4abortion.com/funds-by-state  

The Vampire Lovers - "Everybody Must Die."We conclude this round of Lesbian Vampire films with this sumptuous morsel THE VAMPIRE LOVERS (1970). This take on the classic Carmilla story, so beautifully told in films like Blood & Roses, gets taken to the next level as we follow Carmilla, Mircalla, & Marcilla as she devours the affections of her victims. With a star turn by the gorgeous Ingrid Pitt and featuring Peter Cushing as the General!We hope you enjoy this fresh episode!!! Support the show

Natasha Petrovana, nació en Polonia en 1937, después de padecer la separación de su familia y escapar de un campo de concentración Nazi, se convierte en modelo y actriz, dejando una huella importante en la historia de cine de horror al protagonizar cintas como Vampire Lovers y Countess Drácula, cintas producidas por la icónica casa inglesa, Hammer Films. Su nombre artístico y por el que será recordado hasta el fin de los tiempos es Ingrid Pitt. Cubran bien sus cuellos, muerdan un ajo y acompáñenos a recordarla en éstas “Sesiones del Macabro”.

The martial arts horror film The Legend of the 7 Golden Vampires was released in 1974.  It stars. Peter Cushing as Professor Van Helsing  Christopher Lee… oh hang on… John Forbes-Robertson as Count Dracula (Not the son of Johnston Forbes-Robertson, but did play Mr Badger in 2 episodes of Jonny Briggs)  Robin Stewart as Leyland Van Helsing  (29 episodes of Sons and Daughters)  Julie Ege (pronounced eg-gay", not "edge") as Vanessa Buren (1962 Miss Norway and competed in Miss Universe pageant Awarded the title "The New Sex Symbol of the 70s" by the head of Hammer Film Studios, Sir James  Carreras. Hammer featured her as a not-so-glamorous prehistoric woman in its ‘Creatures the World Forgot' (1971). The film was a flop, but Julie went on a round-the-world publicity tour and became a leading pin-up model.  She lived for six years in the 1970s with Tony Bramwell, former assistant to The Beatles and later a successful record and film music promoter. Their next door neighbor was Brian May of the rock group Queen. To date, she is the only Norwegian James Bond girl (in On Her Majesty's Secret Service (1969)) Shen Chan as Kah, David Chiang as Hsi Ching and Szu Shih as Mei Kwei all stars of innumerable asian movies.  The film began development due to Don Houghton's father-in-law knowing Hong Kong film producer Run Run Shaw. Houghton flew to Hong Kong to discuss a project with Run Run and his brother Runme who agreed to finance 50% of the film. It was shot between October 22 and December 11, 1973, at Shaw Brothers Studios in Hong Kong.  The Shaw Brothers were not happy with how Roy Ward Baker (Dr Jekyll & Sister Hyde, Scars of Dracula, The Vampire Lovers, and A Night to Remember) was directing the film and had martial arts sequences choreographed by one of their studios directors Cheh Chang (uncredited), these additional scenes that led to the Eastern version of the film to run at 110 minutes (20 mins longer that the UK version).   Renee Glynee who was the continuity supervisor for the film stated that working with the Shaw Brothers Studios was "a big experience" due to language differences and that director Roy Ward Baker was constantly screaming at the Chinese actors to stop spitting on set. In an interview in the late 1990'sBaker described the shooting of this film as "a nightmare". He discovered that Hong Kong films were made silent and looped in post-production due to the constant noise of traffic and aircraft. He lamented that Peter Cushing was practically catatonic on set, having recently been widowed but still wanting to do the film to give him something to do. On its release in the United States, the film was truncated further by 20 minutes, re-titled The 7 Brothers Meet Dracula and loops several remaining scenes to fill the running time.  In all territories, the film was a financial failure.  This is the only Hammer "Dracula" film not to feature Count Dracula's name in the title. Forbes-Robertson, long time stand in for Big Chris Lee (was considered to fill the cape in Scars of Dracula before Lee was persuaded to return) was furious when he discovered that he had been dubbed by David de Keyser.  Lee tried to talk Peter Cushing into not doing the project, as he considered it below an actor of Cushing's calibre. Lee told Cushing that Ralph Bates was willing to step in and do the film if Cushing wanted to back out, but Cushing replied that he thought the change of scenery might help his ongoing grief induced depression.  Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

We're back with the sequel to Vampire Lovers and one of Chris's favourite Hammer films, Lust For A Vampire. We talk sex pests, sleazy teachers and Hammer doing a Frankenstein with the casting of one of the actors. What do you think of this film? Contact us at: Facebook: www.facebook.com/averybritishhorror Twitter: @verybrithorror Email: averybritishhorror@gmail.com   We also reference our friends at Retrospection and their excellent interview with Judy Jarvis.  https://www.podbean.com/ew/pb-cpupw-de86bf    

It's double the terror, triple the fun as "Son of Hammerland" looks at 1971's Twins of Evil!This second sequel to The Vampire Lovers finds the vampiric Curse of Karnstein awakening impure thoughts and bloodlust in a decadent count and a young woman living in the shadow of witch-burning Puritanism. Frieda (Madeleine Collinson) is seduced by the count, but her twin sister, Maria (Mary Collinson) holds fast to her belief in God. Meanwhile, their uncle Gustav (Peter Cushing) wages a war on sin--which, unfortunately, blinds him to the truly sinister forces governing the land.Ian and AC take a bite out of this lavish and thrilling rebuke of hypocrisy, which sees Cushing deliver another career-best performance and adds several layers to the vampire mythos!All proceeds from this year's Scare-a-Thon will benefit the Women's Reproductive Rights Assistance Project (WRRAP), a non-partisan, nonprofit organization assisting women who are financially unable to pay for safe, legal abortions or emergency contraceptives. Please donate via the link below, if you are so moved.Show Links:Watch the Twins of Evil (1971) trailer.Read Aaron's written review of Twins of Evil (1971).Support WRRAP via our Scare-a-Thon donation link on Plumfund.Watch Ian and AC talk about The Vampire Lovers (1970).Catch up on previous "Son of Hammerland" episodes!And watch the series that started it all: "Hammerland"!Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

The terror trio explores the wild word of HAMMER FILM PRODUCTIONS, and the horror films that came out this famous production company. Not only all the films discussed in this episode were produced by Hammer, but the special guest on this episode is the lead singer of the seminal punk band ANTiSEEN, Jeff Clayton! Movies reviewed on this episode: The Evil of Frankenstein (1964), The Nanny (1965), The Vampire Lovers (1970), Demons of the Mind (1972), The Curse of the Mummy's Tomb (1964), The Resident (2011), The Curse of The Werewolf (1961), Die Die My Darling (1965), One Million BC (1940), Nightmare (1964), Dracula Has Risen From the Grave (1968), Wake Wood (2009), The Legend of the 7 Golden Vampires (1974), The Satanic Rites of Dracula (1973), Captain Kronos Vampire Hunter (1974), and Dracula AD (1972). Got a movie recommendation? Email us at MOUTHSOFMADNESSPOD@gmail.com Support Pondo and RPW and get exclusive gear at DEATHMATCH WORLDWIDE Follow the podcast on Facebook Follow the podcast on YouTube Follow Madman Pondo at his website Check out Ruthless Pro Wrestling Check out Kelli's work Producer Peapod's podcast

Celebrating its release 52 years ago on October 4, 1970, Greg has chosen the Hammer film “The Vampire Lovers” for our viewing pleasure this week. Join Greg and Karen as they discuss the film while they enjoy a Carmilla "Useless Vampire" Cocktail.

125 - Hammerama Episode 7 -The Vampire Lovers Welcome to the seventh episode of Hammerama! We are joined by two special guests - Whitney Modesta Collazo, and Daphne Monary-Ernsdorff! Both Daphne and Whitney are co-hosts of the Decades of Horror: The Classic Era podcast. We hope that you enjoy their insightful analysis of the film! Hammerama is a subsidiary series of the DieCast Movie Podcast. Please join Alistair Hughes and Steven Turek as they analyze the wonderful movie of Hammer Films, from opposite ends of the world! Please send feedback to DieCastMoviePodcast@gmail.com. Al is the author of Infogothic: An Unauthorized Graphic Guide to Hammer Horror. A special thanks to Reber Clark for allowing us to use his wonderful music! You can purchase Mr. Clark's music at reberclark.bandcamp.com.

The importance of the movie poster is almost lost in this day and age. With the internet flooding social media with trailers, photos, and all sorts of advertisements, the poster art might get lost in the shuffle. But decades ago, it was the first thing used to promote an upcoming feature film. It had to reach out and grab hold of your eyes, telling your brain you need to see this film. Shortly after that, the poster collecting started. Why do we collect posters? What kinds are there? What is it about it that still holds a spell over movie goers? Join us and our special guest, Alan Tromp, as we try to answer all of those questions and more, as we discuss our own obsessions with movie posters, from one-sheets to British Quads to the French Grande size! Movie titles mentioned in this episode: Abbott & Costello Meet Dr. Jekyll & Mr. Hyde (1953), Alabama's Ghost (1973), An American Werewolf in London (1981), Astro Zombies (1968), Asylum (1972), The Beyond (1981), Baby Driver (2017), Blood Beast from Outer Space (1965), Blood for Dracula (1974), Blood Freak (1972), Blood of Ghastly Horrors (1967), Bloody Pit of Horror (1965), The Brain Eaters (1958), Brides of Blood (1968), Captain Kronos (1974), Cemetery Girls (1973), The Changeling (1980), Children Shouldn't Play with Dead Things (1972), City of the Living Dead (1980), Clash of the Titans (1981), Corpse Eaters (1974), Count Dracula's Great Love (1973), Creature from the Black Lagoon (1954), Creepshow (1982), Critters (1986), Crypt of Dark Secrets (1976), Cujo (1983), Curse of the Doll People (1961), Curse of the Voodoo (1965), The Deadly Mantis (1957), Deathdream (1974), Demon Lover (1976), Doomwatch (1972), Doctor Butcher M.D. (1980), Dracula Prince of Darkness (1966), Dracula vs Frankenstein (1971), Eaten Alive (1976), Evil Dead (1981), Evilspeak (1981), The Faculty (1998), Faster, Pussycat! Kill! Kill! (1965), Frankenstein (1931), Frankenstein 1970 (1958), Frankenstein's Bloody Terror (1967), Frankenstein Meets the Space Monster (1965), The Garden of the Dead (1972), The Giant Claw (1957), Goke: The Body Snatcher from Hell (1968), Grave of the Vampire (1972), The Green Slime (1968), Hellraiser (1987), Halloween (1978), Halloween H20 (1998), House by the Cemetery (1981), House of Psychotic Women (1974), Horror of Dracula (1958), Horror of Party Beach (1964), Horror of the Blood Monsters (1970), Horror of the Zombies (1974), How to Make a Monster (1958), I Know What You Did Last Summer (1997), Inquisition (1977), Invaders from Mars (1953), Invasion of Astro-Monster (1965), Invasion of the Blood Farmers (1972), Invasion of the Saucer Men (1957), Kingdom of the Spiders (1977), Lady Frankenstein (1971), Last House on the Left (1974), Legend of the Bayou (1976), Legend of Blood Mountain (1965), The Legendary Curse of Lemora (1973), Little Shop of Horror (1960), Living Dead at the Manchester Morgue (1974), The Living Head (1963), Make Them Die Slowly (1981), Matango (1963), The Mighty Gorgo (1969), Motel Hell (1980), Mystics in Bali (1981), Night of the Howling Beast (1975), Night of the Living Dead (1968), Nightmare Castle (1965), Old Dark House (1931), Orgy of the Living Dead triple feature, Piranha (1978), Pit Stop (1969), Plague of the Zombies (1966), Poltergeist (1982), Pumpkinhead (1988), Rasputin the Mad Monk (1966), Rats are Coming! The Werewolves are Here! (1972), The Reptile (1966), Return of the Living Dead (1984), Robot vs the Aztec Mummy (1958), Saw (2004), Scream (1996), The She-Beast (1966), Shock Waves (1977), Slave of the Cannibal God (1978), Terror Creatures from the Grave (1965), Terror from the Year 5000 (1958), The Time Travelers (1964), Three on a Meathook (1972), Tombs of the Blind Dead (1972), Twins of Evil (1971), Up from the Depths (1979), Vampire Lovers (1970), Vampire's Coffin (1958), Vampyres (1974), Velvet Vampire (1971), Voodoo Heartbeat (1973), War of the Gargantuas (1966), Werewolf vs the Vampire Woman (1971), Wild Beasts (1984), Wizard of Mars (1965), The Wolf Man (2010), Zombie (1979) Poster Books Mentioned in this episode: Art of the Horror Movies, Art of B-Movie Poster, Children of the Night, Creepy Images, Graven Images, Monsters in the Movies, Movie Collector's World, Muchas Gracias Senior Lobo, Shock Cinema, Sleeze, Too Much Horror Business, Voluptuous Terrors. Yesterday's Tomorrow

Compañeros Radio Network proudly presents episode 102 of Movies About Girls. This episode was originally released on March 12, 2011. "Tonight - the Vampire Lovers! Plus: more Cassingle Guy bullshit. And lots of concentrated laffs!" Please support the Compañeros Radio Network Patreon, if you can! Check out the other Compañeros Radio Network shows: Movie Melt Songs on Trial Get Soft with Dr Snuggles Heavy Leather Horror Show Ballbusters In Search of the Perfect Podcast

We're BACK! Back to 1970s Hammer with this episode as we discuss the artistic merits of their first foray into the lesbian vampire genre. Is this a good adaptation of Carmilla? Are we Vampire Lovers? (See what I did there?) Find out by listening!   Don't agree with us. Tell us via this channels: Facebook: Search for A Very British Horror Twitter: @verybrithorror Email: averybritishhorror@gmail.com

Hello! And welcome to the 53rd episode of Hammer House of Podcast, where Paul Cornell (Doctor Who, Elementary) and L.M. Myles (Verity!) discuss, in order of UK release, every horror movie made by Hammer Film Productions between 1955 and 1976, from The Quatermass Xperiment to To the Devil… A Daughter. This month, we review 1970's The Vampire Lovers.

This week we're talking boobs, blood and bisexuals! Jen Handorf joins Mike to discuss two Hammer lesbian vampire films: THE VAMPIRE LOVERS (1970) & TWINS OF EVIL (1971).  Music by Jack Whitney.  Visit our website www.evolutionofhorror.com  Buy tickets for our next upcoming EVOLUTION OF HORROR PRESENTS screening at the Genesis Cinema! www.evolutionofhorror.com/genesis You can now buy Evolution of Horror merch on our TeePublic store! www.evolutionofhorror.com/merchandise Subscribe and donate on PATREON for bonus monthly content and extra treats... www.patreon.com/evolutionofhorror  Email us!  Follow us on TWITTER Follow us on INSTAGRAM Like us on FACEBOOK Join the DISCUSSION GROUP Follow us on LETTERBOXD Mike Muncer is a producer, podcaster and film journalist and can be found on TWITTER

Twins of Evil (also known as Twins of Dracula) is a 1971 British horror film directed by John Hough and starring Peter Cushing's in his first film after the death of his poor wife, Helen, along with Damien Thomas and the real-life identical twins and former Playboy Playmates, Mary and Madeleine Collinson. It also sees the return of one of General Witchfinders favourite cinematographers, Mr Dick Bush.*Twins of Evil was the third film in Hammer's "Karnstein trilogy," following The Vampire Lovers and Lust for a Vampire  in a series loosely based on Sheridan Le Fanu's "Carmilla." These pictures were produced incredibly quickly, -and they were lurid even by Hammer standards, bloody and relatively steamy, with an emphasis on heaving bosoms and vampire-enhanced girl-on-girl sexualityMuch of the interest of the film revolves around the contrasting evil and good natures of two beautiful sisters, Frieda and Maria. Unlike the previous two entries in the series, this film contains only a brief lesbian element.The film was released in the U.S. as a double feature with Hands of the Ripper (soon to be featured here in your favour British horror podcast)Ingrid ‘Wicker man' Pitt was offered the part of Countess Mircalla Karnstein, but refused.Harvey Hall and Kirsten Lindholm appear in all three films of the trilogy, although in different roles in each one. Peter Cushing also played one of the leads in the first, The Vampire Lovers.Special effects veteran Bert Luxford first employed Spam, then a marrow and finally resorted to using a large German sausage to simulate Frieda's decapitation for the climax of the film.Australian indie rock band Turnstyle used a sample of Karnstein summoning Satan in their song Winter Rodeo, in 1999.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders $£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£  *FYI Dick Bush also shot Tommy, The Phildelphia Experiment, The Lair of the White Worm, The Blood on Satans Claw, Phase IV, 2 pink panther movies and loads more - ‘Dick Bush Shoots' could be a legitimate spin off podcast. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.

This was nearly an episode about Lesbian Vampire Killers. Instead, we we have chosen the 1970s vampiric gothic horror masterpiece, The Vampire Lovers starring Ingrid Pitt and Peter Cushing. Is it actually scary? Probably not, but vampires are inherently queer and this one is actually a lesbian! This is a queer movie watch party for your ears, hosted by Rowan Ellis and Jazza John. Join us as we take a look at the queer film canon, one genre at a time. From rom-coms to slashers, contemporary arthouse cinema to comedy classics - Queer Movie Podcast is a celebration of all things queer on the silver screen! New episodes every other Thursday. Find Us on the Internet Super Highway - Twitter: https://twitter.com/QueerMoviePod  - Patreon: https://www.patreon.com/thequeermoviepodcast - Website: http://www.queermoviepodcast.co.uk/  - Multitude: @MultitudeShows Production - Hosts: Rowan Ellis and Jazza John - Editor: Julia Schifini - Executive Producer: Multitude - Artwork: Jessica E. Boyd Transcript [Intro Music] JAZZA:  Welcome to the Queer Movie Podcast, celebrating the best. ROWAN:  And worst. JAZZA:  In LGBTQ+ cinema. One glorious genre at a time. ROWAN:  I'm Rowan Ellis. JAZZA:  And I'm Jazza John. Each episode we discuss a movie from a different genre of cinema. ROWAN:  This episode, genre is-- ROWAN & JAZZA:  Queer Horror..  JAZZA:  [vampire laugh] ROWAN:  Thanks, Jazza. JAZZA:  But, before we dive into this week's episode, Rowan, what's the gayest thing you've done since we last spoke? ROWAN:  Well, this is actually something that I've wanted to do for a long time. But every time I've tried to do it, there's been a It's not been available for me. And that is volunteering for a Queer Organization specifically for a Queer Youth Group or kind of youth mentoring organization, something like that. And there's, sadly not a lot of them in London, and a lot of them kind of were at capacity or weren't doing their services because of COVID. But at the beginning of the year, I applied and I've just found out today that I've been accepted, so I'm very excited. I've got to do some training, obviously, very soon, but yeah, I'm gonna get to do some mentoring. JAZZA:  It's gonna be so cool. And you're officially becoming a Queer Elder-- ROWAN:  Oh my God. JAZZA:  --soon anyway, aren't you? ROWAN:  Yeah, I am. JAZZA:  Yeah. ROWAN:  In a week's time, I will indeed hit 30 and therefore-- JAZZA:  Good then. ROWAN:  --become an OAP. JAZZA:  Uh-huh. As a as a cis gay man, I stopped aging at 24. So let me know-- ROWAN:  You never will reach that, yeah, I'll let you know what it's like. JAZZA:  Awesome. Thank you so much. ROWAN:  And Jazza, what's the gayest thing that you've done since we last spoke? JAZZA:  So recently, the UK started lifting lockdown restrictions, right? And we were able to have familiar relations again. I had relations with an individual and was able for the first time to actually complete a full session of prep. Do you know how prep works? ROWAN:  I was wondering where you were going with it. I was like, complete a full session of what? JAZZA:  Yeah, it's not session-- ROWAN:  --[2:00] I was like a full, a full session of-- JAZZA:  A full of [2:03] like a-- ROWAN:  --[2:03] relations, you able to what? JAZZA:  I full cycle, a full cycle of [2:06]. ROWAN:  Pretty you. JAZZA:  So I do have that you're able to get it on the NHS now. And it is for anybody who doesn't know a medication that prevents you from getting HIV. And how it works is you're meant to take it two hours before you have relations. And then afterwards you've had relations in order to properly protect yourself. In the past, I have only ever prepared to have the relations and never had to complete the whole cycle of prep. ROWAN:  Oh my God, that's the saddest thing I've ever heard, that's hilarious. JAZZA:  Is it. ROWAN:  You know what, that was excellent. That was a very good-- JAZZA:  Thank you-- ROWAN:  --gayest thing I've done since [2:42]-- JAZZA:  Yeah yeah yeah. I feel like an actual adult now. ROWAN:  Look at you. JAZZA:  [2:45] yeah, look at me. Man in my 30s, finally able to look after myself. ROWAN:  Full disclosure to everyone listening, Jazza as he said that grinning like a little schoolboy does have a tiny gnome figurine right behi--as he said, I felt like such an adult. There is a tiny gnome figurine right behind him. JAZZA:  I'm an adult who collects plushies and plays D&D like these are-- ROWAN:  You know what, fair enough. JAZZA:  Yeah, these are not things that are mutually exclusive. ROWAN:  Yeah, you know what, you're right. [3:09] [Transition Music] JAZZA:  The film we have chosen for today is the 1970s vampiric Gothic horror masterpiece. The Vampire Lovers, starring Ingrid Pitt, and the absolute legendary Peter Cushing. So without further ado, let's start nibbling away at Roy Ward Baker's, The Vampire Lovers. ROWAN & JAZZA:  [trumpet sound] ROWAN:  Are you anticipating some kind of like dramatic horror music [3:47]-- JAZZA:  Yeah, in my head like it's the the title card. ROWAN:  Excellent. JAZZA:  I actually, vampire [3:53]. ROWAN:  I know we just said that we were going to go straight into talking about the history of the genre and the-- JAZZA:  Uh-hmm. ROWAN:  --context of it. But I just also need everyone to know not to make this the call out Jazza Podcast. But-- JAZZA:  It it already is. ROWAN:  --I came up with a whole list of, honestly, iconic wonderful, queer horror movies have come out. Especially some in the last few years. Because we have had an absolute amazing blossoming of queer horror within the last few years. I came up with an amazing shortlist. Jazza, came up with a movie that I immediately vetoed. That is the movie lesbian Vampire Killers. JAZZA:  Uh-hmm. Which has James-- ROWAN:  Which has-- JAZZA:  Corden in it. ROWAN:  --James Corden in it, is therefore I hate crime. And I immediately vetoed it. And then the list Jazza went through the list and it. Basically the secret came out that Jazza is a massive baby. And essentially would just was not able to watch an actual horror movie. And so-- JAZZA:  Uh-hmm. ROWAN:  --we have watched this movie, which is, horror in the most technical sense of the word. JAZZA:  No, but it's like, it's it's a lot of foundations of horror, like, like it's a classic Gothic, lots of dark cobwebby castles. Lots of screen Queens, a couple of screen Kings. ROWAN:  Yes, every element of horror except the bit where it's scary, which I think suited Jazza just fine. JAZZA:  Yeah. ROWAN:  I think that was-- JAZZA:  100% ROWAN:  --that was, I think he's very pleased with himself that he managed to get this. Because the other, we watched some of the trailers together. And there were a few trailers that Jazz stopped halfway through and went, "Oh, yes, I think we get the idea." And then, and it was very obvious why. JAZZA:  Apparently, I'm quite good to watch horror movies with. Just know that if you ever watch a a legitimate horror movie with me, that is actually scary. I'm not having a nice time. And you know what, in this podcast that I am lucky enough to have with you, Rowan. I want to have a nice time, you know? And I don't think that's too much to ask. ROWAN:  Okay, well, when we connect, spend actual time together, maybe I'll just I'll be like, oh, yeah, let's watch this nice little, like animated children's movie and then just slip in a horror movie instead. You could just hold onto my hand. JAZZA:  Maybe next year's Halloween, we can have a special episode again. And you couldn't actually scare the hell out of me, it will be good. ROWAN:  Yeah, if everyone could just audio clip Jazza, just then essentially promising on his on his firstborn son that he will watch a horror movie with me, that'd be great. So I know that Jazza, you've done normally when we watch these movies, we do a little bit of context. And then we talk to each other and go, oh, wait, shit, did we do the same context maybe hopefully, we looked up different bits of trivia otherwise is going to be very boring for both of us. And luckily, we had kind of done a mix. So I know that you've looked up Hammer Horror, which is the kind of studio and very specific niche genre that this particular movie is in. So would you like to tell me about it? I'm ready to learn.  JAZZA:  Yeah yeah yeah, so a Hammer, also great name, Hammer Productions. They were a production house in the UK, who were famous for bringing a lot of classic horror from the black and white era of the 1930s into color. We making a lot of the classics like Frankenstein, Dracula, The Mummy, etc. Remaking them into color movies for audiences throughout the 1950s and 60s. The other thing that they were very well known for doing is having a butt ton of sequels for everything. So this particular movie that we're doing. The Vampire Lovers, has two sequels to it. Lust for a Vampire, released the following year, and then Twins of Evil. Which as far as I have been able to find out on the Wikipedia page was just kind of like the same plot two more times, but with different actors. But to be fair, if the punters are going to go and watch it, then why not right? The reason the The Vampire Lovers itself is quite interesting, and is that a little bit of a tipping point in terms of cinema, is because it was towards the end of the strictness of the Hays Code in the US, which is a piece of us legislation that was very tight collared, around the depictions of sex, nudity, deviant acts like homosexuality. ROWAN:  I'm gonna be annoying and interrupt here is the Queer Film Historian bitch on this podcast. Because I think it's genuinely interesting. It wasn't technically a piece of like Governmental Legislation as such, it was a code that was self-imposed by Hollywood on itself, specifically, because they thought that the government will be even more harsh, so they were like, oh, shit, like, let let's just, we promise no titties, no gays, no, no-- JAZZA: No titties, no gays. ROWAN:  [8:39] for gays, we promise. And and so yeah, no, it's it's a, it's one of those kind of really interesting things actually happened with the comic, comic books as well, the Comic Code Authority happened as well. JAZZA:  Mmm. ROWAN:  A lot of industries at the time were like, well, I guess if someone's gonna do it, it might as well be us, to ourselves. JAZZA:   Uh-hmm. Yeah yeah yeah. And this was kind of like, towards the end of the prolific nature of the Hays Code. And it was still actually really hard to get this past the censors. The Vampire Lovers, which obviously, is pretty gay. There's naked ladies and there's titties absolutely everywhere. And there's also a man who dies while he's having a piss. So it's not really kind of like the highest brow of entertainment. But the reason that they were able to get especially the the gay shit through the censors, even at the time as they were expanding. Was because it was based on the original source text from the 1800s, Carmilla, which is like a classic text. And because it's seen as a classic text, they were like, actually, this is basically Shakespeare. I don't think anybody actually said that. But essentially, that's how they managed to to get around it. ROWAN:  Just being true to the original. JAZZA:  Yeah yeah, exactly. But yeah, we're watching a a movie about lesbian vampires. Of course, there's going to be a little bit of a camper and Gothic horror is always just a little bit of camp. But it's also a really interesting moment in kind of like the attitudes of prudishness, that were in Hollywood throughout the 50s and 60s. ROWAN:  Absolutely. I do, I do agree with you like Hammer Horror is just camp, it's just campy. Like it just has that energy to it in general-- JAZZA:  It is now. ROWAN:  --and I think as well like well, we'll talk about this when we're actually talking about the plot and the performances and stuff in the next section. But yeah, the acting of the time was not exactly the most based in like realism. And and I think that that style of acting that was popular then I think just is so imbued with camp-- JAZZA:  Uh-huh. ROWAN:  --as you look back on it now. Even if this hadn't had a load of vampires in it, I feel like it still would have felt a little bit-- JAZZA:  Uh-hmm. ROWAN:  --kind of queer energy. JAZZA:  A 100%. It reminded me an awful lot of like Ryan Murphy guy. ROWAN:  Oh, yeah. JAZZA:  Which obviously is referential to this era of horror. And I was like, Oh, I 100% understand where all of these references now come from in, like our modern media as well. Rowan, you had, a you also went away and did some of your own research you clever bookworm slash website were around like, vampires, sexuality, all of those things. Would you end up fine, come on, show and tell. ROWAN:  Well, basically, for those for those who don't know about the history of the vampire, it's kind of appears in a lot of different folktales and legends around different places. Just I think the idea of someone who needs to drain other people of their blood, which is very much linked to like, you know, lifeforce in a lot of cultures. It makes sense that there will be kind of mythology around that, and and kind of scary tales, and all that kind of thing. But it kind of didn't necessarily get a kind of literary grounding until the early 1800s. Were John Polidori, wrote The Vampyre, which was actually created kind of as part of the sort of Gothic horror writing contest that also produced, Frankenstein. It was a good, it was a good time that they were having in that rainy manor house. And kind of interestingly, the history of vampires, I think, has not necessarily been, obviously in the mainstream link to queerness. But when you start looking into the history of it, it's a lot of like reading between the lines when it's going on. So, for example, that original text of Vampyre, a lot of people kind of thought that potentially the that kind of central character was based on Lord Byron. There was a bit of a mix up as to who had originally written the tale. And it was attributed Lord Byron originally and then kind of had to be redacted. And so you kind of have this element of like, oh, there's this creeping queerness in there. And that only became like, more intensified when it came to Dracula, which came a bit later. Because again, Bram Stoker, lots of rumors about him being gay, he had a very close relationship with Oscar Wilde. He wrote some frankly, adoring love letters to Walt Whitman, really, really, very gay letters to Walt Whitman. And there are just some quotes that come up in the book that feel very much like they are centered around the kind of repressed, a repressed homosexuality-- JAZZA:  Uh-hmm. ROWAN:  --shall we say. A lot of people have pointed out the fact that he basically started to write Dracula very, very soon after Oscar Wilde's trial and conviction. And that there was potentially a link between that and like the anxieties of being this like queer man who was worried about being like, discovered. So obviously, as with much of queer history, it is not provable. But I do think it's very interesting. And it's something a lot of people have have talked about. But yeah, I think vampire stories in general, as well as being kind of horror, obviously have a lot of links to the idea of sexuality, and and sexual anxieties, I guess over the years. JAZZA:  When we're looking at this area as well. It's really difficult to kind of like put the gay label on it. Because it wasn't a term that they used for themselves-- ROWAN:  No. JAZZA:  --either, but we're just kind of trying to view it for our own lens. ROWAN:  Yeah, exactly. So in Dracula, for example, you've got Lucy, the character of Lucy, who's this kind of like symbol of the new woman. So kind of more independent and breaking free of the constraints of society, especially sexual constraints. And so if she sort of gives herself or is compromised by this kind of foreign invader, then she becomes this corrupted figure, which is very, you know, if you read through the lines, metaphorically, it's very much a sort of like fallen woman virginity loss kind of situation. And then yeah, I mean, spoiler alert for Dracula, but she ends up being staked by like, all of the men who she had been pursuing at one point or another during the story, and dies-- JAZZA:  Uh-hmm. ROWAN:  --this death that's very, like writhing around and bleeding, and it's very kind of like, you know, symbolically resonant in a lot of ways. So yeah, I think I think that like even if you come to Twilight, or to more modern depictions of vampires, it doesn't necessarily have a Victorians lens of sexuality. It has a modern lens, but it's still feels like it might be commenting in some way. So there's a lot more sort of, in the vampire as the romantic lead for women's or like girls fiction, it becomes much more about a man who needs to control his natural impulses, and that he's able to do it for you. The female love interest. JAZZA:  That's the Twilight stuff isn't? ROWAN:  Exactly. JAZZA:  I'll be honest, I wasn't even I wasn't even making that link in like, I feel like Twilight is such a long time ago now. ROWAN:  Ancient history. JAZZA:  Yeah, yeah. But like, seriously, but yeah, I didn't even make that link of kind of like sexual request-ness. But then I haven't really read, I haven't read any of the Twilight books, I've only seen the movie. So maybe that's why it's not at the front of my mind. ROWAN:  Well, allegedly Stephenie Meyer did come up with the idea from some kind of romantically charged dream that she had. And she is quite from quite a religious background. So I think that the sexual repression and morality element to it is, it's not has not been not commented on by people in the past. So yeah, so I definitely think that the vampire legend and mythology and stuff has always had links to sex in some way and to that kind of forbidden element of sex. And I think that that only gets more apparent when you talk about sex that is genuinely forbidden and taboo in the way that kind of same gender relationships might be. So yeah, it completely makes sense, lesbian vampires completely make sense on a literary level. And it very much is not just a kind of, ohhh, she's sexy, and she's a lesbian, and she's a vampire. It's like, oh, there is actually some kind of literary backing to making this a a thing in your films. JAZZA:  Did you have because I accidentally came across this while I was looking through stuff around the source material for The Vampire Lovers, which is like a a vampire novel that predates Dracula by a couple of decades called Carmilla. About a lesbian female vampire. And apparently she's based on this Hungarian, I believe she's a Princess. She's a fancy person, uhm, called Elizabeth Boothroyd. Have you seen her a bit about her? ROWAN:  If this is who I think it is? Yeah, I think she married into a family and got an absolute ton of land and power from it and use that to allegedly just kill a lot of servant girls, and some minor nobility. JAZZA:  Some set I don't think we have to say allegedly anymore. This was in like the the 15, 16 [16:54]-- ROWAN:  She's not gonna [16:55]-- JAZZA:  [16:56] I think we're gonna get sued by Elizabeth III of Hungary fame, but she apparently killed up to 650 people and there was some people who say that she used to bathe in their blood to maintain like youth? Some of this is urban legends now, and there's some people that say that she inspired because she was from the Kingdom of Hungary. Which at that time included, Slovakia and Romania, which is kind of like the part of the world that is where like, vampiric culture comes from, I guess? And some people even suggest that she inspired Carmilla and Dracula. But yeah, like, it's an interesting part of kind of like also the, the empowered woman as well, which was definitely, I mean, deviant for the time that vampire novels became really, really big in the Victorian era. But certainly for like the 1500-1600s when she was alive, as well. And kind of like the fear and the weariness of the empowered, maybe sexualized women as well. I kind of like themes that run through this type of horror too. ROWAN:  Indeed, without I guess, should we go into talking about the actual movie and how the lesbian vampires sort of displays herself. JAZZA:  Displays herself. ROWAN:  Displays herself in this movie JAZZA:  Sometimes literally displays herself-- ROWAN:  Quite literally. JAZZA:  Uh-hmm. [18:15] [Transition Music] [18:15] [ADS] JAZZA:  Dear listener, there's only so many times you can lean on your ability to make a [18:25] gin and tonic. Trust me, I've had the headaches to prove it. Sometimes you need to shake up your drinks trolley, pun intended, and shaker and spoon subscription cocktail box is the perfect way to do that. Each box they send you contains enough ingredients to make three different cocktails with your favorite Spirits. All you need is to buy your own bottle and then you have all you need to craft 12 cocktails at home. It's between 40 and 50 of your American dollars every month, excluding the price of the bottle you buy. So is a sensible way to expand your drinking palette. You can even skip boxes or cancel whenever you like, my darlin'. Imagine if you will, clowning around some popcorn with your loved ones and a fancy cocktail in hand. Enjoying your own Queer Movie Night. Yes, you too, can experience what we experienced together here on this podcast. We support you. And don't forget to get $20 off your first box by going to shakerandspoon.com/queermovie, that's shakerandspoon.com/queermovie. Queer Movie Podcast is part of Multitude which is like a cool little collective of creatives. We like to give our audio siblings a shout out every now and again. And I'm very excited to recommend to you X0 Law. In case you haven't noticed yet, Rowan and I are big nerds. Rowan has her Disney and D&D, I have my love of Final Fantasy in the expanse novels. So this podcast is like catnip to us. Dr. Moyer McTeer is the host and as the coolest job description of Astrophysicist and folklorist. Which honestly, has made wondering what I've been doing with my life. Each episode she goes through the how to of fictional world creation, meaning you can apply her findings to any and all creative projects that you yourself are working on. Are you creating a home route for your D&D table? Are you scribbling away on your first Sci-fi novel? Do you find this stuff interesting? That's fine, too. Honestly, it's necessary educational listening. I had a particularly fun time listening to Moyer and guest Clark Robinson go through the mechanics of building a world magic system. And I think you'll find it interesting too. So go give X0 Law a listen, and tell the doctor we sent you. Now, back to the show. [21:02] [Transition Music] ROWAN:  So we normally split this into three different parts. JAZZA:  Uh-hmm. ROWAN:  We haven't conferred beforehand about what those parts are going to look like for this particular movie. But I have a feeling that we have a very similar thru line. JAZZA:  Hmm. ROWAN:  The first part I have referred to, because there was only one way we could refer to this part, given that in so many other films that we have covered in our previous episodes. This was also the title of a section of the film. JAZZA:  Uh-hmm. ROWAN:  The Party and its Aftermath. JAZZA:  Yeah. 100% It starts with the party and its aftermath. It's very all interesting things start with a party, as does this movie. ROWAN:  Yeah, for some reason, so many stories. Normally, the party in its aftermath is the last act. JAZZA:  Uh-hmm. ROWAN:  Whereas in this one, it's, it's the first so essentially, what happens at the beginning of this movie is that we have this man who's narrating talking about the fact that his sister has died and he is going on this revenge plot. Castle ruins, evil European family, some very helpful vampire lore up front. He lets us-- JAZZA:  Uh-huh. ROWAN:  know you got to decapitate them. You got a stake in through the heart. We're getting a lot of exposition, but you know what, that's just how he rolls. JAZZA:  It was quick. It was quick and acceptable. I feel like you know, for [22:20]-- ROWAN:  Ding, ding, ding! Here we go. JAZZA:  But also, is anyone gonna come into something called The Vampire Lovers, cold as to what a vampire is. ROWAN:  Unlikely. JAZZA:  Like, I feel like most people are probably gonna know broadly, what a vampire is and how you kill it. ROWAN:  Exactly. So it's it's the classic star of the vampire killer is here. He's narrating to us what's about to happen. We have a very fast zoom in on a guy's neck with fang bites. The camera angles and uses within this movie are just very intense. They really love a good zoom in, dramatic zoom in. They really like a good kind of interesting shots, shall we say throughout this. Which I did, did think heighten the camp element. But with, yeah, very quintessential have a horror stuff. The evil figure of the vampire looked like I would say a Halloween sheet ghost costume, mixed with a Dementor. JAZZA:  Oh, well, you have ruined that now. I thought it looks like really quite impressive. ROWAN:  I did as well. Yeah, no, that isn't to diminish how-- JAZZA:  Okay, cool. ROWAN:  --creepy it did look. JAZZA:  Cool. I think that is an accurate description of what it was dressed as to be fair. ROWAN:  Yeah, I was like, you know what, if people aren't going to go back and watch this movie, if they're just listening this to to hear a little bit about lesbian vampires. I want to paint them a picture. And the picture is-- JAZZA:  Uh-hmm. ROWAN:  --a teenager. You know what I'm going to build on this picture. The picture is a teenager who has been asked by their parents to take out their little kid sister and the local sisters friends trick or treating at Halloween. He obviously is too cool for Halloween costumes at this point. He's at that age where it's not cool again. And it's it's, it was cool when he was a kid but he's like, he's he's 15 now, yeah? So he is like, "Urgh, fine!" And he goes into the airing covered and he just gets a sheet and he's like, "Are you happy now?" And he cuts it lies in the sheets. He doesn't care. It's that mix with a Dementor? JAZZA:  Uh-hmm, and lace. ROWAN:  Yeah. JAZZA:  There was lots of lakes. ROWAN:  Yeah. JAZZA:  Yeah, ROWAN:  If you just put that in your head. You've seen him, you can imagine it. JAZZA:  Yeah, 100%. I also love the like beyond just the vampire and the fact that it is a bedsheet. I love the rest of the costuming in this movie, but especially our narrator and the fact that he's there with kind of like his large Bejeweled ring, long sideburns and kind of like ruffled lace cuffs as well. And as he's got kind of got his hand up to his face in shock like, "Huh?!!", you see the rough come out of his sleeve. oh, and it's quite beautiful. It's it's beautiful [24:53], I love it. And all of that coupled with like the artificial fog on the clearly papier-mâché castle. The fake IV and the fact that it's all moonlit night time. I loved it. I was here for it. I felt like I was on a movie set because I was. ROWAN:  Oh yeah, I've completely agree with you there. My note that I made for this section was for a movie about lesbian vampires. We're getting a lot of this random dude. JAZZA:  Who disappears for-- ROWAN:  He disappears-- JAZZA:  --the rest of the movie, by the way. ROWAN:  --for most of the rest of the movie, he comes back at the end. JAZZA:  Uh-hmm. Yeah, and comes back at the very end to ruin it with men. ROWAN:  Yes, well, I mean, what we don't want to give you any spoilers right now. You're gonna get spoilers in approximately how many minutes and take hours to get to the end act. The other note I made was vampire girl is cute and blonde has very shiny hair, please drop the routine. So I was thinking-- JAZZA:  I think, I think it's being, I think, I think the routine is being immortal. ROWAN:  You know what? That makes sense, that checks out. I will say, and we kind of briefly talked about this before we started to record. But the the effects were really good. The there's a computation that happens at this point, and genuinely very, very good special effects, very well-practical effects. JAZZA:  Yeah, like they had Madame Tussaud's head being like, cut off loads of blood everywhere. I laughed when the vampire was killed at the beginning of the movie. I'm sure people in 1970 may have been genuinely shocked. It's-- ROWAN:  Mmm. JAZZA:  --really difficult for me to put myself in the mindset of somebody in the 1970s. ROWAN:  I don't know whether someone in the 1970s didn't I I think they understood what movies were, Jazza. Like I don't think that they were that gonna be that shocked? I think. JAZZA:  It's not quite like in the 1920s when they first showed people a train covered [26:45]-- ROWAN:  Yeah and they ran away. JAZZA:  --and people ran out of the movie. Yeah, yeah yeah. ROWAN:  No, I think that, I think that there was like, it was campy back then it was campy now. It was very much, yeah, my favorite bit of this whole big very, very beginning section before we get to the party, is the disclaimer. Because it goes from this section. It's like a good cold open if, you know, this guy's a vampire hunters. He's a eventing a sister, this is woman who's going around trying to kill people. We get some some of him explaining how to kill a vampire. And we also get her just being really really scared of a cross so you know, ohh, that bit of laws also correct. But once when the kind of credits start to roll at the beginning, there is a disclaimer that any characters or events portrayed are clearly fictitious, which definitely feels like something real vampires making a movie would say. JAZZA:  You saying, are we gonna have to make keep our eye out for more evidence that these are actual vampires making actual movies? ROWAN:  Is Peter Cushing a vampire? Who can tell? JAZZA:  Actually, you know what? He was somehow invoke one, so-- ROWAN:  He does have the vibes. JAZZA:  Yeah. ROWAN:  So then we get to the actual party, which is so aggressively 60s in its hair, makeup and clothing. JAZZA:  Oh my god, the eyeliner? ROWAN:  It's incredible. JAZZA:  --the eyeliner. I was taking notes for my drag character. Like I am doing cat eyes from now on. ROWAN:  I would honestly love to see you as a in drag as a lesbian vampire. I feel like that will be beautiful. JAZZA:  Hey, just you weren't into Halloween this year. ROWAN:  It'll happen. Also in in in, again, with the over the top style acting the over the top style props and stuff. I'm not gonna lie to you, there is no way that you could watch this film with the sound on and not know who the baddies are. Because the music, really is not subtle. There is no no subtleties to this music, you very quickly know who is you're meant to find menacing. Which they needed to do because the acting is so wooden. It's really trying to like give you something give you some indication because the characters are basically just standing around without expressions. JAZZA:  And also like makeup. So you assume that the man who clearly has a inch of white stick on his face. You assume that he is the bad guy vampire, because he turns up has a flowy cape and is whiter than I am. ROWAN:  Uhmm. JAZZA:  Which is saying something. ROWAN:  Now's a good time to point out this man. So basically the plot of the party is there's like, well, there's not much but essentially it's just an excuse for our lead lesbian vampire to turn up. And for her, we assume lesbian vampire mother to, I don't know why I said lesbian, specifically of. Mainly, we can assume she's a vampire. She might also be a lesbian, it's unconfirmed. Kind of drops her off and is like, Oh no, who will look after my daughter while I conveniently have to go away. JAZZA:  Uh-hmm. ROWAN:  And they're like, well, I guess we'll look after her. So this whole party is essentially setting up, that she's gonna have to stay with this family for a little while. But every so often interspersed is just the aforementioned man that Jazza has just briefly described. Who just has a very bad like white face paint makeup on and looks very Draculary and just sort of grins a lot. And he's just never explained the entire movie, it's great. JAZZA:  Yeah, and every now and again, throughout the movie, there will be a shot of the lesbian vampires doing lesbian vampire things, And then that will cast away as a transition to a silhouette of the man with the white face on the on the horse. And I'm like, this movie wants us to believe that this this, I assume that, we know he is a vampire. He's confirmed to be a vampire at the end, because he smiles and has the-- ROWAN:  It's canon. JAZZA:  Yeah, it's canon. But he is confirmed to be a vampire. And I'm like, are we to believe that he is the one pulling the strings of everything? I think that's what we're meant to believe. In which case I kind of dislike because part of the thing that I loved about this movie was the women leads and women like the middle section of the movie is just the women kind of like conversing and trying to kill one another. Why does there have to be a male puppet, puppet master? But then I realized, or, like shoot this down Rowan, and I'm sure you will if you if you do think it is shit. ROWAN:  Pew, pew. JAZZA:  Pew pew. He's Dracula, right? ROWAN:  Well, okay, so it's this question of like, the Dracula character is so well-known and so iconic in everything about him. Not necessarily the actual original Dracula from the book because most depictions of Dracula are nothing like him. But the image of him that has been created by Hollywood by movies and by kind of not even just urban legends. But like people's people's imagination from from movies and like physical-- JAZZA:  Uh-hmm uh-hmm. ROWAN:  --representations of him. So I think it will be very logical to assume that it was meant to be Dracula. But it's it may be it's just because he is so synonymous with vampires we see. If we saw any vampire that looked vaguely like old timey pale skin, we would maybe assume it was Dracula. JAZZA:  But then who else is it going to be? Like, so Carmilla is our titular vampire lover. ROWAN:  uh-hmm. JAZZA:  And apart from Dracula, like obviously, they're originally from different universes from different books. They are-- ROWAN:  Different cinematic universes. JAZZA:  Yeah yeah. This this is like Marvel and DC. ROWAN:  Most ambitious crossover, The Vampire Lovers. JAZZA:  But if it's going to be anybody, I feel like it has to be Dracula. ROWAN:  Yeah. JAZZA:  Because, I feel like nobody else is gonna be calling the shots for Carmilla. ROWAN:  Uhmm. JAZZA:  And even arguably, you'd argue that Carmilla wouldn't be like canonically in the book. She wouldn't be taking any direction from no man. But-- ROWAN:  Indeed. JAZZA:  So we should probably introduce Carmilla, our main lesbian vampire. ROWAN:  At this point going by Marcilla-- JAZZA:  Marci-- ROWAN:  --in an extremely clever, different version of her name. JAZZA:  Yeah. ROWAN:  It's not it was like it was a fake name, but it was just weirdly close to her actual name. JAZZA:  It's a little bit too close, right? So she is played by Ingrid Pitt, who is a Polish-British Actress, and her Wikipedia page, incredibly impressive. She is a Holocaust survivor. Did you know that? ROWAN:  I didn't. It's really, I mean, the Hammer Horror, I know that we're kind of taking the mick out of it. But ultimately, they it has produced some incredibly iconic, especially British Actors and Actresses. JAZZA:  Uh-hmm. ROWAN:  A lot of them were in like, a ton of those very specific Hammer Horror movies and like, very much became, like icons because of it. So I didn't know that about her. But we love to learn. JAZZA:  Yes, she's a, she was a a a Polish Jew and was born 1937 was in a concentration camp in, in Poland. Managed to escape to the UK. And then what it was the era when all of the all of Hollywood were kind of like marrying like seven or eight times. She's had several marriages, she's not had seven or eight, she's had three marriages. But what had the whole classic thing of you know what, I'm just going to become an Actress. Moved to Hollywood, was a waitress for years until she got discovered. And I've got to say, I think that she carries the rest of the cast, I will say including, Peter Cushing.  ROWAN:  How dare you, sir. JAZZA:  I I mean, this is one of his performances. There are other things that he's done better. But she carries this whole movie on her shoulders, I think Ingrid Pitt. I think that she is not, she's not so camp, that it makes it funny. But she really ups the energy, like throughout the film in all of the scenes and the development of her character. ROWAN:  Yeah, I agree. So I I kind of made a note about this, I think that you can see within her fighting to get out is some complexity around Carmilla. To the point where I like kept thinking it was going to be discussed in some way. So what essentially happens as I mentioned at the party, we it's it's a mechanism for Carmilla and Laura to become friends and have to stay together in the house. JAZZA:  Uhm. ROWAN:  Laura, basically slowly starts losing her mind. She starts suffering from nightmares that she's being attacked by this giant cat. She screams a lot. Oh, boy, do they love to scream in this. JAZZA:  I love it so much. ROWAN:  It's I, okay, I'm going to give you another metaphor for the scream. The scream is like, the scream that you get in a high school movie. When a teenager has been punked by their younger brother. And their hair, like their hair has been dyed green. And they look directly into the mirror that is also directly into the camera and they take a deep breath and then they scream. And then the camera zooms out, like to the house and into the like country and then a load of-- JAZZA:  Yeah, yeah yeah. ROWAN:  --birds like flutter out of trees. That's the vibe-- JAZZA:  Yeah. ROWAN:  --from every scream and there's multiple in this particular movie. JAZZA:  Well I love Rowan is that we're very quickly realizing that this season of recording review podcasts, all of your references are going to be to team trash moments. Like that's-- ROWAN:  Yeah, the best of all genres. Other than horror, but I know that you can't handle that, obviously. So I decided to [35:37]-- JAZZA:  [35:37] lead by you. ROWAN:  So yeah, this is very kind of classic Gothic idea of like, slowly trying to figure out like, what's real? What's not real? Did I might actually being attacked? This is a nightmare. Has someone caused me to feel this way? And while this is happening, we get this very intense kind of friendship going on between these two women. I think there's literally an an exchange or one of them says I shall die when you leave. And the other is like, I shall never leave you. And then they do kissy kiss, kiss kiss. JAZZA:  Uh-hmm. ROWAN:  But what's also really interesting to me, which I actually feel like I still see a lot in lesbian movies is that there is no actual relationship development. Which makes sense in this film, because it's like supernatural allure, right? It's like her being like, I'm just this lesbian vampire. And so you're gonna fall for me, even though we literally have never had a conversation properly. Like, we never see that on screen. But I often see that to my mind, at least in lesbian movies. Especially the like historic lesbian movies, where they just really love to bank on the idea of like the repressed women trope. And so they're like, we don't have to have them have conversations and talk about things because they've repressed, right? They just sort of inexplicably now want to kiss. There's no build up and nothing and no discussions. And so I was like, at least here it makes sense. Canonically with the idea of her having this like sexual allure to her victims. JAZZA:  Yeah, it kind of does. I I I will, and this is something that people smarter than me have talked about, about Carmilla the original text from the 1800s. Where she juxtaposes with a character like Dracula, because Carmilla actually seems to genuinely fall in love with the people that she ends up killing, alternative vampires. And I felt like Pitt's depiction of the, she was really good at kind of like, I believed that she really did care for these young women that she ended up, spoiler, kills. ROWAN:  Uhm. Yeah, completely agree. There's these, there are just these moments where she's the character on her own like, and she suddenly has this look of like, deep grief or deep sadness or deep like confliction in her. And I'm like, oh, if this wasn't a Hammer Horror, like I, this same story could be played out. And we really could have dug into the idea of like, I need to do this to survive, or like I cannot, this is what I was meant to do. Like, I've been living for hundreds of years. And this is what's always happened. But this is like, mentally horrific. And I feel like there's some interesting like vampire media that does explore this idea of like, what do you do if you just keep on living? And you have to hurt people in order to survive, like, what does that look like? That and see, or-- JAZZA:  Uh-hmm. ROWAN:  --seeing that conflict of someone who has fallen for someone for that, for real for the first time. That previously it hadn't been things like, these things are really interesting to explore, not where this film is going. Another spoiler alert gang, there there is no complex comes, the biggest complexity is this very specific look that we have interpreted from an actress who was not given anything else in the script to work with. JAZZA:  Yeah. Shall we just say this up before? Up the [38:37]-- ROWAN:  We shout. JAZZA:  --out for that. The script is not this movie's strong point. ROWAN:  Uhm. Yeah, if you couldn't have told that already. I feel like we've really hinted quite heavily at it, so far. JAZZA:  Yes. ROWAN:  But yeah, so the end of this first section is essentially, Laura is bitten. She has these fang bites on her. She she dies, and Marcilla is like, Bye!!! JAZZA:  Yeah, disappears. ROWAN:  I'm out of here, baby. JAZZA:  Uh-hmm. ROWAN:  And so we get to our second section. [39:04] [Transition Music] JAZZA:  So that first section has basically, it's the bullet point version of what's going to happen next with a new girl, essentially. ROWAN:  Uh-hmm. JAZZA:  That's what going to happen-- ROWAN:  Yes, that's exactly. That's exactly it. JAZZA:  Like this is what Carmilla does. She is parachuted in convolutedly to be, to befriend a young woman in a manor house. And then gradually over time, kills her, while terrorizing the local peasantry as well. Because every now and again we'll have like a peasant washer woman running through the forest. Who then stumbles falls and then screams and does the as you said, that [scream] kind of moment. ROWAN:  Wonderful impression. Yes. JAZZA:  Thank you. I'm conscious of of peeking the mic. Otherwise, I would delete, you know, I [39:52]-- ROWAN:  Oh, yeah. No, I know you would. So this one we get a little more titillation, though. Like we functionally you're right, it's exactly the same story. But we do get a little more titillation. So we have like Emma comes into Carmilla's room. Welcome in there is just naked in the bath, and just has a casual conversation about-- JAZZA:  Uh-hmm. ROWAN:  --the dresses that they're going to wear and Carmilla's like, you should take everything off for you try on this dress, because it ruins the shape to have underwear on. And she's like, oh, okay, like there's literally no reason for the scene apart from for the audience have like this kind of sex and fear and horror and campaign nudity and like all this stuff coming together in in the way that it's often does. So even at that point, I was like, oh, this is ridiculous. And then they start chasing each other around while topless in, what I genuinely think might be the most unconvincing chase scene in all of cinema. JAZZA:  It's kind of like when you see if the like, in in maybe a more modern movie where two women have been asked to, do a pillow fight and and it's sexy. Just trust me, it's sexy. All the way through this second conquest of Carmilla of Emma's character who is this the wide idiot, frankly. ROWAN:  Yeah, she does have a type doesn't she? JAZZA:  Yeah yeah. Oh my God, I didn't even think of it like that. But yeah yeah, though I did it. But she like I I I found myself questioning all the way through kind of like this moment of undressing and Ooh, tits or bear ass, you know. I don't want and can you answer this for me? Is this sexy? ROWAN:  Well as a sexual lesbian, Jazza, I don't really, I I'm both highly qualified and utterly unqualified to answer that question-- JAZZA:  Which is-- ROWAN:  --no, not in my mind. But I think as well it's it's it's that I think that the sexiness with this release, I don't know maybe there's probably some lesbians that are just like, yes, tits. But I think, like, we have them, we know what they look like. So it's kind of like, what did someone else I feel like it's the connection that that-- JAZZA:  Made that that logic. I just, I just want to put this out there that logic does not-- ROWAN:  Not, no, that's fair enough. JAZZA:  Yeah. ROWAN:  But it is this thing of like, there is literally no feeling of connection between them during that chase scene. Like, I think there are other bits where there's more like when they're doing this sort of hypnotizes seductressy bit that like, feels like they're-- JAZZA:  Uh-hmm. ROWAN:  --slightly monstering chemistry. But like, that scene where they're chasing each other around could not have been-- JAZZA:  Less sexy. ROWAN:  --less sexy, if it tried like it just in an embarrassing kind of way that's like, Oh, God, I guess I'm watching this now, this is happening. Because I do think as well, it is like, it is very funny to me, because I think immediately just reminds me of the super, the super cliche to the point where it's almost become a meme thing that happens with gay male characters in movies. And in porn as well, where they, they kind of have a like, they're sort of play fighting, and then suddenly, it's like, oh, no, now we are on top of each other and it is sexual. JAZZA:  Uh-huh. ROWAN:  Like-- JAZZA:  CRGBF episode. ROWAN:  Yeah, it's like it's it's such a trope. And it's so funny that it kind of like this was like, even less convincing than those things. I was really interested to see, because this was on so many sort of, like, you know, classic queer movie lists. But typically movies that are this old, you don't really have the actual canonical confirmation in any way. And you definitely do in this movie, like they, they really have it up and although it does fall into the trope, we'll talk about in a second about like, kind of the evil lesbian trope. It's supernatural and over the top and kind of didn't mind it in that way. But yeah, once again, Emma starts having nightmares. Start screaming, everyone else kind of goes away on like, the day goes away on business. She has a suitor, but he's not you know, it's it's in the olden times. So he doesn't really come-- JAZZA:  Uh-hmm, uh-hmm. ROWAN:  --around all the time. He just occasionally, he'll turn up. But we'll be do have it's a little bit different is the kind of Governess character-- JAZZA:  Yeah. ROWAN:  --like Mme. Perrodot, who's kind of like becomes this accomplice to Carmilla. Because she's just seducing everyone. JAZZA:  I love Carmilla and The Governess. And I want them to go away and have a home with the what was the cat's name? Gustav. ROWAN:  Oh, yeah, you know what-- JAZZA:  I want to-- ROWAN:  --you're right. JAZZA:  --go move to a cottage in the Romanian countryside and just live with Gustav. Because, uhm, so as well as seducing Emma, Carmilla begins seducing and killing all of the peasantry around the mansion. Carmilla begins to seduce The Governess. And that is when it does get sexy. And I was like, oh, all of a sudden there actually feels like there is chemistry between these two women. And I thought that Carmilla had turned The Governess into a vampire? But it turns out that she doesn't that The Governess is just have familia and just really fancy is the pants off of Carmilla. ROWAN:  Uh-hmm. JAZZA:  And to be fair with an ass like that. ROWAN:  I mean, who can blame her? JAZZA:  Mmm. ROWAN:  But yeah, that's an interesting thing here. Again, I'll come back to when we talk about lesbian trips versus exchange that happens between Emma and Carmilla about, you know, I love you. I don't want anyone taking you away from me and Emma being like, we'll always be friends. She's like, no, it's not the same thing, it's different. I want you to love me for all your life. Like it's very much the idea of like Carmilla is the predatory, kind of obsessive like actual lesbian. And then you have this like poor innocent Emma who didn't didn't understand what was happening. Like-- JAZZA:  Uh-hmm. ROWAN:  --she didn't know that that was what was going on in the mind of this perverted lesbian vampire. JAZZA:  I sometimes also get the the feeling that Carmilla was a bit of a like the lesbian version of a nagging dude, bro. Like she keeps on telling, telling Emma there's, ahh you talk such nonsense. Like, getting really defensive about the way that she feels about funerals, for example. ROWAN:  Oh, bloody he hates funerals. JAZZA:  Completely gaslights, Emma about like the bite marks on her being from a brooch and not from anything else. ROWAN:  Yeah, truly Carmilla is the gaslight, gatekeeper, girlboss of all, of all [46:00]-- JAZZA:  That is, that is the classification that we needed. Thank you very much, Rowan, I appreciate it. ROWAN:  I don't know if you had anything else to say about this section. Cuz I think the third section is like the boys are back in town. JAZZA:  Oh, I called the third section. Lesbian Vampire Killers. ROWAN:  Oh, yeah. You know what, that also works very well. [46:16] [Transition Music] ROWAN:  This is essentially when all of the guys and tada like, hey, I don't know whether you've noticed how every woman is dying in the local area by having their blood drained. But I think there may be foul play at work. JAZZA:  Uh-hmm. Can I just say the men, they have been practically no men having speaking parts in this movie, for like a good 50% of the middle part of it. The first 25% is Carmilla and the aftermath party. And then we have 50% of just women. seducing one another and being hot. And-- ROWAN:  And Gustav, the cat. JAZZA:  --and, and Gustav, the cat, of course. So I won't forget Gustav, the cat. And then these men come in. And I'll be completely honest, I forgotten who most of them were. ROWAN:  Oh, yeah, I fully could not remember any of these men were. JAZZA:  And what their relationships were with the women previously. So it is all of the aggrieved men who have been affected by cumulus murdering. So it is the father of Laura who she killed in act one. It is the suitor of Emma, who-- ROWAN:  Uh-hmm. JAZZA:  --at this point is going through the stages of death as well. And also the father of Emma as well, who has just come back from business. ROWAN:  Ooh, and surprised that guy from the beginning who who was narrating. JAZZA:  Oh, sure, the guy of the sideburns. ROWAN:  Yeah. JAZZA:  [47:52] caps. ROWAN:  [47:52] there's also just randomly like, there's a Doctor, there's a butler, there's a landlord. JAZZA:  Yeah, all of these men that, I'll be honest movie I didn't I don't care about and I feel like it wanted us to root for the men because they're the ones who are like injustice. And I was like, now I know that Carmilla is going around and killing all of these doe wide dumb women. But I'm on her side, I'll be completely honest. And I kind of want the men to leave them alone so that they can have their happy lesbian life with The Governess and Gustav. ROWAN:  Yeah. And instead, the men keep trying to bring garlic flowers into their room, which is honestly-- JAZZA:  [48:27] ROWAN:  --very rude. JAZZA:  Yeah, so one of the workers in the mansion, Mr. Venton, is supposed to be a, no, he's not really a hero. Basically, I immediately dislike him because we introduced him as he slaps the ass of a bar wench in the peasant village. He then decides, oh, yeah, definitely everything that's happening to Emma is vampiric in nature. He reckons the vampire is The Governess, actually, rather than Carmilla. And then starts talking with the landlord of the local pub, and getting advice and so brings in garlic flowers to Emma's bedroom, to try and ward off the vampires and causing a Doctor who also as well as encouraging the use of these flowers, brings in a a crucifix and puts it around Emma's neck. Which makes it impossible for both Carmilla and for The Governess to go into the womb and to complete the killing of our delight [49:33] ROWAN:  Yeah. Which ultimately, yeah, great plan to be honest, it did work. They pretty foolproof. JAZZA:  Yeah, it was pretty good until Venton get seduced by Carmilla and just goes, you know what, all I want to do is make out with you and I'm going to like murder this girl for it. And you know what? I was happy to see him die at the hands of Carmilla, good for her. ROWAN:  And then she's also like, ohh, going to kill the Doctor and all, like just the though we have a nice scene when the Doctor's Horse get super spooked. And she somehow, I guess is teleported there. Because she never really seems to leave the house and yet she's always off body killing people. So yeah she's, she's like you know what? We, enough of this. JAZZA:  Uh-hmm. ROWAN:  No thank you. So kind of simultaneously while all of the the lads are going on a little road trip to her old family castle to try and-- JAZZA:  Yeah, where she's buried. ROWAN:  Yeah. JAZZA:  Yeah. ROWAN:  She's like Oop, time for a kidnap and decides to essentially kidnap Emma, and in the process dump The Governess. JAZZA:  Can I just say this just cemented, cemented Carmilla was an, as the absolute fuck boy if this movie, ROWAN:  You're, you know what? You're absolutely right. She is-- JAZZA:  Like-- ROWAN:  --she is the fuck boy-- JAZZA:  --literally-- ROWAN:  --of this movie. JAZZA:  --The Governess is there on the floor, begging, take me with you. She loves you, she wants to create that life with Gustav. ROWAN:  She wants the cottage called dream with the cat-- JAZZA:  [50:58] of this-- ROWAN:  --and, in the woods, in Romanian. JAZZA:  Who knew in the 1970s that this was going to pave the way for the Cottagecore Movement and-- ROWAN:  I know, right. JAZZA:  --Lesbian Cottagecore Movement. ROWAN:  That's the true history of it. And then there's so much screaming again, classic. Because she decides to to feed on The Governess and-- JAZZA:  Yeah. ROWAN:  --maybe shouldn't have done that in front of Emma. If she wanted Emma-- JAZZA:  Uh-hmm. ROWAN:  --to come away with her. But you know she did and that's on her. So all the screaming again. And then the suitor is here to save the day, whose name is Carl. Which-- JAZZA:  Didn't know it is, no, I completely missed that. What? That's very funny-- ROWAN:  It's Carl, yeah. Carl's here to save the day and so Carmilla-- JAZZA:  Carl.. ROWAN:  --looks like, ohh, well, I guess a bit of skip town. This is too much for me, and then runs back to the castle. Which obviously we as the audience know is filled with the lads who are up to no good. JAZZA:  The Lesbian Vampire Killer. ROWAN:  Yeah. The Lesbian Vampire Killer, the lads. And so yeah, she just runs back to the castle, has a little nap. And then while she's napping, doesn't notice them all come around her coffin and and stab her in the heart. JAZZA:  I can I just say they don't, she doesn't notice them. Finding her coffin, moving a massive, kind of like slate off of her coffin. Carrying her coffin into the chapel, opening the coffin, then moving her dress down so that expose his, her chest and then placing the stake on her breast so that they can actually stub her. She doesn't notice any of that, she's fast asleep, bless her. ROWAN:  She's hibernating, [52:22] we nap and she deserves it. JAZZA:  Very cute. This is all happening during the night as well. And that's when she's to be awake? ROWAN:  Hmm, doing question is fine. She's she's hibernating. JAZZA:  And then they once again they stab her through the chest. She is then decapitated, which again, the physical effects of this movie. We're not what I was expecting for 1970, that is very nice. ROWAN:  That's very good. JAZZA:  Have we gone backwards? ROWAN:  Possibly, I I genuinely feel like the special effects of Jurassic Park hold up better than the special effects of Jurassic World. So, yes, you're you're correct. The audience of the goodies. JAZZA:  I am with you. ROWAN:  I really enjoyed that they were like yeah, Peter Cushing can have the killing blow. He's a he's the star of this, is no real connection to a lot of what's going on here but sure. And then at the end come in his portrait on the wall has changed to be all vampire instead of all hot like she was before. JAZZA:  Very doing great. ROWAN:  Yeah, it's great. It was it was very much like Chekhov's decapitation. Because they did the guy at the very beginning was like, the only way you can kill them as if you decapitate them. And it's like, oh, I wonder if that will come back later on. It's like, a plot point. And then yeah, that was the end of the movie we had, we have experienced, The Vampire Lovers. JAZZA:  Uh-hmm, uh-hmm. Rowan did you [53:36], how how was this, how was this experience for you? Because obviously this isn't what you wanted. You wanted quote unquote, "real horror". ROWAN:  So here's the thing. JAZZA:  Mmm, go! ROWAN:  I will admit, when we were coming up with these movies, and we and you decided that we were going to watch The Vampire Lovers, I was worried. JAZZA:  Can I just say, I rolled a dice when decided this. ROWAN:  Yeah, you did annoyingly. JAZZA:  So it wasn't me that decided it was the dice. ROWAN:  The dice, it was the thing. I would admit, the time I was a bit like, disappointed because I like, no that, I don't know if I'm that interested in this or whatever. But then I did watch the movie. And I agree with my initial assessment, I was so bored. This was such a boring movie. JAZZA:  I I couldn't disagree with you more. ROWAN:  Ohhh, God. JAZZA:  I loved it, I loved it so much. ROWAN:  I've could have predicted that though. I feel like we've had, we've disagreed on movies before in this podcast. And I think it's just you enjoy trash. JAZZA:  This isn't, no no-- ROWAN:  Like, and not that that's not even meant to be me. Like, like, taking a dig at you. I'm like you genuinely do appreciate sort of like campy, trashy, like low budget stuff. I think more than I do. JAZZA:  Yes. Yeah. No, I'm with you. That is my vibe. That is my my modus operandi. But also I will say, all the way through, I was just fascinated that a movie like this was out in 1970. And I was also just captivated by all of the women. Either Ingrid Pitt, really does carry this full movie, she was absolutely phenomenal throughout the whole thing. But then every single woman is just absolutely stunning. And I don't understand why they're hanging around with all of these mediocre men. I wanted it to just be the women living their cortical fantasy. And I was so sucked in to their beauty and like some of their sexy flirting. I was super into The Governess, and all of that shit. I genuinely was hooked to this movie. I I really enjoyed the ride, I thought it was great. I will say some of that is based on kind of like, oh, isn't this an interesting depiction of like, the end of the height of the Hammer Horror Movement, and of the type of movie that was out at the time and stuff like that. ROWAN:  What a nerd. JAZZA:  But I have a--I had a really nice time, I'd recommend it. ROWAN:  Yeah, I also I guess it appreciated it on that more intellectual level of like, mmm, this is I was I was like, at the very least, there's stuff that we can say about it. In the same way as I did predict this is what was going to happen. That like when you do an experiment in science class, really, I just keep doing high school metaphors. And it's not even on purpose. And when you do an experiment in science class, and it goes horribly wrong, and all of your results are wrong. You're like, well, at least I have something to write in my evaluation, even if the results and the conclusion of the terrible. I'll have, I'll basically just be able to, like, absolutely destroyed myself by being like me from 10 minutes ago, when I did this experiment is ridiculous, and doesn't know what she was doing and absolute fool. Or here all the things she did wrong. JAZZA:  And you're and you'll get really good marks for being reflective. ROWAN:  Yeah, exactly. You really reflective. And I kind of feel like this is the vibe of like, well, I don't enjoy it. But there's a lot we can say about it. So I guess this is the section where we talk about a little bit more context specific around Queer Movies, lesbian vampires, they're a thing. So this is not, this very much was part of a tradition. Like you talked about Carmilla before. And this is a tradition that has very much been with us for a long time, for a number of reasons. So one, as we talked about before, the vampire genre ties in a lot to sex and sexuality. And it only makes sense that if you're going to talk about perversion and sexuality that lesbians come up, you know, it's a it's just how we do. So I think also the fact that there is a, there is a riskier a danger, and alert sexuality element of vampires. And so if you're going to pick a sexuality to titillate the assumed to be male audience. With a bit of taboo, with a bit of danger, with a lot of titties, the lesbians will do it for you. So this is very much yeah, old, old trope, which has continued on through the decades. And this was absolutely no exception and actually was like a very noted example of it that a lot of people will talk about. I think it was very interesting that, when you look at the Wikipedia article for this movie, it gives you, often Wikipedia articles will tell you like what the rotten score is with critics. JAZZA:  Uhm. ROWAN:  And the note that they've made of it being certified rotten. I looked at the citation, and it was from 2013. It is now absolutely not certified rotten, the critic score is 71. And the audience score is 60. So it kind of has gotten more critical clout as a cult classic, than sort of a good movie at the time getting good reviews. It's very much had basically the reaction that we sort of had to at of, there is something about the context of it and something about its sort of cult classic status, which has, I think, elevate it in in subsequent reviews. JAZZA:  Is it, I'm sensing a mirroring of what we saw with Jennifer's Body-- ROWAN:  Hmm. JAZZA:  --a little bit. ROWAN:  You are not wrong, you're absolutely not wrong. There is this idea of the as I kind of mentioned earlier, corrupting lesbian force, right? So you would often have not just in like supernatural ways in in more realistic dramas around these decades, especially within the Hays Code or around it, of the experienced, maybe older sexual lesbian, and the young innocent virgin who didn't really understand what was going on and couldn't be blamed and was sucked in but just needed to be kind of taken out of this woman's [59:23] and given to a nice good man and that would kind of cheer her like this very much is something that is a big, big part of the conceptualization people had of lesbians of what what that relationship looks like. And I think queer people in general was like, the predator, right? So you had a lot of in our history, we have a lot of stuff where, you know, queer people shouldn't be teachers because they shouldn't be around young people. Ridiculous, obviously. And then more recently, we have the sort of trans bathroom panic stuff around the idea that old trans people shouldn't be trusted with our children in bathrooms like just completely ridiculous. But absolutely ties into this idea of like the evil lesbian trope, which plays out so much, over over time, over over this genre. And if you're being interpreting it in maybe a little bit more of a generous way, or if you wanted to subvert it, then you might look at how becoming a vampire is sort of as a symbol of no longer being tied to sort of puritanical ideas of sex and sexuality. And it being a very freeing experience and that that kind of tying into queerness like, I definitely think there's room for that interpretation. In like more modern explorations of lesbian vampires. I'd be really interested to see stuff like that. But yeah, there's a 1936 film Dracula's Daughter. JAZZA:  Yeah. ROWAN: 

Hello and welcome listeners to Episode 95 of Journey with a Cinephile: A Horror Movie Podcast. On this episode, your tour guide of David Garrett Jr., will break down the year of 1941 for horror. I've watched all 15 of the movies that I could find for the year. I have them ranked in my order of worst to best. There are also two lost films that I briefly go over as well. Also on this episode are Mini-Reviews of Vicious Fun (2020), Sinister (2012), The Two Faces of Dr. Jekyll (1960), The Strange Door (1951), Excision (2012), Maniac (2012), Would You Rather (2012), The Vampire Lovers (1970) and Resolution (2012). I hope you enjoy coming on this journey with me! See the List Here: Top Horror Films from 1941 Time Codes: Intro: 0:00 - 2:43 Mini-Reviews: 2:46 - 45:43 Honorable Mentions / Missing Films / 15-11 Horror Films from 1941: 45:38 - 56:14 Top 10 Horror Films from 1941: 56:18 - 1:19:25 Outro: 1:20:22 - 1:22:29 Social Media: Email: journeywithacinephile@gmail.com Reviews of the Dead Link: https://horrorreview.webnode.com/ Facebook: https://www.facebook.com/dgarrettjr Twitter: https://www.twitter.com/buckeyefrommich Letterboxd: https://letterboxd.com/davidosu/ Instagram: davidosu87 Journey with a Cinephile Instagram: journeywithacinephile --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Hammer fanatics, get ready! Because the Summer of Hammer is here to seduce you, with a pair of creature features! Oliver Reed uses his charm, and a typical passionate performance, to win our hearts. Despite the fact that he would prefer to eat us. The full moon will have you howling for this early Hammer classic, Hammer's only feature film foray into werewolf lore. It's The Curse of the Werewolf (1961)! And then from there, just what is Ingrid Pitt up to, in the role that made her a cult horror icon? The answer is: vampire stuff. Obviously. Mircalla? Carmilla? Marcilla? It doesn't matter what her name is! And your gender is irrelevant, too. If Ingrid wants you, she's going to use her vampire wiles to seduce you.  Good luck trying to resist! You know, if you even want to...in The Vampire Lovers (1970)!

Jamie (@jamie_elizabeth) and Leslie (@leslieleeiii) discuss two scary, sexy — and above all, seventies — lesbian vampire movies with the help of Tanya Turner (@auntiebernice) of the Trillbilly Workers Party: Vampyres (1974) and The Vampire Lovers (1970). Subscribe to The Antifada's (or Struggle Session's) premium feed to access the rest of this frighteningly fun series! Patreon.com/TheAntifada Outro music: Secret Shame - Calm

Support the show and get every episode of Vampire Castle at http://sesh.plus | http://patreon.com/strugglesession | http://strugglesession.substack.com On today's episode of Vampire Castle Jamie and Leslie are joined by Tanya Turner of Trillbillies Worker's Party to discuss two gory tales of lesbian vampires: The Vampire Lovers (1970) and Vampyres (1974). Tune: Secret Shame - Calm [https://secretshame.bandcamp.com/] ★ Support this podcast ★ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sexe et règles sont-ils compatibles ? Selon une enquête réalisée pour la marque Nana, 80% des personnes menstruées évitent les relations sexuelles pendant les règles. Pourtant, selon une étude américaine publiée en 2003 par l'Association of Reproductive Health Professionnels, 62% des femmes cis interrogées ont envie de faire l'amour pendant leurs règles. Dans cet épisode, nous avons voulu discuter de sexualité pendant les règles avec trois invitées : Diane Saint-Réquier, fondatrice de Sexy Soucis, un site où elle répond aux questions des internautes sur les sexualités, les identités et la santé sexuelle au sens large, qui existe depuis 6 ans (à retrouver aussi sur instagram, twitter, facebook et France TV). Sexy soucis c'est aussi un collectif qui intervient en festival et soirées sur ces questions. Juliette Hammé, membre de l'émission Gouinement lundi (aussi sur instagram et twitter) et réalisatrice du podcast Adieu monde hétéro (à retrouver là où vous écoutez des podcasts, notamment Podtail, Apple, Spotify ou encore Deezer), sur des parcours de sortie de l'hétérosexualité et co-réalisatrice de Confisekse, le podcast des sextos du confinement. Ovidie, réalisatrice de plusieurs documentaires dont A quoi rêvent les jeunes filles ?, Pornocratie et L'éducation sexuelle des enfants d'internet et autrice de nombreux livres. Baiser après MeToo, le dernier, est sorti en octobre 2020 et Libres ! Manifeste pour s'affranchir des diktats sexuels aussi en collaboration avec Diglee vient d'être adapté en série sur Arte. Nos recos : Diane recommande le livre Chattologie, de Klaire fait Grr et Louise Mey, adapté de la pièce de théâtre du même nom. Juliette, recommande le dernier album de Mansfield.TYA, Monument Ordinaire (et si vous ne savez pas par où commencer, on vous conseille l'étourdissant clip Auf Wiedersehen, l'un des extraits de cet album) Ovidie recommande le film Showgirls de Paul Verhoeven, film qui ne fonctionne pas sur beaucoup d'aspect, mais l'un des rares films qui évoque la question des règles pour une travailleuse du sexe. Juliette nous a aussi conseillé trois films autour de la figure de la vampire lesbienne, qui est l'un des rares moments où le sang est lié à l'érotisme, même s'il ne s'agit pas de menstruations : The Vampire Lovers, de Roy Ward Baker (1970), Les lèvres rouges, de Harry Kümel (1971) et Les Prédateurs, de Tony Scott (1983). Pour approfondir la question, Juliette nous réfère au blog Le 7e Genre. Dans la même catégorie, Diane suggère Lesbians Vampire Killers, de Phil Claydon (2009). Un film « écrit par des mecs beaufs pour des mecs beaufs », précise Diane… « mais c'est quand même marrant et il y a des meufs canon ». Lisa conseille l'association Soie Rouge, qui organise des ateliers pour coudre des serviettes lavables. Vous pouvez nous suivre sur Instagram, Facebook et Twitter. Vous pouvez aussi nous envoyez un email. Crédit logo : Clayton DRX

Overlooked? Not by me!