Bryan and Dave go Belgian this week for a look at the extremely artsy vampire sleeper, Daughters of Darkness. Where Jess Franco and Jean Rollin both released signature lesbian vampire movies in 1971, Harry Kumel snuck in and delivered his own interpretation of sleazy euro-trash horror through the lens of The French New Wave. The film stars the absolutely radiant Delphine Seyrig and her many outrageous costumes.

We break down the film's attempt to make a statement about the gender dynamics between men and women in a patriarchy and Dave goes to great lengths to illustrate the ways in which gay women are treated differently than gay men. In the process you get a crash course in radical feminism and, more specifically, radical lesbianism and the two of us do a lot of lousy cartoonish French accents.

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Bryan and Dave take a look at one of the deepest of cult movie deep cuts, The Beaver Trilogy by Trent Harris, a story about fame, guilt, and Olivia Newton John. It’s the story of a chance encounter with a strange young man one day in Beaver, Utah in 1979 that came to determine the entire trajectory of its director’s life. For reasons that we’ll dig into in the episode the movie is a document of the natural human inclination to seek fame, the natural human inclination to consider how our actions impact the lives of others, and maybe how we become our own worst enemies in the absence of answers. Harris, obsessed with the subject of his own work but unable to speak to him, works out his issues and tries to fill in the blanks as he remakes his own documentary twice with the help of Sean Penn and then again with Crispin Glover. It all culminates in a one-of-a-kind hybrid of documentary and scripted drama that you’re most likely going to become obsessed with.

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To unlock the full episode go to Patreon and sign up at the $5 level to unlock all of our X-Files episodes as well as Radio Free Haddonfield, our bi-weekly DJ and music show.

This week we look at the first proper X-Files monster of the week episode which pits Mulder and Scully against Eugene Tooms, a man who can squeeze his body through seemingly any opening in order to commit the cannibal murders which sustain his impossible physiology. It's an amazing home run for such an early entry in a long television series. As usual we also walk you through a brief history lesson of the week this episode aired and man... it's a doozy.

Take a trip back in time with Bryan and Dave this week as they go black and white with this unassailable classic of the golden age of horror. It's Paramount's remarkably gritty pre-code horror movie, Dr. Jekyll and Mr. Hyde, a movie meant to capitalize on and compete with the sudden popularity of Universal's 1931's horror movies, Dracula and Frankenstein. Paramount, however, takes things a bit further with a movie movie more explicitly sexy and violent than you're probably expecting from the 1930's.

It's a dynamic, kinetic movie shot on elaborate sets and featuring powerful performances from both Fredrich March and Miriam Hopkins and it makes use of a brilliant in-camera trick to transform Jekyll into Hyde before your very eyes. Learn all about it and more in this episode.

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99 Cent Rental returns from its Halloween hiatus with a Van Damme good time as we drill down to the core of the spirit of this podcast with a look at a movie so patently ridiculous and offensive that we can't fully understand how it's simultaneously so entertaining and appealing.

Death Warrant represents some firsts and lasts. It's ostensibly the first movie to truly put Jean-Claude Van Damme over as a viable box office draw and positions him to be the prime action movie star of the 90's. It also represents the final death rattle of Cannon Films after a decade of bad business practice finally caught up with them.

Featuring a performance from Robert Guillaume that this movie clearly does not deserve, it's also full of side characters that are every bit as magnetic as JCVD.

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Here's a taste of our Patreon-exclusive podcast, Do You Think I'm Spooky, an X-Files Rewatch. Bi-weekly episodes (plus more goodies) are available to subscribers at the $5 tier.

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Our inaugural episode looks at the spark that started a wildfire. The X-Files is among a treasured few TV shows from the 90's that came to define the entire decade. We look at the very beginnings with this one, a pilot episode that defied the odds.

In this episode Mulder meets Scully and together they investigate a case of alien abductions, missing time, and sinister human experimentation. Dave prepares the listeners for his hardline skepticism and Bryan assures them that things will certainly get weird.

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Bryan and Dave are joined by their friends Jonny and Aileen from the Uy Que Horror podcast to cap off their month-long October spooky season rundown with a look at the utterly baffling horror movie misstep, Halloween 3: Season of the Witch. It's what happens when a nobody really wants to make a movie but they have to anyway. John Carpenter and Debra Hill agreed to get involved but only if it didn't involve Michael Myers. Joe Dante quit the director spot to go work on another movie leaving it in the hands of Tommy Lee Wallace. Nigel Kneale, the original writer quit when Dino De Laurentis demanded more gory violence in the movie. The whole thing is a mess, really, with Tom Atkins playing a functional alcoholic and Stacy Nelkin playing a young woman in her prime suffering from severe daddy issues.

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This week Bryan and Dave are joined by author and queer horror historian, Sean Abley for a look at a stone-cold classic of 80's horror, Poltergeist. It's out second Tobe Hooper movie in October, alone, and our third overall for 2024. Bryan talks about how this movie was a pivotal moment in his horror movie adolescence. Dave maps the paranormal investigators in the movie to their real-life paranormal investigator counterparts, and Sean has a bone to pick with the ending. We'd also be remiss if we failed to mention the so-called Curse of Poltergeist. We'd also be derelict in our duties if we didn't bring up the elephant in the room: How much of this movie did Steven Spielberg direct? For years rumors and nasty innuendo have swirled that Hooper may have been picking up an easy paycheck on this one in order to allow Spielberg to sidestep some studio deals he made that prevented him from working on it while he made ET. Is there any truth to it? The answer, as usual, is complicated.

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