March 17, 2026
This Week in Horror History | Final Destination, Dawn of the Dead, Us & The Hearse (Mar 16–22)
This Week in Horror History (Mar 16–22) is your weekly horror release-date rundown—with where to watch (U.S.), a deep-cut spotlight, and a weekly recommendation built for nights when you want your horror full of bad omens, fast panic, doubles in the driveway, and death working from a checklist. This week we’ve got franchise-launching paranoia, turbo-charged zombie apocalypse energy, polished Biblical doom, modern prestige nightmare fuel, and a deep-cut supernatural oddity where a black hearse keeps gliding back into frame like something unfinished is still following you.
Inside this episode
✅ Horror releases from Mar 16–22
Mar 17, 2000 — Final DestinationThe movie that made everyday accidents feel rigged by fate: planes, power lines, bathroom cords, kitchen knives, and the awful sense that death noticed you got away with something.
Where to watch: Max or YouTube TV; rent or buy on Amazon, Apple TV, Fandango At Home, Plex, and Spectrum On Demand.
Mar 19, 2004 — Dawn of the DeadZack Snyder’s breakneck zombie remake turns the mall into a brightly lit coffin: panic in suburbia, brutal momentum, and fast zombies that still know how to ruin a room.
Where to watch: Netflix; rent or buy on Amazon, Apple TV, and Fandango At Home.
Mar 20, 1981 — The Final ConflictSam Neill steps in as adult Damien Thorn and somehow makes the Antichrist look corporate, ambitious, and perfectly comfortable bringing end-times menace into the boardroom.
Where to watch: rent or buy on Amazon, Apple TV, and Fandango At Home.
Mar 22, 2019 — UsJordan Peele’s nightmare of doubles, class terror, mirrors, scissors, and subterranean dread—one of those modern horror hits that felt like an event the second it arrived.
Where to watch: Hulu; rent or buy on Amazon, Apple TV, and Fandango At Home.
🎬 Deep-Cut Spotlight
Mar 21, 1980 — The HearseA weird little regional supernatural chiller with cults, suspicion, personal trauma, and a black hearse that keeps showing up like an accusation. Exactly the kind of strange side-road title this show exists to celebrate.Where to watch: Amazon Prime Video Free with Ads, Plex Player, or Fawesome; rent or buy on Amazon.
🎂 Horror birthdays
Mar 16, 1975 — Sienna Guillory
Mar 18, 1950 — Brad Dourif
Mar 20, 1962 — Stephen Sommers
Mar 22, 1991 — Dominique Fishback
⭐ Weekly Recommendation
Mar 21, 2008 — Shutter
A ghostly remake with cursed-image energy, a dislocated Tokyo setting, and a nasty little payoff that still works if you want something slick, eerie, and easy to throw on after the main lineup.Where to watch: Hulu or Disney+; rent or buy on Amazon, Apple TV, and Fandango At Home.
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
🎉 Unlock exclusive bonus episodes and support the show on Patreon!
👉 WeeklySpooky.com/Join
📬 Contact Us / Submit Your Horror Story!
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🎵 Music by Ray Mattis 👉 Check out Ray’s incredible work here !
👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
🌐 Explore more terrifying tales at: WeeklySpooky.com
WEBVTT
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March in horror History has a nasty little habit of
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springing traps just when you think winter is loosening its grip.
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This week, Fate sketches out a passenger list and dares
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a group of teenagers to step off the plane. A
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suburban shopping mall becomes the last bright box in a
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country gone ravenous. Damien Thorn strides into the boardroom like
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the Antichrist just got a promotion, And somewhere on a
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quiet family vacation, a driveway fills with people who look
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just like you. This week is packed with horror that
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feels like a warning studio horror, sequel, horror, prestige, horror, cult,
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oddity horror, all of it circling the same idea. Danger
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is already in the room, and it may already know
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your name. Tonight, we're talking death with a schedule, zombies
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with momentum, doppelgangers with purpose, and one deeply strange, haunted
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car gem that deserves a little more love. So flip
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open the calendar and then hope you survive. Welcome back
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to this week in Horror History, your fast fun walk
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through the horror releases that tied the calendar week of
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March sixteenth through March twenty second. We hit the dates,
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the context, the box office story when it matters, and
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the very practical question every listener asks right after I
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remember that, where can I watch this tonight? And of
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course I'm your host. Enrique Kuto coming up. The movie
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that turned everyday accidents into franchise grade paranoia. Zack Snyder
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sprinting into the zombie apocalypse, Sam Neil giving end Time's
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Menace a power tie. Jordan Peel splitting America in half
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with mirrors and scissors, and a deep cut detour into
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a creepy little regional shocker where a black hearse keeps
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gliding back into frame like Death Missed and Appointment. On
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March seventeenth, two thousand, Final Destination hits theaters and right
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on time. The genius of Final Destination is how clean
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the hook is. No mask killer, no haunted house, no
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cursed videotape, just the awful idea that Death noticed you
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slipped the net and has started correcting the paperwork. James
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Wong's film turned airline, dread, household objects, and random bad
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timing into an eerie subgenre of cause and effect panic.
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It made horror fans, including yours, truly stare at ceiling fans, buses,
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bathroom cords, and kitchen knives with a fresh suspicion. On
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a twenty three million dollar budget, it pulled in one
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hundred and twelve point nine million dollars worldwide, which is
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exactly the kind of hit that tells a studio, yes,
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please keep finding new ways to murder us with architecture.
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I've often heard Final Destination described as a slasher film
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where God is Jason Vorhees, and I think it's pretty apt.
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The other great thing about Final Destination is it truly
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is the gift that keeps on giving because it has
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so many sequels, include one that came out just a
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year or so ago, and they're all worth a watch,
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if at the very least just for the opening insanity
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of that premonition of a big disaster that then is avoided,
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well for a little while at least, So if you
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need an immediate reminder of what Fate has in store
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for all of us, you can watch it right now
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with your HBO Max subscription, or of course, buy or
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rent it digitally at Amazon Prime Video, Apple TV, Fandango
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at Home, or even YouTube. Don't be late, because it'll
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find you. On March nineteenth, two thousand and four, Dawn
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of the Dead came out running literally fast. Zombies were
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still a point of debate for horror fans, and this
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remake basically kicked open the door and yelled keep up.
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James Gunn's script gives the movie a mean little pulse,
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but what really sells it is the velocity panic in suburbia,
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a hard sprint to the mall, and the ugly realization
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that even consumer paradise becomes a coffin once the parking
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lot fills up. Now full disclosure, the original George A.
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Romero Dawn of the Dead from the nineteen seventies is
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easily my favorite film. Not my favorite horror film. That's
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probably Texas Chainsaw Massacre, but my favorite film, right up
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there with Terminator two and Eddie Presley. I adore the
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original Dawn of the Dead, and when Zack Snyder's remake
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hit theaters in two thousand and four, I was sixteen
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or seventeen years old, and I was pretty resistant, but
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I have to admit, years later, watching it again, it
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wasn't bad. It had a lot to like, some great performances,
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and I just think it's actually pretty solid and deserve
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some love. It made one hundred and two point three
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million dollars worldwide on a twenty six million dollar budget,
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so it was a genuine studio horror win and it
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still plays like an energy drink spiked with with dread.
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I still remember one of the big marketing moves they
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did for the film was they showed the first I
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think it was ten minutes of the film on the
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USA network, just straight through ten minutes of the film,
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and it did get me a bit excited, even though
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again I was very edge lord skeptical about them remaking
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my favorite movie and the perfect zombie film. But I
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do recommend you give it a rewatch, especially if, much
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like myself, you had preconceived notions about the film when
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you first saw it. And right now is a great
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time because it's available to watch with your Netflix subscription,
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and of course you can rent it on Amazon TV.
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Well that's Amazon Prime Video, Apple TV, and Fandango at
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Apple TV. I'm just gonna mix them up now because
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we all know what they are. March twentieth, nineteen eighty
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one gives us the Omen Part three, The Final Conflict,
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and this one has a special little horror history thrill
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because Sam Neil, famous for Jurassic Park and some other
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genre films I'll talk about in a minute, steps into
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the role of adult Damien Thorn aka the Antichrist and
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somehow makes apocalyptic evil look polished, ambitious and ready for
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a shareholder meeting. The movie is not necessarily the crown
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jewel of the Omen series, but it has real end
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times pageantry, Mary Goldsmith on the score to make it
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all really come together, and the sheer novelty of watching
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Damien as a fully functional public figure instead of just
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a spooky child with a very very bad record of babysitters.
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I've always had a soft spot for the Omen series
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because when I was a young man, probably really young,
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maybe even eight or nine years old, the OMEN films,
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especially Parts two, three and the HBO made for TV
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Part four, which I think is highly, highly underrated, they
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were always airing on HBO, and I remember watching bits
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and pieces of all of the Omen movies on HBO
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in the middle of the night, being way way too young,
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And to this day I'll still occasionally break into kind
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of doing the music cues because I think something sounds
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demonic those o oh those, oh those you know it's
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something I it's just a part of my DNA now.
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It earned about twenty point five million dollars against a
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five to six million dollar budget, So not a flop,
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not a monster hit, but certainly a profitable doomsday memo.
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And as far as where to watch it, because I
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do recommend you give it a revisit, It's available to
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rent at the usual suspects like Amazon, Prime Video, Apple TV,
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and Fandango at Home, And if you just love the
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omen movies, grab the box set. I Love Mine. On
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March twenty second, twenty nineteen, we get Jordan Peels Us
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in theaters, the weekending reminder that mainstream horror can still
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arrive as an event. Jordan Peel followed Get Out with
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Something Bigger, Stranger, and more dreamlike Doubles Tunnels, class Terror
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Hands across America, and one of the great modern horror images,
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A Family Standing in the Dark Driveway Waiting to be Acknowledged.
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US made roughly two hundred and fifty six point one
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million dollars worldwide on a twenty million dollar budget, which
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is blockbuster money by most standards, but especially horror standards.
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The more impressive thing, though, is that it felt like
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a real original film becoming a communal obsession. For a
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few weeks there, everybody was doing the voice. Everybody was
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suddenly uncomfortable around scissors. I saw it three times in
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the theater, No regrets. It's available to stream right now
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with your Hulu subscription, and of course you can rent
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it from Amazon, Apple TV and Fendango at home, and
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really I think you should. If you've never seen it,
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it'll give you the creeps. And if you're revisiting it, well,
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it'll give you the creeps. Tomorrow Wednesday, on the weekly
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Spooky Feed. It begins in the most ordinary, pathetic, little
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moment imaginable, a bored man in a bathroom stall, staring
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at graffiti, finding a phone number so small it almost
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seems like it was waiting for him. He calls it
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and on the other end there isn't laughter, There isn't breathing.
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There isn't even a person, not really, just a voice
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that says code in from there, everything curdles. His phone
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starts answering thoughts. He never speaks aloud. It shows him
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a stranger's face, a life history, and one final instruction
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Terminate and the worst part. The phone doesn't just threaten him,
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It tempts him with a ruined bank account, a fortune
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waiting on the other side of a terrible decision, a
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gun and a locker, a van out back, a mansion
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at the end of the road, and a man inside
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who may be every bit as monstrous as he appears.
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But this is not a story about an ordinary murder.
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It's a story about manipulation, greed, and curiosity turning rotten,
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About what happens when you answer something that should have
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been left alone and realize far too late that you
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are never in control. This Wednesday, Weekly Spooky brings you
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Boredom can be Deadly by Michael Kelso, a mean little
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nightmare about surveillance, temptation, and the kind of evil that
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doesn't chase you down dark alleys. It waits quietly in
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plain sight until somebody is bored enough to make the call.
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So make sure you're subscribed and join us right back
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here at Weekly Spooky Tomorrow for a brand new scare.
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After the break, we're taking the scenic route into the
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deep cut Spotlight, a nineteen eighties odd ball where grief, devil, worship,
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rumors and one very ominous vehicle rolled together into a
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regional supernatural chiller that feels like it wandered in from
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a late night UHF station and never quite left your head.
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Welcome back. Let's pull off the main road for this
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week's deep cut spotlight. This week we're talking about The Hearse,
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which opened in Kansas City, Missouri SOKC MO not k
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c K on March twenty first, nineteen eighty before expanding
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to further reaches of the nation. That alone gives it
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the right flavor for the show. It wasn't a giant
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nationwide event, not a title everybody had circled in red,
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but a weird, little theatrical ghost drifting into the market
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one city at a time. Directed by George Bowers and
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starring Trish Van Deveray and Joseph Cotton, the movie takes
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a very basic setup. A woman retreats to a small
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town after personal trauma and coats it in cults, suspicion,
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and repeated visions of a black hearse that keeps turning
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up like a bad penny. What I enjoy about The
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Hearse is that it feels adjacent to bigger, prestige supernatural
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movies of the era without ever having their polish, and
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that's not a dig. That texture is the appeal. It's
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the kind of movie you discover because a label rescues it,
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a late night programmer loves it, or a friend who
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enjoys horror says no, no, trust me. This one is
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better than you'd expect. Regional horror films from this era
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all have this gritty, grainy, fun, creepy vibe. It's hard
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to fully nail down too many adjectives. It brought in
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about two point eight million dollars, so while not a
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breakout sensation, the budget was likely pretty low and it
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probably did pretty well for its investors. But that is
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exactly why it belongs in a segment like this. Horror
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history is not just the giants. It's the strange side roads,
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the regional openings, and the films that survive because somebody
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somewhere refused to let them vanish. So if you want
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to check out the hearse, it's pretty easy to get
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your hands on. You can watch it free with ads
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on Amazon, Prime Video or Plex. So why not treat
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yourself to a little nasty regional horror tonight. Now, let's
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talk about some horror adjacent birthdays on March sixteenth, nineteen
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seventy five. Sienna Gilroy was born forever locked into genre
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memory for playing Jill Valentine in the Resident Evil films.
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She's had a great career, but there are worse things
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to be remembered for than Resident Evil. So Happy Birthday, Sienna.
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Born on March eighteenth, nineteen fifty Brad Durref the voice
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of Chucky and one of the great patron saints of
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beautifully unhinged menace. Brad Durreff is one of the most
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underrated actors there is. Not only did he do the
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voice of Chucky, He's been a character actor in so
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many shows. His character in Deadwood, he played the doctor,
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was incredible, and I think one of his most unforgettable
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roles was as the psychotic betazoid in episodes of Star
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Trek Voyager. Really good stuff. A very happy birthday to
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Brad Durreff. On March twentieth, nineteen sixty two, Stephen Summers
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is born a man who breathed new life into monster
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spectacle with films like Deep Rising, The Mummy, and Van
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Helsing actiony horror films, but in my opinion, they do
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a body good. Happy Birthday Steven Summers, and finally, born
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on March twenty second, nineteen ninety one, Dominique Fishback, whose
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work in Swarm proved modern psychological horror, can still feel sweaty, intimate,
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and uncomfortably funny. So have a happy birthday, Dominique Fishback
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are then and now. This week really shows how studio
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horror has changed without giving up its favorite obsession. In
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nineteen eighty one, the Omen three The Final Conflict was
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still selling Biblical apocalypse with polished studio gravitas. By two thousand,
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Final Destination made invisible design itself The Monster. By twenty nineteen,
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US could package social horror, surreal imagery, and art film
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unease as a major multiplex event, different decades, different styles,
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same core pleasure horror, taking ordinary systems, family, travel, suburbia, status,
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national identity, and revealing the unease hidden deep inside. And finally,
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my weekly recommendation is Shutter, released March twenty first, two
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