WEBVTT
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Summer horror is supposed to be fun. You get the
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big screens, the loud crowds, the popcorn, the monster you
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can point at and say, well, clearly that's the problem.
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But this Week in Horror History doesn't play fair like that.
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This week evil comes in the shape of a child.
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A hotel room turns memory into a weapon. A London
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street becomes the first warning sign of the end of
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the world. And somewhere in Antarctica, a group of men
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realize the monster isn't just outside in the cold, it
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might already be one of them. So check the nursery,
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count the exits, and maybe don't trust the guy sitting
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next to you. Welcome back to this Week in Horror History,
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your weekly time machine through the creepiest anniversaries in film, TV, books,
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and games. I'm your host, Enrique Kute, and tonight we're
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talking about June twenty second through twenty eighth. Coming up,
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a Stephen King hotel room that does not want you
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to leave. The Antichrist arrives with one of the best
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horror marketing hooks of the nineteen seventies. A rage virus
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turns empty city streets into modern nightmare fuel, and a
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landmark horror tinged video game opens a slipgate into gothic castles,
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industrial nightmares, and full three D terror. Then, after the
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break our deep Cut Spotlight goes to the coldest place
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on Earth for one of Horror's greatest paranoia machines. June
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twenty second to two thousand and seven, fourteen oh eight
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checks into theaters and proves Stephen King Horror does not
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need a giant monster when it has a locked door,
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a bad room, and John Cusack slowly realizing skepticism is
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not the same thing as armor. It's a haunted hotel story,
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but it plays like a psychological pressure cooker. The room
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doesn't just scare him, It studies him, It finds the
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wounds and keeps pressing. And audiences showed up about one
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hundred and thirty three million dollars worldwide on a reported
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twenty five million dollar budget. A strong hit for a
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movie built around one man, one room, and the worst
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night of your life, and it holds up to this day.
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I promise you, so make your reservation and check in
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by renting or buying it on Prime Video, Apple TV,
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or Fandango at home. June twenty fifth, nineteen seventy six,
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The omen opens and the Evil Child movie gets one
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of its classiest, creepiest landmarks. Gregory Peck and Lee Remick
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play parents slowly realizing their adopted son may not just
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be unusual, he may be the Antichrist. The movie had
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that perfect nineteen seventies religious horror vibe, elegant holmes, formal clothes,
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whispered panic and death scenes that feel like Fate setting
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up a Rube Goldberg machine. It was, in a lot
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of ways final destination before final destination, except with a
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creepy kid at the helm. It was a major hit,
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about sixty point nine million dollars in the United States
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and Canada, with a worldwide theatrical gross around forty six
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point three million, all against a two point eight million
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dollar budget. Definitely a film that if you've somehow missed it,
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you need to watch it, and if it's been a
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while since you put it on, now is definitely a
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good time. I mean, there's never a bad time for
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a creepy, murderous kid horror film, right at least that's
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my two cents. It's available to rent or buy on
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Prime Video, Apple TV, Fandango, at home, or really wherever
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you buy or rent your films digitally. June twenty seventh,
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two thousand and three, twenty eight days later, hits United
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States theaters and the zombie movie suddenly feels fast, raw,
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digital and a bit close to home. Danny Boyle and
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Alex Garland don't technically call them zo bombies, but the
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effect is the same. Empty London infected humans sprinting like
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rabid wolves who are insatiably hungry, and survivors discovering that
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civilization is thinner than anybody wants to believe. And it
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became a surprise hit, earning about seventy five million dollars
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worldwide on an estimated budget of eight million. And not
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only did it help reshape the twenty first century outbreak
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horror motifs, but it changed cinema in a lot of
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ways by being shot on videotape, on digital videotape, but
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videotape nonetheless, And this was a very big deal and
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a huge risk at the time, something that really hadn't
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been done at this level, aside from George Lucas doing
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it on Star Wars films, and of course those cameras
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were very, very different from the somewhat more affordable cameras
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they used. I revisited the film right before I went
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to see the new sequels, the twenty eight years Later
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and twenty eight years later Bone Temple, which I both
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both of those. I really enjoyed. It still holds up
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twenty eight days later. Is a lot of fun. It
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has great scares, great characters. It's definitely worthy of its
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legend status in my opinion, and if you want to
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check it out, whether you've never seen it before or
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you're revisiting it, it's available to rent or buy on
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Prime Video, Apple TV, and Fandango at Home. June twenty second,
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nineteen ninety six, Quake releases for PC and gaming gets
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dragged into a darker, colder, more gothic kind of first
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person nightmare. After the massive success of doom It software
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could have given players more demons, more corridors, and more
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heavy metal carnage. Instead, Quake feels like something older and
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stranger clawing its way out of the machine. Medieval castles,
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slip gates, rusted weapons, and shambling monsters with a touch
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of Lovecraftian names, and a world that seems less designed
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than Unearthed. It's not horror in the slow candlelit sense
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its horror as architecture, brown stone, wet tunnels, screaming enemies,
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empty halls, and a Trent Resnor soundscape that makes the
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whole thing feel diseased, industrial and haunted. Historically, it was
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huge too, helping push fully three D first person shooters
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forward while leaving a shadow across PC gaming, modding, multiplayer
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and horror tinged shooters for decades. So if you've never
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played Quake.
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I mean it is a absolute classic and it's available digitally
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on Steam, Goog, PlayStation, Xbox, and Nintendo Switch.
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Our summer horror event continues tomorrow on the weekly Spooky
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Feed with Summer of the Demon, which has turned Football
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Camp into a blood soaked nightmare, with our hero surviving
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the impossible again and again, but now he may finally
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know how to stop the Demon. After being nearly crushed, hospitalized,
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and pushed to the edge, Edie realizes the monster's power
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may not come from the body wearing it, but from
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the jersey that cursed Double zero jersey, the one worn
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by Mick the Demon night, the one that transformed Greg Branlake,
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the one that has left a trail of bodies across
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the camp in Part four, Eddie returns to the camp
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injured but determined, convinced that if the team can get
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the demon down and rip that jersey off, they can
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finally expose who or what has been hiding underneath. But
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the truth is worse than anyone could have expected, because
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when the Demon strikes again during another scrimmage, the team
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makes its stand, players pile on, bodies hit the field,
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and when the jersey finally comes off, the face beneath
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changes everything. But the nightmare doesn't end there, because once
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that jersey is loose, once its power is out in
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the open, someone else reaches for it, someone trusted, someone close,
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someone who can feel exactly how much power is waiting inside.
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Summer of the Demon Part four drops tomorrow Wednesday on
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Weekly Spooky, the fourth part of our summer mini series.
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Make sure you're subscribed so you don't miss it tomorrow,
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and if you haven't heard the other three parts, just
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take a look back on our feed or go to
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Weeklyspooky dot com. Because the Demon can be beaten, the
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jersey can be taken, but the curse it still wants
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a player. All right, spookies, let's take a quick break,
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But when we come back We're going to June twenty fifth,
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nineteen eighty two, The Summer of E. T. Hope, Wonder,
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Glowing Fingers, and Reese's Pieces, but also John Carpenter dropping
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the nastiest, coldest, most distrustful alien nightmare imaginable. Welcome back,
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my spookies. Things are about to get chilly in here.
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June twenty fifth, nineteen eighty two. John Carpenter's The Thing
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opens in theaters and the world isn't ready for it.
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This isn't a friendly alien movie. This is not a
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spaceship full of wonder. This is a frozen station at
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the edge of the world, a group of exhausted men,
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and a creature that does not conquer by blasting through
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the door. No, it imitates. That's the hook that makes
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the Thing immortal. The monster is not just out there.
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It can become your friend, your coworker, the guy you
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trusted just five minutes ago. Every conversation turns into a test,
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every glance becomes suspicious. Even blood could be lying, and
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Rob Botein's effects still feel slimy and dangerous because they
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look like bodies refusing to obey any kind of rules
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or laws natural physical. Any of them teeth where teeth
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shouldn't be, limbs splitting and extending, flesh blooming into something
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that can't be understood. At the time, it struggled, which
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you may not know if you're a little on the
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younger side. It made roughly twenty point nine million dollars
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worldwide on a reported fifteen million dollar budget, and in
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nineteen eighty two, that was not a triumph the studio
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had hoped for. But home video, cable critics and horror
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fans did what horror fans often do. They rescued the
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monster from the wreckage. So now the Thing isn't a failure,
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it's a warning. Trust is fragile groups collapse fast, and
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when fear gets cold enough, nobody needs to be infected
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to turn on each other. I feel it would be
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trite for me to say that the Thing still holds up,
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because it's always been ahead of its time, and even
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now it still feels that way in a lot of ways.
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But every single time I put the thing on, I'm
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still startled by the big scares. I'm still worried by
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the intrigue and mystery, even though I know how it's
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going to turn out. That's a very special thing that ha,
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see what I did there that this film carries. I
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can't recommend it enough. If you've never seen it, that's
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bizarre and you need to drop what you're doing right
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now and check it out. It's available to rent or
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buy on Prime Video, Apple TV, and Fandango at home,
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and there's a gorgeous four K release by Screen Factory
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that you could own if you are the kind of
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person who does that sort of thing. The thing is
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a classic, and if you've never seen it, I'm angry
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at you. Now for some horror related birthdays, we're starting
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off this week with one of the true greats and
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a definite legend. Born on June twenty sixth, the nineteen
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fifty eight Bruce Campbell, the Chin, the boomstick, the chainsaw
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handed soul of evil, dead cold horror. The man completely
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redefined the anti hero in basically every horror common or
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horror movie with a dark sense of humor that came
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after it. A very happy birthday, Bruce Campbell born June
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twenty six, nineteen oh four. It's Peter Laurie, one of
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cinema's great haunted faces from m to countless shadowy genre roles.
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He was one of the first horror actors to really
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upset you with just an expression, especially a smile. Happy birthday,
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Peter Lourie born on June twenty seventh, nineteen fifty five.
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Isabelle Adjhanni. While she has appeared in several memorable horror
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films like Nosferatu the Vampire, I think people would be
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hard to forget her in Possession, as she gave one
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of horror's most emotionally volcanic performances I've ever seen. That's
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a film you should seek out if you haven't seen
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it already. A very happy birthday to Isabella Johnny and
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Finally born on June twenty eighth, nineteen forty eight. Kathy
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Bates Miseri's Annie Wilkes proof that a friendly smile can
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be more terrifying than any mask, and another great example
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of a hyper talented character actress who brings everything to
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their roles, so much so that even a brief glancing
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blow to horror will make her memorable for decades to come.
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I mean, would misery even be misery without Kathy Bates?
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I think not A very happy birthday to Kathy Bates
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for are then and now This week is horror, learning
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to distrust the obvious. The Omen says evil can smile
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from a child's face, fourteen oh eight says a room
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can know you better than you know yourself. Twenty eight
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days later says the Apocalypse might not crawl so much
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as sprint Quake turns horror into architecture, dragging players through
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gothic corridors, slipgates, industrial dread, and a fully three D
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nightmare that helped reshape PC gaming. And of course, the
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Thing asks the simplest and cruelest question of all, who
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is still human? And for our weekly recommendation, if you
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want a follow up that keeps the anthology spirit alive,
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this one will hit just right. June twenty fourth, nineteen
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eighty three, Twilight Zone. The movie opens in theaters, bringing
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Rod Serling's world to the big screen through four directors
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John Landis, Steven Spielberg, Joe Dante, and George Miller. The
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movie is uneven, although in some ways I think that's
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part of the charm and its real world production tragedy
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is impossible to separate from its legacy, but as a
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genre artifact, it's still fascinating and it is a great watch.
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The opening road scene, the It's a Good Life nightmare
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house energy and George Miller's Nightmare at twenty thousand Feet
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remake with John Lithgow absolutely burns the place down. It
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is a phenomenal performance and phenomenally directed. It made about
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forty two million dollars on a ten million dollar budget,
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so a commercial success wrapped in a complicated shadow. If
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you've never seen the Twilight Zone movie, it is a
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lot of fun. It really is, albeit it's a complicated
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relationship I have with the film. I do like it.
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I think it's a solid movie, and it's free to
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watch right now with ads on tub and Plex and
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of course available to rent or buy on Prime Video,
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Apple TV or Fandango at home. Well, my spookies, that's
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your trip through June twenty second to twenty eighth in
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horror history. Don't forget Tomorrow Wednesday, there's a brand new
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installment of our summer mini series, Summer of the Demon,
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00:19:31.279 --> 00:19:34.079
and every single day of the week there's something spooky
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to keep you engaged and keep Halloween alive all summer
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long and beyond. I look forward to seeing you all
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right back here next Tuesday for another peek at the
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creepy calendar. Until then, remember our days are numbered because
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that's how we tell them apart. See you next week.
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