Feb. 24, 2026
This Week in Horror History | End-of-Winter Dread — The Crazies, Get Out & The Invisible Man (Feb 23 - Mar 1)
This Week in Horror History (Feb 23–Mar 1) is your weekly horror release-date rundown—with where to watch (U.S.), a deep-cut spotlight, and a weekly recommendation for that weird stretch where winter won’t let go. This week we’ve got small-town paranoia, social terror, a survival nightmare in the pines, and love at the end of the world—plus a Deep-Cut that turns disbelief into the monster.
Inside this episode
✅ Horror releases from Feb 23–Mar 1
Feb 26, 2010 — The Crazies
Romero-era paranoia without zombies: a small Iowa town, something in the water, and trust collapsing fast.
Where to watch: Free with ads on The Roku Channel; or rent on Amazon Prime Video, Fandango at Home, Apple TV
Feb 24, 2017 — Get Out
Jordan Peele’s debut turns “nice” into a trap—social dread, politeness that cuts like a blade, and the slow realization you’re being played.
Where to watch: Max (HBO Max) subscription (including via add-ons like Hulu/YouTube/Sling); or rent on Amazon Prime, Google Play, YouTube, Apple TV, Fandango at Home
Feb 23, 2023 — Sons of the Forest (Early Access release)
A cabin getaway becomes a survival horror sprint—puzzles, panic, and the creeping feeling something is tracking you between the trees.
Where to play: Steam (PC)
Feb 25, 2024 — The Walking Dead: The Ones Who Live
A tight six-episode run that makes the apocalypse feel personal again—love, loss, and what survival turns people into.Where to watch: AMC+
🎬 Deep-Cut SpotlightFeb 28, 2020 — The Invisible Man
A modern classic monster reboot where disbelief becomes part of the terror—control, denial, and the fear of being watched when everyone insists nothing is there.
Where to watch: Peacock; or rent/buy on Amazon Prime Video, Apple TV, Fandango at Home
🎂 Horror birthdays in this window
Feb 23 — Terence Fisher (1904
Feb 24 — Billy Zane (1966)
Feb 25 — Neil Jordan (1950)
Mar 1 — Lupita Nyong’o (1983)
⭐ Weekly Recommendation
Feb 23, 1974 (UK) — From Beyond the Grave
A cozy, nasty little Amicus anthology—sinister antiques, moral traps, and consequences that feel like personalized hauntings.
Where to watch: Plex (free w/ ads), Hoopla (library); or rent/buy on Amazon Prime Video, Apple TV, Fandango at Home
More scares: Wednesday (tomorrow) on the Weekly Spooky feed — Douglas Waltz’s On the Ice. And Friday, Cutting Deep into Horror returns with Confessions of a Serial Killer (1985).
🎧 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!
- Twitter: @WeeklySpooky
- Facebook: facebook.com/WeeklySpooky
- Email: WeeklySpooky@gmail.com
🎵 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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It's late February. Winter's still got its boot on your neck,
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but the calendars already whispering spray sprays like it's trying
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to lure you outside. And that's when horror loves to strike,
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right in the in between, Not the cozy holiday season,
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not the bright, loud summer box office, the liminal stretch
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where you're half asleep, half hopeful, and you swear you
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heard footsteps behind you on an empty sidewalk. This is
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a week for invisible threats and slow realization terror stories
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where the monster isn't always a creature with teeth. Sometimes
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it's a virus. Sometimes it's a smile that isn't quite right,
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and sometimes it's the person you love walking towards you
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and you can't tell if that's relief or doom. And
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because this week sometimes includes leap Day, we'll tip the
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hat to February twenty ninth, the calendars hidden room, the
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extra day you didn't plan for, the day that shouldn't
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exist but does. Welcome to this week in horror history.
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I'm your host, Enrique Kuto, and this is your weekly
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time machine through the creepiest anniversaries in film, television, games,
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and literature. Our window for this week is February twenty
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third through March first coming up. A viral outbreak that
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turns neighbors into hunting dogs, A modern classic that weaponizes
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nice into something sinister, A survival horror hit that drops
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you on an island where the trees feel like they're
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watching and it might be the case. And a big
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zombie universe premiere built around one question can love outlast
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the end of the world? Then after the break, we're
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headed into our deep cut spotlight A twenty twenty release
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date that hits like a scream and then got swallowed
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by the real world nightmare that followed. The monster is unseen,
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the terror is intimate, and the scars are the point.
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February twenty six, twenty ten, the Crazies hit theaters and
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reminded everyone that Romero era paranoia doesn't need zombies to work,
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and also that saying romero Era is quite a tongue twister.
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It really beats She sells seashells down by the sea
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shore if you ask me. This remake drops you into
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a small Iowa town where something in the water turns
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ordinary people into violent, unpredictable threats. The real horror is
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the speed of the collapse, how fast trust evaporates once
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you can't tell who's infected, who's hiding symptoms, or who's
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about to snap. It did strong business for a mid
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budget horror thriller, about fifty four point eight million dollars
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worldwide on a reported twenty million dollar budget, and it
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was a remake of one of George Romero's lesser known films. Romero,
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of course famous for Night of the Living Dead, a
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horror film that changed everything, and its follow ups Dawn
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of the Dead, Day of the Dead, and and a
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few more that we won't bring up here. They're not terrible,
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but they were not the trailblazing horror of the original trilogy.
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The Crazies remake is a lot of fun and it
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definitely has the holdover of that early two thousands slick
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yet nasty horror vibe, and I think it's worth a
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revisit or a first time watch. Best part, you can
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watch it free with ads on the Roku channel, and
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of course rented at the usual suspects like Prime Video,
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Fandango at Home, and Apple TV. Oh and I want
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to mention a listener had asked me if we had
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some kind of a deal with the streamers, especially Roku
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and two B TV and places like that. We do not.
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We're just reporting who is kindly providing the content we
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all enjoy at the time of this recording. But you know,
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that kind of paranoia about hidden commercials in the programs
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you Mike fits the theme of The Crazies perfectly. February
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twenty fourth, twenty seventeen, gave us get out, and the
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genre didn't walk back out the same way it entered.
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Jordan Peel's debut turned social dread into a trapdoor. Awkward politeness,
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nice comments that land wrong, then the slow realization you're
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not visiting a family, You're walking into a system. It's
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also one of modern horror's great business success stories, roughly
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two hundred and fifty five million dollars worldwide on a
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reported four point five million dollar budget. Just to give
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you context, we just talked about the Crazies remake from
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twenty ten, a film that was panned by a lot
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of critics but was enjoyed by a decent amount of
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the movie going public. It was a remake of a
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film no one really knew that well. It was one
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of George Romero's least known films, although he had a
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lot of those. It got twenty million dollars in budget
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seven years earlier, but then get Out gets four point
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five million bucks to work with. But luckily Jordan peele
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knew exactly how to handle that budget. Because I am
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a very big fan of get Out. I think it
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is one of his best horror It is his best
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horror film as far as sheer fear, I like this
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one the most, although US is very scary, and I
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freaking love Nope, but I consider Nope more of a
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monster ride with a lot of horror in it. It
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didn't scare me quite as much as get Out did.
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Of course, I also saw get Out in the theater
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less than twenty four hours after having gallbladder surgery, and
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the scene where the lead character falls back into his
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mind from hypnosis messed me up because I was still
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whacked out on all the medications they pumped me full of.
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So I don't know if it'll ever be as good
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as that first viewing, but I do love get Out,
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and it's a film that you need to watch and
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you need to revisit every so often. I mean, next
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year it'll be a ten year old film that kind
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of blows my mind and reminds me that my back hurts.
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You can revisit it today with your HBO Max subscription,
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whether you're using it through HBO Max itself or using
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an add on on Hulu or YouTube or Sling whatever
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you like. Or of course, you can rent it on
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Amazon Prime, Google Play, YouTube, Apple TV and you guessed it.
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Fandango at Home. February twenty third, twenty twenty three. Sons
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of the Forest had its early access release and turned
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relaxing cabin getaway into more of a I'm sprinting through
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the woods at because something is shrieking behind me. It's
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a great example of a simple and exciting survival horror
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game built on tension, created by you your first night
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without a real shelter, the first time you see movement
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between trees, the first time you realize the island isn't
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so empty after all. They build that dread like a
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cabin made of bloody popsicle sticks. Hey, I made that
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up just now, and I'm leaving it in. It's currently
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available for your gaming enjoyment on PC via Steam. February
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twenty fifth, twenty twenty four, brought The Walking Dead The
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Ones Who Live, a tight six episode mini series that
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makes the apocalypse feel personal again. Instead of expanding the
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map of the Walking Dead universe, it tightens the focus love,
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loss and the question of what survival does to a
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person when the one thing they want back may just
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be impossible. While later Walking Dead kind of lost me
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because it felt a bit repetitive, I liked the mentality
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of this six episode mini series with such a degree
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of focus, it grabbed my attention pretty well and it
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held onto it. If you haven't had the chance to
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check it out yet and you feel the need to
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watch some zombies munching flesh, it's available on AMC Plus
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for your enjoyment. All right, my spookies, time for a
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quick breather, But first a warning, always check the ice
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tomorrow on the weekly Spooky Feed. Right here Wednesday, We're
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heading out onto a frozen lake with Douglas Waltz's on
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the ice, a widower looking for quiet, a cold, clean horizon,
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a hole drilled straight through the winter like a doorway,
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and then one sharp crack, the kind that makes your
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stomach drop because you suddenly realize the lake has been
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listening the whole time, because something is moving down there,
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something black and shining under the ice, far too fast
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to be a shadow, to deliberate, to be a fish.
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And the worst part you don't see it. You feel
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it circling, bumping the underside, like it's testing the world above,
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like it's deciding whether your prey or an invitation. He
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came out there to grieve, to breathe, to be alone,
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but out on that glassy, frozen nothing alone is the
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last thing he'll be. That's tomorrow right here on Weekly Spooky.
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Then on Friday, cutting deep into horror, returns with an
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often overlooked and truly chilling gut punch from nineteen eighty five,
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Confessions of a Serial Killer, one of my personal favorite
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horror films. No glossy slasher, theatrics, no cute winks, just
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that grimy, grounded kind of horror where every scene feels
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too real and the confession is not even the worst part,
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a slow walk into the mind of a killer and
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the uncomfortable question of how long before we look away
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when the monster looks just like you and me. So
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make sure you're subscribed, because on Friday, we're talking all
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about the horror of that film. Right here on the
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weekly spooky feed, and don't go anywhere because when we return,
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we'll have our deep cut spotlight. You know the story.
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An abuser, a victim, an empty room, and the feeling
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that you're not alone. No monster suit, no jump scare gimmicks,
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just the oldest fear in the world being watched. All right,
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my spookies, we're back, so let's get into it. February
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twenty eighth, twenty twenty, The Invisible Man arrives in theaters,
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and it doesn't just resurrect a classic monster. It drags
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the concept into a relationship where you're being controlled and
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everyone around you thinks you are the problem. Lee Wenell's
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take understands the true engine of invisible horror, not the effects,
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the denial, the gas lighting, the way a victim starts
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doubting their own senses because the world keeps insisting nothing
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is happening. It also became a monster success story. On
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a reported seven million dollar budget, the Invisible Man grossed
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about one hundred and forty five million dollars worldwide, proof
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that studio horror doesn't need gigantic budgets. It needs a
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point of view. Same studio, by the way, that did
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get out go figure. The timing is eerie in hindsight,
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though the film hits in late January, and within weeks
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the world is shutting down. Theatrical runs get cut short,
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the movie moves to premium VOD early or the drive
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in theater, which is where I saw it a second
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time during lockdown. It was like the genre accidentally predicted
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the feeling of an unseen threat changing your life overnight.
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If you haven't seen it before or revisited it lately,
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make sure you notice how it uses space wide frames,
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empty corners, shots that hold a little too long. It
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teaches you to stare at nothing until nothing feels like something.
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I don't know about you, but that scares the crap
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out of me. If you want to watch it right now,
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the easiest way is to check it out with your
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Peacock subscription. That way, you can also check out the
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Berbs TV series, which I haven't had a chance to
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watch yet, but my mother, of all people, just adores it.
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And of course it's available for rent or purchase digitally
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via Amazon, Prime Video, Apple TV, and Fandango at Home.
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All right, time to talk about some spooky birthdays on
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the horizon, Starting with February twenty third, nineteen oh four,
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when Terence Fisher was born, the Hammer Films maestro who
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put Gothic horror in living color, shaping the look of Dracula,
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Frankenstein and a whole era of horror classics. Hammer films
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have a feel and a vibe that kind of always
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felt to me like grown up universal horror. When I
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kick back and watch Universal horror films on a Sunday afternoon,
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I feel kind of like a kid again. When I
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kick back and watch Hammer films on a Sunday afternoon,
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I feel like a grown up enjoying something nasty yet
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oddly classy. Happy Birthday, Terence Fisher on February twenty fourth,
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nineteen sixty six. Billy Zane is born a genre favorite
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for a reason. If you want him at his most
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delightfully sinister and hilarious, I really can't recommend enough a
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revisit of Tales from the Crypt Demon Knight, but Billy's
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Ain is kind of great in anything you put him in,
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even if it's inherently cheesy or silly. Happy Birthday, billy's
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Ain on February twenty fifth, nineteen fifty. Neil Jordan is
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born the filmmaker behind the loved by audiences and critics alike,
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Interview with the Vampire, and other moody, sometimes romantic horror
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films that treat monsters like poetry with teeth. A hell
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of a filmmaker in every genre who left a wonderful
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and bloody mark on horror history. Happy Birthday, Neil Jordan
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and finally born on March first, nineteen eighty three. Lupida Niango,
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in many ways a modern scream queen who's been in
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films such as The Goofy and Kitchy Cooties about killer
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children attacking, as well as films that bring us to
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tears like a Quiet Place Day One, and of course,
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her unforgettable role in Jordan peels us. She's always bringing
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intelligence and fire to the fear. Happy Birthday, Lupida Nyango,
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and for our then and now this week, we want
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to talk about how time seems to relate. This week
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is basically a perfect horror sampler platter. If you think
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about it, twenty ten gives you contamination paranoia, twenty seventeen
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turns polite into predatory. Twenty twenty makes the terror invisible
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and makes belief part of the monster. Twenty twenty three,
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strands you Somewhere gorgeous that feels hostile twenty twenty four
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asks if love can survive the end of the world,
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different decades, same heartbeat. The rules you rely on are
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about to fail. For our weekly recommendation if you want
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something cozy and creepy that still bites que up from
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Beyond the Grave, Released in the United Kingdom on February
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twenty third, nineteen seventy four. It's a classic Amicus anthology
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horror film. A British studio that would become famous for
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