May 5, 2026
This Week in Horror History | Friday the 13th, House of Wax & The Burning Camp Slashers — May 4–10
This Week in Horror History for May 4–10 dives into a killer week of horror movie history, slasher movie anniversaries, cult horror films, horror comics, survival horror games, and classic monster adventure. This episode revisits the bloody legacy of Friday the 13th, the 2005 remake of House of Wax, the serial-killer comic-book mystery Nailbiter, the retro survival-horror game Crow Country, and this week’s Deep-Cut Spotlight: The Burning, one of the most brutal and underrated 1980s camp slasher movies.
Inside this episode:
May 7, 2014 — Nailbiter #1
A modern horror comic favorite from Image Comics introduces Buckaroo, Oregon—a small town with a terrifying reputation for producing serial killers. If you love crime horror, serial killer stories, creepy small-town mysteries, and horror comics, this one belongs on your radar.
Where to read (U.S., this week): Image Comics, Kindle/Comixology, and collected editions from Image and major booksellers.
May 6, 2005 — House of Wax
The 2005 House of Wax remake brings glossy 2000s horror, slasher-movie chaos, and a gruesome wax museum setting together in one sticky nightmare. A cult favorite of the era, it mixes road-trip horror, trapped-tourist terror, melting bodies, and brutal setpieces.
Where to watch (U.S., this week): Tubi; rent/buy on Prime Video, Apple TV, and Fandango at Home.
May 9, 1980 — Friday the 13th
One of the most important slasher movies of all time hits theaters and turns Camp Crystal Lake into horror history. From isolated cabins and doomed counselors to the birth of a franchise that would make Jason Voorhees a horror icon, Friday the 13th helped define the modern summer-camp slasher.
Where to watch (U.S., this week): Paramount+; rent/buy on Prime Video, Apple TV, and Fandango at Home.
May 9, 2024 — Crow Country
The indie horror game Crow Country brings retro survival-horror atmosphere back with eerie puzzles, abandoned amusement-park dread, old-school tension, and modern genre polish. Fans of Resident Evil-style horror games, PlayStation-era survival horror, creepy theme parks, and indie horror games should take note.
Where to play (U.S., this week): Steam, PlayStation Store, Xbox, and Nintendo Switch.
Deep-Cut Spotlight — May 8, 1981: The Burning
This week’s Deep-Cut Spotlight heads back to summer camp for The Burning, a grimy 1981 slasher packed with Tom Savini effects, campfire trauma, garden shears, and one of the most infamous raft massacre scenes in horror history. Overshadowed in the original slasher boom, it has since become a true cult horror classic and one of the essential 1980s camp slasher films.
Where to watch (U.S., this week): Tubi, The Roku Channel, MGM+; rent/buy on Prime Video, Apple TV, and Fandango at Home.
Birthday Roll:
Lance Henriksen, David Keith, Kevin Peter Hall, and Meg Foster.
Weekly Recommendation — May 7, 1999: The Mummy
For a lighter but still monster-packed pick, revisit The Mummy, the 1999 Brendan Fraser and Rachel Weisz adventure that revived Universal monster energy with cursed tombs, scarab swarms, ancient rituals, undead horror, and blockbuster pulp fun. It is the perfect date-window recommendation for fans of classic monster movies, action horror, Universal horror, and summer adventure films.
Where to watch (U.S., this week): HBO Max, Peacock; rent/buy on Amazon Video, Apple TV, and Fandango at Home.
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WEBVTT
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Some weeks on the horror calendar, build themselves around one
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perfect seasonal moved. This one smells like damp pine, old cabins, gasoline,
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cheap beer, fluorinated water, melting wax, dusty comic shop shelves,
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and ancient tombs someone absolutely should have left sealed. Tonight,
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we've got a killer small town comic debut, a glossy
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wax museum nightmare, the movie that made every summer camp
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feel dangerous, and a modern game that remembers why abandoned
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attractions are terrible places to explore. Then after the break,
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we're heading deeper into the woods for a cult slasher
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that should have been a much bigger hit than it was.
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So check the cabin door, stay with the group, and
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if the lake suddenly goes quiet, maybe that's your cue
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to leave. Welcome back to this week in horror History,
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your weekly time machine through the creepiest anniversaries in film, TV, books, games,
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and beyond. I'm your host, Enrique Kuto, and tonight we're
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talking about May fourth through the tenth coming up. A
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killer comic book debut arrives in Buccaroo, Oregon. Wax Mannequins
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get mean in the two thousands, Crystal Lake makes a
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blood soaked entrance and a modern retro horror game proves
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old school survival horror dread is alive and well. Then,
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right after the break, our Deep Cut Spotlight heads to
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camp Stonewater for one of the grimiest slashers of the
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early eighties. May seventh, twoenty fourteen, Image Comics drops Nailbier
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number one and Modern Horror Comics get one of the
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nastiest small town hooks of the decade. Joshua Williamson and
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Mike Henderson introduce Buckaroo, Oregon, a place that somehow produced
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sixteen of the world's most infamous serial killers. The series
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mixes crime, procedural conspiracy, mystery, splattery, unease, and a little
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twin Peak's weirdness filtered through a gas station paperback rack
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from Hell. The beauty is that the town itself feels
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like the monster. Every road, diner, basement, and front porch
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might be hiding the next awful answer. As far as
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where to check out this comic book, Image Comics still
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hosts the series page and first issue entry, with digital
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availability through Kindle or Comixology, and collected editions from Image
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at major booksellers. So basically give it a Google, and
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I'm sure you can find it in digital or printed
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on some dead trees. May sixth, two thousand and five,
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House of Wax opens, and honestly, this one keeps aging
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better than the jokes people made about it around the time.
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On a forty million dollar budget, it grows to about
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sixty eight point eight million worldwide. A respectable studio slasher
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for the era with a great title, a nasty streak,
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and a killer central location. Jeanmai Colette Sera turns that
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wax town set up into a tactile nightmare, sticky heat,
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fake smiles, collapsing bodies, and enough texture that you can
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practically feel the paraffin in your teeth. I only saw
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this film a little while back when my buddy Dave
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brought it to me. While it's supposedly a remake of
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House of Wax, that's really only in name. In fact,
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the film felt almost more like a tourist trap remake.
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If you know that classic slasher from the nineteen seventies,
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it's one of my favorites. I enjoyed how House of
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Wax handled pretty much every element of being a tourist
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trappy town. The teens being stalked. I really, I did
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dig it, and I really I've said this on the
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show before. These early two thousands horror movies are just
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aging very well, and House of Wax is certainly one
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of them. Although the one element I just I couldn't
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get behind even the oh I thought it was very
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creative and very clever, was the idea the big reveal. Hey,
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the movie's over twenty years old, so I'm gonna spoil
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this part that the house is made literally out of wax.
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That just doesn't make any sense to me, because like,
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what is this town incapable of a sunny day? Has
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there never been a summer that was over ninety one degrees?
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But otherwise I really like it. It's good dumb fun
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and we all can use a little good dumb fun
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from time to time. So if you want to check
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out House of Wax from two thousand and five, whether
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it's for the first time or as a revisit, it
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is free to watch with ads on tub and of
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course you can rent or buy it on Amazon, Prime Video,
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Apple TV, and Fandango at home. May ninth, nineteen eighty
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The Big Mama Friday the thirteenth, hits theaters and kicks
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open the cabin door for an entire era. Produced for
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around five hundred and fifty thousand dollars, it grossed around
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thirty nine point eight million domestic and roughly fifty nine
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point eight million worldwide, the kind of return that tells
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every producer in town, get me ten more of these.
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By summer, the franchise would become more associated with Jason.
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But of course, the original codified the slasher playbook, isolated camp,
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horny counselors, point of view, stalking, kill reveals, and of
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course that final jump. I know a lot of people
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say the original Friday the thirteenth doesn't really hold up.
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It is slower paced, it does have more of a
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who done it mystery vibe, which I actually think benefits
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it greatly compared to other slasher films, and it was
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produced to be basically Halloween knockoff, although instead of ripping
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off Halloween and eating up some of its market share,
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it ended up expanding the subgenre of slasher movies in
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a way that nobody could have ever imagined. Ever, I
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like the original Friday of the thirteenth. I think it
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does stand up pretty well. Yeah, it's a little slow,
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but what do you want? But the thing that always
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fascinated me the most was Friday the thirteenth of the
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big three original slasher movies. If we don't count Texas
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Chainsaw in it, just because Chainsaw is a different animal
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one I love, but a different animal. If we compare
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Friday the Thirteenth, Halloween, and Nightmare on Elm Street all
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back to back, which I did once at the drive in,
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one thing that really shocked me was Friday the thirteenth
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had a much more kind of rough aesthetic. It had
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more of a regional feel. It felt like it was
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a lower budget movie where a bunch of people just
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kind of came together and made it. Kevin Bacon aside,
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When I watched Friday the Thirteenth, it looked like a
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kind of grainy, low budget movie. Then I watched Nima
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at Elm Street, which had a much bigger budget, and
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it looked a lot bigger budget. And then when I
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watched Halloween, I was like, Wow, this thing had half
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the budget of Friday the thirteenth, and it looks amazing
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because well, Dean Cundy is kind of a wizard and
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he shot Halloween. Anyway, I'm getting a little overwrought, but
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I think Friday the Thirteenth is totally worth a watch.
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If you're used to the fast paced horror films of
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today or even yesterday, Friday the thirteenth might be better
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in your Sunday afternoon rotation, but I do recommend giving
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it a rewatch. And if you've never seen it, well,
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come on, dude, get to it. It's available to watch
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on Paramount Plus with your subscription, and you can of
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course rent it on Fandango at home, Apple TV, and
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Prime Video. May ninth, twoenty twenty four, Crow County launches
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for Windows, PlayStation five, and Xbox Series XS, bringing old
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school survival horror tension into the modern indie spotlight. This
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is one of the coolest recent horror throwbacks because it
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doesn't just borrow the look of early survival horror. It
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understands the rhythm, fixed dish perspectives, deliberate puzzles, inventory management,
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eerie quiet, and an abandoned amusement park full of kitsch, rot,
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nostalgia and wrongness. If that sounds like a spooky fun
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time for you in your living room in the dark.
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It's available on Steam, the PlayStation Store, Xbox, and Nintendo switch.
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So give it a play and see if you can survive.
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Tomorrow.
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On Weekly Spooky, a summer job that sounds almost too
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good to be true becomes something far worse than hard labor.
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Three broke teenagers, one strange man with a rusted out truck,
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a secretive shed, a half built house made from handmade
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concrete blocks dyed a cheerful, sickening shade of pink. Frank
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Chopsky says he's building a surprise for his wife and
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six children, a little pink house, something sweet, something sentimental,
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something made with love. But Frank is not the kind
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of man you ask too many questions. He keeps the
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shed locked, he screams if anyone gets too close. He
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carries in garbage bags, tools, towels, a saw, a hatchet,
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and every evening he sends the boys across the field
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with blocks so heavy they can barely lift him. Then
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one of the boys makes a joke he shouldn't have made,
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and when the sun goes down, curiosity leads the others
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back to the work site, where the pink concrete begins
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to reveal what Frank has really been mixing inside. Tomorrow,
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step on to the property, stay away from the shed
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and pray you never have to find out what gives
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a house good bones on Concrete Evidence by Gary Dee
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up in Ontario tomorrow on Weekly Spooky So make sure
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you're subscribed. All right, Spooky is We're gonna take a
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quick break. When we come back. We're heading to another
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summer camp because this week parently loves to hate counselors.
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For a movie that got buried in the slasher pile
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up back then and became a cult favorite years later,
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Garden Shears Campfire Trauma one unforgettable raft massacre.
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When we come back, we're back.
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Let's go where the campfire story gets a body count.
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On May eighth, nineteen eighty one, the Burning opens, and
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if Friday the thirteenth is one of the blueprints, well,
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the Burning is one of the great what if stories
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of early slasher history. On paper, it had everything cropsy,
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a scarred camp caretaker out for revenge, based very much
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on Long Island and Staten Island folklore, Tom Savigni on effex,
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Rick Wakeman on the score, and a grimy upstate camp
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atmosphere that still feels tactile. Yet it hit an oversaturated
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slasher market and sputtered theatrically.
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That's right.
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The slasher market barely existed four years, and it was
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already so saturated that a nasty little gem like the
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Burning could get lost in the shuffle. It's a cult
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classic now, but an underperformer then. Variety reported an early
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take of about two hundred and seventy thousand dollars. The
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commonly cited budget was around one point five million, a
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bit high during that boom, but not impossible to imagine.
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Once you watch it, you understand why, ironically it survived.
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The woods feel huge, the kids feel like kids, and
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the violence lands with that ugly practical effects force that
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makes you WinCE. The raft sequence alone bought this movie
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a permanent place in horror memory. It is a doozy
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and you'll never think about your fingers the same way.
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It also works as a bridge title in camp slasher history.
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Camp is not just where the killer happens to be.
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Camp is the trap, cabins, trees, water, campfire stories, and
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the Prank that went too Far. Plus a very surprising
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and enjoyable feature film debut for Jason Alexander, who would
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go on to play Of All People. George Costanza on Seinfeld.
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If you've never went to camp in this way, I
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highly recon and you do. It's free to watch with
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ads on two B and the Roku channel, as well
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as MGM Plus with your subscription, or of course, you
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can rent or purchase it on Prime Video, Apple TV,
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and Fandango at home.
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Now let's dive.
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Into some horror birthdays. We've got several of my personal
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favorites and even two alumni from John Carpenter's They Live.
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First up, born on May fifth, nineteen forty is Lance Hendrickson.
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He played Bishop in Aliens, Frank Black in Millennium, and
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is just generally one of the genre's all time great faces.
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He has an intensity to him that he brings to
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every role, and he has a fascinating personal story if
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you ever get a chance to listen to an interview
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with him, and of course, he was originally supposed to
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play the Terminator before they discovered Arnold Schwarzenegger. Happy birthday,
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Lance Henrickson born on May eighth, nineteen fifty four. David
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Keith and I just realized something. I when I put
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this together, I thought it was Keith David, but it's
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David Keith. That's why I made the reference about They
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Live alumni because Keith David is in They Live, but
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David Keith Keith is not. I can't be the only
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one who makes this mistake. David Keith is unforgettable in
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Firestarter and a steady presence in supernatural and thriller territory.
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He's definitely one of those character actors that seems to
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find himself on this side of the genre spectrum. Happy Birthday,
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David Keith. On May ninth, nineteen fifty five, Kevin Peter
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Hall is born, the original Predator performer and one of
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the great physical monster actors of all time. Standing at
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a staggering seven foot two inches tall, he was basically
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built to play monsters, not needing to use stilts or
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very much in the way of camera tricks. He was
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in films like Prophecy playing the mutant Bear without Warning
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playing the Alien. But he didn't only play monsters. He
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appeared in films and TV series including Night Court, The
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Dukes of Hazzard, and Big Top Peewee. A very Happy Birthday,
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Kevin Peter Hall and finally, born on May tenth, nineteen
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forty eight, our actual They Live alumni, Meg Foster was born.
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She had those impossibly blue eyes, which you likely noticed
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in They Live the Stepfather Too, and many cult films
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and TV series after that. She always carried a kind
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of haunting quality but also elegance, even when she was
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playing a villain. A very happy birthday to Meg Foster
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FORUR Then and Now. This week shows horror recycling itself
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without feeling dead. In nineteen eighty and nineteen eighty one,
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