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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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camp Slashers are rough, opportunistic, and hungry. By two thousand
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and five, House of Wax turns young people in an
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isolated nightmare zone into glossy multiplex horror. By twenty twenty four,
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Crow Country translates old survival horror media into something modern
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players are craving again. And Tucked into this same time period,
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The Mummy shows how a classic horror icon can be
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rebuilt as a full blown summer adventure. Still cursed, still undead,
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just with a bigger grin. And speaking of that leads
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into our weekly recommendation. On May seventh, nineteen ninety nine,
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The Mummy opens in the United States. If this episode
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leaves you wanting one more pick from this time period
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in horror, go with The Mummy. The Brendan Fraser, Rachel
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Wise blockbuster that took the country by storm, although I
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suppose it was more of a sandstorm. Stephen Summers takes
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the old universal monster legacy, bolts it up to pulp
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adventure and sends it tearing through cursed tombs, scarab swarms,
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ancient rituals, doomed treasure hunters, and one very angry resurrected priest.
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It fits this week because it understands horror as a
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summer attraction, like Friday, the Thirteenth, House of Wax, The Burning,
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and ey Crow Country. It starts with people walking into
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places they absolutely should have avoided, only this time the
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danger is waiting under the sand. It grossed more than
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four hundred million dollars worldwide and still has enough creeping,
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crawling nightmare fuel to earn its place on our calendar.
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While a lot of people kind of write off The
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Mummy as being in actionified horror film, I kind of
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think it works really well because the Mummy films originally
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were kind of reminiscent of Alan Quartermain, which was basically
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the stories that became the inspiration for Indiana Jones. So
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there was always this traveling adventure thing and I think
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it fits really well in the Mummy story. So if
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you want to head to the desert for your own
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adventure and revisit the Mummy, it's streaming on HBO Max
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with your subscription as well as Peacock. Well, my Spookys,
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that's your trip through May fourth to the tenth in
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horror History. Tomorrow Wednesday, don't forget to check out the
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brand new terrifying story Concrete Evidence right here on the
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Weekly Spooky Feed, And don't forget on Monday, we have
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a brand new terrifying and true to scare you. You
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never know what might pop up on Fridays and on Sunday,
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well the Unknown broadcast slips in and creeps us all out.
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But now it's time for me to get back into
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the calendar and dig something else up for you next week.
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So stay safe and maybe don't go to camp this
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summer unless you really want a thrill. I'm your host,
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Enrique Kuto, reminding you our days are numbered because that's
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how we tell them apart. See you next week.
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