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This Week in Horror History | Scream VI, It Follows, Resident Evil & Children of the Corn (Mar 9–15)
This Week in Horror History (Mar 9–15) is your weekly horror release-date rundown—with where to watch (U. S.), a deep-cut spotlight, and a weekly recommendation built for nights when you want your horror a little meaner, stranger, and more paranoid. This week we’ve got killer kids, franchise reinvention, slow-walk supernatural dread, survival-horror blockbuster energy, and a deep-cut faux-documentary that feels eerily ahead of its time.
Inside this episode
✅ Horror releases from Mar 9–15
Mar 9, 1984 — Children of the CornA Stephen King cornfield nightmare that turned a tiny budget into a franchise: rural isolation, fanatical children, and one of the great creepy-premise hooks of 1980s horror.
Where to watch: Amazon Prime Video with subscription; TubiTV, The Roku Channel, and Plex free with ads; rent or buy wherever you rent or buy movies.
Mar 10, 2023 — Scream VI
Ghostface goes big-city in the franchise’s nastier New York chapter: subway panic, bodega chaos, and a sharper, meaner pulse.
Where to watch: Paramount Plus with subscription; free on Pluto TV.
Mar 13, 2015 — It Follows
A modern horror classic that makes sex, distance, and everyday space feel cursed: dream-logic suburbs, synth dread, and a threat that never stops coming.
Where to watch: free with ads at Fandango at Home or Plex; Philo with subscription; Kanopy with library card; or rent at the usual suspects.
Mar 15, 2002 — Resident Evil
A zombie video-game blockbuster that helped prove game-based horror could work as durable theatrical horror.
Where to watch: Prime Video with subscription; Hulu with subscription.
🎬 Deep-Cut Spotlight
Mar 9, 1998 — The Last Broadcast
A faux-documentary Jersey Devil chiller made for almost nothing that now plays like a warning shot for digital-horror history. Where to watch: free with Prime Video subscription; totally free with ads on Tubi; rent or buy digitally at the usual suspects.
🎂 Horror birthdays
Mar 9, 1986 — Brittany Snow
Mar 13, 1985 — Emile Hirsch
Mar 14, 1933 — Michael Caine
Mar 15, 1979 — Pollyanna McIntosh
⭐ Weekly Recommendation
Mar 13, 2015 — The Invitation
A slow-burn dinner-party nightmare built from grief, paranoia, and that awful feeling that everyone in the room knows more than you do.
Where to watch: Tubi TV free with ads; The Roku Channel free with ads; Philo, Peacock, or Amazon Prime with subscription; rent or buy on Fandango at Home, Apple TV, and Amazon Prime.
🎧 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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This week, the calendar feels like it was rigged by
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a sadist with a video store membership. Of course, we
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have Killer Kids in the corn, Ghostface upgrading to Big
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City Slaughter, a curse that never stops walking, and a
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zombie video game blockbuster that helped drag survival horror into
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the multiplex and then tucked in the shadows. There's a
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deep cut that feels almost prophetic now, a scrappy little
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faux documentary about the Jersey Devil, desktop editing and digital
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paranoia that showed up just before the Blair Witch Project
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made the whole world start side eyeing camcorder footage. So
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tonight we're heading from Nebraska backroads to New York bodegas,
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from suburban sex panic to the hive beneath Raccoon City
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and into the pine barrens where the signal gets fuzzy
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and the story starts mutating. This is one of those
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weeks where horror history is not just about monsters. It's
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about format. It's about transmission. It's about what happens when
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the camera shows you something terrible then dares you to
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believe it. Welcome back to this week in horror History.
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I'm your host, Enrique Kuto, and this is the show
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where we dig through the graveyard of release calendars and
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pull out the horror movies, shows, books, and games that
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hit during this exact stretch of the year. This episode
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covers March ninth through fifteenth on Deck Tonight. A Stephen
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King Cornfield nightmare that turns a tiny budget into a franchise,
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a Ghostface sequel that absolutely cleaned up at the box office,
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a modern classic that made sex itself feel like a
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stalking mechanism, and a slick Resident Evil adaptation that proved
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video game horror could print money. Then, right before we
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get out of here, a weekly recommendation if you want
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to stay in that fake documentary reality is fraying headspace
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just a little longer. March ninth, nineteen eighty four, Children
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of the Corn hits theaters. This is one of those
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eighties titles that people remember instantly from the premise alone,
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dead adults, zealous children, rural isolation, and that unforgettable phrase,
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he who walks behind the Rose of the Corn was
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made on a reported budget of about three million dollars
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and grossed roughly fourteen point six million worldwide, which made
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it a bonafide hit if for its scale alone, and
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kicked off a long and truly weird franchise. It's not
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the slickest Stephen King adaptation, but it absolutely lodged itself
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in the culture. The image of a quiet little town
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run by murderous kids is still doing work forty plus
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years later, and every time I revisit the original Children
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of the Corn, I remember just how great it is
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and why it spawned such a fascinating franchise. Really, Children
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of the Corn and hell Raiser and Critters, they all
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have a very interesting trajectory. And Leprechaun as well, I'll
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throw that in there too. They have a very odd
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trajectory where the sequels get really out of hand really fast,
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which in my opinion, is a recipe for fun. But
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in my opinion, all of the Children of the Corn sequels,
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by the way, are pretty fun until you get to
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six six six, which is the one where they try
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to make all of the film's previous make sense, and
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in my opinion, that, ironically enough was when they lost
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the plot. But if you want to, and if you
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want to revisit or check out Children of the Corn
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for the first time, it is readily available to watch
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on Amazon Prime Video with subscription or at two b TV,
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the Roku channel and Plex free to watch with ads,
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and of course you can rent or buy it wherever
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you rent or buy your movies. On March tenth, twenty
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twenty three, Scream six opens in theaters. Taking Ghostface out
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of Woodsboro and dropping that chaos into New York was
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the exact kind of franchise shape up the series probably needed.
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Scream six opened big, stayed loud, and finished with about
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one hundred and sixty nine million dollars worldwide against a
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budget reported to be around thirty three to thirty five
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million dollars. That's not just healthy horror business. That is
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proof that a legacy slasher can still feel alive if
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you let it mutate just a little. Although we'll see
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what happens with the current Scream seven, which kind of
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went back to basics in a lot of ways and
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seems to be cleaning up decently in the theater. But
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where I really have to hand it to Scream six
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is the Subway imagery, the Bodega sequence, the meaner energy.
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It all helped to give this one a sharper and
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nastier pulse that makes it stand out and makes you
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want to revisit it. I've been debating a revisit myself,
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So if you want to take your own bloody trip
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to New York City with Scream six, you can check
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it out at Paramount Plus with your subscription or free
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on Pluto TV. March thirteenth, two thy fifteen. It Follows
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begins its United States theatrical run. Ten years later. This
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one still feels like a transmission from a different frequency.
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It Follows took a relatively small budget of around one
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point three million dollars and turned it into roughly twenty
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three point three million worldwide. But the bigger story is
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the afterlife. The music, the dream logic, suburbs that don't
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really feel real, the half familiar technology, the shape that
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keeps coming no matter how calmly it walks. This thing
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hit like an instant modern classic. I saw it twice
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in the theater and then once at the drive in,
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and everyone I sho showed it to was very surprised
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how much they liked it, even though it was off
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putting in several ways. A lot of movies get called
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elevated horror after the fact, It Follows just earned its
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place by simply being nasty and unforgettable as well. I'm
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still shocked there hasn't been a sequel because of how
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well it did at the box office and how much
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it joined the zeitgeist. But who knows, There's always time.
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I suppose I really have always loved It Follows, and
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to me, the late night car trip energy of the
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debate of how you would get away from the It
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Follows creature makes the film super memorable because it's passed
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through intercourse, So what would you do other than pass
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it along to someone else to try to escape. I
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think that kind of stuff is great because it plays
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with your imagination and if you want to revisit or
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watch It Follows for the first time, which would be
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wild to me. It's available to stream free with ads
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at Fandango, at Home, or on Plaux. You can also
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catch it with subscription with your Filo membership, check it
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out on Canopy with your library card, or rented at
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the usual Suspects. It Follows is a great fun time,
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but maybe not the best for a first date. March fifteenth,
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two thousand and two. Resident Evil in Facts Theaters, Paul
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ws Anderson's Resident Evil is one of those movies that
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critics sneered at and audiences kept showing up anyway. It
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went on to pull in about one hundred and three
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point eight million dollars worldwide on a thirty three million
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dollar budget at the time. That made it a serious hit.
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But more importantly, it gave video game horror a viable
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theatrical template. Slick action, industrial production design, monsters used like
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pressure valves, and a star vehicle built around pure momentum.
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Whether you love it, hate it, tolerate it, or just
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enjoy the laser hallway, it matters. This movie helped prove
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that video game based horror could become a durable screen franchise,
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especially in the realm of horror. And if you want
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to give it a watch right now, it's available on
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Prime Video with your subscription or on Hulu also with
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your subscription. They always try to get us with those
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monthly charges.
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Make sure to join us right here tomorrow.
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On the weekly Spooky Feed for a story about what
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starts as a drunken mistake and turns into a nightmare.
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In the middle of nowhere, a man wakes up freezing
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in a dark field, surrounded by cows covered in dirt
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with no idea how he got there. The last thing
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he remembers is a party, a glass pipe, and way
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too much whiskey. But that missing stretch of the night,
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that's where things get ugly, real ugly, because somewhere out
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on those back roads, past the farm, past the broken
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down car, past the point where anybody's coming to help,
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there's something waiting, something that walks on all fours. But
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isn't any animal you've ever heard of, Hairless, clawed, hungry,
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and once it finds you, it does not let go.
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So if you like your horror filthy, frantic, and soaked
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in bad decisions, do not miss tomorrow's story, The back Roads,
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Crypted by Bruce Haney, dropping tomorrow Wednesday on the weekly
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Spooky Feet. Trust me, you do not want to miss
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this one. It'll make you think twice about the next
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time you're on some lonely road at night and hear
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something moving out in the field. When we return, we're
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heading into the pine barrens for a deep cut that
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costs less than some people spend on a used laptop
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and still helped point horror toward the digital future, a
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film that proves all you need is a great story,
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a Great.
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Cast and a Devil.
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Welcome back, my spooky is Let's get weird. This is
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one of my personal favorites when it cuts comes to
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lesser known gems. On March ninth, nineteen ninety eight, the
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Last Broadcast premieres in Pennsylvania. This is the kind of
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title that horror history nerds like me love to bring up,
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but it's for a very good reason. The Last Broadcast
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is a faux documentary about a public access cable crew
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heading into the New Jersey Pine barrens in search of
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the Jersey Devil. Only one man returns alive. From there,
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the film becomes an investigation, a media object, and a
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quiet little dare to the audience just how much of
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what you're watching feels true simply because the format tells
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you it is. And here is the wild part. This
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film was made for an estimated nine hundred dollars, not
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nine hundred thousand, nine hundred American dollars, even when you
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adjust for inflation, which would make it roughly seventeen hundred
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dollars or eighteen hundred dollars. When you consider the fact
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that technology in nineteen ninety eight was far more expensive
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than it is today, I mean, finding a five hundred
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dollars computer was very difficult in nineteen ninety eight, but
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now it's common. That really tells you a lot about
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how hard they worked to make this film happen no
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matter what. It is also widely credited as the first
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feature shot and edited entirely on consumer level digital equipment,
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and later became the first feature theatrically distributed by satellite.
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Now I don't know about first feature film shot and
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edited entirely on consumer level digital equipment, because there were
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a lot of people all over America and the world
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doing that at the time, many of them I've become
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friendly with over the years, so I can't say that
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one is for sure. But the satellite thing that sounds
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that sounds legit. Even with the Blair Witch Project coming
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about around the same time and becoming a huge cultural earthquake,
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the Last Broadcast is one of the little tremors underneath it.
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And in fact I found out about the Last Broadcast
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because it was written about in Fangoria magazine as a
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film like the Blair Witch Project that was made at
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around the same time. I rented it at Hollywood Video.
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I really loved the Last Broadcast, even though I'm not
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crazy about the ending, but hey, that's life in the
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Big City. As a film, it is icy and awkward
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in a way that actually feeds the story. The public
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access texture, the pseudo true crime framing, the analog to
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digital unease, it all makes the film feel like something
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you stumbled upon instead of something you were sold. Financially,
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the theatrical gross was tiny, but reports around the film
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credit it with worldwide profit that reached well into the millions,
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which is astonishing considering the budget was basically pocket lint
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determination and of course a Jersey devil. As far as
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where to watch this film, if you've never watched last broadcast,
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I'm seriously, seriously telling you you should check it out,
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because if you listen to the show, you give a
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crap about horror history. This film is a major footnote
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in horror history. And the reason I love it even
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more so is because it's a major footnote that was
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made by some passionate people in Pennsylvania for nine hundred
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dollars and we're still talking about it to this day.
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That alone makes it required viewing, and luckily it's easy
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to get your hands on because it's available to watch
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free with your pro I'm video subscription or totally free
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with ads on tub and of course you can rent
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or buy it digitally at any of the usual suspects.
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Stop what you're doing, check this one out. It's not
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that it's a perfect film, but it is so important.
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You can feel horror learning a new language in real time,
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and it really does bring some cool, bizarre and creepy moments.
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I just really love the last broadcast. I always have
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and I probably always will, even if, like I said,
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the last minute and a half kind of took me
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out of it, the rest of it absolutely worth the ride. Now,
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let's take a moment to wish some happy birthdays to
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folks who are born in this week in horror history.
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On March ninth, nineteen eighty six, Britney Snow, who gave
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Ty West's ex some serious Neon lit charisma and also
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survived one of the more memorable Studio era remakes with
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Prom Night in two thousand and eight. She's also in
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Would You Rather, which if you've never seen that one,
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you really need to check that out. I love Would
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You Rather? Happy Birthday, Brittany Snow On March thirteenth, nineteen
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eighty five, Emil Hirsch was born. He'll forever be tied
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to one of the best modern Morgue chillers thanks to
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the autopsy of Jane Doe, and of course has had
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