Jan. 20, 2026
This Week in Horror History | Tremors, Split & The Blair Witch Project (Jan 19–Jan 25)
A horror history podcast trip through January 19–25, when the winter slump gets mean and the genre leaves fresh footprints in the snow. This week’s creepy calendar run includes classic creature feature chaos, a modern psychological thriller hit, a creepy doll shocker, a claustrophobic space-horror video game, and a found-footage landmark that changed horror marketing forever.
Inside this episode (Quick Hits):
- Jan 19 (1990): Tremors — a creature feature that burrowed its way into cult legend.
- Jan 20 (2017): Split — Shyamalan’s thriller that became a major modern horror touchstone.
- Jan 22 (2016): The Boy — “it’s just a doll”… famous last words.
- Jan 25 (2011): Dead Space 2 — the trapped-in-a-nightmare formula goes interactive.
- Jan 23 (1999): The Blair Witch Project — a midnight Sundance screening that rewired horror marketing.
- Spree (2020) — a modern, found-footage nightmare with a streaming-era edge.
- Where to watch (as said in the episode): free with ads on Tubi, and also Shudder + AMC+ with a subscription (plus rental options mentioned).
- Edgar Allan Poe • David Lynch • Robert E. Howard • Tobe Hooper
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👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
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WEBVTT
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There's a special kind of dread that only shows up
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in late January. The holidays are gone, the sky is
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still gray, the nights feel longer than they should. So
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tonight we're going to haunt that in between space when
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the ground is frozen, the roads are empty, and horror
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history keeps dropping fresh footprints in the snow, from desert
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worms that shouldn't exist, to a polite little doll that
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absolutely does, to a space station that turns into a
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meat grinder, and one midnight premiere that convinced the world
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a witch might be real. This is your week in
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horror history for January nineteenth through January twenty fifth. I'm Enriquecuto,
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your host and guide through the creepy calendar. Coming up,
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a creature feature that opened and later burrowed its way
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into cult legend. A release that turned a low budget
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into a box office monster, a reminder if someone says
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it's just a doll, do not go into that house.
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And a video game release that made space feel very,
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very small. And for our deep cut spotlight, a found
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footage midnight screening at Sundance that rewired horror marketing forever.
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On January nineteenth, nineteen ninety one of my all time
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favorite films, tremors hits US theaters, a dusty, funny, and
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genuinely tense monster movie where the ground itself becomes the threat.
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You can trace a whole modern wave of small town
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creature horror with charming characters back to this one. In fact,
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by the early two thousands, it was pretty much the
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cliche when you were watching a monster movie, especially on
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Sci Fi Channel, it would be a small town in
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the middle of nowhere, and usually the sheriff was from
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the big city, so he was the outsider as strange
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things began to happen. But here's the part that I
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think is worth bringing up the most. Aside from the
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fact that Tremor's and Tremor's two or two of my
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personal favorite films of all time, Tremor's was not a
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big theatrical smash hit. It made about sixteen million dollars
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at the box office on roughly six million dollars in budget,
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so not a flop by any stretch, but not the
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kind of numbers that scream at the top of their
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lungs franchise. Yet, the movie's afterlife has been truly massive,
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with endless sequels and the rare status of being a
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comfort film for many many people while also being a giant,
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subterranean killer monster movie at the same time. I find
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myself quoting Tremors constantly, so for what it's worth, I mean,
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I'm not the average person, but who is. Tremors really
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is a quotable and super fun ride. And if you
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haven't watched it in a while, or heaven forbid, you've
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never seen it at all, well you need to check
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it out or revisit it. It's absolutely worth your time.
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Currently it's only available to rent or buy digitally, or
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of course get yourself a four K or Blu ray,
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available at the usual suspects, Amazon Video, Apple TV, Fandango
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at Home, etc. Etc. Speaking of that little catchphrase, January twentieth,
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twenty seventeen brought Split to theaters. M Night Shamalan's tight,
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nasty little bottle movie thriller that plays like a kidnapping
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nightmare with a supernatural shadow creeping in from the edges,
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and in my opinion, it was the full return to
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form for M Night Shamalan, although I think a lot
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of people agreed because from there on he was having
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some pretty big box office hits. Especially with its follow
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up Glass Split was an incredible experience in the theater
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and something I was not expecting at all. I wasn't
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expecting to run out of the theater desperate to bring
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friends in to watch it again. Although his previous film,
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The Visit, I also thought was really good. I felt
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like that was his initial return to form after a
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few flops in his past. Financially, it's one of the
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cleanest how to win Hollywood case stories. You can point
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to a nine million dollar budget that turned into about
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two hundred and seventy eight million worldwide. That is the
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horror playbook. Keep it lean, keep it intense, and let
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a central performance do the heavy lifting. And there's one
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thing that this film has in spades, it is phenomenal performances. So,
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whether you've seen the film before or you've never seen
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Split at all, it's time for a rewatch. And it's
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streaming right now on HBO Max and of course is
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available to rent or buy on Amazon Video, Apple TV,
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and you guessed it, Fandango at Home. Give it a watch,
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or you'll meet the Beast. On January twenty second, twoenty
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and sixteen, the Boy arrived with a premise horror fans
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can't resist a remote estate, an anxious caretaker, and a
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porcelain child named Brahms who may or may not be listening.
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It's a great example of how the creepy doll subgenre
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keeps reinventing itself. The Boy was made for about ten
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million dollars, which, by the way, blows my mind that
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a year earlier that movie cost about a million dollars
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more than Split because Split became kind of synonymous. But
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that doesn't mean The Boy was not a success. It
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just wasn't a monster success. It pulled in roughly sixty
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four million dollars worldwide, a reminder that if you can
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build dread with a strong setting and a single unnerving object,
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the audience will show up for the fear. And honestly,
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I think The Boy is pretty underrated. It wasn't the
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biggest horror hit of the decade, but it was absolutely
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creepy and fun. I saw it in the theater and
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if you haven't checked it out yet, you can rent
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it on Amazon Video, Apple TV, and Fendego at home.
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Ding in Space No One Can Hear You game on
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January twenty fifth, twenty eleven, Dead Space two landed in
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North America and proved something horror fans already knew games
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can do claustrophobia better than almost any dead Space two
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takes the trapped somewhere that you can't escape formula and
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makes it interactive. Every hallway becomes a choice, every vent
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becomes a quandary, Every quiet moment is a setup for
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the worst possible sound to be behind you. If you're
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a gamer out there and you want to play Dead
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Space and dead Space two, well, you can play them
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on PC via Steam, also listed as included with EA
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play as far as I could tell, and on Xbox.
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It's available digitally. Tonight's episode of This Week in Horror
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History is brought to you by our good friends at
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and thank you to save Arista for supporting the show.
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When we come back. The midnight premiere that made found
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footage feel like a police report and sold terror like
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it was a rumor your friend swore was true. All right, spookies,
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lights back down, Let's go to the woods. January twenty third,
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nineteen ninety nine. It's midnight at the Sundance Film Festival,
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the Blair Witch Project premieres, and horror marketing changes shape
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in real time. If you were there, you didn't just
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watch a movie, you watched an idea. In fact, a
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room three student filmmakers disappear in the Maryland Woods. A
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camcorder survives, some film reels are unearthed, and the footage
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is all that's left. But the real spell was outside
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the frame. The campaign that blurred the border between fiction
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and maybe this really happened. That whisper level uncertainty turned
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curiosity into compulsion. People didn't just buy tickets, They argued
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about whether they were seeing evidence. And as far as
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financials go, this is the stuff producers taped to their fridge.
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Depending on how you measure the final cost after post
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and marketing, the budget is often cited in a range,
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yet the box office headline is clear about two hundred
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and forty eight point six million dollars worldwide on a
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film that reportedly could not have cost more than a
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half a million dollars, but often is reported as substantially less.
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That's the kind of return that doesn't just make money,
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it creates a template. It's a trendsetter. And here's what
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it unlocked. Found footage stops being a niche trick and
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become a mainstream engine. Viral marketing stops being a buzzword
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and becomes a sharp and deadly weapon in the hands
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of a mysterious monster. And the audience becomes part of
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the mythology because they're the ones who carry the rumor.
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And if you ever wondered why modern horror loves arg's
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fake documentaries, analog horror tiktoks, and of course lost media storytelling,
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you can trace the footprints through the dark woods to
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that midnight in January in Park City, Utah. I've spoken
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about the Blair Witch Project a lot because I am
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a very big fan and I believe sincerely the film
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is as good as the hype, but that is a
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tall order because the hype was incredible. The hype was thick.
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I remember being a teenager watching Curse of the Blair
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Witch on television and really wondering if it was all
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real or not. That is magic, movie magic, the kind
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of horror, joy and fun fear that causes someone to
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launch a podcast and update it every week for seven
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years straight. As far as where to watch it is
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the usual suspects. You can rent or buy it on
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Apple TV, Fandango at Home, and of course Amazon Prime,
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among others. So grab your camera and head into the woods.
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We're going witching. I think that's a term, all right.
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Let's light four candles on the cake and keep them
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far away from anything flammable. On January nineteenth, eighteen oh nine,
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Edgar Allan Poe is born, the godfather of American macabre, guilt,
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obsession and buried secrets. He really created the rhythm of doom.
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I'm a huge fan of Poe. I think that's obvious,
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and during October I released a compilation of all the
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Poe readings I've done for Weekly Spooky Expecting It to
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be maybe three hours long. It was seven and a
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half hours of Poe readings, and I'm excited to dive
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into Poe readings on weekly. Spooky even more as the
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year progresses. So Happy Birthday, Edgar Allan Poe quote The
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Raven Never More on January twentieth, nineteen forty six. David
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Lynch was born. Not a horror director in a tidy
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label sense, but few artists have made the familiar feel
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so so wrong. And I think after David Lynch's pass
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last year, we've truly realized he was very important to
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very many people, and so many appreciated his brave individual genius.
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Happy Birthday, David Lynch, you are sorely missed. Born on
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January twenty second, nineteen oh six. Robert E. Howard. While
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he was known for popularizing sword and sorcery stories, he
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also had a foundational voice for weird menace and pulp dread,
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often featuring ancient evils and cosmic horror. Some of his
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classics would be Pigeons from Hell, The Black Stone, and
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Worms of the Earth. He was all about primal physical horror,
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focused on survival and facing the inhuman. Happy Birthday, Robert E.
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Howard and born on January twenty fifth, nineteen forty three.
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Toby Hooper, the filmmaker who helped drag horror into the
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daylight and make it feel like it could happen on
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the next road over as long as you lived in Texas.
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Toby Hooper obviously brought us the Texas Chainsaw Massacre, but
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some of his other films really did influence American culture deeply,
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one of which would be Salem's Lot. So many people
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have told me stories about seeing that made for TV
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two night mini series and the nightmares it brought them.
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I think Toby Hooper is extremely underrated and very very missed.
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Happy Birthday, Toby Hooper, for are then and Now Then.
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The Blair Witch Project sells fear like folklore, half movie,
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half rumor and all vibes. But when we look to now,
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we're right back there, just faster. A scary story drops online.
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It's clipped into a found fragment, posted without context, and
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the comments they do the rest. People don't ask is
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it good? First? They ask is it real? That is
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the modern horror loop. The audience becomes the campfire, the
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algorithm becomes the woods. So gather around the uncomfortably blue
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light and here something scary because maybe it'll happen to you.
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And for our weekly recommendation, a found footage kind of
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then and now that I think works really well. On
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January twenty fourth, twenty twenty, Spree premiered at the Sundance
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Film Festival, a found footage horror film that I think
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is absolutely worth your time and a lot of people
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seem to have slept on. I caught it on Hulu
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during the pandemic and it was a hell of a
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lot of fun. It's found footage, but for the modern age,
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with dash cams, live streams, screens within screens turning the
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classic Is this real? Am I actually witnessing a crime
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unfold unease into something uglier and more immediate. If you
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liked how this Week's History shows horror evolving with the
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tech of its moment, well this is a great then
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and now kind of watch. And it stars John Keary.
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Most of you probably know him as Steve from Stranger Things. Well,
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this is Steve like you've never seen him before. His
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performance is absolutely kinetic. He is pure energy in the
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chaotic evil direction. And I really do recommend you check
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out Spree from twenty twenty. It's available to stream totally
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free with ads on tub It's also available on Shutter
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and AMC Plus with a subscription, and of course you
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can rent it at the usual suspects like Amazon Prime,
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Fandango at Home and Apple TV. All right, that's your
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run through of January nineteenth through twenty fifth, a week
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where the ground moves, the walls well, they listen, space
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closes in, and the woods keep their secrets. Tomorrow Wednesday,
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