Jan. 13, 2026
This Week in Horror History | Primeval, Scream (2022) & Cloverfield (Jan 12–18)
Primeval, DeepStar Six, Scream (2022), This Wretched Valley, and Cloverfield anchor January 12–18 in horror history, spanning killer-crocodile terror, underwater monsters, slashers, folk horror, and found footage.
Inside this episode (Jan 12–18):
- Jan 12, 2007 — Primeval: a killer-croc creature feature with a nastier real-world edge than it first appears.
- Jan 13, 1989 — DeepStar Six: underwater sci-fi horror where technology goes too deep… and something down there answers back.
- Jan 14, 2022 — Scream (2022): the legacy-sequel slasher that drags the rules back into the light—and shows how grief, fame, and fandom can twist them.
- Jan 16, 2024 — This Wretched Valley (novel): modern folk horror where the wilderness stops feeling like geography and starts feeling like hunger.
- Deep-Cut Spotlight — Jan 18, 2008: Cloverfield: a city-shaking found footage monster movie that weaponizes perspective—because sometimes the scariest special effect is what you don’t get to see.
Then & Now Bite: Horror loves systems that fail—and this week’s picks all punish the illusion of control, whether it’s nature, technology, rules, or the camera in your hand.
Where to watch (U. S., this week):
- Primeval — free via Hoopla (library) or rent/buy on major VOD stores
- DeepStar Six — Tubi (free) and rent/buy on major VOD stores
- Scream (2022) — streaming on Paramount+ and rent/buy on major VOD stores
- Cloverfield — streaming options include Paramount+ (plus other services) and rent/buy on major VOD stores
- One Missed Call — streaming options include Shudder/AMC+ (plus other services), Tubi (free), and rent/buy on major VOD stores
Sponsor: This episode is brought to you by Savorista Coffee — premium half-calf and decaf blends. Get 25% off with promo code SPOOKY at Savorista.com—and every order supports the show.
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
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🎥 Produced by: Daniel Wilder
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WEBVTT
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You know what January does to horror fans, well, it
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lies to you. It shows up wearing a sensible sweater
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and a quiet calendar page and says, relax, nothing scary
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is going to happen. And then on the eighteenth, it
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drops a camcorder into your hands, shoves you into a
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packed New York apartment party, and lets the sky rip open.
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This week isn't about cozy winter vibes. It's about cold water,
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bad signals, hungry teeth, and the weird moment when the
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modern world realizes it still has ancient monsters hiding behind
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the dry wall. So lock your doors, charge your phone,
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and keep one eye on the horizon, because this time
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of year has a nasty habit of proving the haunting
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was always here. Welcome back to this week in horror
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history for January twelfth through January eighteenth, your time capsule
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of screams and the dates that they first crawled into
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the world. Tonight, a crocodile movie that wanted to be
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a straight creature feature thriller and got dragged into real
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world chaos. A deep sea base that discovers the ocean
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doesn't care about your budget, your oxygen, or your Exit Plan,
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a legacy sequel that proved you can bring the slasher
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movie back as long as you tickle the nostalgia, and
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a brand new horror novel that turns the wilderness into
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a hungry maze. Then for our deep cut Spotlight, we
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talk about one of the most influential found footage movies
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that most people seem to have forgotten about in that category.
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And finally, a j horror pick where your phone doesn't
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just ring, it sets you up, and not for a
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relaxing lunch. On a Tuesday afternoon. January twelfth, two thousand
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and seven, Prime Evil hits theaters. Prime Evil is the
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kind of January release that feels like it should be
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background noise, but it isn't. You've got a massive crocodile,
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a news crew trying to capture a story, and the
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movie's real menace, a grim, tangled backdrop of violence that
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makes the whole thing feel queasy in a way that
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most killer animal movies don't even scratch the surface of,
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even with big claws. It's also a very interesting example
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of mid two thousands studio horror trying to look serious
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while still selling you a midnight matinee. It's big teeth,
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big screams, and a monster you can you know, run from.
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It's a little time capsule of that era's tone. It's glossy,
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but it's cynical, and it's pretty to look at, but
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meaner than you would expect. And speaking of giant crocodile movies,
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one of my favorite underrated killer crock movies, which came
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about about seven years earlier, is the aptly titled Crocodile,
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directed by Toby Hooper. It's just a fun, silly creature
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feature and I always enjoyed it. And here's a piece
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of trivia you have no need to know about me.
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It was the first DVD I ever owned. It just
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kind of worked out that way. But yeah, Primeval, it's
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a film I've always enjoyed. I think creature features have
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their place in horror history, and it's a big one
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and the resurgence of them, it's definitely been cyclical during
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two thousand and seven two thousand and eight, that was
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right when we were about to have the big swing
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of those Sci Fi Channel original monster movies, which they
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really dominated the low budget independent film scene until Lifetime
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took over. Yeah, that's right. If you're not aware if
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you want to make a higher budget but still low
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and indie thriller, what have you, You really need to
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take it to the lifetime channel because sci fi does
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not pay nearly as much. So whether you're revisiting Primeval
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after a very long time, or you want to watch
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it for the first time like Titanic, I don't know
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why I made that joke. You can find it available
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to rent or buy digitally on Amazon, Apple TV, and
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Fandango at home. And remember, it's not the sharp teeth
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you need to worry about. It's the crushing force of
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the Jaws. January thirteenth, nineteen eighty nine, Deep Star six
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Splashes down to Earth. Deep Star six is the undersea
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horror movie that knows its strongest weapon isn't the creature.
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It's the floor plan, a remote base, narrow corridors, heavy doors,
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and the constant reminder that the ocean is pressing in
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from every conceivable direction. The setup is simple. A navy
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crew builds deep, drills deeper and cracks open a space
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that should have stayed sealed. After that, it becomes a
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movie about logistics. The true horror dwindling oxygen, failing systems,
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and panics spreading faster than any monster could ever hope
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to swim. It helped set the stage for the whole
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wet claustrophobia wave that followed, one of my favorites from
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that time period being The Abyss. Although you know it
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was a James Cameron monster joint, but I still think
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it's more horror than not. If you want to revisit
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Deep Star six, and I do highly recommend it, especially
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if you enjoy that claustrophobia feeling. While it's available to
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rent or buy digitally on Amazon or Apple TV, you
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might be able to find it somewhere else, but I couldn't,
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and maybe you're just better than me. January fourteenth, twenty
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twenty two, Scream returns to Woodsboro. Scream twenty twenty two
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did the rare thing. It honored a franchise without embalming it.
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It's sharp, mean, funny, and it understands that modern horror
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fans are both smarter and more exhausted than ever. It
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also nails the hardest tone in slasher history. The balance
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between this is ridiculous and this is happening to you.
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It's a movie where the jokes land and then the
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knife lands too. It landed Like a Monster at the
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box office in January, the kind of theatrical hit that
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helped fuel the current wave of legacy sequels and horror
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comebacks started by the Halloween reboot from David Gordon Green.
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You can give Scream twenty twenty two a watch. It's
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available on Paramount Plus to watch with a subscription, and
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you can render by it on pretty much any digital
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store like Amazon Prime or Fandango at Home. January sixteenth,
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twenty twenty four, This Wretched Valley is published. Jenny Keefer's
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debut novel takes the let's go hiking premise and twists
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it into pure dread. A group disappears in the Kentucky wilderness,
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time goes strange, and the landscape it feel like it's
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actively rearranging itself to keep you lost. It's the kind
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of book that turns the outdoors into a kind of
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puzzle box, one that has such sites to show you
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one wrong turn, one foggy ridgeline, and suddenly the valley
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feels less like geography and more like appetite. If you
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like folk horror energy with modern pacing, and you enjoy
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the feeling of reading something that makes you want to
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stay on the trail. This is a solid winter pick.
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It's available on paperback, ebook and audiobook editions. They're widely
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available through all major retailers, booksellers, and libraries. Tonight's episode
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of This Week in Horror History is brought to you
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and support the show all right. Now, take a breath,
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because after the break, we're grabbing the camera and stepping
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into January eighteenth, two thousand and eight, The night New
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York stopped feeling real Welcome back to this week in
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horror history. Keep that camera steady. It only gets worse
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from here. January eighteenth, two thousand and eight, Cloverfield hits theaters.
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Cloverfield is a monster movie that never lets you see
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the whole monster. Well not really, and part of that
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may be due to the type of lenses consumer cameras
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used at the time. Instead, it traps you with six
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people who just wanted one last party and turns the
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city into a shaking hallway of smoke, sirens, and falling concrete.
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Now this isn't just a genius found footage gimmick. It's
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the way the movie weaponizes perspective. You only know what
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the camera knows. When the power goes out, you're blind
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with them. When the crowd panics, you're in the middle
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of it, and when the rules of what a monster
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movie is supposed to show get ripped apart, your brain
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starts filling in the gaps with something far worse than cgi.
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It also hits that perfect early social media moment where
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everybody has a camera, but nobody has a plan, and
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the only way to process terror is to document it.
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The movie feels like a time capsule. Now with two
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thousand and eight technology, two thousand and eight behavior, and
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even two thousand and eight anxiety, and yet the panic
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itself is evergreen. And the marketing campaign was incredible. I
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was in my twenties in two thousand and eight, and
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boy howdy the website was brilliant and the way they
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peaked our curiosity really was genius. The marketing on Cloverfield
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was next level, and for whatever reason, that's how found
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footage marketing campaigns seemed to be. I mean, look at
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the big heavy hitters. Blair Witch Project had one of
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the most incredible campaigns of all time that made millions
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of people have to go see what happened in the
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Blair Woods. Then you have paranormal Activity, which was really
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incredible at marketing the idea that you were going to
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be truly and utterly terrified. Now, whether these films delivered
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is neither here nor there. My point is, Wow, the
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marketing really hits and really pulls you in, and of
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course it's worth mentioning. Cloverfield performed like a January event,
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which is not that common, roughly one hundred and seventy
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two million dollars worldwide on a twenty five million dollar budget. Which,
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don't get me wrong, is an incredibly, incredibly fat budget
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for a found footage movie. But of course, most found
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footage movies don't have a giant monster terrorizing New York City.
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It's important to keep in mind that January is often
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where they dump films that they think may not perform well,
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or films that have a built in audience. This is,
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no doubt a proof of concept that small can feel
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enormous if you control the ride. The legacy is bigger
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than the sequels and spinoffs, which are all fun in
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their own way and very very varied. Cloverfield helped prove
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that horror could be a blockbuster without losing its teeth,
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and that less information can be the scariest special effect
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of them all. And I cannot recommend enough of You've
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Never Seen a ten Cloverfield Lane. That's one of my
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absolute favorites of all time. Currently, you can watch it
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on Paramount Plus with a subscription, or MGM Plus through
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a bundle or subscription. You can also rent or buy
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it on Amazon Video, Apple TV, and of course Fandango
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at Home. Time to light a spooky candle for our birthdays.
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January twelfth, nineteen sixty five, Rob Zombie was born. Hey Yeah,
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musician turned horror filmmaker with a heart deeply settled in
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grindhouse and a love for dirty Americana. I've never been
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the biggest fan of his films, but I've always appreciated
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what he was going for, and of course he really
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shaped the sonic attributes of my childhood with his haze
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and yeazz and his driving guitars. So Happy birthday, Rob.
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On January twelfth, nineteen fifty four. Frank Lilojia is born, writer,
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director of Fear No Evil and Lady in White. A
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filmmaker who knew how to make the supernatural feel personal
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in a way few other filmmakers have been able to accomplish.
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A great director and I really do recommend you revisit
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as many of his films as you can, whenever you can,
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because they will stick with you. Happy birthday, Frank Leloggia
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January sixteenth, nineteen forty eight. One of the biggest heavy hitters,
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John Carpenter is born. He's the minimalist King, the man
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who brought us Halloween, the Thing, and a lifetime of
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synth music dread. Not only has John Carpenter made movies
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like Halloween the thing. But in my opinion, of all
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of the kind of kings or masters of horror out there,
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he has the most hits and the least misses. Now,
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obviously he wasn't box office gold every single time he
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came out the gate, but if you look at his
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even underrated films, man, they really stand out, especially for
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talking mid nineties and back. I mean, in the Mouth
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of Madness, Prince of Darkness. They're all really solid movies.
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So John Carpenter, we hope you have a great birthday
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and keep the piano humming for as long as you can.
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January seventeenth, nineteen seventy seven. A more modern heavy hitter
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in the horror genre is born Lee Wenel, a modern
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horror architect who changed the genre substantially with Saw and
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Insidious with his own sharp character First Nightmares. Leewenel is
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sometimes I feel like overrated and underrated at the same time,
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and I mean that in the most loving way possible.
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If you get a chance, sit down and watch the
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original Saw movie and you'll see why, because that is
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such a solid, instant classic of a film. Happy birthday,
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Leewenel for our then and now comparison here's the through
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line for this week. Horror loves systems that fail. Primeval
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says the story is bigger than the monster, and suddenly
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the creature feature tastes almost bitter deep. Star six says
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technology can go deeper than wisdom, and the Ocean answers
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with its own murky salty teeth. Scream twenty twenty two
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says we remember the rules, then shows you how grief
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and fame can warp them. And Cloverfield, Well, Cloverfield says,
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you can record the disaster, you just can't control it,
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which feels even more true now because we live in
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the era where catastrophe arrives with a push notification, a
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shaky video, and a comment section arguing about what it
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really is. Perception has not gone away at all. It's
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still king even when everything is documented. Maybe that's why
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found footage seems to never truly die. It doesn't just
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show fear, It shows how people behave when fear becomes content,
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