WEBVTT
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Spring is always sold as a fresh start. Open the windows,
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let the light in, shake off the winter gloom. But
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horror knows better because the moment the world starts looking
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alive again, that's when the weird stuff starts moving under
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the surface. Eggs hatch, old urges, wake up, parasites wriggle,
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loose buried things decide they're not as buried as everyone hoped.
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This week in horror History is full of that exact energy,
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flesh that won't behave desire that turns feral stories about
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stories that get cursed just by being told. A city
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collapsing under viral panic, and one of horror's all time
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great lessons, getting another reminder. When the dead come back,
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they do not come back friendly. So keep the shovel
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out of the ground, don't trust anything slimy, and if
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somebody says the prank has gone too far, believe them.
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Welcome back to this week in Horror History. I'm your host,
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Enrique Cuto, and today we're talking about March thirtieth through
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April fifth, coming up. A nasty little alien plague splatterfest
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that oozed into theaters and became a cult favorite. A sweaty,
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seductive New Orleans nightmare where sex and transformation are basically
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the same thing. A docuseries that asks whether horror productions
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are cursed or whether we just need the curse to
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be true. And a Stephen King remake that proved The
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Burial Ground still had plenty of box office life left
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in it. Then right after the break, our deep cut Spotlight,
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a Raccoon City panic sprint where every hall feels like
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you're already too late. March thirty, first, two thousand and six.
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Slither opens in the United States and immediately reminds everybody
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horror can be disgusting, funny, and weirdly lovable all at
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the same time. James Gunn's first feature film as a
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director is pure goop, canon chaos, alien parasites, small town panic,
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mutant Flesh, and Henry portrait of a serial killer's own
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Michael Rooker turning into the kind of problem you absolutely
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do not solve with polite conversation. What makes it stick
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is the tone. Slither is gross, sure, but it's also playful.
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It knows exactly how ridiculous its own nightmare is, and
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that confidence lets it swerve from genuine creature feature nastiness
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into laugh out loud madness without losing any momentum. At
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the box office, it underperformed about twelve point eight million
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dollars worldwide on a fifteen million dollar budget. But this
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is exactly the kind of movie that found its real
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audience later on disc, on cable, on streaming, and in
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the hearts of those who love their horror slimy and mean.
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And of course, this was just the beginning of an incredibly,
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incredibly prolific directing career for James Gunn. This was way
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before Guardians of the Galaxy, way before Superman, way before Peacemaker,
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and his work only got more interesting from here. I
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really recommend checking out his early uvra, especially the bizarre
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superhero film aptly titled super It's a great watch if
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you've never seen it or want to give it a
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nice revisit. There's a phenomenal blu ray available, and of
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course you can rent or buy it on the usual
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suspects like Amazon, Prime Video, Apple TV, and Fandango at home,
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but bring a pre moistened towelette you'll need it. On
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April second, nineteen eighty two, Cat People prowls into theaters
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and gives us one of the sleekest, strangest studio horror
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films of the early eighties. This isn't subtle horror. This
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is elegant, erotic, dreamlike danger. You have Black Leopards, New
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Orleans heat, Giorgio Moroder's incredibly pulsing score, and movie that
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treats desire like a curse waiting to pounds. The legendary
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Paul Schrader's remake of the nineteen forty two classic is
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the kind of film that feels expensive and disreputable at
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the same time, which I mean as a strict compliment.
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It's glossy, weird and absolutely committed to its own feverish mood. Commercially,
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it was a modest performer, but not a smash hit,
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roughly twenty one million dollars worldwide on a reported twelve
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point five million dollar budget. Not a disaster, not a
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runaway hit, more like a beautiful oddball that kept scratching
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its way into cult status. And honestly, Schrader has a
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lot of those films that are truly incredible in hindsight,
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but at the time people didn't seem to appreciate them
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nearly enough. Of course, then he has films that were
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universally loved, so take it for what it is. I
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mean as a writer, he gave us Taxi Driver, Rolling Thunder,
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Raging Bull, The Last Temptation of Christ, and then a
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laundry list of great films that had to be kind
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of learned to be loved later. A couple of my
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favorites would be Light, Sleeper or Auto Focus. When his
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name is on the work, it's probably worth giving a shot.
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So if you've never seen the nineteen eighty two Cat
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People remake, you should really check it out. It's available
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to rent or buy at the usual suspects, as I've
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said so many times, Amazon Prime Video, Apple TV, and
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Fandango at Home. You can rent it or buy it.
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Either way, you're in for a good time and watch out,
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because the kitty has claws. On April second, twenty twenty,
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Cursed Films premieres on the Shutter streaming service and taps
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directly into one of horror fandom's favorite ubsesson not just
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scary movies, but the idea that some scary films somehow
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brought something awful home with them. What's smart about the
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series is that it doesn't just wallow in spooky trivia.
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It digs into the machinery of the myth. Why do
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these stories survive, things like the Crow being cursed or
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Poltergeist being cursed? Why do we keep passing them around?
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And what happens when real tragedy gets mixed up with
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campfire story mentality and sold back to us as a curse.
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That makes cursed films a perfect horror history entry. And
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as you know, that's something I care about quite a bit.
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And it's not just about genre titles. It's about the
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stories horror fans tell each other about the genre itself.
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One of my favorite episodes, by the way, is when
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they dive into the Wizard of Oz. It gets pretty
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fascinating and pretty damn dark. And of course it's streaming
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currently on Shutter, where it was premiered and where it'll
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probably be forever, but you can also get it on
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AMC Plus, so check it out if you need a
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docuseriies to keep you on the edge of your seat.
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On April fifth, twenty nineteen, pet Cemetery opens in the US. Well,
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it's a remake, but I think you already knew that.
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It proved once again that Stephen King plus Grief plus
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one very bad idea is still a very powerful horror recipe.
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In no way does this film replace the nineteen eighty
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nine version in fans' hearts, but it does understand the
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core sickness of the premise, the desperate human belief that
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maybe this one rule can be broken, maybe death can
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be negotiated with, maybe love can outargue the grave, and
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horror being horror answers that with a hard now know.
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And while some people hated the film and some people
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loved it, as we'll see from the box office numbers,
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I thought it was a pretty effective remake retelling of
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the original novel. I had a lot of fun with it.
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Although that nineteen eighty nine one and the sequel in
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the nineties they still get to me in a way
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that I don't think anything modern really could. Financially, it
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was a clear hit. It did around one hundred and
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thirteen million dollars worldwide on a twenty one million dollar budget.
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That's not just decent business. That's the kind of return
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that proves the title still has still has clause. I'm
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laughing because I improvised that line earlier and about clause,
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and I had already written a reference about clause but
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I'm leaving it in because this is this is charming. Yeah,
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it's charming. If you want to check out the twenty
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nineteen pet Cemetery or revisit it because you know, sometimes
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dead is better, you can stream it on Paramount Plus
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or rent or by it on Apple TV and Fandango
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at Home. Tomorrow on Weekly Spooky is no April Fool's Prank.
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We're telling a story all about a man chasing a
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mysterious lay line through the back roads of the Midwest.
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He's expecting strange readings, but he doesn't expect the line
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to bend where it never should, or to lead him
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to a castle that has no business existing there. And
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he definitely does not expect a beautiful woman in distress
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to come running out of the darkness begging him to
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save her from a monster sleeping in the dungeon below.
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But the deeper he goes into that castle, the less
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anything makes sense. Frightened father, a seductive stranger, a coffin
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in the dark, and the creeping feeling that every step
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forward is leading him straight into a trap design just
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for him. This Wednesday Tomorrow on Weekly Spooky, for April
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Fool's Day, We've got a horror story that starts like
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a Gothic nightmare and keeps twisting into something stranger, funnier,
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and far more dangerous than anyone should trust. After midnight,
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It's Fooled You by Douglas Waltz, So tune in tomorrow,
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make sure you're subscribed, and remember, on April Fool's Day,
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the joke might be on you. All right, spookies, We're
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gonna take a quick break, but when we come back,
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we're heading into our deep cut spotlight. We'll be creeping
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into the world of Residence Evil. Not the slow burned
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mansion or the creeping police station dread. This one is
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a panic attack with sirens, a collapsing city, and one
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unstoppable monster who feels less like a boss battle and
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more like bad news that learned how to walk. We're back,
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my spooky is, so let's get into it. On April third,
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twenty twenty, Resident Evil three drops on PlayStation four, Windows
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and Xbox one, and for a lot of horror fans,
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it lands like a shot of pure Raccoon City adrenaline.
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Resident Evil two is the locked door nightmare, but Part
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three is the nightmare that kicks the door off the hinges.
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Everything about this one is built around momentum. Jill Valentine
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isn't creeping through a haunted space so much as trying
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to stay half a step ahead of total civic collapse.
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Streets are on fire, systems are failing. Escape routes keep shrinking,
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and Nemesis is the perfect monster for that kind of
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game because he doesn't just scare you so much as
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he interrupts you. And honestly, that's the real charm of
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Resident Evil three. It understands pressure. Even people who were
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mixed on it usually agree on the basics. It looks great,
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it moves fast, and when it hits it absolutely nails
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that hunted, cornered feeling that the series has always done
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so well. It's the kind of remake that may not
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satisfy everybody equally, but what remake does, but it still
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manages to capture the mood of being trapped in a
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disaster that's already bigger than you or anyone can fix.
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And honestly, that makes it great for a deep cut
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because late March and early April are full of horror
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entries that feel like boundaries giving way, and Resident Evil
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three is basically an entire game about the moment the
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barricades stop mattering. As far as how to play it,
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it's available on PlayStation through their store or Xbox or Steam,
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so you gamers already know how to get your hands
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on it. So why not play today and see if
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you can escape Raccoon City. Let's dive into some spooky
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horror birthdays, So light a black candle and put it
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in the cake. On March thirtieth, nineteen fifty seven, Tawny
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Moyer is born, forever remembered by horror fans as Nurse
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Jill in Halloween two, a film that honestly does deserve
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a lot more love than it gets. It's a lot
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of fun, and it's a great, thrilling and mean spirited
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follow up to the original, legendary classic. A very happy
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birthday to Tawny Moyer. On March thirty first, nineteen forty three,
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Christopher Walkin is born, a man whose genre stops include
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the Dead Zone and Sleepy Hollow, A man who can
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make almost any line sound oddly supernatural. And I'm not
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going to try to do an impression of his voice
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because I've never been able to nail the cadence. But
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he always makes a role memorable, and that includes his
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horror films. So a very happy birthday, Christopher Walkin. On
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April first, eighteen eighty three, Lon Cheney is born, the
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Silent era legend whose transformative performances in the Phantom of
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the Opera and The Hunchback of Notre Dame helped to
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define horror stardom. The man is an absolute icon, and
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even his son brought an incredible amount to the genre
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and to film as a whole. So if you get
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a chance, crack open your favorite old black and white
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horror movie over the weekend or whenever you're off work
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and enjoy a little bit of that fun and cozy dread,
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because a lot of it started with Lon Cheney. So
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happy birthday, mister Cheney. And speaking of horror icons. On
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April fourth, nineteen thirty two, Anthony Perkins is born, the
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beautifully unsettling soul of Psycho and one of horror's all
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time great faces of of everything. Right mother, right mother?
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And also I want to mention if you've never seen
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the Psycho sequels, they are really worth your time. Anthony
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Perkins reprises his role very well and even brings a
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great degree of empathy to the Lovable Psycho, and he
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directed Part three, which in my opinion, is just eighties
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as hell in the best possible way. A very happy
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birthday to Anthony Perkins. Our then and now this week
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gives us horror in four escalating forms. First infestation, something
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alien gets inside the body and turns a town into meat.
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Then desire, something ancient an animal turns longing into danger.
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Then myth. We stop asking whether horror stories are true
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and start asking why we want them to be true.
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And then finally grief, the oldest trap in the genre,
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bringing back what should have stayed gone. And right in
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the middle of all of that, Resident Evil three gives
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us the panic version the moment containment fails and horror
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stops lurking in the shadows because it no longer has to.
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And for our weekly recommendation published on April fifth, nineteen
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seventy four, the immortal classic Carrie. If you want a
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perfect companion piece for this week, go back to April fifth,
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nineteen seventy four with Stephen King. It's easy to talk
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about Carrie as the first big Stephen King book, and
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it's completely true, but it's also a brutal blueprint for
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so much of what modern horror became humiliation, repression, cruelty, adolescence, religion, power, vengeance,
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all of it building toward one of the most inevitable
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and striking catastrophes in the genre. Still hurts about Carrie
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is that the monster and the victim are the same girl.
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That's the rub, that's the sting, and that's why it lasts.
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And it fits this week beautifully because so many of
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these titles are about a line being crossed, one bad decision,
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one unlocked urge, one fatal act of cruelty, one resurrection
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too many, and Carrie may be one of the greatest
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you should have stopped before this point horror stories ever written.
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It's available in hardcover, paperback, kindle, and audiobook. They're all
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delightful ways to enjoy the Stephen King classic. That's your
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trip through March thirtieth through April fifth in horror history.
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Remember tomorrow on Weekly Spooky, we'll have a fresh horror
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story all about April Fools that is more than you
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bargain for it. And make sure you're subscribed, because on
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Friday we have a little surprise for you. On Saturday,
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we have a collection of horror stories from the weekly
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Spooky Vault for you to enjoy. Sunday there's the Unknown Broadcast,
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which I still don't know where it comes from or
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why it always returns, but it's there for you. And
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then on Monday, a brand new true crime horror story
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about and exorcism gone Deadly. So until next time, remember
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our days are numbered, because that's how we tell them apart.
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See you next week
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