Dec. 23, 2025
This Week in Horror History | The Exorcist, The Faculty & Body Snatchers (Dec 22–28)
Step into This Week in Horror History and relive the nightmare fuel of December 22–28: a Christmas-week collision of alien infiltration, true-case exorcism lore, and paranoia-soaked sci-fi horror.
This episode digs into:
- Dec 25, 1998 — The Faculty: the ultimate ’90s teen alien horror—teachers acting wrong, bodies getting swapped, and the school turning into a trap.
- Dec 22, 1978 — Deep-Cut Spotlight: Invasion of the Body Snatchers: a remake that doesn’t just update the story—it infects it with urban dread, groupthink, and that soul-freezing “everyone’s in on it” feeling.
- Dec 26, 1973 — The Exorcist: a cultural shockwave that rewired horror, from possession tropes to the way films build slow-burn dread.
- Dec 28, 1957 — The Mysterians: classic retro sci-fi with a giant-robot punch of Cold War weirdness.
- Plus: horror birthdays (Blair Witch vibes, scream queens, and silent-era legends), and a weekly recommendation that pairs perfectly with a second “high school is hell” watch.
- The Faculty (1998): Tubi (free w/ ads), The Roku Channel (free), Paramount+ (subscription).
- The Exorcist (1973): Rent on Amazon Prime, Apple TV, Fandango at Home (episode also notes it’s not streaming free / not included with subscription right now).
- The Mysterians / Earth Defense Force (1957): Criterion Channel (membership) — the episode says this is the current option.
- Invasion of the Body Snatchers (1978): Tubi (free w/ ads), Pluto, Plex; rent on Fandango at Home and Apple TV; also mentioned: Amazon Prime (subscription).
Aspire — grab the exclusive discount: Aspiredrinks.com and use promo code SPOOKY for 20% off.
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WEBVTT
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Between December twenty second and twenty eighth, horror keeps looking
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up and realizing the sky is not on our side.
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Sometimes the invasion is subtle, a foggy city, a friendly face,
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a voice that sounds like someone you love, until it doesn't.
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Sometimes it's louder, cold war nerves, Toho spectacle, the sense
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that something vast has arrived and humanity is just background noise.
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And sometimes the threat isn't from above at all. Sometimes
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it's already inside the house, inside the body, inside the room,
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where people whisper prayers and hold on until morning, hoping
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whatever's there finally lets go. This is the week where
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the holidays don't bring comfort, they bring the perfect cover.
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Welcome back to this week in horror history. I'm your host,
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Enrique Kuto, and this episode covers December twenty second through
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December twenty eighth, seven days where paranoia blooms, exorcisms end,
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and the holidays get quietly beautifully ruined. Tonight's episode features
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a famous Midwestern exorcism reaching its final exhausting days, a
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high school getting taken over one smile at a time,
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A landmark possession story hits theaters and changes horror forever
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and a classic Japanese sci fi invasion film drops right
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into this week like a shiny radioactive ornament. Then after
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the break, we're doing a deep cut spotlight on one
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of the coldest, smartest remakes ever made, Invasion of the
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Body Snatchers from nineteen seventy eight, and will close out
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with a birthday roll, a then and now and a
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weekly recommendation to carry you into the dark. December twenty third,
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nineteen twenty eight, The Exorcism of Emma Schmidt aka Anna
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Ecklund reaches its end in Irling, Iowa. If you've ever
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gone down the rabbit hole of real exorcism cases, and
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that is in quotes, this is one of the biggest
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names in the conversation. According to accounts of the case,
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the final stretch of the nineteen twenty eight sessions ran
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December fifteenth through December twenty third, eight brutal days inside
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a convent. Well, that's a sentence I never thought i'd say.
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But I also believe Father Theophilus Riisinger performed the rite
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while the sisters tried to keep order around a woman
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said to be experiencing violent possession. Whether you read this
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as faith folklore, hysteria or something even darker. The element
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that stands out the most is the duration, the sheer
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grind of it, right through the heart of the holiday season,
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but over just in time to still have a nice
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gathering with or dervs on Christmas Eve. And this year,
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in twenty twenty five, we saw the release of The Ritual,
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starring Al Pacino and Dan Stevens, a film all about
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the Exorcism. It was released in theaters during a very
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crowded time in the middle of the summer. So I
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haven't caught it yet, but maybe it's worth checking out.
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December twenty fifth, nineteen ninety eight. The Faculty infects a
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high school and turns teen horror into a Christmas week
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body Snatcher party, released on Christmas Day. Robert Rodriguez is
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The Faculty is what happens when you take Invasion of
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the Body Snatcher's DNA, pour it into a nineties teen movie,
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and then spike it with paranoia and horror creature nastiness.
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It cost around fifteen million dollars and earned roughly forty
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million dollars in the US and Canada, often cited as
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sixty three million worldwide, depending on how you take the
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grosses pretty solid theater business for a sharp, nasty, little
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crowd pleaser that's been a favorite of mine for a
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very long time. Just the idea of the school faculty
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going haywire and coming after the students is something that I,
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as a person who dropped out of high school, find
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very poignant and creepy and believable in a lot of ways.
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When I was a teenager, I often mistaked this film
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for another film that came out around the same time
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called Disturbing Behavior, which was also about all the adults
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turning on the kids, but not quite the alien invasion element.
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But The Faculty is an absolute classic. I revisited it
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a few years ago and loved it. Loved it. If
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you're thinking about giving it a revisit, well, it's easy
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to find and free to watch on tub and the
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Roku channel. It's also available on Paramount Plus with your subscription,
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and of course you could rent it wherever you usually
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do that sort of thing. December twenty sixth, nineteen seventy three,
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The Exorcist arrives and the genre never fully recovers man. Apparently,
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exorcisms and Christmas go together like a peanut buttering cranberry sauce.
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William Friedkin's The Exorcist opened in the US on December
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twenty sixth, and, no exaggeration, it rewired what mainstream audiences
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believed horror was allowed to do. It reportedly cost around
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twelve million dollars to make and went on to earn
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four hundred and forty million dollars worldwide across all its releases,
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making it one of the most financially successful horror films
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ever made. This is the moment possession horror stops being
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just a spooky idea and becomes a cultural event. Even
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if you've seen the film a dozen times, it's still very,
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very layered. There's more to catch with every single viewing
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of The Exorcist, and of course, if you're Beetlejuice, it
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just gets funnier every damn time. And right now it's
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currently available to rent on your favorite rental platforms like
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Amazon Prime, Apple TV, and Fandango at Home. So why
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not revisit The Exorcist the day after Christmas as it
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was intended to be enjoyed. Plus, it's a lot less
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offensive than vomiting pea soup on your relatives. December twenty eighth,
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nineteen fifty seven. The Mysterians lands in Japan, Space invasion
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cinema with Cold war nerves and that classic Toho spectacle.
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Released theatrically in Japan on December twenty eighth. The Mysterians,
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also known as Earth Defense Force, is glossy science fiction
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with a kaiju adjacent bite. Aliens arrive, giant robots stomp around,
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and the whole thing hums with post war anxiety. It's
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not horror in the strictest sense, but I don't know.
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I think that if you have giant monsters stomping around, well,
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that's pretty horrific. I mean, if that happened to you
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on the way home from work, would you would tell somebody? Right?
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I mean I would unless it happened every day, I guess.
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The film features invasion, helplessness, and that gnawing feeling that
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the future is arriving, whether you're ready or not. It
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looks like right now. The only way you can watch
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The Mysterians or Earth Defense Force is by checking it
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out on the Criterion Channel with a membership. This episode
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of This Week in Horror History is sponsored by Aspire
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All right, my spookies, take a breath, because we're about
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to step into San Francisco. I know you're scared already,
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but hold on. In nineteen seventy eight, it's foggy, it's crowded,
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it's beautiful, and the people you love are starting to
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look like they've been replaced by something that just now
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learned how to smile. Welcome back. Let's jump right into
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our deep cut spotlight. It's Invasion of the Body Snatchers
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from nineteen seventy eight. What helps this remake stand apart
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are a few elements. One of them, of course, is
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that it's so intense and creepy. A lot of people
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think this is the original, and that later versions that
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came out in the nineties and early two thousands those
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are the remakes. But no, no, the original Invasion of
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the Body Snatchers came out in the fifties, and while
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it has a lot to like about it, the nineteen
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seventy eight remake has an immense fan base, and rightfully so.
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It's a film that really does top the original in
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many ways. But of course I don't want to crap
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on the original. The original had a lot less to
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work with. It was a much smaller budget film. The
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nineteen seventy eight remake, Well, it had everything going for
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it from cast and crew and director, starring Donald Sutherland,
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who just owns every single scene he is. He so
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brilliantly sells the paranoia. The film takes the old premise
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of pods copying people while they're asleep and turns it
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into an urban nightmare where alien replacements feel less like
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a sci fi trick and more like modern life doing
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what it does, isolating you, exhausting you, and making you
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doubt your own sense. On a reported budget of about
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three point five million dollars, it brought in twenty four
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point nine million at the domestic box office, an undeniable
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hit for something so relentlessly bleak, and bleak really is
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the word. This is not a cozy monster of the week.
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It's a slow realization that the crowd around you has
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stopped being human and you are the last one who noticed.
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So what makes it worth pulling off the shelf this week? Well,
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first of all, the mood, the fog, the sound design.
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Everything feels just a little wrong, like the city is
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quietly holding its breath. The performances play it straight, which
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makes the paranoia feel very very real instead of being campy,
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and the ending is the kind of cinematic gut punch
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which you never ever forget. And I do want to
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mention that because I'm a nineties kid, my favorite version
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of Invasion of the Body Snatchers is actually Body Snatchers
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from nineteen ninety three, directed by Abel Ferrara. I think
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that movie is so creepy, so scary. It takes place
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on an air Force base, a military base, I believe,
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instead of in the open city, and it has a
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lot to say about how you have to fit into
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certain communities to get along, and how fitting in could
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be the demise of everyone. But that one's available on Tube,
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by the way, But we're talking about the nineteen seventy
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eight original, which I think deserves all the love in
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the world and a revisit. It is also available on
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tub for free to watch with ads. You can find
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it on Pluto as well Plex as well. You can
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rent it on Fandango at home, Apple TV, and you
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can watch it on Amazon Prime with a subscription. So
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put it on at night, right when your home is quiet,
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Then look out the window and ask yourself a simple question.
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If someone replaced you, would anybody notice or ask yourself
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a nineteen ninety three question, where you're gonna run, where
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you're gonna hide? Nowhere because there's no one like you left. Now,
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let's jump into our horror birthdays for December twenty second
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through twenty eight and raise a blood spattered party hat
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for a few folks celebrating this week. December twenty second,
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nineteen seventy four. Heather Donahue is born, the face of
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the Blair Witch Project, forever linked to found footage, dread
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and that did we just walk in a circle kind
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of panic? Heather truly made the Blair Witch special, and
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in part it was because of her fearlessness and willingness
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to be vulnerable, even in a way that people would
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later make fun of. The moment in The Blair Witch
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Project where she holds the camera in her face and
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cries and begs for forgiveness and just sobs and fogs
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up the camera and the tears and snots start running,
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That is what makes the movie work. It was, of
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course parodied and made fun of by hundreds and hundreds
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of people, but that's because it was memorable, and because
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most people would not be comfortable to put a performance
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like that on camera. Happy Birthday, Heather December twenty fourth,
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nineteen ten. Fritz Lieber is born a giant of fantasy,
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horror and sci fi, sword and sorcery, urban dread, and
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genre wit all in one brain. The man modernized horror
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with his books Our Lady of Darkness, Conjure Wife, Gathered Darkness,
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The Sinful Ones, and so many short stories and other books.
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Happy Birthday, Fritz, December twenty fifth, nineteen forty nine. Sissy
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Spacek is a Christmas baby. Carrie made her an icon,
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and decades later she still carries that eerie, grounded intensity
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in every role she takes on. Have a great birthday
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and Merry Christmas. Sissy Spacek and another of Horror's lady legends.
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Born on December twenty seventh, nineteen fifty eight. Barbara Crampton
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from Reanimator and From Beyond as well as many modern
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horror movies. Not only as an actress, but as a producer,
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Barbara Crampton is one of the real ones. She is
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incredible in anything you put her in. Whether you want
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her to be sleazy or classy or anything in between,
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you can count on Barbara Crampton to bring it and
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to bring the scream when is necessary. She's definitely scream
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Queen Royalty with the true range. Happy birthday, Barbara Crampton
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and finally born on December twenty eighth, nineteen oh sorry,
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eighteen eighty eight. F W. Murnow, silent era legend and
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the director behind No Sparratu in nineteen twenty two, the
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original vampire movie. The Imagery of No s Feratu still
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feels like a personal nightmare to many many people who've
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enjoyed it over the years. A very happy birthday, f W. Murnow.
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And for our then and now we talk about The Exorcist,
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released on December twenty sixth, nineteen seventy three to present day.
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When The Exorcist opened the day after Christmas, it didn't
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just scare people, it changed a genre as we know it.
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The mainstream would never be the same. The film's realism
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and its refusal to wink or show its hand, the
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way it treats faith and fear as equally heavy forces.
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It's the blueprint so many modern possession stories still chase
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after desperately to this day. One of my favorite things
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about the Exorcist is that I am not a religious person,
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