Dec. 2, 2025
This Week in Horror History | Turistas, Scalps, House of Dracula & Girls Nite Out
The first week of December isn’t just for cozy rom-coms and twinkling lights. On this episode of This Week in Horror History, we dig into the spooky side of December 1–7, charting travel nightmares, cursed deserts, classic Universal monsters, and a knife-clawed college mascot turning school spirit into a bloodbath.
We kick things off with Turistas (2006), the mid-2000s travel horror where a dream backpacking trip in Brazil plunges into organ-harvesting terror. It’s that “don’t get on the bus” era of horror, loaded with sweaty paranoia and the ugly underside of “exotic” tourism.
From there, we head to the desert with Scalps (1983), a shoestring-budget curse shocker about archaeology students who dig on sacred land and unleash a vengeful spirit. It slipped quietly into limited December release but later clawed out a cult following on home video and streaming thanks to its gritty, regional DIY vibe.
Then we turn back the clock to House of Dracula (1945), one of Universal’s last serious monster mash-ups. Dracula, the Wolf Man, and Frankenstein’s monster all converge on a tormented doctor who thinks he can “cure” them — and instead gives us a fog-drenched fever dream of capes, neck bolts, and mad science that feels tailor-made for chilly December nights.
Our Deep Cut Spotlight goes to Girls Nite Out (1982), a campus slasher originally released as The Scaremaker. A college basketball win kicks off an all-night scavenger hunt, while a killer in the school’s bear mascot costume stalks the grounds with steak knives strapped to its paws. It’s pure early-’80s slasher energy — dorm drama, campus radio, locker-room stalking — that barely made a ripple in theaters but was rescued by VHS and, eventually, a boutique Blu-ray restoration.
We also roll through a Birthday Roll for horror heavy hitters born this week — from Sean S. Cunningham and Tony Todd to genre-shaping talents behind slashers, supernatural sequels, and expressionist nightmares — and talk about how their work threads through the films we’re spotlighting.
To wrap it all up, we land on a Weekly Recommendation that fits perfectly with early December: Edward Scissorhands (1990). It’s the ultimate snowy, suburban gothic fairy tale — pastel houses, winter loneliness, and a gentle “monster” whose ice-carved sculptures make the snow fall — ideal for horror fans easing into holiday mode without losing that eerie edge.
This episode of This Week in Horror History is brought to you in part by Savorista — the spooky-friendly coffee brand serving bold, gourmet flavors in decaf and half-caf roasts so you can binge horror without wrecking your sleep. Head to Savorista.com, pick out your favorite light, medium, or dark roast, and use promo code SPOOKY at checkout to get 25% off your first order. Every purchase supports the show directly and keeps the horror history rolling.
If you love horror podcasts, physical media, and deep-cut genre history, queue this one up and let This Week in Horror History program your first December horror marathon.
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🎥 Produced by: Daniel Wilder
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WEBVTT
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It's the first week of December. Time to clean those
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moldy piles of former pumpkin off your porch. The Christmas
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lights are flickering to life, and horror fans are sneaking
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just one more spooky watch in between all the cozy
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comfort movies. This is the strange shivery overlap, where backpackers
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disappear in the tropics, campus scavenger hunts turn deadly, and
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even the classic Universal monsters come shambling back for one
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last bow. So let's see if you can survive this
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on top of your relative's fruitcake. So put on your
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scissor hands and let's go. You're listening to this Week
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in Horror History for December one through seventh. I'm your host,
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Enrique Kuto, and I'll help you flip open the horror
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calendar to see which movies, monsters, and macab milestones crawled
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out during this exact week in years past. As we
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begin the true start of spooky Season's winter phase, we'll
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head to Brazil for an organ harvesting vacation from Hell,
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drop in on the last serious Universal monster mashup, and
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find Native American spirits looking to slaughter anyone in their way.
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Then We'll dig into a deep cut campus slasher that
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limped through drive ins before being resurrected on Blu Ray,
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roll through some key horror birthdays, and finish with a
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December Ready recommendation you can stream tonight first Up. December one,
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two thousand and six, Terestas hits theaters and immediately makes
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every backpacker rethink those off the beaten path travel plans.
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Directed by John Stockwell, Theestas follows a group of young
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travelers in Brazil whose dream vacation turns into a nightmare
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when a bus crash strands them in the middle of nowhere.
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Locals offer hospitality, but it quickly curdles into something much nastier,
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an underground Oregon harvesting operation that feels like a sun
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soaked cousin to the Hostile Era Torture Boom. Shot entirely
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in Brazil and released under the title Paradise Lost Okay
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in the United Kingdom, Theestas was the very first film
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put out by Fox Atomic, a sub label of twentieth
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Century Fox that was intended to specialize in comedy and
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John films, most notably The Hills Have Eyes Too. Twenty
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eight weeks later, The comebacks The Rocker, Miss March and
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Twelve Rounds. But unfortunately, if you recognized any of the
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films in that list, then you know they were all
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kind of cult hits and didn't do big box office,
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which is why shortly thereafter Fox Atomic closed in two
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thousand and nine. However, Touristas started strong, with around fourteen
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point seven million dollars worldwide on a ten million dollar budget,
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so not a complete disaster, but definitely not the breakout
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the studio needed these days. It plays more like a
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time capsule of the mid two thousands, when horror was
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very grimy and mean, and often obsessed with the idea
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that every foreign bus ride is one unlucky turn away
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from doom. A fun and shocking film that I personally
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need to revisit, and if you too want to revisit it,
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you can rent it at any of the usual suspects
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like Apple TV, Amazon Prime or Fandango at Home. Jump
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back with me to December second, nineteen eighty three, and
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things get even rougher in the desert with fred Olin
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Ray's micro budget nightmare Scalps. Fred Olin Ray, by the way,
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one of my biggest cinematic heroes and a guy I
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even got to work with. He was the executive producer
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on the show Boggy Creek, the series which I directed
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all six episodes of season one four, which is available
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right now on two BTV. You should check it out.
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It won't cost you anything. But Scalps is a wild
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ride and one of Fred Olan Ray's first breakout films,
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which began arguably one of the most prolific careers in
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all of B movie cinema, if that's what you want
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to call it. Fred's directed over one hundred films in
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every genre imaginable, from Western's comedies, family movies, lifetime movie dramas,
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Christmas movies, you name it. Fred ol and Ray has
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yelled action at it. But this one is extra special
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and extra nasty. It's about archaeology students who ignore every
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sensible warning and dig on sacred native land, unleashing a
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vengeful spirit that tears through the group in a haze
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of possession, animal attacks, and gritty, low budget gore. Shot
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on sixteen millimeter film with a very low budget Scalps
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as the kind of video store relic that lived or
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died on its lurid VHS cover and word of mouth
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alone in theaters. It slipped into limited release in December
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of eighty three and never came close to what might
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be called mainstream success. But on home video and now streaming,
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it's become a cult curio messi offensive but fascinating for
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fans of regional and DIY horror. And if you want
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to learn more about fred ol and Ray in his career,
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he put out a phenomenal memoir called hell Bent for Hollywood.
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You can grab on Amazon or wherever you buy your books.
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It's an excellent read if you love learning about making movies.
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And right now you can stream Scalps on Amazon Prime
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Video with your membership, or grab yourself a collector's edition
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Blu Ray Chalk full of extras. If that's what you're into. Now,
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let's fast forward or rewind, depending on which reel you're
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holding to December seventh, nineteen forty five, when Universal releases
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House of Dracula and effectively closes the book on their
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classic monster cycle. This one is a full on monster summit.
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You've got Dracula, You've got the Wolfman, and Frankenstein's Monster,
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all converging on a tormented doctor who's trying to cure them.
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All of course, the cures go horribly wrong, and what
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you end up with is a fever dream mashup of capes,
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neck bolts, and tortured mad scientist melodrama. It didn't make
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the same cultural splash as earlier Universal horrors, but financially
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it held its own as part of the studio's steady
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monster business, and historians often point to it as the
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final serious entry in that original Frankenstein saga before things
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went full parody. Abbot and Costello. I'm looking your direction.
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It's a fascinating snapshot of a studio squeezing the last
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drop from its most famous of creatures. If you've never
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seen House of Dracula, I do recommend it. I'm I'm
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a nerd for the well for everything, but when it
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comes to Universal monster movies, there are just some Sunday
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afternoons when all I crave, other than maybe a bowl
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of chicken noodle soup, is Dracula, Frankenstein, the Wolfband, the
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Creature from the Black Lagoon in black and white, in
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all their classic glory, and this film really does scratch
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that itch. I feel like I don't revisit it enough. Honestly,
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if you've never seen it, House of Dracula is currently
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streaming on Indie Flicks with a subscription, or you can
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rent it or buy it on services like Amazon, Apple TV,
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and Fango Fandango at Home. This week in horror History
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is brought to you in part by Savoriesta dot com.
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thank you to save Arista for supporting the program. All right,
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we've hit organ thieves, cursed deserts, classic monsters, and we'll
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get to a certain lonely boy with scissors for hands
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in a bit. But our deep cut this week puts
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us back on campus, where a bear mascot and a
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pile of steak knives turn school spirit into a body count,
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and we're back. So let's talk college radio, scavenger hunts
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and a killer who turns the school's mascot into a
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slasher icon. Our deep cut spotlight for December one through
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seventh is Girls' Night Out from nineteen eighty two, also
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known as The Scare Maker, a scrappy early eighties slasher
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that puts a twisted spin on college campus horror. The
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film opens with the suicide of Dicky Cavanaugh, a disturbed
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former patient at a sanitarium, cut to nearby DeWitt University,
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where the basketball team's big win kicks off a night
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of celebratory chaos. Of course, the school's chipper campus radio
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DJ hosts an all nightscavener hunt, sending students racing around
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the grounds in the middle of the night. While everyone's
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chasing clues, a killer in the school's bear mascot costume
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prowls the shadows, having strapped steak knives to the costume's pause,
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so every bear hug can be one to dismember totally.
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It's pure Golden Age slasher energy. Late night cafeterias, locker
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rooms and dorm hallways full of horny, bickering students, punctuated
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by surprisingly nasty kills. The killer taunts victims over the phone,
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stalks them through the darkness, and leaves a trail of
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bodies that the authorities are a step too slow to connect.
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Of course, of these movies, cops are never really that
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plugged in. Yeah, not so much. Release wise, Girls' Night
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Out is exactly the kind of oddball film that well
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this show exists to resurrect. It first slipped into theaters
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in the Southern United States on December third, nineteen eighty two,
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under its original title The aforementioned Scare Maker, via a
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small regional test run that barely moved the box office needle.
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The film later resurfaced nationwide on home video in the
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mid eighties under the title Girls' Night Out That's Night Nie,
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where its lurid cover and killer bear hook finally found
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an audience among VHS renters. They were voracious and they
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needed content. For decades, it lived in that half remembered
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zone of bootlegs and fuzzy TV airings. I remember seeing
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a ton of copies in horror movie conventions in the
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early two thousands. It seemed like it was one of
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those lost films, but not necessarily very many people were
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really looking for it, I guess. But then, thank goodness,
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Boutique Labels stepped in Media Blasters gave it a DVD
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release in the two thousands, but it wasn't until Aarow
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Video did a new restoration in Blu Ray that the
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film got a proper cult movie upgrade, complete with commentaries
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and other extras. Now what was once just another forgotten
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slasher has become a minor collector favorite, especially for fans
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of campus horror and regional independent filmmaking. If the idea
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of a knife clawed bear mascot stalking sororities during a
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scavenger hunt sounds like your kind of film, and why
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the hell wouldn't it be Girls' Night Out? Is absolutely
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worth your time. In the United States, you can stream
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it on the Arrow Player, which is Aero Film's streaming
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service with a membership or subscription, rent, or buy it
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digitally on services like Amazon, Apple, or grab Arrow's final
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nominal cleaned up Blu Ray. Full of so many extras,
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I don't know if you damn it, if you can,
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if you can bear it all right, spookies. Let's light
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some metaphorical birthday candles safely and far from any flammable
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film stock. December one, nineteen forty one. Sean S. Cunningham
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is born, the producer director who unleashed Friday the Thirteenth
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on summer camp counselors everywhere and helped to define the
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slasher boom. Who'd have thought that one conversation with a
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writer saying you want to rip off Halloween could turn
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into a lifetime of scares for the entire world. Gotta
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love it. Happy Birthday, Sean. December third, nineteen seventy one.
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Keegan Connor Tracy is born. She'd go on to appear
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in Final Destination two and White Noise, becoming a familiar
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face in early two thousand Supernatural Horror, and she was
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also in one of my favorite episodes of creep Show,
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the series on shutter It was the episode to Grandmother's
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House We Go. December third, nineteen eighty two. Director Adam
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Wininguard enters the World. Years later, he'd give us a
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ton of films I'm a very big fan of. Just
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a few to note would be your next The Guest
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and Big Monster SmackDown. Godzilla versus Kong and Godzilla x
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Kong the New Empire as well. He also directed A
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Horrible Way to Die Homesick blair Witch, the sequel to
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blair Witch that I almost forgot about. But I actually
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really like that one, so no hate there. I hope
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it's a great one, Adam. Can't wait to see what
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you come up with next. December fourth, nineteen fifty four,
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Tony Todd is born. Unfortunately we lost Tony this year,
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but he was an incredible guy, the man whose voice
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alone could haunt your bathroom mirror from candy Man to
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final destination. He is undoubtedly Horror Royalty and deeply missed.
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So raise a glass of I hope that's blood red
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holiday punch, and not never mind to all of them
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this week. Four are then, and now let's take a
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look at December Horror and how it keeps evolving while
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hitting some surprisingly similar nerves. On December one, two thousand
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and six, we mentioned Terista, which tapped into fears about globalization,
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medical exploitation, and the ugly side of exotic tourism. Ordinary
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travelers become human resources in the worst possible way. As
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if normal human resources aren't bad enough, sliced up so
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the rich can live just a little longer. Jump ahead
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to December seventh, twenty twenty two, when Megan premieres in
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Los Angeles. Suddenly the fear isn't crooked doctors in the jungle,
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It's a smiling, hyper connected robot babysitter who knows your
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kid's secrets better than you do. Made for about twelve
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million dollars, engrossing over one hundred and eighty million worldwide,
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Megan proved that audiences are still hungry for horror that
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mixes social anxiety with a dark sense of humor, especially
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when it involves technology stepping into intimate roles it might
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not be ready for both. Films, in their own way,
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are about trust, who we hand our bodies and our
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loved ones over to when we're tired, overwhelmed, or chasing comfort.
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Whether it's a surgeon with a scalpel or an AI
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doll with Wi Fi, horror keeps reminding us that convenience
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can have teeth. And by the way, if you missed
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out on the second Megan movie, I know a lot
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