This week, Bryan and Dave are joined by Jonny Atkinson of Uy Que Horror to talk He-Man as they take a real deep dive into the movie that drove the final nail into the Cannon Group's coffin, Masters of the Universe. We discuss the movie's enduring status as a cult film against all odds, the intense nostalgia high of a movie that seems to have gotten better with age, the utterly bonkers history of the Cannon Group, a production company that flew too close to the sun, as well as run down the troubling allegations facing the film's director, Gary Goddard.

This week, Bryan and Dave face down the blandest notions of the 1990's with I Know What You Did Last Summer, ostensibly the first of the craven 90's Scream cash-ins, written and produced by Scream's very own Kevin Williamson. It's a movie that really takes its sweet time getting around to the mystery where four beautiful 90's young people, Jennifer Love Hewitt, Freddie Prinze Jr., Sarah Michelle Gellar, and Ryan Phillipe make every possible bad decision and deal with the consequences as they're stalked by the Gorton's Fisherman in a small North Carolina fishing village. Where does this movie land in the horror canon? Does it hold up after all these years? Listen to find out!

Bryan and Dave conclude their John Carpenter double feature with a look at his first proper feature, Assault on Precinct 13 a movie so egregiously ripped off by other action movies that it hardly matters that Carpenter ripped it off of other action movies. Seeking to make a proper western in the style of his favorite Howard Hawks movies but pressed by budget, Carpenter lifted moves from his then brand-new Escape From New York script with Nick Castle and turned in the independent action movie that would come to redefine the modern siege movie. Is it any good? Well, yeah. Of course it is. Could it be better? Absolutely. Precinct 13 is wobbly as hell, with fairly serious pacing problems but every shot, every scene, is a preview of the best that John Carpenter has to offer the world. Listen for our usual deep analysis and historical context relating to the absolutely rotten state of things as it relates to the Los Angeles Police Department.

This week Bryan and Dave go long on one of their shared favorites, John Carpenter's first fertile footsteps into the 1980's, the decade that would come to define his entire career and he couldn't have made a bolder announcement of his arrival than with this subdued ghost story, told in the old campfire tales. It's equal parts gothic spooks and EC Comics style ghoulish horror, a tale of revenge from beyond the grave, ghost sailors return from the briny deep to have their payback for a terrible crime committed 100 years ago. Though a little flimsy in the story department, Carpenter and his crew float one of his most effective features on vibes and style alone. Listen for a real love letter to John Carpenter.

This week we're getting sloppy and erotic as we break down David Cronenberg's 1996 antithesis to the 90's erotic thriller, Crash, a movie about how people can't get off unless they're about to die horribly in a car accident. Adapted from J.G. Ballard's 1973 novel of the same name, which was an extension of his short story in the collection The Atrocity Exhibition, the film stars James Spader doing his best to look like making sweet, sweet love to a woman's leg wound is something he's really into. It also bring us Elias Koteas in his second appearance on the pod steaming up the windows with his menacing sexuality and Holly Hunter, taking the strange journey into the world of sexy death.

Sound strange? Maybe more than a little off-putting? You have no idea. Listen to the episode for the full scope of the struggle.

This week, Bryan and Dave ask the question that's on everyone's mind: Do you wanna party? Return of the Living Dead, the movie that changed the rules of the zombie movie game is a perfect time capsule of America in the 80's and it has a killer soundtrack to glue it all together. It's one part EC horror comic and one part paranoid Libertarian fantasy of a colossal government fuck up cooked up from the center of Dan O'Bannon's mind. Hear all about it in this deep dive of one of the greatest horror movies of all time, Return of the Living Dead.

This week, Bryan and Dave get real sleazy with it and take a good long look at Angel, from 1984. Starring Donna Wilkes and a cast of wild character actors, including Susan Tyrrell in her second appearance on their podcast, Angel sets out to be a grimy exploitation movie that casts the seedy underbelly of the Hollywood Boulevard nightlife against the hard neon glow of the Los Angeles dream factory but it's a movie so in love with its oddball weirdo characters that it seems to struggle against the mandate to deliver violence, nudity, and cheap thrills, choosing instead to be a vehicle which provides its cast with all the scenery that they care to chew on. Make no mistake. Angel is garbage but it's remarkably lovable garbage that everyone should see.

Bryan and Dave are joined by Tyler Hyde, co-host of the That's Spooky podcast to close out their 2024 Pride series and talk about James Whale's 1935 Magnum Opus, Bride of Frankenstein. It's an absolutely gonzo gothic horror from the dawn of the talkies featuring more thrills and excitement in one of the earliest sequels that somehow manages to end up a better movie than the original. Bride of Frankenstein is a high-energy affair packed with unbelievable characters and performances from some a-list weirdos of their era such as Ernest Thesiger as the sinister Doctor Praetorius and the lovely Elsa Lanchester playing duo roles and Mary Shelley and the iconic Bride who, despite your expectations, occupies the screen for a scant few minutes but still manages to leave a powerful mark on the history of film. There is also a deeply queer interpretation of the movie which begs the question, was this subtext intended by James Whale? Was it purely subconscious? Are we just reaching?