The episode brings a riveting discussion about the final installment of the Paranormal Activity series, its backstory, the impact of COVID-19 on its production, and Ariel's passion for the "found footage" format. The hosts also share intriguing behind-the-scenes insights, including the studio's unique priority list for permissible movie content. After six movies and diminishing returns, it was time for a change of scenery, and that's what Next of Kin delivers, as the action shifts to Amish country, leaving Toby, Katie, and Kristie behind. We talk the new location, the new mystery, the odd choice to dump this straight to streaming, and whether you can really call this a "found footage movie"-did they try something different or just fail at sticking to the format?

Get ready to enter the frightening world of the Paranormal Activity series with your favorite horror hosts. In this episode, we dissect the supposed final movie, 'The Ghost Dimension,' along with an analysis of the film's corporate maneuverings, & 3D technology use. We provide a brutally honest review of the film's reception, plot twists, and the unusual combination of high-end 3D technology within a found footage movie.

We discuss shifting trends in the film industry, with a focus on the transition of the cinematic experience from traditional theaters to various on-demand video services. The episode delves into the complexities of this transition, questioning whether subscription models devalue movies.

We evaluate the intricacies of found footage sequences and explore strategic watching orders, the significance of key characters, and parallels in the series. From the dynamics of seemingly ordinary families to thrilling confrontations with demons, we leave no stone unturned. The impact of potential timeline re-evaluations, role of witches, and transformations of central characters are all scrutinized.

This week we talk about the time the Paranormal Activity series took a deliberate turn away from focusing on wealthy, white, upper middle class families and turned toward the Latino communities of Los Angeles. Writer / director Christopher Landon called The Marked Ones more of a “cousin” of the previous four films rather than a true sequel, and perhaps making that diversion allowed or something looser and unbound by the formula that had gotten stale by the previous entry. The Marked Ones shifts the focus directly onto witchcraft and possession horror while being far less about a haunted house where things that go bump in the night. It also gives us much more of a communal feel, introduces more comedic undertones and offers up three of the better protagonists in Jesse, Hector, and Marisol.

It’s too bad they couldn’t stick the landing and introduced some really silly things like time travel. Goddammit.

All this, plus Mike and Devaughn talk about the dumbest stunts we’ve ever pulled, Cousin Oliver and the Brady Bunch, going all “Mercked Ones” for a few glorious moments, and Mike’s wife sleep-singing when she has nightmares.

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